A very common descriptor for Murder By Death’s sound is “unique.” You can’t read an interview of the band, or a review of any of their records without the mention of their genre-bending music stylings. I myself have certainly said the exact same things. Being so unique as a band however, can potentially be detrimental to a bands creative process. It could be very easily argued that once you climb out of one particular genre and carve out a niche for yourself as a band that has a sound like very few or no others, you trap yourself in a corner with very little room to grow musically. Lead singer Adam Turla was recently quoted concerning this very issue stating, “I think you’re always trying to make sure you’re not a parody of yourself, and that’s an issue as you write album after album.” This sense of self criticism and reflection is apparent in Murder By Death’s catalogue spanning the past 10 years and is further expanded upon with the band’s sixth studio release Bitter Drink, Bitter Moon. The album is a large leap in a different direction from the band’s previous records in both production and style.
The past year has marked many changes for Murder By Death. In may of 2011, Turla and crew recruited multi-instrumentalist Scott Brackett (formerly of Okkervil River) as a full time member. The band gained new managment, were signed to Bloodshot Records and entered into the studio with acclaimed producer John Congleton (who has worked with the likes of Modest Mouse, Explosions In The Sky, and on one of my favorite albums of 2011, St. Vincent’s Strange Mercy.)
Murder By Death have very noticeably broadened the depth of their sound since the debut album Like The Exorcist, But More Breakdancing. The band has moved from an Indie/post-rock influence characterized by other bands such as former tour-mates Cursive and Thursday and added a heavy handed dose of Americana, rockabilly, folk and gothic stylings to the mix. With the band’s last release Good Morning, Magpie, MBD also moved past the concept album format that they had used in their three previous records.
It is with all these changes that we start Bitter Drink, Bitter Moon. From the very start you realize you are listening to a refreshed Murder By Death energy. The opening track “My Hill,” sets a very eerie tone that carries through a good majority of the album. The sparse instrumentals, reverberated tones and addition of female vocals by Samantha Crain layer together giving the track a macabre feel that could feel at home in a Dead Man’s Bones’ record. The influence of noise-maker Brackett is also tremendously noticed from the beginning, adding mandolin, banjo, accordion and trumpet to the mix. The second track “Lost River,” is orchestrated to evoke a feeling of moving down a swelling body of water and eases you into a harsher bass and drum driven, “Straight At The Sun.” Turla’s often dark, story driven lyrics shine through in “No Oath, No Spell,” a song which seems to be looking at mortality, Turla croon’s “Old woman, tell me why did you lie / so long in your hospital bed/ with the spark gone from your eyes?/ We both know there is no where to go/ Lets cast off you and I.”
Bitter Drink, Bitter Moon plays with heavy and dark theme’s throughout but also present these themes in warm, light-hearted textures with numbers such as “I Came Around,” which is about going to a funeral for someone who you didn’t really like, but in talking to people at the wake you realize that you did care for the person and might have loved them if you had actually given them the chance. “Hard World,” is another song which catchy, upbeat music masks the somber true story influence of a kidnapped and murdered girl from the band’s Indiana hometown, who was only known to be missing after a wealthier girl also was found dead. It is easily noted that Sarah Balliet’s cello is as crisp as ever. With the cello often taking the lead in songs matching up to the Turla’s baritone vocals. The combination in my opinion is without a doubt the key to MBD’s sound. The band touch’s on tribal influences with “Ditch Lilly,” and raucous punk/rockabilly inspired “Ramblin” anchored by the rhythm section of of drummer Dagan Thogerson and bassist Matt Armstrong. While the last third of the album is toned down and isn’t as immediately catchy as the rest of the LP, the song writing remains strong and consistant. The closing track “Ghost Fields,” is another gem evocative of an early southern folk song that slowly swells to an emotionally charged crescendo.
Bitter Drink, Bitter Moon is the type of album that I think could very easily stand next to an effort from bands such as indie giants Arcade Fire and be accepted by a wider fan base. It is one of my favorite albums from Murder By Death to date and most definitely one of my favorites for 2012. Be sure to check it out.