Sour Widows
Revival Of A Friend
Under the Radar 80点相当
Pitchfork 78点相当
ギターの具合が、
Pavement や Red House Painters 、
歪ませないときのWeezer っぽくて
非常に良い。
貼り付け曲 I-90 など
Weezer の 1st にあったような曲
インストとVo込み曲が混在。
この雰囲気だと、
もう少しダークな感じに仕上がっていたら
得点ももっと上がっていたんじゃないか。
歌謡曲のような歌メロが全体的、
評価的には、逆に良くない方へ働いているような。
https://pitchfork.com/reviews/albums/sour-widows-revival-of-a-friend/
Revival of a Friend is shaped by grief: Both Sinaiko and Thomson faced significant loss in the years since starting the band, and those experiences are embedded in their songwriting. The dynamic “I-90” pays tribute to a partner Sinaiko lost to an accidental overdose, filtering sweet, quotidian memories through the retrospective lens of sorrow. “Initiation,” too, is a song of mourning, written after the 2021 death of Thomson’s mother; its imagery is striking, combining the sacred and visceral in lyrics that sing of “Heaven spilling at the steppe/Stardust in the cup of my hand.”
Many of these songs depict a narrator reaching out for connection, grasping for something just beyond their grasp: “Fuck everything I did/To feel good for a moment,” goes the opening of “Cherish,” which eventually comes around to a pleading note: “Will you love me through this?” But beneath the desperation and severed connections lies the sound of musicians who are deeply attuned to each other. Sinaiko and Thomson are longtime friends who first met as teenagers and have written songs together ever since. You can hear their intimacy in the way they play and sing together—guitar melodies that snake and vine around each other; vocal harmonies where each voice complements the other with richness and depth. Drummer Max Edelman joined the band after Sinaiko and Thomson’s very first show as a duo, and his playing—along with bassist Timmy Stabler—ranges from delicate to thunderous, forming a deft backbone for the songs’ ebbs and flows.
Several songs shift seamlessly into instrumental interludes—like the spacey, slowcore-indebted “Revival,” which follows opener “Big Dogs,” or the gently rolling “Gold Thread,” which extends and explores musical themes introduced in “Initiation.” These blood-pressure-lowering respites make the album’s moments of breakthrough hit even harder. “Witness,” also written in the wake of Thomson’s mother’s death, has a roller coaster’s momentum: When a tight rhythm and strummed chords in the verse give way to a more elastic beat and gracefully ambling guitar lines, it feels like a fist unclenching. Later, a similar musical build erupts into full-on release; the whole band is propelled powerfully forward by the heaviness of loss, a “feeling” that “would kill you,” as Sinaiko and Thomson shout. When the song downshifts and sways into its final moments, the effect is dizzying.
ベイエリアのバンド
結成からデビューアルバムをリリースするまでに7年
1st
プロデューサーのMaryam Qudus
参考
Maryam Qudus 作品
Spacemoth
No Past No Future
202406推し 準推し