Life, death and music are all a journey, and not exclusively an existential one, on “Frightening Sights,” the debut full-length from Red Onion Purple.

Clocking in at seven songs and just under 40 minutes, the album showcases the amiable versatility the Missoula band has developed in almost 10 years, where indie-folk songs wend their way through mini-suites and the instrumental sections are just as important as the verses.

The group was formed in 2013, with the core duo of Sean Burress on guitar and Bethany Joyce on cello. They both sing, with Burress on lead and Joyce on harmony. In their current lineup, they’re backed by the rhythm section of Joshua Chai on drums and Cole Grant on bass.

The group’s sound and tastes are wide, and feel integrated in a fashion that takes time. Earlier on, they frequented a jazz night at the Badlander back when that was a thing, which gives you an idea of their flexibility.

Instrumentals like “Persimmon Says” and “Weavin’ Gold” sometimes shift through chord changes and sections like post-rock or chamber indie-pop, with Joyce’s cello skills taking over as melodic voice. On vocal tracks, such as “Silver Bridge,” Burress takes lead with a low-key way of singing. The music steps into a deceptively jaunty beat as the lyrics contemplate mortality. (“Death will recycle us, repurpose our remains,” he says.) It builds up to a cleverly paced bridge, where Joyce’s bowed work adds extra weight, as it does in many of the songs. “When You Died” again has death in the peripheral vision, with dramatic showcases for the cello.

Chai and Grant also play in the jam/improv group Transcendental Express, and as the tunes call for it, shuffle and swing through the suite-like sections. At 9 minutes, it would be difficult to call “Land of Nod” a signature track, but it sums up the varied and seemingly opposed sounds and moods the band can gin up, as rhythm changes flow along.

In writing, this might make them sound more like the Decemberists or other folk bands from the ’90s and 2000s than they do. Burress’ electric guitar playing is closer to a clean-toned rock player who’s keen on jazz and soul; and the beats are looser and groovier even when the subjects are serious. A wistful track like “November Knows” can accommodate bowed strings from Joyce and a skronk-derived guitar solo from Burress. In its subtle way, it sounds like a working band that knows how to work a Missoula crowd — an album with its fair share of heavy lyrics ends with an indie-folk jam session and a saxophone solo to signal the show’s over.