These days, there are a good many websites that aim to go beyond the normal boundaries of the standard, mp3 sharing music blog. Popular sites like Daytrotter and HearYa.com are both great examples of sites that find unique ways to create art based upon the musicians they are covering. There’s a close-to-home site on the scene and it covers predominantly Texas-based acts (Sarah Jaffe, Doug Burr) with the occasional national act (Waters, Pterodactyl) thrown in for good measure. Denton based Violitionist.com (aka The Violitionist Sessions) has been great about picking some great acts and getting some great performances out of them. Who can go wrong with getting some (Texas-based act of the year?) True Widow on film?
As I was listening to (and enjoying immensely) the new, upcoming album from Dallas band True Widow, I was also doing a bit of web-surfing for anything I could find on the band from outlets that might not typically focus on North Texas (or Texas in general) acts. When I stumbled upon a post on Indie Super-Blog, Stereogum, I found they had a few kind words to say about the Dallas trio. Perhaps more tellingly, one of the commenter’s to the post made a remark that I found interesting and a tad humorous, “The best band from Dallas isn’t from Denton.” There’s no doubt that Denton acts have been getting a good bit of buzz lately, but…
That commenter may be onto something.
True Widow, consisting of Tim Starks, Nikki Estill and leader Dan Phillips, (formerly of Slowride) will certainly be riding high and be near the top of many Dallasites list of favorite area bands after the proper release of their insanely excellent second album, As High As the Highest Heavens and From the Center to the Circumference of the Earth.
The trio, which has called their sound “Stonegaze”, indeed backs up that label on their first album for Kemado Records, the folks which brought us the stellar record from The Sword, late last year. One of the stand-out numbers, with yet another appropriate title, “Doomseer,” is a reverb-eriffic droner that hammers its way through nine minutes without stalling in the least. The album’s Stereogum-approved calling card, “Skull Eyes,” is the album’s most accessible and melodic, thanks to Estill’s pristine vocal contribution, yet it’s is still an unrelenting force.
Let’s be honest, here: An album with such a title has to be epic, right? I mean, if some solo-acoustic folkie slapped that title on his 4 song EP, we would all roll our eyes. Well, I’m happy to report that thanks to the pounding tracks on this successfully epic record, the only thing rolling are my eardrums, but in an – ahem - incredibly epic and pleasing manner.
Kelly Dearmore is a freelance writer, mean pot of chili maker and opinionated music lover. To read more about what Kelly is listening to, visit him here on The Squawker weekly.