While the direction of DTM’s career has always been on an ascending trajectory, their path has never been confined to a straight line. Multiple
lineup changes have brought varied influences in song writing from album to album and have always afforded DEAD TO ME with an
organic method of exploring and expressing diversity in their songs. After the acclaimed release of their last full-length African Elephants
and many tours in support of the album, DEAD TO ME witnessed a changing of the guard with the retirement of guitarist Nathan and the
addition of Sam Johnson (New Mexican Disaster Squad, No Friends, Virgins) on guitar and vocals and Ken Yamazaki (Western Addiction,
Enemy You) on second guitar. Upon the inclusion of the new members, the quartet headed out on a full year of touring, cementing the most
cohesive and committed incarnation of the band to date. This chemistry manifested itself distinctively in the recording of DTM’s latest fulllength,
Moscow Penny Ante. With more up tempo and straight forward songs than their last album, Moscow Penny Ante revisits and updates
the classic sound that first caught everyone’s attention on 2006’s Cuban Ballerina. The description of the music as being straight forward
should not be misinterpreted as calling it simple or uninspired. The tracks on Moscow are crafted with multiple layers throughout, noting
a marked increase in adroit guitar leads, melodic vocal interplay from singer to singer, and even playful percussive elements that were not
present on past releases. It’s the manner in which these intricate layers are melded so seamlessly that creates a perceived feeling of simplicity
and makes the music so accessible and immediately gratifying. On Moscow Penny Ante DEAD TO ME utilize the skills learned while successfully
composing songs outside of their genre and comfort zone, to crank out some of the most palatable punk rock songs ever written. The
band have quite literally gotten so good that they make it sound easy.
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