| THE DECEMBERISTS - Big Day Out 2010 Artist |
| Written by Elle Hunt |
| Sunday, 29 November 2009 20:18 |
 “All songs are about girls, and love,” my boyfriend complained once; his voice laden with scorn. “Why aren’t there any songs about... I don’t know, sharks?” Although I myself am content with having only two shark-related songs in my music library ('Shark in the Water' – VV Brown and 'Shark Niggas (Biters)' – Raekwon), he has a point. You’d think that people would have had enough of silly love songs, but I look around me, and I see it isn’t so. Most songs are about some notion of love, whether the recipient of such affection is specific or undefined. Someone might every now and then, branch out with a song about drugs and alcohol, or rebellion against conformity; thereby effectively, conforming – no-one sings about how much they love their desk job. In other words: it’s all been done before. Fortunately, five-piece indie-folk outfit THE DECEMBERISTS write songs for those of us who are tired with the crooning of starry-eyed lovers, and rockers rebelling against The Man. Their storytelling lyrics tell of angels and angles, of architects and mariners, and are peopled with such characters as engine drivers and military wives and Eli; The Barrow Boy. These otherworldly themes set them apart from bands that, in other regards, are considered their contemporaries: for example, The Shins, Death Cab For Cutie, and The New Pornographers. The Decemberists are best (and indeed, often) compared to the eccentric and iconic Neutral Milk Hotel, in that the songs of both bands paint portraits of whimsical characters, based in surreal worlds.  These fairytale lyrics are complemented by The Decemberists’ blend of lushly orchestrated and theatrical baroque pop. While the band’s musical merits stand alone, it’s more rewarding to actively link each song within the wider story of the album. The Decemberists’ vocalist/guitarist Colin Meloy, never sings as Colin Meloy alone. Instead, taking on the voice of each song’s particular character – which is invariably quite a stretch from his Portland, Oregan origins. In the case of 'The Crane Wife', the band’s major label debut, the inspiration for the album is a tragic Japanese folk tale – as well as, in places, the Siege of Leningrad of World War II, and the radical loyalist gangs of Northern Island. This is testament to the band’s approach towards appropriating ideas for their songs: nothing and nowhere is off-limits. 'The Crane Wife' received a positive reaction from critics and audiences alike, and was dubbed not only the band’s best work to date, but also one of the most celebrated albums of 2006 according to several polls. It attracted The Decemberists a wider and more fervent following that included Stephen Colbert, of 'The Colbert Report', who defines the band as “hyper-literate prog-rock”, and who has featured them on his show on several occasions (including for a guitar solo competition between Colbert and the band’s lead guitarist, Chris Funk). Tracks such as ‘O Valencia’, ‘Summersong’ and ‘The Crane Wife 3’ from this album are sure to be among the best of the band’s set at the Big Day Out 2010, and doubtless, The Decemberists will live up to their acclaimed reputation as a live act. However, it’s likely that the band will be promoting their latest release, 'The Hazards of Love', the most. With this album, The Decemberists explored their leanings towards rock opera; with its seventeen tracks telling the tale of a couple, William and Margaret, whose love for each other is tested by a jealous forest queen, among other magical rogues. It’s a grandiose tale, embellished with bookish wordplay and earnest guest performances, that rewards close attention from its listeners. At first, it was largely considered inferior to 'The Crane Wife', but now, nine months following its release, opinions expressed on forums such as the band’s Last.fm page suggests that fans are beginning to appreciate the album more. It’s one of those larger-than-life works that gets better with time: indeed, it takes a while for one to be able to look past its extravagance to appreciate how well-crafted it is. The album moves with all the drama of an actual stage show or short story: the inflated drama of ‘The Wanting Comes in Waves/Repaid’ is offset by the gentle approach of ‘An Interlude’, which then turns into the arched reflection of ‘The Rake’s Song’. Its elaborate plot aside, this is emotive and dramatic prog-rock that will translate well to an out-of-doors stadium venue such as Big Day Out: make sure you’re present for the inevitable performance of ‘A Bower Scene’, which is built around a heavy, bluesy guitar riff that will sound even better when performed live. To make the most of The Decemberists’ one-and-only performance at the Big Day Out, spend some time listening to their albums first. As without a doubt, they’re a band best heard when equipped with some knowledge of the meaning behind their lyrics. Their set will most likely be comprised of material from 'The Crane Wife' and 'The Hazards of Love', but their earlier albums, 'Castaways and Cutout', 'Her Majesty The Decemberists', and 'Picaresque', are also worth a listen. The Decemberists are a band with brains and imagination, and this is obvious in their entrancing lyrics – even if they don’t write songs about sharks.  |
