Apocalypse takes many forms on Sigil, the second record from Sour Widows. Its songs are littered with black holes, disasters, nuclear bombs; there are guttural screams and onslaughts of distorted guitar. This brutality isn’t the Bay Area band’s only mode, but hardly a song passes on Sigil without destruction, or at least the looming threat of it. Often, these crises follow the logic of dreams, where angels can crawl in through your ceiling, or a door can let in “all the filth from the world.” The album was conceived from a series of dreams, too: It takes its title from one that singer and guitarist Susanna Thomson had about making a record named Sigil, and the premise of its title track comes from a dream her bandmate, Maia Sinaiko, had about the end of the world.

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