Old sound stays with new ‘Wife’

By Jordan Blum

The Decemberists is a band that exists in its own genre. Its vocals, instrumental sound and song-writing style have all become recognizable trademarks. Although just about everything the band does is related to either the sorrows of the sea or far-fetched folklore, it has always been very fresh, unique and catchy. The group’s move from the independent label Kill Rock Stars to the trendier Capitol Records left many fans worrying if The Decemberists would sell out. Rest assured that this is not the case. Just as all its previous releases were lyrical and musical gems containing fantastic storytelling, so is The Crane Wife.

This Portland-based band has so far released four albums and a stand-alone epic entitled “The Tain.” Essentially the band’s style could be described as putting literature to music. Lead singer Colin Meloy’s heavy interest in the subject is evident in the language and devices he uses to tell his stories.

Upon initially listening, the music itself has an attractive and enjoyable sound, but the songs are actually complex and creative stories that require the lyrics to be known to be fully appreciated. The band usually plays simple and catchy pop music, but every so often it ventures into pure progressive rock. With The Crane Wife, this contrast is very obvious, and very well done.

Although this album doesn’t start off with an energized bang like its previous album did, its first song, “The Crane Wife 3,” is still very catchy and beautiful. The second song on the album is the three-part “The Island.” It is reminiscent of “The Tain” and easily the album’s best song. It alone is worth the price of admission. “When the War Came” is a surprisingly heavy song for the band, but its catchy tune makes it worthwhile. The remainder of the songs contain great melodies that the band is known for, and the album’s closer, “Sons and Daughters,” is a nice way to end it.

If there is any downside here, it is “The Perfect Crime #2.” The song has a bit of a disco feel to it and while credit is due for experimentation, it is the worst song on the album. It just seems a little too commercial and corny.

The Crane Wife proves that just because a band switches to a more mainstream record label doesn’t mean that its music will become more mainstream. This album, like all previous efforts, will remain in the listener’s head for a while. Some of the band’s best work is contained within it and it would be a shame not to hear it.