The sounds, songs, and passages within Power Sucker are the very reason that Young Widows are still a band after an 11-year creative pause; they remain masters at making music with equal parts sonic and emotional weight. Young Widows have inspired scores of underground artists across the globe with their unique collage of noise-rock, hardcore, and post-punk and pioneering presentation. The Young Widows sound – or more accurately, the Young Widows feel – is in full battering ram motion on their fifth studio album.
The heaviness of Power Sucker isn’t mysterious. The Louisville, Kentucky power trio play their individual parts with such recognizable precision and style that once entwined together each completed piece becomes an integral part of the puzzle. The sizzling guitars, growling bass, and lock-tight drums rip through the pavement that Young Widows had previously laid to allow the most forward-moving vocal arrangements of their now two-decade career.
Historical accomplishments aside, Power Sucker has the shock and wonder of a new band’s debut album. After all, this is the regrouping of three passionate lifers once again sharing their undying love for the art of sound. No one and no thing can take those powers away.

Liam Andrews is a British-born, Australian- raised artist based in Berlin.
For the past two decades, Andrews has been active in exploring amplified music with the experimental post—punk group MY DISCO, and as a collaborator with Karl O’Connor (Regis, Sandwell District) and Boris Wilsdorf (Einstürzende Neubauten) as EROS.
His recent work, as AICHER, focuses on repurposing the incidentals within spatial recordings. Working within the atonal and monochromatic aesthetics he’s drawn to, and drawing on a vast catalogue of recorded material, he translates these fragments of sound into compositions of detailed feedback expression, seasick percussive roil and buckling subharmonic frequencies. The result is a collection of sonic movements, an assemblage of unsettling dissonance, that remain on the wire.