Sour Widows // Sigil CD

※10/23リリースです

アメリカのインディーバンドSour Widowsが、2026年10月に同国インディーレーベルJulia's Warからリリースしたアルバムです。

オルタナロック11曲を収録。

レーベルその他作品はこちら /// Click here to see more Julia's War releases available at Tobira.

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Release date : 23rd October 2026

CD in cardstock sleeve.

Tracklist:

1. Sigil
2. Her Garden
3. Still Warm
4. Lucky Star
5. Blood in the Grass 
6. Choke Chain 
7. White Horse
8. Inanimate Angels
9. Godspeed (Your Love)
10. Lullaby
11. Wounds of Purification

Text excerpt from the label:

"...Since Sinaiko and Thomson made their debut, Revival of a Friend, with drummer Max Edelman and bassist Timmy Stabler in 2024, the band has been out of the Bay a lot, from opening for Alex G across Europe to headlining in the Midwest during a sweltering summer. They’ve had several realizations on the road. First, standing onstage every night and filling open air with sound is actual magic, an act of real-time creation that feels nothing short of alchemy. Second, as Sinaiko and Thomson both crossed the threshold of 30, the childhood friends and current roommates accepted anew that this is their life, that the expected domestic niceties of home ownership or stable relationships or raising children must continue to yield to the exigencies of this art they make together. And, finally, after playing the six- and eight-minute tangles that framed so much of Revival of a Friend each day, they understood that there were other exciting ways to approach their craft. Maybe they could write simpler songs, using classic “cowboy chords” and built on refrains that could be shouted out by a crowd. Maybe that might even leave more room for studio experimentation?

Sour Widows push all of this to the fore on Sigil, an album informed by the magic of mere existence and the possibility of the unknown, from sound to substance. For the first time, the band headed south to record, convening with acclaimed producer and Jay Som mastermind Melina Duterte at Seahorse Studios in downtown Los Angeles. Organ roars at the climax of the tender and defiant “Her Garden,” while electronics screech through the twists and turnarounds of the arcing and aspiring “Lucky Star.” Cello howls behind opener “Sigil,” and violin moans beneath acoustic closer “Wounds of Purification.” These are new choices and textures for Sour Widows.

The songs themselves are the most magnetic Sour Widows have ever written, too, like the hook of self-liberation Thomson offers during “Her Garden” or the chorus of self-actualization that Sinaiko nails during “Lucky Star.” Lumbering with doom guitars and marching drums, “Choke Chain” rides the line between the violence and gentleness of sex, its soft harmonies and snarling sound perfectly capturing this fundamental conflict. These 11 numbers curve in unexpected directions, but there is a newfound immediacy to Sigil, as if Sour Widows have urgent findings to share.

They do: Thomson’s mom was a clairvoyant, and Sinaiko grew up in a home of artists and performers, people able to conjure worlds out of nothing but sheer imagination. In recent years, the two have grown more interested in the power of what we cannot perceive, understand, or explain—black holes, past lives, the endlessness of energy. These phenomena point to the ways that what we perceive as an endpoint is possibly just a new beginning, a chance to reorder and reorient what we think that we know. Throughout Sigil, ostensible disaster ushers in a new start.

Written by Thomson for Babehoven’s Maya Bon, “Blood in the Grass,” for instance, is a gorgeous and aching ode to friendship, to the way that two people who have endured so much loss can hold one another up and push one another along. If its acoustic guitars sound delicate at the beginning, the radiant electric tones and dovetailing harmonies sound like armor by the end. Written by Sinaiko, who is Jewish and of Assyrian descent, “Lullaby” presents a harrowing portrait of genocide in Palestine. It slowly morphs into a screed of retribution, though, with Sinaiko speaking, singing, and screaming their hopes for comeuppance in the song’s second half. When Sinaiko played “Lullaby” for Thomson, it inspired her to write its chaser and the album’s graceful closer, “Wounds of Purification.” “Reverse create/every possible life,” Thomson sings. “Until you’re holding me/in the well of light.” Like almost all of Sigil, it is a prayer for what could still be, presented against the pain of the present.

Sour Widows was born out of and also into hard times. Around the time the band began, Thomson’s mother had just been diagnosed with cancer, to which she succumbed just after the release of the band’s second EP. In the years since, partners have been lost, other parents have gotten sick, and the Bay they have long loved as home has been subject to a kind of techno-fascist gentrification in total opposition to the values of Sour Widows and their wider community. An action as much as an album, Sigil feels like a rejoinder to all that, pushing against horrors and saying it doesn’t have to be this way, that there is so much unknown left to explore and indulge in this life—and probably the next one, too..."

Artist : Sour Widows

Label : Julia's War

cat no : JWR113cd