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While there's variety from track to track, the group continues to mine the common ground between Silkworm's tasteful classic-rock inclinations and the pastoral majesty of Seam.
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What's most illuminating about Blood Under the Bridge is how Cohen and Midgett have learned how to focus and rein in their collective imagination over time. The artistic payoff that goes with greater self-control and maturity comes through all the more clearly on the album's quieter moments, delivered by Midgett.
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Blood Under the Bridge may not garner much critical attention, but it's both a roundly rewarding album and a quietly thrilling throwback.
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That Cohen and Midgett are still making music after decades of popular indifference and one act of unthinkable tragedy is admirable; that they're still making albums as soulful, uncompromising and evocative as Blood Under The Bridge is close to heroic.
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It is not as raw as the first LP, not as musically belligerent or emotionally wrenching. Instead, it's got an elegance and symmetry to it, a sense of space and precision that was, if not entirely missing from Hammer of the Gods, at least not fully realized.
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Unlike the hyper-specific storytelling of some of Bottomless Pit's indie rock peers, the band unravels general truths slowly, through cloudy, opaque narratives of love and loss, of time and fear and happiness. And they do it so fluidly as to appeal to even the most discerning music fan (or critic). Rarely does something so interesting appear so effortless.