DeVotchKa is under the influence of something, and it’s not alcohol. Using inspirations that draw from European folk music, Mariachi and even Bolero music, their sound has culturally diverse and flavorful songs that allow them to differentiate from the music commonly associated with the “alternative” genre. Each member of the group can play a plethora of instruments, ranging anywhere from the drums to the bouzouki. 

DeVotchKa proves on its latest, 100 Lovers that it is still just as unique as its debut. The album, which will be released March 1, swiftly travels from musical influence to musical influence as each song progresses.

The opening song of the album, “The Alley,” begins with a swell of violins, which are complemented with a march-like rhythm of the drums and the slow strum of a guitar. These instruments don’t even need the addition of vocals, as they’re a perfect and enticing blend of chords that gradually pick up tempo.

Vocalists Nick Urata and Jeanie Schroder always sound slightly muffled, and the strong vibrato of their voices make them sound almost like another guitar among the other instruments rather than an overpowering voice among background music. Although a little odd, it works with the unconventional nature of the tracks.

The only downfall with their vocals is that, at times, it’s nearly impossible to distinguish any lyrics. This may be intended so that the songs have more focus on the music rather than the words, but the meaning behind the songs gets lost without at least a little direction from the vocalists. 

Not to say that the slurred lyrics are devoid of any meaning, however. “100 Other Lovers” shows the vulnerability of falling in love with “I will admit/ I am embarrassed by your grace.” And “The Man from San Sebastian” could otherwise be a part of the James Bond theme song, but the addition of accordion and lyrics like “It’s never too late/ To go conspire, commiserate/ All it takes is a little bit of love,” transform the Bond-like overtones to more of a love ballad.

But it’s “The Common Good” that really stands out from all of the other tracks, as it has the ability to incorporate Baroque-era string compositions against non-conventional clapping and a sitar. Such a combination would be a disaster to any other song, but it somehow comes together with the help of a violin and the faint ring of a tambourine.

100 Lovers also uses interludes as a tactic to cleanse the “musical palette” after a series of songs, but unfortunately it doesn’t work well. The style of each song throughout the album varies so much that this so-called “musical palette” is cleansed by the time the next song begins. 

Tying the entire tone of the album together, the finale track, “Sunshine,” has a wild mix of violin strings and bongos helping to end 100 Lovers on a melodious note.

With a combination of distinctive instruments and influences from genres around the world, DeVotchKa’s 100 Lovers somehow merges to create an unconventional and original sound. Weird? At times. Worth listening to? Absolutely.

4 out of 5 stars