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It’s only March, and this year just keeps getting better and better musically. The newest Murder by Death album, Good Morning, Magpie is debuting in early April, and is sure to top the charts as one of the best indie-folk albums of the year. Defying current musical stereotypes and redefining what true Americana and Folk really are, the newest addition to the MBD discography will be sure to keep you enthralled for quite some time.

Although it is not a concept album, Good Morning, Magpie instead captures the eternal struggle between light and dark, containing some of the darkest and brightest material that MBD has even produced. Mostly written in two weeks in the Appalachian Mountains by Adam Turla, MBD’s singer, guitarist, and songwriter, the lyrics themselves are powerful, haunting, intense, heartfelt, genuine, impactful, and incredibly passionate. They are though provoking but combined with the wonderful instrumentals, the journey through the darkness and into the light is a beautiful change from the average trendy sound that we have come to expect from most modern music.

With Turla’s vocals lacing themselves among a potent blend of strings, drums, keys, and bass, comes a new breed of American rock. All elements of their sound are more than ordinary, working together to create the uniquely amazing sound that is MBD. The cello adds an ambiance full of passion and power, the drums are almost DCI worthy for their superb marching sound, and the bass line crawls across your skin with it’s own growl of rumbling low tones, and accompanied by the Johnny Cash-esque sound of Turla’s own melodic voice.

The album opens with the mellow “Kentucky Bourbon” and continued on through the slightly addictive lyrics of “On the Dark Streets Below,” a personal favorite of mine. With the horn line addition, it sets off the track, giving it an almost swing feel à la Brian Setzer. The title track “Good Morning, Magpie” holds a few charms of its own before blending into “You Don’t Miss Twice.” Up next is the superbly unique “Foxglove,” the most catchy and instrumentally diverse track on the album, and the best track on the album in my opinion. Finishing off the album is “White Noise” and “Day” both masterpieces of this new and innovative genre and finishing off the album just as good as it started.

You can be sure that this is not another mass produced album that will sit amongst the shelves of your local chain record store, but instead a gem that will stand out for years to come. Be sure to pick up this album when it hits shelves on April 6th, and catch the band at a venue near you in the upcoming months during their current US tour. Grab some friends and a bottle of whiskey, and let this superb version of homegrown Americana Folk rock take you on a whole new unique journey through the battle between darkness and light.

Track Listing:
1. Kentucky Bourbon
2. As Long as There Is Whiskey in the World
3. On the Dark Streets Below
4. King of the Gutters, Prince of the Dogs
5. Piece by Piece
6. Good Morning, Magpie
7. You Don t Miss Twice
8. Yes
9. Foxglove
10. White Noise
11. The Day

Written by Annastasia Gallaher

I had no idea who Murder By Death was before their show at the Bottleneck on Saturday evening. I now pity myself because I’ve been missing out on years of Death’s musical awesomeness.

After grabbing a cold (as in partially icy) beer, I took a seat towards the back of the venue to listen to Cowboy Indian Bear’s opening set. I wasn’t planning on reviewing them again because I recently saw them open for Peter Bjorn & John. After seeing their set a second time however, I felt it necessary to add a few comments about their music.

CBI’s sound is diverse. At times, the band layers light bells and tiny chimes over deep, new wave synths. CBI can quickly change gears, though, and produce songs that are influenced by old country or classic 60s spy tracks.

The second opener, Suzannah Johannes, used her water-like guitar strumming and vocals, mixed with a supporting keyboard and male vocals, to put on a quiet, ambient folk performance. Although her blues, speak sing voice flowed over her songs’ beautiful melodies effortlessly, the set didn’t hold the crowds’ attention. Johannes did mention that her drummer was absent that evening, so her performance may have been better received if the other musician was present.

When Murder By Death launched into their first song, “Ball & Chain,” Adam Turla’s (vocals, guitar) flame shaped black guitar carried the band into a blazing Americana rock out.

When Turla sings, it’s like he’s biting the heck out of something. His words come out heavy, while teeth gnaw and distort the song’s dark, menacing lyrics. Atop his performance, his lean frame and stoic face, dressed with dark hair and thick sideburns make it obvious that Turla is a man who shouldn’t be messed with.

The four-piece’s loud sound was superb. Sarah Balliet’s cello, mixed with Matt Armstrong’s bass, Dagan Thogerson’s percussion, and Turla’s vocals created a haunting wall of sound.

The next song, “52′ Ford,” had a massive bass line that rumbled through the venue’s walls and concert goers’ heads (many folks without ear plugs began to cover their ears at this point). Balliet’s cello added a sweet yet gritty overtone to the tune, and her multi-colored dress jerked in each direction the musician moved her body.

Many of the songs Death played had a Gogol Bordello franticness, and the melodies and lyrics were quirky and dark, similar to Scott Weiland’s solo work.

Early in the set, Turla said whenever the band came to Lawrence, Kan., it was impossible for them to stay sober, no matter how hard they tried.

“There’s no escape.”

“It’s like you guys have a booze lazer,” Turla said.

Turla also said the band was supposed to be taking a night off (they’re currently touring with the Gaslight Anthem), but decided to headline in Lawrence per a friend’s demand.

“There’s no sleep for the wicked.”

After concluding “Fuego,” Murder By Death began to play “Steal Away.” The song was cool, and calm. The melody elicited thoughts of a small, smokey jazz hall filled with mirrors, and lit with lamps that gave off green hues.

Towards the middle of MBD’s set, the band began to down more drinks. I’m pretty sure they consumed most of the whisky at the Bottleneck that night.

Something I enjoyed about MBD’s performance was that Turla often gave a background to the songs the band performed. One was described as a “party song” about gypsies, and their “fuck all” attitude. Turla labeled another tune as the band’s “manic song,” which incited the crowd to whoop with joy. He then said he had no idea why such a depressing song could make everyone happy, but accepted the response and went on. Turla simply said another song was just about whisky.

After walking away from the stage, the band quickly returned for an encore. Turla said tonight was a rare occasion because Balliet wanted to tell everyone a story.

Balliet said after the band played a show a few evenings back, a girl approached her to tell her how much she loved it when Balliet played the bass (pronouncing bass like the fish).

“I smiled and said thank you.”

Turla then said the band would play two old songs. The last song of the evening, an instrumental piece, was the perfect way to end the awesome evening.

Set list:
Ball & Chain
52′ Ford
The Black Spot
The Organ Grinder ?
A Masters In Reverse Psychology
Fuego
Steal Away ?
Shiola
Three Men Hanging
I will call this the “Gypsy Song”
One More Notch
Brother
Another song Turla deemed as horridly depressing
That Crown Don’t Make You A Prince
The song Turla said was about whisky
Until Morale Improves The Beatings Will Continue
Knife Goes In, Guts Come Out
///
I’m Afraid Of Who’s Afraid Of Virginia Woolf
Instrumental

Murder By Death: website | myspace