Another catch-up review, Murdocks is a hard-charging Austin rock band whose second album, Distortionist, came out September 14th after a five-year lapse since their last LP. 
It’s been five years since Austin’s Murdocks released Surrenderender, a bloody-knuckles rock record that suggested a strong hometown contender for the next wave of heavy, punk-infused rock and roll.
And then: nothing for years. Murdocks’ press release gives all the nasty details of label and personnel difficulties that led to the band’s half-decade LP lapse. Franklin Morris, Murdocks’ frontman, has spoken at length about that very frustrating period. “It is impossible to reconcile sometimes, to adjust your dreams and expectations any further. It becomes absurd and disorienting, and the feeling multiplies in your brain until you just boil over,” reads a Morris quote from Murdocks’ press bio.
However, Morris soldiered on and now has a new group of players around him and Distortionist is the fruit of their labors. It is a stripped down record, because now Murdocks are a trio. But the paring down of members hasn’t diminished the band’s punishing guitar punch. Morris’ voice is the strangulated, cynical yelp it’s always been. The group sounds ready to continue.
Much of Distortionist’s music reflects Morris’ sense of desperation and confusion that followed the deterioration of Murdocks Vol. 1 and the end of his marriage. The songs are terse blasts of bristling energy and power-pop hooks drenched in yells and distortion. Sometimes the tone is snotty, sometimes it’s self-righteous. Album opener “OMG” and “Playhouse Den” show Morris emulating the winding vocal melodies of Jeff Mangum and merging them with Black Francis’ propensity for screaming.
“Infinite Pansy” is probably the record’s leadoff single; it seems to be the quintessential Murdocks song. Roaring, feedbacking guitar and a pummeling rhythm section support Morris ladder-climbing, yelling-himself-hoarse vocal melody, which finds him in his most pissed-off attitude. Drummer David T. Jones does outstanding work on the track, alternating between galloping quarter notes and emphasis-heavy eighth patterns that egg the chorus on.
When Morris reveals the tenderness underneath the crashing rock and roll on songs like “Maiden in the Mirror,” “Tongues” and album closer “Widower” the record reveals additional folds and flavors. When he’s not screaming, Morris sounds a bit like The Shins’ and Broken Bells’ James Mercer. Not only do the songs break up the sound a little bit, they also position Murdocks as a band capable of more than would be obvious at first glance. The choice to record shorter songs was the right one. Whereas Surrenderender was filled with Zep-sized chunks of classic rock cribbing, Distortionist is a punkier record with fewer solos but more songs delivered in assembly-line succession. Blink-and-you-miss-them production effects are sprinkled throughout the record, adding additional character to “Sleepy Queen & Charlie Brown,” among others.
The re-calibrated song structures reveal Morris’ gift for melody more than the first Murdocks record did. Sections of Surrenderender got lost in jamming and extended song intros. This is not the case here. “Black Jesus Knocking,” “Danger Goat,” “Spirit of 95” – all of them get in, do their thing, and get out before you can grab and wrestle them to the ground. On first listen, don’t be surprised if 3-4 really good songs roll by before you can catch your breath.
Murdocks were down for a while but now they’re back and working harder than ever. The re-calibrated lineup and songwriting approach show a band that has developed a new voice that fits it better than the old one did. Let’s hope it’s not another half decade until their next release.
Final Grade: **** (out of five)
