January Hymns: The Decemberists

"The beauty in Colin Meloy's songwriting, and the maturation of the Decemberists as a complete unit is that they very well could have been a "one and done" band, since their music had the potential to regress into satire or, even worse, repetitiveness."

I wrote this back in 2009 for Aught Music as part of my take on the Decemberists' debut album, Castaways and Cutouts. As I also mentioned in my other writings, my appreciation for the band stretches back for many years, and while I tend to be biased in their favor, I still keep thinking about how drastically wrong things could have gone for them. Their early albums for Kill Rock Stars contained songs about gin-runners, World War I soldiers, and chimney sweeps. While originality bordering on audacity worked wonders, I don't think anyone would have immediately blamed early critics for thinking that the band would peter out and be remembered today only in terms of hipster favor. However, 2005's Picaresque, while still based in a combination of old-time storytelling and modern hints, was much more expansive, creating miniature narratives contained within single songs. Every since moving to Capitol Records, songwriter Colin Meloy has continually upped the potential, creating masterful concept albums based around Japanese folklore (The Crane Wife) and an absolutely stunning rock-opera about (naturally) ill-fated lovers and an evil queen (The Hazards Of Love). After that last feat, what could be next? How much more inventiveness be packed into a single album before veering into experimental tones? This week, the band released The King Is Dead, and has again gone into new territory. However, this new territory is not marked by more complexities. The Decemberists have scaled back drastically this time around, and have offered their interpretation of Americana.

Sans Meloy, the other members of the band teamed up last year for a small album of almost exclusively instrumental bluegrass-folk songs, Feast Of the Hunter's Moon, under the name Black Prairie. The King Is Dead is not an extension of this, but rather an impressive combination of classic sounds with a more modest lyrical approach by Meloy. The opening track, "Don't Carry It All," is an emotional prairie hymn, exploring personal freedom disguised as a harvest ode.

"And you must bear your neighbor's burden within reason
And your labors will be born when all is done"

For a songwriter as historically-based as Meloy, this is a curious, yet effective opening. It could be viewed as a thematic hint to the rest of the disc, if the atmosphere The King Is Dead is meant to be more "historically rural" in tone. The usual sounds are there, but it's heavy on harmonizing, creating an uplifting group sing-a-long, not unlike a church hymn. Then, as if to appease the die-hard fans who have come to expect murderous Irish gangs and adolescent royalty in their music, "Calamity Song" becomes the "expected" Decemberists song, a more rocking dream landscape that nods back to the band's early millennium days:

"And the Panamanian child
Stands at the dowager empress' side
And all that remains is the arms of the angels"




For the most part, this minimalist album is not so much a return to their roots, but an entirely different package that, with their other works in hindsight, could have been their impressive debut instead of Castaways. However, while there's almost never such a thing as a perfect band or album, The King is Dead does hit the occasional stumbling block. "This Is Why We Fight" isn't a bad song, but in their war song canon, it's unnecessary, especially when compared to previous efforts like "The Soldiering Life" and "Sons and Daughters." The melody is impressive, but it's one of Meloy's weaker lyrical efforts, a repetitive poem that never really stays with the listener like other songs. Meloy has an excellent gift for selecting impressive female guest vocalists, as heard on the stunning layers provided by Shara Worden and Becky Stark on The Hazards Of Love. This time around, the guest is Gillian Welch, a singer/musician who has made her own impressive marks on contemporary American folk and traditional music. However, The King Is Dead offers her little to no true spotlight. She's merely relegated to being a backup singer, and it's almost impossible to pick her out among the chorus of voices, backup vocals that are harmonically impressive, but are a group effort, since Meloy does his normal job of carrying the weight.

These may be mild complaints, and overall, The King Is Dead (a titular nod to the Smiths, who Meloy has frequently cited as an inspiration), is an impressive album. However, given the musical novellas that the group has provided in recent years, it may be a bit unnerving to listen to a quaint American roots homage. There's no specific theme to follow, and that's not necessarily a bad thing. I don't for a second believe that they've exhausted their abilities, but rather intentionally opted for a less bombastic approach this time around. And the fact that they can switch between styles without resorting to gimmicks is really an overall plus. As much as I adore Sufjan Stevens and Sam Beam, for example, some artists, despite their brilliance, tend to focus on the same lyrical and musical styles. Perhaps The King Is Dead is merely an interlude before another sprawling epic. This album isn't Meloy's best example of lyrical writings, but there are subtle hints and imagery that take shape after multiple listens. "Down By the Water" is an excellent example. While Meloy doesn't go for specific details, he shows that his ear for metaphor is just as strong as his ear for history.

"All dolled up in gabardine
The lash-flashing Leda of pier nineteen
Queen of the water and queen of the old main drag"

I can imagine that some listeners will be disappointed by this album, but honestly, it's charming and smart, especially since The Hazards of Love will be very difficult to top, and they didn't go overboard trying to do that. This has been a quiet month for music releases, so in hindsight, this is a small gem to open 2011. It may not be immediately remembered at the end of the year, but the band has nothing left to prove. For now, the small scale is very effective.

A Musical Feast

The April release of Feast Of the Hunter's Moon, from the Portland band Black Prairie, has been getting curiously little fanfare as of late, and I mean this in terms of review quantities, rather than qualities. I bought the album on its release day without any hesitation, since it includes three members of The Decemberists: Jenny Conlee, Nate Query, and Chris Funk. Before even getting into the music itself, the album represents a lot of positives in music and artistry, even if this initial assumption is done superficially. Three member of a major label (Capitol) band have, for creative purposes, created a work for a smaller label (Sugar Hill--not that small, but when compared to Capitol, the designation is apt). These musicians have employed the help of a gifted Portland violinist (Annalisa Tornfelt) and Jon Neufeld. The final result is a compelling mash of folk, Americana, and bluegrass acoustics, yet another highlight of the brilliance of the Pacific Northwest's music scene, and a curious hint to what these people have done in the past.

"Across the Black Prairie" is a beautiful opening track, immediately leading the listener into the overall vibe of the album. It's four minutes of accordion and violin heavy jaunt, starting off eerily quiet before rising into an almost calming (yet vibrant) melody that would be at home on any Americana mix or soundtrack to American roots music. This leads into "Red Rocking Chair," a more somber piece featuring minimal vocals, which almost work as a distraction. The vocals are shadowy and beautiful, but for a primarily acoustic album, the attention is taken away from the instrumentals. But after this, we're treated to more classic-sounding riffs, a rollicking string-themed "Back Alley," which serves as an emotional pick-me-up following the darker preceding track.



The previous mention of "soundtrack" becomes much more prevalent beginning with "Ostinato Del Caminto." The middle tracks of the album, at least to me, almost work perfectly as an homage to silent-film scores. Instead of singular tracks working as complete emotive pieces, the middle of Feast Of the Hunter's Moon combines highs and lows together, and can be easily imagined as compliments to suspenseful, climatic film scenes. The founding members of The Decemberists actually did score films in Portland prior to their band work, and while Black Prairie is a completely original outfit, separate from Colin Meloy's project, these influences are hard to miss.

The vocals on "Crooked Little Heart" work much better than the one's on the album's beginning, showing the multi-instrumental talents of Tornfelt. Conlee provides her own soft backing vocals, and the effect is extremely beautiful. I've been awfully harsh on Conlee's vocals on certain Decemberists tracks, and I've been quick to balance these critiques with intense praise for her musical talents, since her vocal contributions have been minimal. Tornfelt has her own weaknesses as a vocalist, so this album won't serve as any major debut or discovery; however, she holds her own extremely well, and reminds me of an early Decemberists contributor, Petra Haden. She's at her best when playing the violin, but when the vocals are needed, the effect is extremely pleasant.

Nate Query and Chris Funk have performed admirably in The Decemberists, but Feast Of the Hunter's Moon and the Black Prairie outfit give them a much deserved spotlight. These men are terrifically skilled, and have added amazing touches to Meloy's lyrical storytelling. However, this new album is a new avenue for them, showing that they're capable of holding their own as the leaders. In reading the intial reviews of this album, the formation of Black Prairie was done because some of their songs worked better when separated from the usual Decemberists canon. However, I often wonder what playing with Colin Meloy is like for his supporting musicians. Side groups, collaborations, and solo projects have produced some phenomenal albums this century (Autumn Defense and the Postal Service's Give Up are two examples), but on the other side, some of today's greatest artists are notoriously difficult to work with at times. Meloy usually isn't included with the likes of Jeff Tweedy, but there's never been any denying that he's the main face of the Decemberists.

Overall, Feast Of the Hunter's Moon is a worthy addition to the recent surge in alternative/contemporary folk and bluegrass music. The album is a seamless combination of classic influences and modern, creative touches. I found it odd that NPR hailed the work as "a sound which defies any kind of genre characterization." While it's not a work that can be pigeon-holed, the genres are generally explicit, but elevated by the modern touches. However, the songs are terrific, and a little hyperbole from a respected media source can be forgiven because of the beautiful music.

2009 In Music: The Final 'Aught Music' Year

Well, this is it. I think I've hinted at it quite a bit in my last two updates, but we're winding down this year. There have been hundreds of amazing analyses and unabashed musical passions; it's not false modesty when I say that I was humbled when invited to join this collective. Many thanks go out to Jeremy P. Bushnell for starting this project and doing all of the behind-the-scenes updates and work. More thanks go out to the dedicated writers who put a lot of effort into Aught Music, all for the sake of enthusiasm.

So, here are my final selections, a few tracks that I felt were the best of this year. There's still a week left. Keep reading and checking out the other writers, and get the free track downloads while they are still available.

1.) "The Wanting Comes In Waves/Repaid" and "The Rake's Song" by The Decemberists (from the album The Hazards Of Love)

"The Wanting Comes In Waves/Repaid:"

Okay, I'm a little biased. I've gushed about the Decemberists for a long time, but still—this is my pick for the album of 2009. It's surprising how many magazines and sites have given The Hazards Of Love borderline reviews. If you're not a Decemberists fan, you might dismiss these tracks. However, this album not only adds more complex storytelling but uses guest vocals for maximum effects.

In "The Wanting Comes In Waves/Repaid," Shara Worden (of My Brightest Diamond) provides an excellent, compelling interpretation of the evil queen in the album's narrative. She's singing and acting at the same time—listen to her draw out the word 'repaid.' Her voice is stunning and controlling. Meloy wisely lets her have the listener's complete attention.

"The Rake's Song:"

"The Rake's Song" is one of the most straight-up rock tracks that the Decemberists have written. Meloy writes the character as completely without redemption or qualities. How many songs have a narrator describing how he killed his children?

Charlotte I buried after feeding her foxglove
Dawn was easy: She was drowned in the bath
Isaiah fought but was easily bested
Burned his body for incurring my wrath

It's gratuitous and over the top, but perfectly fitting for a villian straight out of Victorian fiction.

The album needs to be listened to in its entirety, but these tracks are the best examples of the full story. It's an ambitious effort, and a great example of how guest vocalists (Worden and Becky Stark) can add to a song's atmosphere. The Decemberists have a specific style, and it's not for everyone—but it's hard to deny the efforts and dimensions that went into the narrative structure, which enhances the music greatly.

2.) "Effigy" by Andrew Bird (from the album Noble Beast)

When I originally reviewed this album, I gave it some earnest praise, but felt that it didn't match up to Bird's earlier works. However, a few more listens have revealed a few ideas that I intially missed. "Effigy" is moving, and musically, it's one of Bird's minimalist efforts. His penchant for combining varying vocal styles and multiple instruments is stripped down,making for what feels like a soft, singer-songwriter type track. His musical talents and acumen could have made this a longer, more complex song, but "Effigy" is a great example of less being more. Most importantly, it shows that he's comfortable in any given style.

3.) "This Tornado Loves You" by Neko Case (from the album Middle Cyclone)

It's what's on the inside that counts. For all the (well-deserved) attention to Case's sexy, almost campy album cover, the songs on Middle Cyclone were fantastic, with one or two misses. "This Tornado Loves You" is the perfect opening to what's superficially referred to as a 'nature album.' The melody is upbeat, the vocals are confident, and the lyrics are a great example of Case's gift for metaphor:

I carved your name across three counties
and ground it in with bloody hides
broken necks will line the ditch

Perhaps some might view this as a metaphor for a woman scorned, but for me, it goes beyond simple gender classifications. Sometimes, when we're trying to get someone's attention, we end up doing more harm than good.

(Note: This was part of a roundtable post, with further commentary by Rich Thomas. Click on the song link for the full writings. I'd also like to thank Jeff Ignatius of Culture Snob for pointing out that, in interviews, Case explains that the song is meant literally, which rightfully takes away from my interpretations, but also provides another shade to this already poignant track.)

4.) "Summertime Clothes" by Animal Collective (from the album Merriweather Post Pavilion)

Upon reflection, it's staggering to remember the varied albums that came out, of all the months, in January. Andrew Bird, A.C. Newman, Morrissey, Franz Ferdinand...but, no album set the tone quite like Animal Collective's Merriweather Post Pavilion. I was working in Seattle before this disc dropped and had the fortune to work with and become good friends with Terrance Terich, co-founder of Treblezine.com. After long discussions about music, he burned me a copy of this album, among others. I immediately agreed with him (and everyone else) that this was already one of the best albums of the year. "Summertime Clothes" is an addicting single, with a varied mix of sounds and influences. The emphasis here is on the notion of "collective"--this is a true group effort. I love how the group blends sampling and small sounds (listen carefully--it almost sounds like there are sound effects mixed in) with vocals and guitar that could have come from the 1970s. I played the crap out of this during the dreary winter, and it helped alleviate the depression of Lynnwood, Washington.

2006 In Music: Recap

After a week off, Aught Music will resume tomorrow with the best tracks of 2007. This has been an amazing project to contribute to, and I'm sure that 2007-2009 will fly by as we approach the end of this year. Here are my contributions from 2006. Just like with my previous updates, click on the links below for free listens/downloads.

1.) "(Do You Wanna) Come Walk With Me?" by Isobel Campbell and Mark Lanegan (from the album Ballad Of the Broken Seas)

With quite a few of my selections for this project, I've written about how some female singers can sound strong and fragile at the same time. Mark Lanegan does that perfectly on this track. He and Campbell sound amazing together on this disc, but I almost wish that this particular song was a solo for him.

I'm not saying I love you, I won't say I'll be true,
There's a crimson bird flying when I go down on you
I'm so weary and lonesome and it's cold in the night,
When the path to your doorway is a pathway of light.

There are very few songs that can be evocations of both masculinity, insecurity, and sensitivity. Lanegan sounds tough, but there's much more being painfully pushed down below the surface. Jeremy wrote about The National expressing masculinity in the twenty-first century on the track "All the Wine." While these are two vastly different songs, I think that "Come Walk With Me" is another chapter in intelligent musical looks at what it means to be a man, fraught with complexities and a myriad of emotions.

2.) "Sons & Daughters" and "O! Valencia" by The Decemberists (from the album The Crane Wife)

"Sons & Daughters":

With this track, three simple adjectives sum it up quite well: moving, simple, and beautiful. Given the winding story arcs and characters featured on the rest of the album, it's amazing that it ends on such a small treasure.

When we arrive, sons & daughters
We'll make our homes on the water
We'll build our walls with aluminum
We'll fill our mouths with cinnamon.

Personally, I'll always hold this song very close. When The Crane Wife was released, my eldest brother was serving his second tour in the Iraq War. For varying reasons, I was much more scared and despondent during that second year, as if the reality of it all had truly hit me. Many a night, I was moved to tears by the closing lines:

Here all the bombs fade away,
Here all the bombs fade away.

He returned home safely, and that Christmas, I put "Sons & Daughters" as the final song on a mix CD that I made for him. I've never explained this significance to anyone until now.

"O! Valencia":

Yes, this story line has been done a million and one times, spanning every medium, and most well known from "Romeo and Juliet" and "West Side Story." So on, so forth, etc. Two lovers find themselves carrying on a secret tryst under the noses of their warring families. However, as familiar as this is, it's hard to listen to it and not root for the lovers to live happily every after, even if it's an obvious lost cause.

All I heard was the shout
Of your brother calling me out
And you ran like a fool to my side.

Both in this song and the official music video, the Decemberists do their usual job of taking a subject steeped in history and nostalgia and giving it a modern spin. It's not nearly as inventive as what they're capable of, but it's a great listen.
(Note: This post was part of a roundtable with Rich Thomas, who writes about his take on "O! Valencia.")

3.) "Star Witness" and "Maybe Sparrow" by Neko Case (from the album The Fox Confessor Brings the Flood)

"Star Witness":

This has one of my votes for the best song of the decade, not just for 2006. As stunning as her voice is, Case earns major credit for her songwriting talent. This is a loose "homage" to the rough Chicago neighborhood of Humboldt Park, and it's staggering how she can take such haunting moments and turn a complex poem into a beautiful song.

Hey pretty baby, get high with me
We can go to my sister's if we say we'll watch the baby,
The look on your face yanks my neck on the chain.

The first time I heard this, I played that last line at least ten times in a row, rewinding my CD a few seconds back. Forgive my hyperbole, but it's a punch in the stomach everytime I hear it. Songs, poems, and books are full of metaphors, but that one is literally perfect, both in the delivery and the context of the track.

"Maybe Sparrow":

I'll be honest: I still don't really know what this song means, or even if it's supposed to mean anything. The album is laced with mythogical animal imagery, so this is appropriate. I love how Case's voice rises, along with the music, to create a stunning chorus:

Oh, my sparrow, it's too late
Your body limp beneath my feet.

I always get very reflective whenever I hear this track. It's so short, yet packs some dizzying arrangements and atmospheres. As I type this, I realize that this description could fit quite a few of Case's songs. It's very difficult to explain, but this track is the one I would use to explain to anyone why Case is my favorite female vocalist. I guess that's the beauty of great music: it moves me in definite ways that, as a writer, I'm at a loss to express.
(Note: This post is part of another roundtable with Rich Thomas, who writes about the album as a whole.)

4.) "It Wasn't Me" by Jenny Lewis and the Watson Twins (from the album Rabbit Fur Coat)

It's amazing how confident and sultry Jenny Lewis can sound, even when a given track is intended to sound lonely and depressing. Her voice barely rises above a forced whisper, and it creates a moody, echoing atmosphere, a sort of modern spin on the torch songs of the classic female vocalists of the early to mid 20th century. As depressed as she sounds, there's a hint of defiance in the lyrics, which are open to varying interpretations.

It wasn't me, I wasn't there
I was stone drunk, it isn't clear
And it doesn't count because I don't care.

The point of view can be interpreted as an intentional distance from any negative situation. Insert the situation of your choosing, and the song will more than likely fit perfectly.

Aught Music

I just made my first contribution to the Aught Music blog, discussing the song "July, July!" by the Decemberists. Please check out the blog as a whole, but here's the link to my piece, in conjunction with a look at "California One/Youth and Beauty Brigade" by Rich Thomas.

I'm never one to pat myself on the back, but I feel that I made a decent point in summarizing the appeal (or lack thereof) of the Decemberists' music:
"However, their style is such that there is usually no happy medium. It's just as easy to enjoy their take on Victorian times, sea shanties, and Dickensian low-lives as it is to loathe such a niche."

The beauty in Colin Meloy's songwriting, and the maturation of the Decemberists as a complete unit is that they very well could have been a "one and done" band, since their music had the potential to regress into satire or, even worse, repetitiveness. This growth is best exemplified by their recent album, The Hazards of Love. Not only is this their best album to date, it's arguably one of the best albums of 2009. I look forward to seeing them live in about three weeks, and I plan to review the show as a submission to Treble Zine. Stay tuned.

Since the Aught Music blog is a collective, I don't plan on devoting singular posts on Chicago Ex-Patriate whenever one of my contributions is published; to me, that would go against the whole spirit of a long-running collective project. So from now on, I'll just post a brief update on the right-hand column whenever I have a write-up posted there.