Murder by Death Albums (5)
What The Critics Say
Murder by Death address a number of themes on Red of Tooth and Claw, none of them particularly uplifting -- consuming passion, dark romance, longing, revenge, death, and destruction. It may sound at first like the makings of a mediocre goth album, but the band's combination of a taut, tense, elegant delivery and poetic lyrics breathes life into each of Red of Tooth and Claw's songs. Like 16 Horsepower, Murder by Death explore a darker side of country-rock, and there are two important influences in evidence here -- vocalist Adam Turla owes much of his sound to Johnny Cash and Nick Cave, but doesn't cross the line into mimicry. Instead, he leads the rest of the band in creating a mood and atmosphere that could be described as "country gothic," a sound whose dark romanticism and rustic overtones manage to be both bleak and warm. It's not unfamiliar territory for the band, which first began experimenting with it on In Bocca al Lupo. Red of Tooth and Claw carries over some of the Old West outlaw feel of its predecessor, but it's more aggressive and freewheeling here. Murder by Death are steadier on this album, and consequently more willing (or perhaps more able) to expand their sound. Cellist Sarah Balliet continues to be the most dynamic element of the band, though Turla is a very close second. His baritone meshes nicely with each of the songs as he infuses the lyrics with weariness -- at the beginning of the album, he growls grimly through "I'm Comin' Home"; in "Fuego!," he switches from a smooth croon to an impassioned wail with ease. Turla is not even above dark humor, as displayed in his deadpan delivery of the first half of "Spring Break 1899." Red of Tooth and Claw isn't a departure for Murder by Death, but their ability to keep their sound fresh and vibrant speaks well of their musical abilities. ~ Katherine Fulton, All Music Guide
'Like the Exorcist, But More Breakdancing'
Release Date 7/18/2006
Tracks 10
Label Eyeball
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What The Critics Say
There's something about the idea of the Old West -- the lawlessness, the dry, dusty landscape, perhaps -- that appeals to the sinner in everyone (it's no coincidence that Vegas is in the desert), something seen and reflected in John Ford movies or Ennio Morricone film scores. Maybe it's all the empty space, or maybe it's the heat that seems to make people forget about civility and resort to more carnal emotion to settle things. It's exactly these ideas that Murder by Death chose to explore in their outlaw country-inspired In Bocca al Lupo. The title, an Italian idiom for "good luck" (literally "in the mouth of the wolf," to which the enthusiastic response is "crepi," or "kill it"), is perhaps used broadly as a reference to the original language of The Divine Comedy, from which the album seems to be loosely based. It's not that the band reworks the story; rather, it's as if they use characters and ideas from it as inspiration in creating their own work. Which characters exactly, it's not quite clear, but each song has its own story of death or regret, with singer Adam Turla changing his voice to match the feel of each. And to make it even better, stronger, more provocative, everything's placed in a kind of spaghetti Western setting, with strong rolling drums, a sultry tango-esque cello, and Johnny Cash vocals that all sound simply fantastic together. You can practically hear Satan dancing between the strings and the castanets in "One More Notch," and the cold-blooded murder outlined in "Dynamite Mine," with its warning, "Son, cover your ears/Lord, how that blast will ring," is wonderfully chilling. But it's the later tracks, the ones that begin to express remorse for actions done, to progress toward possible salvation, that are even more affecting. "The Big Sleep," the only song that clearly alludes to The Divine Comedy -- "The bailiff leads me back to my cell/Like the riverman ferrying me to Hell" -- is both touching and ominous with its Book of Revelations trumpets, and by the time the haunting "Shiola," which toys with the idea of memory and death and on which Turla sounds unnervingly like the Man in Black, comes around, the only crime that's committed is stealing "a look." It's not complete redemption (although the album does end with the very uplifting "There's still time to start again" refrain), but there's still hope to move past transgressions and find something else, something outside of the harsh, arid climes at hand. ~ Marisa Brown, All Music Guide
'Who Will Survive, And What Will Be Left of Them'
Release Date 10/14/2003
Tracks 10
Label Eyeball
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What The Critics Say
Murder By Death is, like many other bands, a confused band. Their sophomore LP, after having released their debut under the name Little Joe Gould, finds the Indiana based quintet developing a concept album about how the Devil is shot in a small, Western town and the aftermath that follows. While the music is played competently, it's what is not done that undoes the band. Utilizing both a keyboardist and a cellist, it's unfortunate that much of the album finds the two buried in the mix or following the guitar instead of taking charge with some creativity. Adam Turla's vocals that were formerly British-influenced on their debut are now seemingly more Texan than anything. It comes across as rather odd considering the direction of the storyline. All in all, Who Will Survive is a competent album, with quality production and an interesting idea behind the lyrics. Unfortunately, it's the band's inability to take advantage of what should set them apart that ultimately makes the album seem rather average. ~ Kurt Morris, All Music Guide
'Like the Exorcist But More Breakdancing'
Release Date 6/25/2002
Tracks 10
Label Eyeball
See Album Tracklist and Review
What The Critics Say
Though its artwork suggests some long-lost effort from Rachel's, the zany titles of Little Joe Gould's second effort seem to mark it sonically in the vein of Atom & His Package or MC Paul Barman. Nothing could be further from the reality. Instead, LJG's lineup includes piano and cello on top of the normal emo/post-hardcore compliment of guitars, bass, and heady drumming. Over top, vocalist Adam Turla rambles on in faux-dramatic non sequiturs. Hints of chamber pop, southern Gothic, and post-rock linger here and there, blending into a sound that's certainly unique, but still somewhat bland. Cuts like "I'm Afraid of Who's Afraid of Virginia Woolf" and "Flamencos #*!$in Easy" lurch easily between references as disparate as Radiohead, Tom Waits, and Thursday, and the instrumental makeup always ensures an interesting sound. However, this might be a gateway album for Little Joe Gould, since they can't quite get their varying styles and pieces to coalesce. The album is consistently quirky and obtuse, but only occasionally memorable. Highlights include the atmospheric dirge "Those Who Left," with its melancholy piano and bizarre sound effects echoing in the distance, and the spare "Caucus Race," which drifts toward Texas and the work of Centro-Matic. ~ Johnny Loftus, All Music Guide
