When it is discovered that a band will be changing labels, it is typical for some fans to get nervous, and questions about artistic freedom are inevitable. However, fans need not worry about Sparrow & the Workshop's debut album on Song, by Toad Records, Murderopolis, in this way even though it may appear to be a little bit different than their previous efforts.

The band's third full-length album, Murderopolis boasts a slightly darker sound for the Workshop, musically. Although, perhaps "darker" isn't the best word for it, as the band has had its share of dark moments ever since 2010's Crystals Fall. Perhaps "stronger" would be a better word. There are many more moments of "loudness" on their most recent effort, which makes it their most powerful release in terms of their overall sound.

In an interview with the 405's Gareth O'Malley, the leader of the Glasgow-based trio, Jill O'Sullivan, stated that "The shift maybe has been in production. It's always been an aim of ours to capture our live performances on record and I think this is the closest we've come to that."

The syncopated feel of 'Water Won't Fall' makes it one of the most memorable songs on the album. While the song's bridge further complicates the rhythm, the band handles the change brilliantly and it doesn't take a human metronome to tell that something has happened. This is primarily due to the feeling that such a time change has the ability to create, and the band definitely uses it to their advantage. Also boasting a driving bass part and a guitar that, if isolated, might sound like something Leonard Cohen would have played back in the 60s, the song is one of the album's darker moments and a great way to close out the first side.

Regarding the band's live show, O'Sullivan suggested that Sparrow & the Workshop has "always been loud and raucous" and this seems to have definitely translated well on Murderopolis, especially on songs like the album's second single 'The Faster You Spin', which starts out sounding kind of precious but quickly erupts into a very strong flirtation with power-pop.

Murderopolis may not be as folk-based as the band's previous releases, but features like the rhythm section's masterful rhythmic timing and O'Sullivan's vocal efforts are sure to be familiar sounds to fans everywhere.