Photo:
2009's 'The Hazards Of Love' saw something of a culmination for The Decemberists, of albums so steeped in invention and ingenuity that they bordered on becoming intimidating to a casual listener. But their latest release sees a bold departure from the conceptual thought that defined previous works - embracing said casual listener, 'The King Is Dead' is The Decemberists in their most simple form.
But in doing the good deed and stepping aside from writing albums as complex as their past two ('The Crane Wife' builds upon a tale from Japanese folklore, whilst 'The Hazards Of Love', spanning an entire hour, was self-described as a rock opera), by simplifying everything, they've taken the risk of alienating an adoring and loyal fan base hanging on Colin Meloy's every move. It is essentially a no-win situation. Except from the fact that in 'The King Is Dead', we're given songs so charming and immediate that you can forgive the five-piece for settling down for the first time in their ten-year tenure as one of the more complex and intriguing bands around.
'The King Is Dead' pays a direct and noticeable homage to R.E.M and in particular their second album, 1984's 'Reckoning'. Having listened to the record, Meloy took it upon himself to re-ignite that flame and incorporate R.E.M's own style of song-writing into his band's work. To complete this alter-ego, he hired guitarist Peter Buck to assist in making something wholesome and true to the plan.
And from 'Calamity Song's triumphant chorus onwards, it begins to dawn on you just how very stark R.E.M's influence is. Although characterised by old-fashioned Americana, 'The King Is Dead' puts the band in a completely different light; playing songs that fizzle into the depths of your memory glands, more effectively than at any other point in their career so far. The sedated, campfire-companion 'Rise To Me', more akin to Band Of Horses than a highlight on 'Reckoning', is equally as devastating. The absolute standout however, comes in the form of penultimate track 'This Is Why We Fight'. Offering a newly-founded glimpse of drama and brutishness, Meloy declares "When we die, we will die, with out arms unbound" against a backdrop of pounding drums. It contrasts to everything else on the album and like a bolt of light in the dark, it re-asserts The Decemberists' talent of surprising their listener.
'This Is Why We Fight' is an encouraging solace to fans who might cave in to the thought that their favourite band are putting their feet up. They remain an unrivalled force in music and despite the concern that 'The King Is Dead' is nothing more than a generous offering of pastoral American rock, you wouldn't bet against the group's next work being their most challenging.
