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Picaresque

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The obscure word "Picaresque" is an accurate title for the third full-length album by the Decemberists. If you want to get technical, the word refers to humorous adventure stories, starring roguish antiheroes. Considering the folky pirate sound of the Decemberists' latest -- and best -- album, this seems an appropriate title.

Not that folky-pirate is a NEW sound for them; it's characterized their past music, except for the richly mythic "Tain EP." But the Decemberists amp up their instruments in "Picaresque," making the melodies bigger and louder than before. A few songs like "Espionage" harken back to their previous stripped-down sound, with mainly Colin Meloy and his acoustic guitar. But these are actually the minority here.

From the very first song, the pulse-racing percussive "Infanta," it becomes clear that the Decemberists haven't changed their sound so much as made it faster and louder. Which, it seems, was just the punch that the Decemberists needed in their prior albums, taking their music from good to really, really good. With this amped-up sound, their music seems larger than life.

The songs are also more eclectic than in prior albums, dabbling in accordion sea shantys, bouncy classic-pop, percussive rock, and mild acoustic ballads. The music still centers on Colin Meloy's acoustic guitar, and the lyrics have a feeling of old-world grandeur, sepia photos and dusty literarature. But it's also getting a bit more complex, with strings, drums and accordion often taking center stage.

And the Decemberists get to expand their songs to topics other than, er, acrobats, ships and so forth. For example, they delicate step into anti-war turf with "Sixteen Military Wives," as well as a charming little ditty about a kid having athletic problems: "And father had had such hopes/for a son who would take the ropes/and fulfill all his old athletic aspirations/but apparently now there's some complications..."

One of the quibbles I always had with the Decemberists was Colin Meloy's voice -- it's nasal and a bit thin, a bit reminiscent of Jeff Mangum. But somewhere between this and their prior EP, Meloy has learned how to rein in his vocals. He's not great, but he's definitely improved. In fact, he increasingly reminds me of Jeff Mangum or Kevin Barnes, two imperfect voices that fit in with their music regardless.

"Picaresque" is hampered by a couple of somber acoustic numbers, but the newer, faster sound suits this band wonderfully. "Picaresque" is definitely picturesque.

Since buying Picaresque about 2 weeks ago, I think I've listened to the entire album at least 10 times. I think this is the most times I have listened to a single album in its entirety in the last 18 months.

What has compelled me to keep playing Picaresque? At the most basic level, its just a darn catchy album. But there are lots of catchy albums that I'm not listening to all the time. What makes Picaresque more than just a catchy album is that the poppy tunes are layered over rich lyrics and intricate story lines. The Decemberists are known for their theatrically-minded songs often revolving around maritime, sea-faring, Victorian European-esque themes. Picaresque also maintains this theme (especially in The Mariner's Revenge Song, which is one of my favorites on the album). However, as has been noted in most reviews of this album, Picaresque deals with a number of modern themes, particularly (as most everyone who has heard the album has noted) Sixteen Military Wives, clearly an anti-war protest song. However, despite tackling more modern themes, the album maintains its sound.

I've always felt the Decemberists were sort of old-worldy in a hip rock and roll sort of way. I think I had this impression before I saw them live on New Year's Eve 2003, all decked out in 1920's style tuxedos and dresses (the drummer and keyboardist/accordionist are both female) with their bassist playing a stand-up bass rather than a rock and roll electric bass. However, in listening to past Decemberists albums I've had a hard time putting my finger on the definitive aspect of their sound that gives them this "old-worldy" feel. Obviously the subject matter of many of their songs drives this impression, but I was struck that even when singing about "modern themes" they maintained this sound. I think I've finally got my finger on it.

First, most Decemberists songs are instrumentally thick. The addition of keyboards and accordion to most songs adds unique dimensions, especially the accordion whose sound is lacking in most other modern pop-rock bands. Secondly, lyrics show evidence that Colin Maloy, the bands frontman and songwriter, clearly scored really high on his SAT Verbal portion. The language is reminiscent of late 19th fiction and poetry with lines like "Below the tamaracks he is crying, 'Corncobs and candlewax for buying!" This romantic language populates even the "modern" themes. For example, the espionage themed romance The Bagman's Gambit includes, "And for a tryst in the greenry I gave you documents and microfilm too."

What this album does best is supplant these poetic versus of wayfairing sailors, child kings, forbidden lovers, academics, and athletic failures on top of poppy tunes that make you want to keep listening, even if you have no idea what "Picaresque" means. It is able to be unpretentious; it is intellectual while at the same time completely accessible.

And it's a darn catchy album.

(By the way, I had no idea what picaresque meant either, so I looked it up)

pic·a·resque

adj.

1. Of or involving clever rogues or adventurers.

2. Of or relating to a genre of usually satiric prose fiction originating in Spain and depicting in realistic, often humorous detail the adventures of a roguish hero of low social degree living by his or her wits in a corrupt society.

Who said that an alternative band couldn't be independent yet theatrical at the same time? The only bands that I know that combine the extremity of content found in the music of The Decemberists are either traditional folk songs or heavy metal or Jethro Tull. I mean, take these lyrics from the song that begins the album, "The Infanta":

A phalanx on camelback, thirty ranks

on her forward tack follow close,

their shiny bright standards a'waving.

While behind, in their coaching fours, ride the wives of the king of Moors

and the veiled young virgin, the prince's betrothed.

And we'll all come praise the infanta.

There are heavy metal songs that describe funeral processions for Viking or barbarian warriors of similar ornateness and theatricality, but nothing like this in the indie scene. Musically, they are less outside the mainstream, and often remind me of various bands and performers, in particular the Smiths. Many find resemblances between the Decemberists and Neutral Milk Hotel, but I have to admit to some trouble doing this. But even here they manage to combine elements in unique ways. "The Sporting Life," for instance, has the kind of morbid pathos and wallowing one finds in the Smiths' at their most self-indulgent, as the narrator lies prostrate on an athletic field, watching his disappointed and disapproving father and his girlfriend who walks off arm in arm with the captain of the winning team. Who would have thought of writing such an odd song? Indeed, most of their songs, while interesting, contain subject matter than makes it almost impossible for a listener to empathize with. How is one supposed to respond to "The Infanta?" Most of us feel, if anything, alienated by images of Imperial Spain.

It think the connection with Neutral Milk Hotel comes largely from two elements in the music: the difficulty in connection with the lyrics and the willingness to explore interesting and unusual combinations of instruments. If Neutral Milk Hotel sometimes employs a Theremin, The Decemberists do so far more often. In the end, what saves The Decemberists and makes this an exhilarating album is the sheer energy and enthusiasm in the music, which luckily is also exceedingly well performed and filled with nice hooks.

What does hurt the album is some inconsistency in the songwriting. While songs like "The Infanta" and "From My Own True Love (Lost at Sea" (the latter reminding me of several of the quieter themes found in Ennio Morricone scores for Sergio Leone) are unquestionably very strong songs, there are a few, like "The Bagman's Gambit" or "On the Bus Mall" leave a lot to be desired. Other highlights include "16 Military Wives," complete with rousing horn arrangements, the lovely "The Engine Driver" (another cut that reminds me of The Smiths), and the superb "The Mariner's Revenge Song," one of the cuts that reinforce the image of The Decemberists being obsessed with seafaring imagery.

This is not an album for everyone. Some are going to find its subject matter a little too mannered and posturing for their taste. Myself, I've never minded a bit of the over-the-top. Others who are likeminded might also find this a lot of fun.

The Decemberists- "Picaresque"

Corey Fry/ Music Review

Perhaps if they weren't so darn theatrical, they'd be the next R.E.M. or something (and singer Colin Meloy pulls his best Michael Stipe in a couple of new songs), but they simply must reinforce the campy elements of their persona like a smiling clown with a painted frown. Heck, the only time the past two weeks anyone has bothered to call my radio show was when I played "The Sporting Life" or "We Both Go Down Together," two of the marvelous tracks from the equally stupendous album, wanting to know who was that band.

The Decemberists thrive on simple melody, intriguing, beguiling tales of periodical costume dramas, and more high end vocab words than you can shake a thesaurus at-Meloy is the best thing to happen to dictionary salesmen since tomato was spelled with an "e." The secret weapon is still the accordion, a highly useful, extremely practical instrument that is possibly the most underrated instrument out there (if there is such a thing).

They kick things off with a sort of "coming to Africa" tale about an infant princess (or more accurately, as the song is titled, an "Infanta") being paraded about on elephants through crowds of worshipers as she dreams of "quiet streams." A high horn calls attention, immediately followed by locomotion-like attack drums before Meloy breaks in with his clean, fey proclamation: "here she comes!"

Curiously, they take us back home on this album, with the middle section set of songs- "The Sporting Life," "The Bagman's Gambit," "16 Military Wives," and "On the Bus Mall"- reading like a broad swath of various contemporary American issues. "The Sporting Life" takes a jumpy, punchy beat to the story of a failed athlete, fallen to the ground, looking at his coach, father, and girlfriend as they express, quite clearly, their disappointment. "The Bagman's Gambit" is all cloak and dagger murder mystery romance, the object of his affection a spy working against the government. It begins simply enough, with nothing but acoustic guitar, but grows and grows to a ravishing crescendo.

"16 Military Wives" is similar in style to "Sporting Life," but is the most political song by the band, with Meloy taking it to the military, celebrities, academia, and everything else involved with the hypocrisy of war (the "anchor person on TV goes La di da di da duh diddy diddy dah").

Perhaps his most interesting and comical yarn this time is the "Bus Mall," a sensitive tale of young runaway male prostitutes, laughing off "quick tricks" and "pocket[ing] pills away." As ever, Meloy brings a perspective to what would otherwise be derisive and mocking; one such boy leaves without leaving a note for his "grieving sweet mother/while your brother was so cruel."

The two best songs, however, are "We Both Go Down Together," a Romeo and Juliet-esque tragedy of forbidden and suicidal lovers, and "The Mariner's Revenge Song," a nine-minute tale of, well, a mariner enacting revenge. Play it back to back with "Shanty for the Arethusa" from Her Majesty the Decemberists, and you'll have the ultimate coupling of sea-faring epic montages. If you need a perfect introduction to the band or even the world of indie rock, start with this one.

While expanding in many ways upon their previous releases, the Decemberists' third full-length album is guaranteed to please their fanbase. Once again, the band offers a collection of epic tales put to song, with various whimsical stories mixed in. From the beginning war-drum frenzy of "The Infanta", Picaresque promises novel work, yet throughout, it rings true to the Decemberists' unique style.

Colin Meloy's lyrics explore previously untapped areas including athelete culture in "The Sporting Life", a stern satire of America's view of itself in "16 Military Wives", and an interesting tale of espionage in "The Bagman's Gambit". Meloy also sticks to some of his favorite themes, notably in "The Mariner's Revenge Song".

The music is firmly grounded in the band's previous work, but explores a new pop feel at times, especially in "16 Military Wives", as well as adding an aura of excitement and urgency at times, very present in the opening track, "The Infanta". Still, some songs make use of the Decemberists' down-tempo near-drone style, showing just enough to keep your ears happy, while strongly emphasizing what is currently happening. This is best represented by "From My Own True Love (Lost At Sea)". Even jazzy elements find their way into the album via "The Sporting Life". As usual, the band makes good use of varying, often catchy rhythms over which to deliver their music and stories.

Overall, Picaresque is an excellent album, representing a broadening of The Decemberists' musical and lyrical scope. Its music, lyrics, and overall flow leave little to be desired. "16 Military Wives" is certain to gain the band new attention. Other initial highlights include "The Infanta", "We Both Go Down Together", and "The Engine Driver", but with the absense of any weak point, you'll find yourself listening through the whole album more often than not.

Albums like "Picaresque" are one of the reasons I love Amazon. I would never have discovered the Decemberists if I hadn't seen them listed as a favorite of others who liked Death Cab for Cutie - and I would have missed out on a truly unique and compellingly odd set of pop gems. As other reviewers have noted, the Decemberists have a talent for writing songs that seem ancient and thoroughly modern at the same time. It could be Colin's voice, or it could be the eclectic instruments they feature, but whatever the reason, "Picaresque" is filled with enough orphans, beggars, seamen and ministers to be a Charles Dickens novel. At the same time, there are also tales of contemporary misfits - like the "hero" of "The Sporting Life," a hilarious song that will be near and dear to the heart of anyone who was ever picked last for dodgeball in gym class.

Picking out highlights from this collection of small and large masterworks is difficult, but my personal favorites include "Sixteen Military Wives," which neatly skewers everyone from conservatives to liberals to, especially, vacuous network news reporters, and the lurid epic poem "The Mariner's Revenge Song," which should be made into an illustrated comic. Other faves include "On The Bus Mall," which is reminiscent of the fabled La's one and only self-titled album, and "Engine Driver" which sounds like an R.E.M. tune as recorded by Jeff Mangum.

All in all, "Picaresque" is one of those way cool "finds" you love to tell certain friends about - you know, the ones who are open to the idea that an accordion can sound terrific in a rock band.

The cover of the Decemberists' new release is the first hint of what to expect: a literate yet melodramatic set of songs, done with an unusual musical blend of British folk-rock and old-style musical theater. Colin Meloy hasn't shaken his penchant for writing songs about doomed and tortured souls. "We Both Go Down Together," for instance, is a rather upbeat tune about two lovers' suicide. And then there's "The Mariner's Revenge Song", a sea-shanty epic that reminds us in a colorful way how revenge is a dish best served cold. No one has really done music like this since Steeleye Span, and The Decemberists have definitely created a unique sound in carrying on this kind of musical tradition. They're obviously not for everyone, but anyone who enjoys rich, dramatic storytelling in the style of the old English ballads, will enjoy this CD.

This is easily my favourite album of the year or the decade. Every song is brilliant and unique. Every time I listened to a song on this album I thought I had heard one of the best on the CD, but then the next I heard would match the last or even top it.

That said my favourites overall are:

'The Infanta' with its blaring fan-fare and spectacular imagery in the lyrics

'We Both Go Down Together' which has an incredibly catchy tune and ttouching lyrics

'The Sporting Life' which is similarly catchy and rather upbeat

And finally the epic masterpiece of the whole CD - 'The Mariner's Revenge Song'. The latter is the best song this band has produced and that means it's one of the best songs produced this decade. At around 9 minutes it never once gets slow and apart from one verse there is no repitition at all in the lyrics as the story unfolds. The song lives up to its title - it is very vengeful and curiously satisfying to listen to.

Some have criticised this album of being overly wordy in the lyrics. Others have gone further and said that the band is arrogant and pretends to be clever. These people obviously would rather the endless, repetitive, bland lyrics that are prevalent in 95% of modern music. Heaven forbid any band should have a vocabulary of more than 6 words...

As one will see, however, by a brief scan down this page, the negative comments are very much in the minority. There are a few people who simply don't get this. Well, their loss. Everyone else seems to absolutely love this album and this wonderful, unique band.

Here's the thing about the Decemberists, you either love them or hate them-- and I don't think anyone liked them on the first listen. I for one bought their first album on a recommendation and HATED it on the first listen. But since I had gone retail, I decided to give it one more go so I wouldn't have completely wasted my money and found that I... LOVED it!! It's all the things I like best in a band. Lyrics complex enough to keep my interested (not just mindless fluff meant to fill the blank air, but actual substantive stories, ballads, and tragedies), intelligent word choice, alternative and varied instruments and a quirky singer. Most importantly, The Decemberists have the ability to draw me into their music in a way few bands or artists are able to. When you listen to them you are the pirate's captor, the lovelorn suitor, or the prostitute. Colin Meloy grabs you by the ear and doesn't let you out of his lover's embrace until the cd is over. Beware if you are into casual listening, because this cd will suck you into their world; and what a gritty, beautiful world it is.

In an age where the storyteller has all but been lost Colin Meloy of The Decemberists continues to write beautiful and haunting epics that hearken back to a time of sequined, laced concubines and shipmates lost at sea.

Picaresque, the latest Decemberists release, is an appropriately named group of stories centering on odd heroes and the endless pursuit of love. Meloy continues to do what he has done so well on previous offerings. Rather than writing simple, happy love songs he writes pieces about death, revenge, espionage, and sports, of all things. Amidst these varying themes is the constant Decembrists style of literary imagery conjuring up rich pictures of ships sailing and lasses crying on shorelines.

What's truly wonderful about this album is that Meloy has chosen some new topics for his writing. Rather than just writing about pirates and prostitutes he writes about spies ("The Bagman's Gambit") and sports failures ("The Sporting Life"). He even tackles modern day issues in "16 Military Wives," a song about American Imperialism and Celebrity involvement.

"The Sporting Life" is one of my personal favorites. It's an upbeat song about falling down during a soccer game. The song talks about the speaker's father having high hopes for his athletic ability, his girlfriend being arm in arm with the captain of the other team, and his coach acting disappointed about putting him in the game in the first place. I wonder if this song is a little autobiographical. I'm guessing that a large portion of The Decemberists fan base can relate to such traumatizing experiences.

I was pleased to see a song like "16 Military Wives" on this CD, or anywhere for that matter. Rather than just attacking the military and America's overseas involvement Meloy attacks self-righteous celebrities and general American apathy as well. I'm glad somebody involved in such a liberal business had the guts to denounce others in that area and actually realize that being famous and complaining about something is completely useless. My favorite lines are "15 celebrity minds, leading their 15 sordid, wretched, checkered lives/Will they find the solution in time using their 15 pristine moderate liberal minds?" How deliciously sarcastic and biting that is; I just love it. Every line in this song is gold and the use of numbers is so elegantly done that they weave together and flow off Meloy's ever-acrobatic tounge; Meloy continues to find ways to impress me. I consider his lyrics to be amongst the most eloquently conceived today.

"We Both Go Down Together" is another gem. It is a song about love in a class divided time. The speaker is a son of "wealth and beauty" and his love is "a dirty daughter from a labor camp." At the end of the song the lovers fall together from a vast veranda, ending their lives in love so their souls can fly together. The song is gorgeous, the lyrics are cryptic, but vividly clear; this is classic Decemberists.

The climax of the album is the epic "The Mariner's Revenge Song." The song takes place in the belly of a whale between the two surviving members of the whale's attack. The speaker is a young mariner; he's recalling the events of his life that led him to be where he is and how the captain he is trapped with shaped all of those events. At nearly nine minutes it is easily the longest track on the album. I won't ruin the story for you as it's much better told through song. I read somewhere that this track was recorded live capturing all of the raw energy of it. The vocal combination of Meloy and guest singer Petra Haden makes this song the most emotionally-charged and spine-chilling on the album.

The music on this album represents a step forward for both Meloy and the rest of the band. The band took all of their old musical nuances and expanded them into a new realm of musical variety. The band chose to include some horn arrangements on this album which gave the music a new and exciting sound. While the horn parts themselves aren't particularly inspired, they also aren't in any way overpowering. They merely provide an addition to the work the band is already doing, ensuring that the band will be able to perform these songs without horns later without any trouble at all.

Everything that seasoned fans have come to expect from the band is still here. If you came expecting the sound of an accordion on a ship's deck or the quiet sound of Meloy singing along to an acoustic guitar you won't be disappointed. This album mixes the cryptic, haunting verses, melodic choruses, and vivid lyrical passages that have brought The Decemberists a devoted fan base and a place in the hearts of music critics across the nation.

A little sidenote to all you trivia buffs: Chris Walla of Death Cab for Cutie produced and mixed this album. Also, don't miss the "Made In Canada" sticker on the back!