Pitchfork
March 23, 2009
Link
5.7
Nobody got into the Decemberists for the riffs. In other ways, though, the theatrical Portland folk-rockers' noble sojourn into heavy narrative prog-folk was probably always in the stars. Ornately antiquarian diction was their Ziggy Stardust. Ginormous song suites based on world folklore were their deaf, dumb, and blind kid. Yes, they were meant for The Wall.
In an interview with Paste, singing guitarist/songwriter Colin Meloy mentioned that The Hazards of Love was "initially conceived as a musical... but I decided about halfway through my time in France that it wasn't going to work as a stage piece. But it would still work as a rock record, so that's where it ended up." Alas, for all the derring-do of the Decemberists' resolutely un-sold-out (I guess?) fifth album, its failures as a stage piece may explain some of the problems that hamper it as a rock record.
It makes sense that the Decemberists would end up here. A willingness to make their fans put in some work, whether with fancy language or sprawling song suites, has been part of their steez ever since the baroque reveries of 2002 debut Castaways and Cutouts and stagey bookishness of 2003 breakthrough Her Majesty-- both of which still kick pantaloon. After 2004's The Tain EP flashed the first signs of metalhead envy, Picaresque a year later ended the Decemberists' indie years with their most relatable and poppiest album (still my favorite of theirs). Capitol debut The Crane Wife showed no symptoms of what Meloy had termed "major-label sellout-itis".
The Hazards of Love, inspired by UK folkie Anne Briggs' 1966 EP of the same name, has thick stoner-metal sludge and peat-bogged prog-folk arpeggios. Tucker Martine, who mixed The Crane Wife, produces exactly right for the material, focusing on the songs. Multi-instrumentalist Jenny Conlee and bassist Nate Query add several string arrangements. Robyn Hitchcock adds subtle electric guitar textures on an instrumental interlude, and My Morning Jacket's Jim James and the Spinanes' Rebecca Gates are in there somewhere, too. Still, although the album's grandiose narrative about star-crossed lovers William and Margaret-- and the dastardly villains who beset them-- has some nice twists, it's not exactly Andrew Lloyd Webber. Usually here's where I'm supposed to say, "That's OK, you don't have to follow the plot, because the songs stand on their own"-- except, with a few exceptions, they don't, not quite.
It doesn't simplify things that Meloy sings the parts of multiple characters, also including "First Voice" and "The Rake". The blessedly thorough lyric sheet makes advance mp3s like dark infanticide memoir "The Rake's Song" a lot funnier, full of witty wordplay ("I was wedded and it whetted my thirst") and sly foreshadowing ("You think that I would be haunted"-- he will be), but reading isn't the same as listening. Too much work, not enough payoff. (Hmm, imagine that.)
Not that the Decemberists' latest has anywhere near the smugness that haters might wrongly expect-- they sang "California One/Youth and Beauty Brigade", calling "all bed wetters", after all. "The Wanting Comes in Waves/Repaid", in which Meloy's William argues against the Queen to set him free to be with his beloved, has blazing classic-rock riffs and a commanding vocal by My Brightest Diamond's Shara Worden. (The reprise is less essential, unless you're still following the plot.) Worden returns on the "The Queen's Rebuke/The Crossing", which has blistering dynamic shifts, an organ solo, and plenty of lurching Black Mountain heaviness. Surprisingly, it all sounds like the Decemberists, at least if you've been paying attention over the years.
For the love songs, then, The Hazards of Love puts on some Nashville twang. Pedal steel cries alongside swaying accordion on "Isn't it a Lovely Night?", with a precious post-orgasm (post-Pete & the Pirates?) pun. As the pregnant Margaret, Lavender Diamond's Becky Stark is a welcome pairing for Meloy, smiling with Princess Bride-like serenity through her worries on "Won't Want for Love (Margaret in the Taiga)"; Meloy's voice is at its vulnerable best on the trembling meadow-makeout ballad "The Hazards of Love 2 (Wager All)". I can take the undead children chanting on "The Hazards of Love 3 (Revenge!)", but not the watery wedding vows on the drunken finale-- what can I say, I really, really didn't like Titanic.
Enough happens musically on The Hazards of Love that I can still see it being fun for fans in a live setting, especially if you know the lyrics. On disc, though, it's largely missing the catchy choruses and verisimilar emotions that previously served as ballast for the Decemberists' gaudy eccentricities. As a turn toward metal, The Tain EP's smaller portion was more satisfying-- although, as mid-career change-ups go, this is still a fair piece more enjoyable than something like MMJ's Evil Urges.
"Doing The Hazards of Love took a lot out of me," Meloy confides in the press bio. "And I'm definitely curious what will come out now that I've got this out of my system." The Decemberists already released three non-album singles last year, compiled as the Always the Bridesmaid EP; "Sleepless", a lovely orchestral lullaby from the recent Dark Was the Night charity compilation, suggests the Decemberists still have plenty more nautical epics to perform. "I've got nothing to hold onto," Meloy sings. A friend of Bobby McGee's once called that feeling freedom, and it only took a four-and-a-half-minute song.
In an interview with Paste, singing guitarist/songwriter Colin Meloy mentioned that The Hazards of Love was "initially conceived as a musical... but I decided about halfway through my time in France that it wasn't going to work as a stage piece. But it would still work as a rock record, so that's where it ended up." Alas, for all the derring-do of the Decemberists' resolutely un-sold-out (I guess?) fifth album, its failures as a stage piece may explain some of the problems that hamper it as a rock record.
It makes sense that the Decemberists would end up here. A willingness to make their fans put in some work, whether with fancy language or sprawling song suites, has been part of their steez ever since the baroque reveries of 2002 debut Castaways and Cutouts and stagey bookishness of 2003 breakthrough Her Majesty-- both of which still kick pantaloon. After 2004's The Tain EP flashed the first signs of metalhead envy, Picaresque a year later ended the Decemberists' indie years with their most relatable and poppiest album (still my favorite of theirs). Capitol debut The Crane Wife showed no symptoms of what Meloy had termed "major-label sellout-itis".
The Hazards of Love, inspired by UK folkie Anne Briggs' 1966 EP of the same name, has thick stoner-metal sludge and peat-bogged prog-folk arpeggios. Tucker Martine, who mixed The Crane Wife, produces exactly right for the material, focusing on the songs. Multi-instrumentalist Jenny Conlee and bassist Nate Query add several string arrangements. Robyn Hitchcock adds subtle electric guitar textures on an instrumental interlude, and My Morning Jacket's Jim James and the Spinanes' Rebecca Gates are in there somewhere, too. Still, although the album's grandiose narrative about star-crossed lovers William and Margaret-- and the dastardly villains who beset them-- has some nice twists, it's not exactly Andrew Lloyd Webber. Usually here's where I'm supposed to say, "That's OK, you don't have to follow the plot, because the songs stand on their own"-- except, with a few exceptions, they don't, not quite.
It doesn't simplify things that Meloy sings the parts of multiple characters, also including "First Voice" and "The Rake". The blessedly thorough lyric sheet makes advance mp3s like dark infanticide memoir "The Rake's Song" a lot funnier, full of witty wordplay ("I was wedded and it whetted my thirst") and sly foreshadowing ("You think that I would be haunted"-- he will be), but reading isn't the same as listening. Too much work, not enough payoff. (Hmm, imagine that.)
Not that the Decemberists' latest has anywhere near the smugness that haters might wrongly expect-- they sang "California One/Youth and Beauty Brigade", calling "all bed wetters", after all. "The Wanting Comes in Waves/Repaid", in which Meloy's William argues against the Queen to set him free to be with his beloved, has blazing classic-rock riffs and a commanding vocal by My Brightest Diamond's Shara Worden. (The reprise is less essential, unless you're still following the plot.) Worden returns on the "The Queen's Rebuke/The Crossing", which has blistering dynamic shifts, an organ solo, and plenty of lurching Black Mountain heaviness. Surprisingly, it all sounds like the Decemberists, at least if you've been paying attention over the years.
For the love songs, then, The Hazards of Love puts on some Nashville twang. Pedal steel cries alongside swaying accordion on "Isn't it a Lovely Night?", with a precious post-orgasm (post-Pete & the Pirates?) pun. As the pregnant Margaret, Lavender Diamond's Becky Stark is a welcome pairing for Meloy, smiling with Princess Bride-like serenity through her worries on "Won't Want for Love (Margaret in the Taiga)"; Meloy's voice is at its vulnerable best on the trembling meadow-makeout ballad "The Hazards of Love 2 (Wager All)". I can take the undead children chanting on "The Hazards of Love 3 (Revenge!)", but not the watery wedding vows on the drunken finale-- what can I say, I really, really didn't like Titanic.
Enough happens musically on The Hazards of Love that I can still see it being fun for fans in a live setting, especially if you know the lyrics. On disc, though, it's largely missing the catchy choruses and verisimilar emotions that previously served as ballast for the Decemberists' gaudy eccentricities. As a turn toward metal, The Tain EP's smaller portion was more satisfying-- although, as mid-career change-ups go, this is still a fair piece more enjoyable than something like MMJ's Evil Urges.
"Doing The Hazards of Love took a lot out of me," Meloy confides in the press bio. "And I'm definitely curious what will come out now that I've got this out of my system." The Decemberists already released three non-album singles last year, compiled as the Always the Bridesmaid EP; "Sleepless", a lovely orchestral lullaby from the recent Dark Was the Night charity compilation, suggests the Decemberists still have plenty more nautical epics to perform. "I've got nothing to hold onto," Meloy sings. A friend of Bobby McGee's once called that feeling freedom, and it only took a four-and-a-half-minute song.
