Post by Zapp Brannigan on Feb 6, 2011 20:35:57 GMT -5
www.lifessweetbreath.com/reviews/albums/16-the-king-is-dead.html
The Decemberists - The King Is Dead
[Capitol, 2010]
83%
Diving into a new sea, Colin Meloy has apparently found a comfortable beauty in the corner of simplicity. Taking a few steps away from the wondrous period-narratives of his previous work, there is a much more wholesome kind of love in the ballads that make up The King is Dead. Throughout the life of the band, the best comparable album would be Picaresque, though this is a whole new breed of monster, consisting of a more American-roots foundation.Merely drizzling this true, Americana-style folk writing throughout their discography, the Decemberists have finally expanded upon the concept to produce an astoundingly genuine effort.
Joining our heroes this time around are two names that have dominated their respective genres, Peter Buck and Gillian Welch. Their influences are so prevalent that it has to be somewhat of a crime to simply label them as “contributors”. Both featured on the opener, “Don’t Carry It All,” Buck coruscates mandolin melodies while Ms. Welch furnishes her mountain-hymn vocal stylings; all the while, steady and true, Nate Query’s bass line creates a forefront as the rest follow suit. Featured throughout the album, or should we say lovechild, the “contributors” bring such strong, unique parts to the puzzle. It drips of resounding early R.E.M. tones, even at times venturing to a more Replacements-esque characteristic; always true, Meloy’s wonderful folk-fusion swagger rips the listener open and pours hope, tragedy, loss, love, and overall comfort directly into their heart.
Moving along to the ever-present beat of John Mohen’s drum, “Calamity Song” is an upbeat, early-morning tune. Welch’s melodic compliments to Meloy’s familiar twang give a sweet sensibility to the sometimes chaotic, cluttered musical arrangement. With heavy country overtones, it only makes sense that the studio this album was procured in consisted of a barn in the backwoods of Oregon, lacking heat and basic indoor plumbing. Do simpler song concepts mean less work? Apparently not, according to Mister Meloy, considering the album “real work.” And just why wouldn’t it be? The sheer composition of “Rox in a Box” shows the real work of which the frontman speaks. With Jenny Conlee’s masterful accordion work, Query’s bouncing bass, along with the tickling pluck of Chris Funk’s guitar, gently laid upon Welch and Meloy’s duel vocals, the song bursts with what sounds like exactly what he set out to do: “…trying to challenge my normal impulses a bit, keeping things short and more concise.... I just wanted to write some pretty songs." Mission accomplished, Colin, mission accomplished.
So, it’s safe to say one would be ill-advised to go into this album expecting more of the epic story-telling proportions that have trailed The Decemberists in the past. Coming to the end of that road, they have turned a new leaf and are trudging on in a magnificent direction. What can be expected are genuine tunes that fill the soul with that early, sun-stained warmth and familiarity Colin Meloy and his merry band of misfits have been bringing to the table since the start of this winding road. We can only look forward to more of this genuine, forthright approach.
- Laura Hill, January 18, 2011
The Decemberists - The King Is Dead
[Capitol, 2010]
83%
Diving into a new sea, Colin Meloy has apparently found a comfortable beauty in the corner of simplicity. Taking a few steps away from the wondrous period-narratives of his previous work, there is a much more wholesome kind of love in the ballads that make up The King is Dead. Throughout the life of the band, the best comparable album would be Picaresque, though this is a whole new breed of monster, consisting of a more American-roots foundation.Merely drizzling this true, Americana-style folk writing throughout their discography, the Decemberists have finally expanded upon the concept to produce an astoundingly genuine effort.
Joining our heroes this time around are two names that have dominated their respective genres, Peter Buck and Gillian Welch. Their influences are so prevalent that it has to be somewhat of a crime to simply label them as “contributors”. Both featured on the opener, “Don’t Carry It All,” Buck coruscates mandolin melodies while Ms. Welch furnishes her mountain-hymn vocal stylings; all the while, steady and true, Nate Query’s bass line creates a forefront as the rest follow suit. Featured throughout the album, or should we say lovechild, the “contributors” bring such strong, unique parts to the puzzle. It drips of resounding early R.E.M. tones, even at times venturing to a more Replacements-esque characteristic; always true, Meloy’s wonderful folk-fusion swagger rips the listener open and pours hope, tragedy, loss, love, and overall comfort directly into their heart.
Moving along to the ever-present beat of John Mohen’s drum, “Calamity Song” is an upbeat, early-morning tune. Welch’s melodic compliments to Meloy’s familiar twang give a sweet sensibility to the sometimes chaotic, cluttered musical arrangement. With heavy country overtones, it only makes sense that the studio this album was procured in consisted of a barn in the backwoods of Oregon, lacking heat and basic indoor plumbing. Do simpler song concepts mean less work? Apparently not, according to Mister Meloy, considering the album “real work.” And just why wouldn’t it be? The sheer composition of “Rox in a Box” shows the real work of which the frontman speaks. With Jenny Conlee’s masterful accordion work, Query’s bouncing bass, along with the tickling pluck of Chris Funk’s guitar, gently laid upon Welch and Meloy’s duel vocals, the song bursts with what sounds like exactly what he set out to do: “…trying to challenge my normal impulses a bit, keeping things short and more concise.... I just wanted to write some pretty songs." Mission accomplished, Colin, mission accomplished.
So, it’s safe to say one would be ill-advised to go into this album expecting more of the epic story-telling proportions that have trailed The Decemberists in the past. Coming to the end of that road, they have turned a new leaf and are trudging on in a magnificent direction. What can be expected are genuine tunes that fill the soul with that early, sun-stained warmth and familiarity Colin Meloy and his merry band of misfits have been bringing to the table since the start of this winding road. We can only look forward to more of this genuine, forthright approach.
- Laura Hill, January 18, 2011
