The King is Dead
The Decemberists
The King is Dead
Back in the early 2000s the indie kids were cuter. They liked reading novels like "The Perks of Being a Wallflower," movies directed by Michel Gondry, thai food and thrift shops. They also liked the first Decemberists album, Castaways and Cutouts, very much. By 2009, the year of the last proper Decemberists release (rockish opera The Hazards of Love), the kids were into tattoos, craft beer and either pop/dance music, hillbilly posturing or punk rock (or some hybrid of those things). Known for their bibliophile-friendly writing and accordion laced shanty sound, The Decemberists have seen their popularity amongst the hip kids drop over the last two years, so much so that their new record, The King is Dead, hardly earned them a silent shout from the indie community.
But that's okay, as the album, comprised of 10 pop-fitted, REM-influenced gems, debuted at No. 1 regardless. Go figure - maybe the bloggers and tat shops and Facebook updates and Tweets of the world don't quite have the New Era power we give them so much credit for. Me, I bought the record at Target for $7 on release day, right off an endocarp, sitting loudly between Michael Jackson and Nicki Minaj.
Their thesaurus-informed language here brought down to earth more than usual and their arrangements about half as dressed up as on their other releases, The Decemberists here remind me most of Bright Eyes during his I'm Wide Awake, It's Morning era. Both King and Morning, for starters, were recorded following big tours in support of hugely elaborate albums. Also, both records feature short, often twangy songs and memorable lyrics. Sure, that strange, bookish edge we all fell in love with years ago is mostly gone, but the songcraft is as strong as ever - soaring within the realms of pseudo-country songwriting structures.
Along for the ride on almost every cut are Gillian Welch and David Rawlings, two of the best accomplices you can have if delving into twangy waters (see Ryan Adams' Heartbreaker). Mostly we hear Welch's vocals, which, with repeat listens, become an essential part of the record's vibe - almost demanding us to learn all the words and howl along. Also present on a third or so of the album is REM's own Peter Buck, who quietly adds his distinct jangle, never taking his own noted amount of influence too seriously.
I also hear, if you can believe it, some country-era Rolling Stones in the mix, especially in the stomp-worthy "All Arise," one of my favorite cuts on the album. "This Is Why We Fight" almost sounds too much like REM at first, as does the title track. No worries; repeat listens numb any urge to play Name That Influence with The King is Dead. The result is a collection of songs that plays through as a true Decemberists record. A mature release that sees one of the most interesting and successful indie bands of the 2000s growing up a bit, leaving behind all the harebrained ambitions to be grand and cutting edge, instead stepping into shoes that fit. What else do we have? Well, the most listenable - and maybe memorable - Decemberists albums yet, that's all. 8/10
Written by G. William Locke
