Since the early 2000's, Portland-based Indie Folk band The Decemberists have been dishing out tons of theatrical and well thought out albums. In 2002 they made their full-length debut with "Castaways and Cutouts". This album, actually really took me by surprise. Going into it I was sort of expecting a series of very drab and full-of-itself folk. But the material on this album is sort of quirky and fun. While it's very heavily narrative based, it's also got a lot of interesting instrumental choices to make it easier to swallow. There are glimpses of Psych Folk and Freak Folk, as well as Baroque Pop. It's an elaborate album, one that comes across almost like you're watching some stage show, but it's seriously entertaining. By the time 2015's "Picaresque" rolled around, it was obvious that The Decemberists were much more than just another Folk band. This album was bigger and cleaner sounding, which in this case made Decemberists come off so classy. Tracks like "We Both Go Down Together" showed us that the band could write a catchy single, but tracks like the dramatic "The Infanta" or "The Sporting Life" showed just how decent they were at creating albums as a whole. Not to mention, Colon Molloy to me just seemed like such a dynamic frontman. He had the mystery and wile streak of a Jeff Magnum, but he also had the quaintness and likability of a James Mercer. But at the end of the day, what I loved about The Decemberists was there ability to tell stories, which they mastered on 2006's "The Crane Wife". This album was their longest yet, with Decemberists bringing in a ton of Progressive elements. There were heavy tunes like "When The War Came" and instantaneous, catchy gems like "O Valencia!". But it really wasn't that far of a stretch from what Decemberists had been doing. It just seemed like everything the band was doing right and more of it. Like it or not, this was Decemberists most ambitious album yet, and honestly made them household names of the Indie circle. The Decemberists in 2009 returned with "The Hazards of Love", an album that I feel like the majority of people had issues with. And to an extent, I do understand why this album is FAR from the quaint Indie Folk that made up their early work. ANd in its place, we have Progressive Indie Rock with some surprisingly Sludgy, Heavy moments as well. Now, personally, I thought that was really interesting and creative. And while the plot Decemberists pieced together here was truly their most bizarre and strangest one yet, I felt like they handled themselves just fine. So far, I had been totally cool with everything Decemberists had been doing. However, I have to be honest, I really wasn't into 2011's "The King Is Dead" at all. This album was just faceless folk music for the most part, with zero narration or interesting personalities. On the other hand, I did like some of the more country-tinged rock tunes here. But overall, this wasn't for me, not even close. And 2015's "What A Terrible World, What A Beautiful World" had even less memorable moments. Sure, some of the classier songs like "Cavalry Captain" and "The Wrong Year" were passable. But the majority of this album seemed so tame to me, and not nearly as quirky and fun as some of the band's early work. The Decemberists are back, and honestly by the sound of these opening singles, tamer than ever. Let's chat about this new album.
( A Personal favorite of mine!)
This album starts up with “Once In My Life”, and sonically, let’s be real boys, the band doesn’t sound terrible. If they actually showed some guts in some of these songs, I feel like they could once again be the very groundbreaking band they once were. But Decemberists continue to stick to the very lukewarm and incredibly tame Indie Folk they’ve been dishing out the last few years. There was a time where Decemberists were saving Indie Folk with quirky performances and truly well-written narratives. But this intro could have been written by anyone. “Once In My Life” is incredibly faceless and dreadfully underwritten. And it’s a shame because I do to an extent enjoy just how lavish this track is. Some people are criticizing how this one comes off as some arena ballad, but I think that’s honestly something they can pull off. It’s the sheer majesty we need in folk, to be honest. But sadly, I can’t deal with this songwriting, and Colin Meloy just sounds lifeless. Now, on paper, this album really shouldn’t be nearly as tasteless as it is. Up next we have “Cutting Stone”, and Colin’s performance is actually solid, and still has him coming off as a dynamic frontman. But why the hell is this track so underwritten? There was a time where Decemberists were pushing out some of the most refined Indie Rock around, period. But this track sounds like it could have been written by any Art School student desperate to get into music. I honestly don’t think the synths are the problem, and I actually think that some of the harmonies here are pleasant. However, I can’t get past just how much personality this band used to have compared to what they’re dishing out now. Now, “Severed” is going to be hard to swallow for most. The fact that Decemberists have turned to upbeat, intense, semi-Post-Punk tracks is absolutely hilarious. But call me absolutely nuts, but I actually commend their intensity here. Like I said, I really don’t think the synths are the problem. And I actually really don’t mind hearing Colin have a little aggression in his vocals, it’s certainly more interesting than whatever the hell he was doing earlier. There’s some intense bass on “Severed’, and an all around swagger to this that I don’t mind at all. Is this Decemberists? Far from it. I mean it MAY sound like something The National would touch, but if they want to go for a new sound, I’m sort of OK with this. But I continue to feel like so much of this material is just so faceless with “Starwatcher”. Once again, we’re right back to stripping back everything which should be gold for Decemberists. But literally, all this one does is expose how laughably underwritten this album continues to be. Those epic drums don’t do anything, and Colin’s vocals just end up becoming repetitive and really obnoxious. When I was younger and I got into Decemberists, it was like an Indie Folk stage show. Now, I just feel like I’m going to visit Indie Folk on its deathbed.
At the very least, “Tripping Along” has a little more grit to it and isn’t nearly as lifeless. And while I still think that Colin needs to go back to square one as far as songwriting goes, this is the lesser of many evils here. Yes, it’s a little repetitive, and I could find more genuine emotion basically anywhere else. But at the very least, there’s some respect in this performance. There’s an actual performance here for once which is really the first time I’ve been able to say that. And while it’s a little goofy, if I got an album of stuff like this it would be sure as hell more interesting than 90% of the material here. Decemberists, however, do have a few tricks up their sleeves. For one, “Your Ghost” is actually seriously determined and upbeat, which is the exact opposite of so much of this album. I love the galloping rhythms and pounding drums here. And on top of that, there’s such a grandness to this that actually does remind me of an early Decemberists project. But all of that being said, it’s actually a pretty straightforward and simple tune, and it works nicely. But for every halfway decent tune, there’s a track like “Everything Is Awful” lurking. This track is the epitome of everything awful that Decemberists have become, pun absolutely intended. It’s idiotic, bland, and easily the most ridiculously underwritten song here. Honestly, where have Decemberists been for like 3 years? Surely it’s not been writing this garbage. Even when things pick up and get a little heavy, this track is laughable. On the other hand, “Sucker’s Prayer” really isn’t that bad at all. It’s a little bit more toned down, but this is certainly more emotional than a lot of the tracks here. Colin actually sounds halfway invested in this performance. Is this as interesting as their early work? Absolutely not. But this track is seriously OK, not great, but above average for sure. There are still some really cheesy moments, like that singalong chorus which doesn’t have nearly as much energy as it should. But even as far as the writing goes, this track isn’t terrible. I wouldn’t say it’s an absolute standout here, but this is a reminder that Decemberists CAN write a tune still.
Now, I was actually almost into the sort of upbeat feel on “We All Die Young”. But as this one rolls on, I’m sorry but I can’t take this seriously at all. This isn’t The Decemberists, this is the worst Black Keys rip off I’ve ever heard in my entire life. But it’s more than just that, this track is just pathetic. It’s trying so hard to be a little gritty and bluesy, and there’s nothing actually interesting in sight, not even close. The gang vocals once again should really save this, but just end up being a laughable shadow of how epic they once were. And the kid's vocals, no thank you. I have to stop thinking about “We All Die Young” because it’s just getting on my nerves. There are just so many elements that don’t belong. And while I know every band is going to have to progress and change, this is far from acceptable. But bizarrely enough, The Decemberists come through with “Rusalka, Rusalka / The Wild Rushes”. Right off the bat, I’m floored by just how dramatic this is. This is by far the longest tune here. But as a result, nothing seems rushed, nothing seems gimmicky, this literally just sounds like where the band should be. Each piano note and pounding drum has so much emotion than what we got on the rest of this album. For a few short minutes, I actually feel like I’m at some Indie Rock stage show once again. And as “Rusalka, Rusalka / The Wild Rushes” goes on it just gets bigger and bigger. Like, I actually would seriously love to listen to more of this track, which I haven’t been able to say once this entire album. Towards the end, things go from epic and emotional to straight up beautiful. I have no idea where this track came from, but I’m not complaining. But clearly, a finale that’s just as interesting and forward thinking is out of the question. “I’ll Be Your Girl” finishes this album off, and lyrically this one isn’t that bad at all. As a matter of fact, it reminds us that Colin and company are certainly clever. But instrumentally, after all of the absolute trash we’ve gotten here, this is not what I wanted.
Rating: 6.3/10
Give A Listen To: “Severed”, “Tripping Along”, “Your Ghost”, “Rusalka, Rusalka / The Wild Rushes”
Genre: Indie Folk / Indie Rock / Not-so-Progressive Folk
Overall Thoughts: Ladies and Gentlemen, Decemberists have hit an all-time low. What was once one of the most creative, exciting and forward-thinking acts of the Indie world, have been reduced to bland Folk Rock with no direction. This band used to be so strong with narratives and creative ideas, and sitting down to one of their album’s was like sitting down to an Indie Rock stage show. But listening to this, I just feel like I’m going to visit Indie Rock at the hospital. And you would think with the much more epic and “Arena-sized” direction this album was going in, there would be some seriously interesting and exciting moments. But this is just so incredibly bland and underwritten, I literally have no idea what they’ve been doing for a few years. Because outside of a few tracks, this is trash.
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