The Decemberists - The Crane Wife

Capitol raised a few eyebrows when they signed indie stalwarts the Decemberists. There's nothing blatantly commercial about the Portland quintet, from Colin Meloy's quavery voice and hyper-literate lyrics to the band's wide-ranging music, which encompasses baroque pop, prog rock, and dozens of other styles. Then again, he did once sing, "I was made for the stage," and those who've seen the group live know this to be true. Sure, they're storytellers, but they're entertainers, too--just not in the Top 40 sense. Never ones to play it safe, their major label debut takes its inspiration from a Japanese folk tale. It travels from the Replacements-style balladry of "The Crane Wife 3"--which joins words like "Each feather it fell from skin/'Til threadbare while she grew thin" to the melody from "Here Comes a Regular"--to the ELP hoedown of three-part epic "The Island" to the haunting duet between Meloy and Laura Veirs on "Yankee Bayonet (I Will Be Home Then)." It's an impressively eclectic effort that somehow manages to avoid sounding scattered. Co-produced by Chris Walla (Death Cab for Cutie) and Tucker Martine (the Long Winters), the Decemberists' fourth full-length is richer, less immediately catchy than its predecessor (there's nothing as bouncy here as Picaresque's "Sixteen Military Wives"). It's also a deeper work that resists snap judgments. Some records hit you over the head with their brilliance, others need time to percolate. Time will tell if The Crane Wife is the Decemberists' best album--it's certainly their most ambitious so far. --Kathleen C. Fennessy Amazon.com

The Decemberists Spread Their Wings Even Wider (* * * * 1/2)

Following on the heels of three great albums, each one better than the previous, fans of The Decemberists could easily have wondered if the band could pull of the same feat with The Crane Wife. These concerns might have been deepened by the fact that the band had signed to a major label, which has been known to tame a band's signature sound for the sake of pulling aboard a greater bounty.

Fortunately, like the husband of the titular character of the Japanese story upon which this album is based, Capitol Records was apparently not allowed to observe the band as it weaved its fourth album. Granted, the songs might be a bit sweeter, even borderline precious at times. But still, the aesthetic that has made The Decemberists arguably the most unique new band of the 2000s has not been compromised a single iota. In fact, Colin Meloy and company push the envelope even further. The epics that were once between seven and nine minutes long now run for eleven and twelve minutes. Moreover, the progressive rock leanings that always lurked, Jaws-like, beneath the surface of their music now come crashing through like the giant whale from a song on their previous album.

The deafening silence of cash registers not ringing is probably disappointing to the label. But to those who expected nothing less than another masterpiece from The Decemberists, it is golden. And the two three-part songs notwithstanding, The Crane Wife is not a concept album. Meloy uses his longer pieces for the same purpose that he has before: to tell stories. The other songs stand alone perfectly as individual tracks. Like each previous Decemberists release, this is a song-based album pillared by a couple of magnum opuses.

"The Crane Wife 3" is a sparkling pop song, with a wonderfully singable refrain and a bubbly bass line that tickles the listener's ears. As indicated by its attached numeral, this song tells the end of The Crane Wife story. Here, like in so many archetypal stories of any culture, the protagonist's greed and curiosity overcome him and he loses what is most dear to him. "The Crane Wife 1 & 2", which appears nine songs later as the requisite next-to-last-track epic, tells of how the narrator first came upon a crane that has been shot down by a bow and arrow. After rescuing it, he finds himself rewarded when it appears to him one evening in the form of a beautiful woman.

"The Island" makes literary references to Shakespeare's The Tempest and Alfred Noyes' poem "The Highwayman". "Come and See" is surprisingly hard-rocking, thanks to Black Sabbath-like power chords, which at the end segue into the 100% Jethro Tull Hammond organ that open and fortify "The Landlord's Daughter". The bombastic, impeccably-timed instrumental breaks in this section are straight off the 1972 Jethro Tull album Thick As A Brick. (Bit of trivia: Although he never appeared on record with them, Sabbath's Tony Iommi briefly served as Tull's guitarist before being replaced permanently by Martin Barre.) This section's delicious lyrics, especially the opening ones, are reminiscent of the traditional Irish song "Whiskey in the Jar", which was re-done in more popular form by Thin Lizzy. The chill-inducing Part III of the song is adorned by a gently-picked classical guitar and deep strings. This is another tour de force by a band that isn't ashamed of its instrumental prowess.

In between the album's two long songs comes an interesting mix of genres. Four of the songs are highly-catchy pop numbers. "Yankee Bayonet (I Will Be Home Then)" is a sweet duet between a Civil War soldier and his wife, whose part is sung by singer/songwriter Laura Veirs. While her voice and lyrics such as "though our skin may not touch skin" are wee bit precious, this song shows that The Decemberists, like their semi-kindred spirits Belle & Sebastian, benefit greatly from the use of female vocals. "O Valencia!" is, like "We Both Go Down Together" from Picaresque, a tragic story of star-crossed lovers that is driven forward by a foot-stomping rhythm similar to something from an early R.E.M. record. "Summersong" brings back the band's trademark accordion, as well as the oft-used nautical imagery, including "watery graves", "dead sailors", and summer getting "swallowed by a wave". Typically, a Decemberists album would end with a very short, less-showy number. While "Sons & Daughters" is good song and an effective closer, it might have benefited by being about half as long as its five minutes.

Meanwhile, the band grows some funk of its own on "The Perfect Crime #2", which features cool images like "It was like a ticker-tape parade/when the plastic on the safe was blown away". "When the War Came" brings back the 70s hard-rock riffs that appeared in "The Island". The lyrics "Our trust put in the government/They told their lies as heaven-sent" make it sound like a pretty standard protest song. However, the last verse seems to be a botany lesson, with references to Vavlilov, solanumm, and asteraceae. (Yes, I had to look up those three things!) "Shankill Butchers", which follows in the wake of its hard-rocking predecessor, ominously recasts a group of terrorists from Northern Ireland as bad guys who are out to get recalcitrant children in their beds at night.

As surprising as it might be, the wildly ambitious Decemberists still haven't released an album that pales by comparison to what came before it. The amazing thing about The Crane Wife isn't that it is indisputably every bit as good Picaresque. It is that it is arguably better. At this point, each album is like a new chapter in a book that one cannot put down and can't wait to pick up again once one does. Unlike a book, however, one can start with any inclusion in The Decemberists' catalog and appreciate it every bit as much. In fact, I am tempted to take back what I said about their debut album, Castaways and Cutouts. Perhaps it is just as good of a place to start not because it includes their best songs (it doesn't), but because it is where the band itself started.
September 17, 2008

Major (Label) Success

While more polished (think produced) than previous offerings, The Crane Wife still delights with Colin Meloy's signature voice and storytelling. August 5, 2008

circuitous journey

i've had this music for a while - recently picked it up again to give to a friend. his excitement with "the crane wife" reflected my own: that the total piece is a journey of moods and situations, exclamations and saturnine musings. it works on you. when i think about the music i've really liked over the last 10 years, it's been those recordings that worked on me over time, cropping up and getting tied to certain events, certain feelings. "the crane wife" has become one of those recordings for me. it's well worth the listen, and i think it's a great intro to the rest of the decembertists catalog of work. June 25, 2008

Wonderful Album

The Decemberists' major label debut is a phenomenal release. For a major label debut it is incredibly adventurous project with two epic tracks that clock in at or close to twelve minutes. The instrumentation is very effective, with guitars, bouzouki, keyboards, strings and all kinds of other instruments. The songs are not really geared toward a mainstream audience (with the exception of "O, Valencia" which is innovative but it functions as a good catchy single to keep Capitol records happy). The subject matter of the whole album (which is really a loose concept album) is taken from a Japanese folk-tale, most of which goes over my head. But the music is so infectious with a vibe that really draws you in with a lot of color. Stand out tracks are the epic suites of "The Island" and "The Crane WIfe 1 and 2." The Island starts with one section with sort of a funky breakdown feel, and then it goes into a full throttle triple meter swirl of keyboards to wind down in a low energy nylon guitar ballad. Also, "The Perfect Crime #2" is really great, as well as the bouncy "Sons and Daughters" and the gospel-ish "After the Bombs." This album was voted the best of 2006 by NPR's All Songs Considered program, and I can't find a 2006 album that rivals it. The Decemberists have not sold out with this major label debut, but continue to make great music. June 2, 2008

Decemberists defintely deliver in thier best album to date

I've been somewhat of a fan of The Decemberists in the past, "Picaresque" had a few tracks I liked, but others I didn't care for at all. "The Crane Wife" really sold it for me, with a bit more mainstream sound but without losing the quirky style The Decemberists are known for. It makes me appreciate their older work more, but for me "The Crane Wife" is by far their best work yet. The Decemberists employ unique lyrics and beautiful music to make memorable tunes, very similar to what I find appealing about Death Cab for Cutie. This album works especially because it begins on a strong note: "The Crane Wife 3" and "The Island are incredibly good pieces, and ends brilliantly as well with "The Crane Wife 1 & 2" (best song on the album) and the very catchy "Sons & Daughters." And if you have the bonus tracks, I love the piano and organ sound of "After the Bombs." I could listen to it over and over. The songs in between are a bit less replayable, but the arrangement works well enough to keep me listening to the whole thing.
May 13, 2008

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