So, Young Widows makes the jump to a new label and to be perfectly honest, this change of scenery for the band seems much like a new beginning rather than an update on an old sound. While the band's previous album, Settle Down City, is a continuation of the work which the group were pursuing as Breather Resist (Young Widows' previous incarnation with a singer as a fourth member), Old Wounds is the sound of a band coming into their own or finding their own voice. Young Widows experiment with the recording process on this record by mixing several live performances with the studio work (all dutifully documented by Kurt Ballou, both in God City Studios and on the road) that brings some interesting possibilities, depending on the execution and mixing, which affect the timbre of the sound. The eleven songs (ten new - the set also includes a new version of "Swamped & Agitated" which is available on the band's split with Plows) speed by in a short and concise blast that leaves one wondering, "What happened?" the first listen and then gives way to subsequent listening sessions in the hopes of understanding that question.
The churning rhythms of Nick Thieneman on the bass and new drummer Jeremy McMonigle dominate "Took A Turn" while Evan Patterson lays on his confident sounding vocals while accenting the track with his guitar work. This song is a fitting opener to the album and serves as somewhat of a link between Old Wounds and its predecessor, Settle Down City, while still showing a band that is growing into its skin. The rhythmic pounding of "Old Skin" continues to provide looks at where Young Widows came from while the vocal arrangements and tempo changes truly show where the band are taking their music to on Old Wounds. And the short burst aspect of the song is one of the more shocking elements of the song as it clocks in at well under two minutes. When the tenuous strumming of Patterson's guitar and vocals kick off "The Guitar" the record really starts to show the band's willingness to experiment with their sound and modus operandi; this track is measured and very methodical sounding while still sounding like some surreal jam session by the band.
Luckily, "Lucky And Hardheaded" makes for some enticing rhythmic gymnastics for which Young Widows is increasingly becoming known for over the course of their two albums and two split EPs. The syncopated vocal arrangement is a bit different and further documents the continual evolution of this three piece outfit. The live recording of "21st Century Invention" not only wipes the floor with many groups' studio efforts (a true testament to the recording capabilities of Kurt Ballou), but it also shows off one hell of a strong song in all the best ways that a purely "studio" recording may have never achieved had the track been documented in that mundane manner. The reverb is bright while the instrument sounds themselves are crisp and clear and cut just right to really drive the written aspects of the song home. As short as the track is (another song that clocks in at less than two minutes), "The Heat Is Here" might be my favorite piece on the Old Wounds. The grinding, persistent rhythm mixes with a catchy, sing along vocal performance which are all accentuated by the live recording. "Leave Him Be" is a churning exercise in crunchy bass and rhythmic dynamics; it again shows off some of the best which Young Widows has to offer.
After multiple listening sessions to this album, one aspect of Old Wounds is readily apparent. The album is a much more unique work of art than its predecessor. While at the same time, it contains enough touchstones that shows the band is not abandoning their previous endeavors completely. This singular trait is an important reason that the record grows on listeners and pays aural dividends with repetitive listening. Young Widows fashions a unique musical statement which actually is surprisingly brief and deceptively hard hitting. The unorthodox recording techniques present on the album - documented by Kurt Ballou over four live shows and several days in the studio - and resultant sound of the record is as much a part of the sonic aesthetic as the actual music and vocal arrangements.
