Though hailing from the town that brought us the baggy rave ‘n’ roll grandeur of the early ‘90s Britpop movement, you certainly won’t hear any elements of the Happy Mondays or the Stone Roses in the music of Manchester, England’s Warm Widow. Rather, this trio’s mind-melting debut LP, Widower, has more in common with the caustic post-punk fury of Wire and the Fall, intersected with the hard-nosed abrasiveness of such college radio staples as the Jesus Lizard and Drive Like Jehu. It’s a unique hybrid of heavy, excellently mastered by Shellac’s Bob Weston. Warm Widow represent the blood and guts of your older brother’s indie rock generation with a sonic assault on the senses aimed directly at exploding the heads of today’s Tweeting twits
We all know how critical it is to keep independent voices alive and strong on the Internet. Please consider a donation to support our work as independent cultural critics and historians. Your donation will help PopMatters stay viable through these changing and challenging times where costs have risen and advertising has dropped precipitously. We need your help to keep PopMatters strong and growing. Thank you.
// Notes from the Road
"Saul Williams played a free, powerful Summerstage show ahead of his appearance at Afropunk this weekend.READ the article