Decemberists Embrace "a Turning of the Season"

When I first set out to write this review I was not even a casual listener of The Decemberists.  Four albums later, however, as well as picking the brain of their number one fan (my roommate), has brought me to have a much greater appreciation for The Decemberists. Their newest and sixth studio album The King is Dead is a short collection of lively and simple country ballads, and it reflects the core of The Decemberists' ability to mix genres outside of their own brand of indie pop while telling stories through their songs. 

 Lighthearted and seemingly-effortless, The King is Dead is a departure for The Decemberists in many ways. The musical influences are less layered and complex than in previous albums, and the storytelling in the songs is less literary and not purely narrative. Their last album, The Hazards of Love, was a rock opera with a single narrative, with a large amount of swelling reverb and hard rock thrown in. While The Hazards of Love was dense, literary, and ambitious, The King is Dead is sweet, easy, and fun. Outright, it is less artistically complex than some of their previous works, but it is still new and well-written music, and represents a necessary period of simplicity. It is refreshing to hear The Decemberists tone down the narrative depth of their work after such a complex and full album as the Hazards of Love, and return to uncharted roots as they explore American Folk.

 The biggest departure The King is Dead makes is its heavy American Folk influences – at first startling, as The Decemberists have drawn upon British Folk in most of their previous albums. But The Decemberists' creative and skilled instrumentation keeps their folk sound fresh, throwing in everything from horns to organs, and even a synthesizer. It may seem that compared to their older albums like Picaresque and Hazards of Love the musical influences are less layered and nuanced, and as a result this album might feel surprisingly stripped down. However, the different tone of this album seems an intentional hiatus from a complex and rich sound, focusing on a freer, more accessible style.

 There have been some negative comments on how The Decemberists have copied other musical styles (mainly R.E.M.) rather than blending them into their already original and unique indie pop/rock core. While the lead singer of R.E.M. does sing on three of the tracks, and the lead singer Colin Meloy cites them as an influence on this record, I think there is no reason to raise a fuss. Familiarity is an important part of this album, not an issue with it. Overall, The King is Dead is an entertaining, solid album. I find it a delight to watch how my favorite artists' music evolves and how sometimes that allows us too see past the band's image and into them as people. It seems that for The King is Dead, Colin Meloy and the rest of the band took a break, slowed down, and had some fun.

As far as the title of the album, after reading many considerations and attempts at explaining the title, I have heard that it is a reference to Michael Jackson's death, a Smith's album, and the fact that The Decemberists used American instead of British influences. I don't know if there is an answer, and frankly I don't think that it is important to the album conceptually. As far as I am concerned, The Decemberists have both been around long enough and are talented enough to claim the death of anyone they please.