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 Originally written on 03/01/05
So, I've managed to get my grubby paws on an advance copy of Picaresque (thanks to an ex-girlfriend who interns at a music mag), and I have no doubt that by the time the CD is available in stores, I'll have to get another copy, since this one will be all but worn through. Yes, the CD is that good. When asked by friends to describe the music of the Decemberists, I usually respond with, "Mellow, Indie Pop Rock with a Celtic Dickensian Sea Shanty feel," which basically sums it up, but doesn't really do their sound justice. It's a very distinctive and antique style, and to really understand it, you just have to experience it. Each song is a world in its own, filled with pirates, gypsies, circus folk, soldiers, and all manner of doomed lovers, and ne'er-do-well's; each track is essentially a condensed Victorian penny novel, the sort that nobody in polite society would admit to reading. They're songs of love, loss, lust, revenge, and death (and in the world of the Decemberists, being dead doesn't necessarily stop you from spinning your tale). Colin Meloy is a very learned and talented man, something that becomes more and more clear as each sordid tale unfolds. You don't need a dictionary or an MA in Literature to follow along (though at times, they wouldn't hurt); just smile, hold on tight, and enjoy the ride-it's going to be fun. The new album is no exception, bringing a new cast of characters to vibrant life. In Castaways and Cutouts, the band used a number of instruments (accordion, organ, saxophones, trombones, trumpets, and steel guitar), which along with Colin's nasally singing, created a lush dreamscape of antique sound. In Her Majesty, the instrumentation pulled back a little-though still lush, the sound was more spare in parts, allowing one to concentrate more on the each instrument as it took the spotlight. This album settles somewhere in between, always lush, but never show-offy. The band knows when to pull back, and when to let it fly (and when they do, stand back). One complaint I've sometimes heard about the Decemberists has to do with Colin's singing: it's high, and nasally, and definitely not conventional. But if you just keep an open mind, you'll find that, though not pretty, it is beautiful in its uniqueness, and really no other voice could better accompany this brand of off-brand music. Not every vocalist can sound like John Mayer, and most shouldn't try. The merits of Colin's singing speak for themselves, so long as you give the man a chance. He really is brilliant. Speaking of singing, up until now, drummer Rachel Blumberg's voice was only truly showcased in The Tain (Act IV). In Picaresque, she throws her voice into the mix much more often than in the band's previous entries, resulting in a fine new addition to the band's sound, harmonizing with Colin at times, while delivering whispered verses at others. Rachel sadly left the band shortly after this record was done, but Picaresque remains as a testament to her talent and contribution, and she will be missed. 1. THE INFANTA: The silence is broken by a battle horn, followed by thundering drums approaching quickly from the distance, sounding like the feet of a stampeding herd of elephants. By the time they reach you, their sound is huge. The Decemberists have arrived. An epic song with kings, concubines, camels, and elephants. And they'll all come praise the Infanta. Brilliant- especially the closer, which features an operatic tenor. 2. WE BOTH GO DOWN TOGETHER: A tragic tale of love from opposite ends of the class system. When it becomes clear that they can't love each other in life, they step onto his ocean-view veranda, and hand-in-hand, they both go down together. A beautiful song, and incredibly catchy. Just try to tell me it doesn't affect you when Colin sings "And as the seagulls are crying, we fall, but our souls are flying!" 3. ELI,THE BARROW BOY: Reminds me of Leslie Ann Levine. A haunting tale of a barrow boy who pushes his barrow despite losing his love, and eventually his life. All the while, he never stops lamenting that he cannot afford to pamper his deceased lover. The chorus has Rachel harmonizing with Colin. Nice. 4. THE SPORTING LIFE: Fun, upbeat song about athletic inadequacy. An ode to the band's English major fan base. 5. THE BAGMAN'S GAMBIT: A noir tale of a female spy selling government secrets, and the government worker who helps her in the name of love. This is one of the songs that grows on you over time. I'm liking it more every time I hear it. 6. FROM MY OWN TRUE LOVE (LOST AT SEA): A lament for love lost at sea. The emotion of loss comes through in the sparse instrumentation and gloom of the subdued vocals. 7. 16 MILITARY WIVES: Great song. Colin's response to American imperialism, and the costs of such unthinking national hubris ("17 company men, of which only 12 will make it back again"). Could be about WWII, could be about the Iraq invasion. You decide. Either way, one of the most meaningful, upbeat and catchy tunes on the album. 8. THE ENGINE DRIVER: A song about the tortures of unrequited love. Possibly the most beautiful song on the album, and definitely the sweetest, thanks in large part to vocal contributions from Rachel. 9. ON THE BUS MALL: The tale of a couple of foppish runaways and the sordid things they have to do (i.e. pulling tricks for aging perverts) to stay alive on the street. They might be down on their luck, but they're still FABULOUS. And so's the song. 10. THE MARINER'S REVENGE SONG: Ah, the inevitable epic of the album. Clocking in at nearly 9 minutes, this one listens like a Dickens novel on downers. Two sailors sit in the belly of a whale, as one recounts the events in his life that led up to his current situation, and how the old captain he's addressing fits into the equation. Reminded me of A Cautionary Song. It should be noted that this song was recorded live, so we're hearing it in all its raw glory. Great stuff. 11. OF ANGELS AND ANGLES: A song from one lover to another ("There are angels in your angles, there's a low moon caught in your tangles") with nary a tragic moment in sight. I guess love sometimes works out, after all, huh, Colin? A beautifully simplistic song, and a quietly pretty way to close the album. The album was recorded at Prescott Church in Portland, Oregon, which, judging by this set of songs, has great acoustics. The Decemberists have yet to come out with a song that doesn't work, despite, or perhaps because of their musical tendencies to break and rewrite the rules at every opportunity. Anyone with a sense of humor, history, whimsy, or simply an appreciation for good unique music should check out Picaresque. From start to finish (to the liner notes, which feature staged band photographs by Carson Ellis, the brilliant band artist, and girlfriend of Colin, who produces art that is as unique and antique as her boyfriend's music), the album is filled with treats that you'll keep coming back to savor. Five nautical stars.
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What a waste. I think i'll flog my manservant Egglestone with this CD instead of having it sully my kraut-engineered hi-fi any longer. I can't think of a more appropriate use for this wasteful product - wholly derivative, tuneless, and ultimately as rewarding as a lunch sandwich without delicious marble rye.
