We are giving away a pair of tickets to Murder By Death @ Revolution Hall on June 16. To win, comment below on this post why you’d like to attend. Winner will be drawn and emailed June 12.
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From our sponsors:
June 16, 2023
Doors 7PM, Show 8PM | $30 | All Ages
More info: event.etix.com
Revolution Hall
1300 SE Stark St., Portland, OR
As trailblazers of the early 2000s indie-Americana style, the Louisville, KY-based quintet finds a way of taking tried & true rock-and-roll and knocking it slightly off axis, into tottering revolutions of something eerie, emotional, immediate, lush, and uniquely theirs.
On the surface, Murder By Death is a Louisville, KY sextet with a wry, ominous name. But behind the geography and moniker is a band of meticulous and literary songwriters matched by a specific brand of brooding, anthem-riding balladry and orchestral indie rock.
Murder By Death’s path began in the early 2000s as most Midwestern college-town groups do, by playing to small crowds at ratty venues and frenzied house parties. While many of their formative-year scene-mates failed to make it much further than campustown’s borders, Murder By Death translated their anonymous beginnings into a 20+ year career founded on a bedrock of eight full-length albums, tireless D.I.Y. touring and performing ethics, and, most importantly, a dedicated, cult-like fanbase.
Laura Jane Grace
“These are songs of late night madness and loneliness, orphan songs that came wandering in looking to feed like insects,” Laura Jane Grace says of her new EP.
Half recorded at Grace’s TinyQuietStudio in Chicago and half recorded at Electric Eel in St. Louis, and mixed by her Devouring Mothers bandmate Marc Hudson, At War With The Silverfish finds Grace in a range of stripped-back, poignant modes that amount to an honest and holistic account of our shared humanity. Unafraid to spotlight open wounds and tangled feelings, Grace conveys the distinctive pluck that has defined her work with Against Me! and The Devouring Mothers, but with the intimate energy of home recording with an acoustic guitar. The album is not a clarion call, but a tender invitation. It is a necessary capsule of a woman’s artistic pulse; love, longing and loneliness told in affecting turns of phrase.
Reflecting on the album’s interiority, Grace acknowledges the universal nature of many of its themes — how her highly personal accounts bloom into broader human connection. “I’ve learned that if you share your experience with good intentions that the universe will always surprise you with abundant return,” she says. “Every song is an act of faith; you don’t necessarily know why you’re singing it other than you know you’ve got to sing it.”