Customer Reviews

The Tain

5 star:		(8)
4 star:		(5)
3 star:		(1)
2 star:		(0)
1 star:		(1)

 

 

Everyone knows the Decemberists as being a sort of light indie-pop/folk band, with slightly odd songs and a slightly sunny feel. Not the sort of band to do a mythic concept album, right? Wrong. In what may be their best release so far, the Decemberists released "The Tain," a rich musical reinterpretation of Irish legend.

It's basically one song in five movements, starting off with a quietly sneering song from the "Crone." It then switches to a dark mix of bass and electronic instrumentation, before changing again to a stately, mournful acoustic ballad, where Meloy's cries of "On this stretch of ground/I'll lay me down" are echoed by the "Chorus of Waifs."

The fourth movement opens with Rachel Blumberg's soft singing, over a muted Hammond ballad. The final part of this musical tapestry is mostly a conversation between a woman and daughter, a percussive rock song that snaps and snarls, before ending with another word from the Crone.

"Tain Bo Cualnge" was the inspiration for this EP -- it was originally a story about cattle raids and legendary heroes in ancient Ulster. The Decemberists only loosely retell it, through offbeat rock songs and peculiar ballads. What's really striking is the musical reinvention -- nowhere are the more charming tunes of their full-length albums. This is dark, it's rock, and it's wonderfully eerie.

Meloy and Co. don't let the dark tone of the old myth get away from them -- in the middle of the fourth part, they burst into a kind of Celtic carnival tune. I'm not sure what it's supposed to signify, except that it sticks closer to the musical traditions of Ireland. The writing only falters at the beginning; the first part is pretty vulgar, and lacks the mythic tone of the following songs.

Colin Meloy seems to have found his vocal niche here. While he just sounds odd in light songs, here he sounds like the long-lost brother of Billy Corgan. It's a sound that suits him. He sounds particularly good when singing intensely, drawing the word "blood" out to something like "Bloo-uh-ud!" And he fits against a backdrop of sharp percussion, solid riffs and basslines, as well as some majestic waves of Wurlitzer, Rhodes, and piano.

In "The Tain" EP, the Decemberists seem to have found one of the kinds of music they do best. A unique concept album, and definitely one worth checking out.

Everyone knows the Decemberists as being a sort of light indie-pop/folk band, with slightly odd songs and a slightly sunny feel. Not the sort of band to do a mythic concept album, right? Wrong. In what may be their best release so far, the Decemberists released "The Tain," a rich musical reinterpretation of Irish legend.

It's basically one song in five movements, starting off with a quietly sneering song from the "Crone." It then switches to a dark mix of bass and electronic instrumentation, before changing again to a stately, mournful acoustic ballad, where Meloy's cries of "On this stretch of ground/I'll lay me down" are echoed by the "Chorus of Waifs."

The fourth movement opens with Rachel Blumberg's soft singing, over a muted Hammond ballad. The final part of this musical tapestry is mostly a conversation between a woman and daughter, a percussive rock song that snaps and snarls, before ending with another word from the Crone.

"Tain Bo Cualnge" was the inspiration for this EP -- it was originally a story about cattle raids and legendary heroes in ancient Ulster. The Decemberists only loosely retell it, through offbeat rock songs and peculiar ballads. What's really striking is the musical reinvention -- nowhere are the more charming tunes of their full-length albums. This is dark, it's rock, and it's wonderfully eerie.

Meloy and Co. don't let the dark tone of the old myth get away from them -- in the middle of the fourth part, they burst into a kind of Celtic carnival tune. I'm not sure what it's supposed to signify, except that it sticks closer to the musical traditions of Ireland. The writing only falters at the beginning; the first part is pretty vulgar, and lacks the mythic tone of the following songs.

Colin Meloy seems to have found his vocal niche here. While he just sounds odd in light songs, here he sounds like the long-lost brother of Billy Corgan. It's a sound that suits him. He sounds particularly good when singing intensely, drawing the word "blood" out to something like "Bloo-uh-ud!" And he fits against a backdrop of sharp percussion, solid riffs and basslines, as well as some majestic waves of Wurlitzer, Rhodes, and piano.

In "The Tain" EP, the Decemberists seem to have found what kind of music they do best. Let's hope Meloy and his band stick to this richer, more majestic sound.

"Tain" serves as The Decemberists most connected, and dare I say it, heaviest project yet. A slight Heavy metal tinge with a Ancient Celtic tone replaces the Victorian Era feel of "Her Majesty the Decemberists" and "Castaway and Cutouts". Based loosely on the 8th century Celtic poem called, fittingly, "The Tain", this 18 minute, five song EP runs together like one large rock epic.

The band has indicated that their Third complete album, which has begun recording, will share a sound similar to the Tain. There will be a slight increase in guitar usage, and the CD will have a much stronger internal link between songs.

All in all, "Tain" offers a different way to view The Decemberists, just as good as they're older stuff, in a completely different way.

if you ask Lead singer Colin Meloy what his main influence for writing this album was, he'd tell you about his recent obsession with metal. Now dont piss you pants yet fanboys. Colin's only grown a small likein to Black Sabath. This doesn't mean that he's going to grow his hair out, buy a Camarro and headbang. The band is still the loveable, accordian-rifftastic pop band that we all love. Its just that they've thrown in a couple of heavily distorted guitar riffs. To tell you the truth its kinda refreshing (in a morbid sort of way).

This one track, 5 movement piece is a "concept" album (for the lack of a better word), based on the celtic journy of Queen Medb's army, and their assault on the town of Ulster. The intention of this raid is to capture prize bull of this town.

There are also other stories told but this one is the most interisting.

Whail this ep may not be as creative as Cutouts and Casaways, its nontheless an interesting piece.

I have only listened to this 50 or so times. I have only just heard about the Decemberists, and let me tell you, I feel pretty stupid. I have tried to describe this cd specifically to some of my friends, but I always end up just thrusting this tri-fold masterpiece at them and storming off. I would take this cd out of my walkman, put it into my cd player in my kitchen, take it up to the bathroom while I showered, put it in my car, hum it at work, then put it back in my walkman so I could listen to it in bed. Now I am trying to see if it is one of those cds that is good enough to impress various women. Shallow? You bet. But it means that, as pathetic as I may be, I have placed this album alongside the beta band, king crimson, the pixies, temple of the dog... etc. The may sound nothing alike, but we're talking quality people. This is noteworthy, worthy of note. Buy this album and you will not be disappointed, and if you are... well, you and I wouldn't get along very well.

When I first heard about this EP I was faintly apprehensive. The Decemberists excel mainly (and brilliantly) at folk/pop/sea chanty songs preoccupied with gut shot french canadian bootleggers, pirates and homosexual subtext. Now they've produced an 18-minute song suite based on the Irish equivalent of The Illad?

Thankfully my fears were completely unfounded; for its entirety The Tain is fascinating and totally entertaining. From the pseudo Sabbath opening to the recurring instrumental motifs throughout as well as a deft blending of most of the musical idioms they've worked in before, this is as intricate and clever a composition as I've heard in a long time. High points? Colin Meloy's stretching the word "blood" into a four syllable howl as the band swells behind him; Rachel Blumberg in her best "Chimbley Sweep" widow whisper making the proceedings both quieter and creepier; "Charlgemane in a motorcade"? Lyrical brilliance.

In other words, like eveything else they've done thus far, The Tain is the work of an inventive, superior band. HIGHLY reccomnded.

This is probably the Decemerists' best offering yet. After seeing them in support of Crane Wife, I was left thinking, "it would have been awesome if they had played The Tain instead of the whole Crane Wife movement." If you like the good stuff, this is probably the best thing they've done yet, and I'm pretty into them. And I don't think it's like if anyone married Pink Floyd.

This is a brilliant piece of work, a run-up to the greatness that is "Picaresque," and some of the Decemberists' best work so far.

But if you want a really interesting listening session, put on "The Tain" and then follow it up immediately with "Pictures of a City" by King Crimson off their neglected album, "In the Wake of Poseidon."

Interesting, no? I wonder what else Colin has been listening to besides Black Sabbath?

Regardless, "The Tain" is more proof that the Decemberists are rapidly becoming one of the more impressive bands around. They are not locked into anyone's formula and don't follow anyone's rules but their own. In an era where so many bands follow lockstep with one another ("Coldplay, meet Starsailor, I saw you both going through Radiohead's Pink Floyd rarities collection!") and so many others go whoring after money and popularity, the Decemberists' singular disregard for anything except their own artistic vision is beyond refreshing.

The beginning is quite shocking - distorted guitars, heavy rhythms. Underneath it's still the same group, and highly recommended if you enjoyed their albums.

This very possibly might be the best progressive effort made by the decemberists, with the exception of The Crane Wife... maybe. Absolutely a great piece of music!