Widowspeak return from the hills with their most genuine record yet

Since the release of the Almanac and The Swamps EP in 2013, Molly Hamilton and Robert Earl Thomas (the band have been a duo since the exit of original drummer back in 2012) decided upon a break from the constant stimulus of the city and so moved to the hills of the Catskills & Hudson Valley area for peace and inspiration. As I said, cliché. Luckily, it seemed to work, and actually, the duo’s third full-length All Yours seems to be their most genuine release yet.

The album’s title track, which premiered back in June, sets the tone nicely for the rest of the record. Calm and paced, but never boring, it’s perfect for a relaxed morning. In its closing moments we hear a trace of a sitar, which bleeds softly into “Narrows”, a seemingly simple piece driven by Hamilton’s mellifluous vocal melodies and complemented by its subtle but skilful orchestration.

Etchings of country and folk found in their previous releases are still present in the record but are downplayed slightly, updated perhaps by the occasional slacker vibe in tracks like “Stoned” and “Girls”.

The duo’s influences are, much to their credit, a touch away from obvious, so although the record feels undeniably nostalgic, its hard to put your finger on why. There is something of The Cardigans there, particularly in “Dead Love (So Still)”, and at times the guitar textures resemble those of early 70s acts like Crosby, Stills, Nash and Young, as in “My Baby’s Gonna Carry On”; additional synths and vocals from the band’s buddies, Quilt, aid in the construction of this retro sound.

Hamilton’s vocals in All Yours are at their strongest, with interesting melodies and flawless delivery throughout. In a rare occasion, however, Earl Thomas also lends his vocal talents for “Borrowed World”, the most record’s most upbeat number. Overall All Yours proves that taking a little time out to breathe can work, and this airy record captures that feeling.