Premiere: Sincerely, Iris Expands His Radiant Sound On New Album, Love In A Time Of Disaster
In a city overflowing with talented musicians, Todd Murray has worked diligently to stand out over the years under his musical moniker Sincerely, Iris. Known for his perceptive songwriting, sly melodies, and a signature license plate guitar, the singer-songwriter has honed a rootsy sound that feels fresh and familiar in recordings and solo performances. This year, Murray forges a new era for Sincerely, Iris as he expands upon his prudent approach to songwriting and recording with an imposing rock sound that helps intensify the raw emotional depth of his music.
Love In A Time Of Disaster is a sweeping record that embarks on an ambitious sonic journey, covering the ups and downs of the last several years while also looking even further back with new clarity and insight. The follow-up to his celebrated 2019 album, I’m Not The Same, it’s less of a departure for Murray and more of a natural progression as his talent as a performer and songwriter demands a bigger sound to match its resonant force. Launching into the world on Friday, June 2nd, The Auricular is ecstatic to present an exclusive premiere of this highly-anticipated album, offering an exclusive stream as well as a deep dive into the interesting genesis that created such captivating music.
The genesis of the record came from a simple conversation back in 2019 between Murray and local bassist Chip Hale where Hale suggested that Murray’s songs might work well within the context of a full band. Soon after, Murray and Hale were playing together alongside drummer Jon Chadwick for a few gigs, reshaping his songs within the context of a three-piece act in order to bolster the sound and amplify the melody. Unfortunately, their live progress was halted as the COVID pandemic rolled in leading to a lull in performances with the trio, who only played a handful of shows in all of 2020. The lack of live momentum didn’t dissuade Murray though and the trio began to record new material, landing on singles “Carry The Fire” and “It’s Coming Back To Get You Now” which would both come out in 2021.
“I could sense my songs had the potential to be a lot bigger and heavier with the band and I started writing with that in mind,” said Murray. With the two singles under his belt, the full-length record began to take shape, something that unfolded in a different process than previous recordings for Murray. Known for a craggier sound in the past, fueled by that signature guitar, Murray’s songs were becoming textured and layered rock numbers that stood in contrast to the more direct recordings of the past.
“I’ve always loved tons of layers in songs,” Murray commented, “but when you’re solo, you can only add so much before you just start thinking, ‘How am I ever going to recreate this stuff live?'” In the past, that thought would derail any further elaboration and exploration in the recording process whereas this time around, it seemed to only encourage more and more lavish production. “It’s funny because with this album the band started saying, ‘How are we going to do these songs live with only 3 people?'”
Murray attributes this snowball effect to just working with two talented and prolific musicians. “I would bring the guys some pretty fleshed-out songs,” he explained, “but no matter how far along you are in the process, just being able to present your ideas to other musicians in a room changes things. Both Chip and Jon are in twelve other bands so they just know what works well as a rhythm section.”
As most musicians will tell you, having an idea is one thing and capturing it on tape is a completely other entity. Luckily, Murray was starting to become more comfortable recording in his home studio and Hale had also begun to come into his own in regards to behind-the-scenes work. “I think I’ve gotten a bit better at capturing sounds in my home studio,” Murray stated. “I took some classes on that during lockdown, but Chip Hale added a ton of the crispness to this album. He mixed all but one song and co-engineered it with me. He was really in charge of capturing the drum and bass sounds in the studio.”
With this sharp focus helping to expand upon his compositions, Murray even shifted attention to three tracks already released in his discography: “Trouble,” “Thorns,” and “I’m Not Saying It’s Love.” The first two were released on the Trouble EP in 2016, but “I’m Not Saying It’s Love” dates back to Murray’s 2013 record, Best Left Free, where it was recorded as just an acoustic track with Murray’s forceful strumming creating a driving rhythm for much of the song. Some subtle layers and auxiliary instruments made it onto the track, but for the most part, it was Murray’s voice and guitar on display in this song, something that would drastically change with the new recording.
On Love In A Time Of Disaster, “I’m Not Saying It’s Love” surges into anthemic territory with stirring layers that invoke the restless drive contained within the storied canon of rock music. It’s one of many highlights on the record, but one that shines especially bright considering its long journey from acoustic ode to electric charge.
The sharp production values weren’t the only thing helping to boost these old and new compositions. Murray’s own vocal approach was becoming more refined, helping to amplify the melody of resonance of each song. In the past, his singing was much more direct, following the melodic line established by the melodies of his rootsy instruments. On this new album, that direct approach can still be felt, but it’s been bolstered by sharp harmonies and poised solo lifts that help take charge of each song, making his voice an impellent part of the sound.
Murray admitted he had been self-conscious about his own vocals for previous records, but with this new approach to layering and recording, he took it upon himself to attack the vocal side of things and try to fill the space of each song. “I really tried to spend some time on the harmonies on this album,” he remarked, also adding that upgrades in vocal mics and other premium equipment that Hale brought to the mix helped to really solidify this new vocal direction.
Sequencing is key to the record’s tonal shift as well, showcasing a bold sound for Sincerely, Iris at the forefront before washing into tender compositions later in the album, a decision very much intentional according to Murray. “I wanted the beginning of the album to be an unabashed declaration of the heaviness that was possible with the full band,” he stated. When performing these songs around the region early in the recording process, Murray noticed that heaviness was starting to resonate with live crowds, igniting a spark of connection and energy that warranted inclusion at the start of the record. “I could see the head nods increase in the crowds when we were playing those kinds of songs and that was a new thing for me after being solo acoustic for all these years,” he remarked.
Conversely, the ending of the record finds the band fading into tempered sounds that move closer to that acoustic sound of the past, finding a balance between stripped-down performance and detailed layering. “All of the albums that I love take a song or two to kind of change the direction of the ship so to speak, and I think the last two songs do that well,” Murray commented. “They’re a little soft place to land at the end of the journey.”
This shift from an imposing sound to a more soothing tone helps gives Love In A Time Of Disaster a refreshing flow from beginning to end, something that seems seamless when listening despite being painstakingly toiled over. “It’s always hard to tell if an album is going to flow well together, especially in the middle of making it,” Murray revealed. “Actually, I’m afraid of that with every damned album I put out, but I hope enough of them have a similar theme that it hopefully works. I wasn’t exactly trying to write Pink Floyd’s The Wall or anything, but I hope that they all work well together.”
That hope became a reality for Murray’s perception when the album artwork was finalized. Showcasing an aureate impression upon devastating loss, the album design was crafted by Brent McCormick, the frontman of beloved local band The Wimps who is also a celebrated and sought-after artist. At any time of the year, you can find his artwork adorning the windows of record shops and venues around town as his inventive approach to musical imagery has become a fixture of flyers for local concerts. Murray reached out to him to design the cover for his new record, a decision that helped connect the overarching themes of the record. “[His] design really ties the whole thing together really well,” he remarked. “I think he nailed it. It’s two people about to embrace, surrounded by pink flowers, but below that you can see an aerial view of old photos of World War II.”
That comfort and affection in the wake of tragedy is central to the title of the record, which comes from a line in the third track “It’s All Coming Down” that predated the rest of the song’s lyrics and spurred the message and direction of the record. “It’s a play on words from the book, Love In The Time Of Cholera by Gabriel García Márquez,” Murray detailed. “[“It’s All Coming Down”] is about what it was like to fall in love right when COVID happened. What would really become important at that time? Could love last through something like that?”
Those taxing questions have persisted in the years since as the “new normal” roots itself in society, an observation that found its way into other songs on the record. “‘Love on the Screen’ is sort of a continuation of that story,” he said. “Can you find love in modern times? Am I who you think I am? Can you tell that from a dating app?” The thread from “It’s All Coming Down” to “Love On The Screen” doesn’t stop there though as it also unspools itself around the album opener “It’s Coming Back To Get You Now.” which addresses fraudulent behavior and images that have become more common-place as we continue to remove the organic connections in society.
Outside of this, there’s also a subtle undercurrent of self-care that flows through the record. For every outward accusation or observation, there’s an equal amount of introspection and deliberation within as Murray seeks to not just call out the hardships in society, but also in his own life and relationships. Even his relationship with music wasn’t spared the inquiry, leading to actual doubt over the benefit of his artistic concentration. “I’ve just been obsessed with music since I was 13 years old and that’s all I’ve focused on for so long,” he observed. “I’ve always idolized people like Jeff Buckley, Miles Davis, Prince, Hendrix, et cetera who just did nothing but music. It was just their entire life.”
It’s a life most aspire to, but learning about the tortured existence of those idols shows that it’s not necessarily a healthy or even fulfilling lifestyle. “A few years ago, someone asked me what I did for fun besides music and I didn’t have an answer,” Murray recalled. “I used to wear that as a badge of honor. That’s not the best place for your brain to reside in the long run because you don’t give yourself any breaks from making music. You start to base your self-worth on whether or not you had a good gig. Just because my voice cracked one night shouldn’t also mean that I’m a bad person. I’m a recovering perfectionist you might say.”
It’s not just the mental health burden either. This obsession led to actual physical problems in Murray’s life, ones that posed real problems and caused serious consideration which thankfully led to a change for the better. “I had a lot of injuries that came about from playing music,” Murray stated. “It really forced me to step back and reevaluate how I do things. ‘Low as I Ever Want to Feel’ is about that actually. I’m in a healthier place than I’ve probably ever been in my life honestly.”
In this way, Love In A Time Of Disaster is about much more than just actual connection. It’s about finding the balance in life that will help you lead a rewarding life, individually and communally. It’s about staying true to yourself while not falling into the traps of modern-day society. It’s about asking those hard questions and confronting uneasy truths while also learning to not succumb to the overwhelming weight of despair. All of that can be found in these ten sensational tracks as Murray retains the individual spirit of his sound while expanding into a communal vision, utilizing others to help push his sound further and further while still maintaining that inherent intimacy and authenticity that first made people care about Sincerely, Iris. It’s not an easy balance to maintain for sure, but it makes this record truly dynamic with a remarkable sense of depth and resonance.
Todd Murray may have found love in a time of disaster, but Sincerely, Iris found purpose through it all, determination that imparts itself on every lucky listener of this fascinating record.
Love In A Time Of Disaster will be released on Friday, June 2nd to all streaming platforms so make sure to follow Sincerely, Iris on Spotify, Apple Music, and Bandcamp in order to save it as soon it becomes available. For more news and updates, and to catch one of his many upcoming performances, make sure to follow him on social media and bookmark his website!
