The Decemberists
“The Crane Wife”
Capitol Records
(Out Of 5)
When the Decemberists, indie music’s most beloved group of
raucous balladeers, announced their decision to leave Kill Rock
Stars for a major label last year, few believed they had sold out.
It seemed impossible that a band so dedicated to poetic narratives
and unique instrumentation would be concerned with what the top
brass of the music industry had to say. And, while this may be
true, “The Crane Wife” is noticeably different from the
band’s other releases.
On the surface, frontman Colin Meloy is still himself, touching
on everything from Japanese folklore to bedtime horror stories in
his lyrics. In contrast to past efforts, however, many of his tales
have lost their human element, focusing more on the story than the
characters involved. Where listeners could once identify
overarching themes of love, war and death, “The Crane
Wife” offers only muddy stabs at significance. The result is
a degree of disconnection from the music, which in turn makes the
excessively literate lyrics seem contrived and alienating.
The instrumentation has undergone an even greater change, often
setting the music at odds with the songs’ timeless subjects.
The accordion, timpani and cello that were staples of the
Decemberist oeuvre have been replaced by the instruments of a
standard five-piece band, including an electric guitar and
synthesizer. Due presumably to a larger studio budget, the
band’s production has also changed, boasting a more polished
and modern sound to contrast with the inconspicuous production of
recordings past.
The sense of adventure behind the Decemberists’ new sound
is commendable, but unfortunately what “The Crane Wife”
has to offer pales in comparison to the band’s previous work.
The album does have its fair share of successes ““ “The
Island” offers some wonderful acoustic moments and
“Shankill Butchers” is the only track retaining that
trademark Decemberist sound ““ but they are frequently
outweighed by regrettable moments. “When the War Came”
is a tired prog-metal riff gone wrong for over five minutes; the
disco flavor of “The Perfect Crime Part 2″ is strange
and out of place; and the chorus of “O Valencia”
borders on ridiculous.
It’s difficult to say if “The Crane Wife” is
the result of corporate brainwashing or a simple regrettable
decision on the part of the band members, but regardless, the
result is less than impressive, retaining only enough of the
Decemberists’ charm to make fans pine for the good old
days.