Album Review: The Decemberists - The King Is Dead

Upon reading various media coverage on the release of the new Decemberists album, there's something I find rather odd. For some reason their new disc, The King Is Dead is being touted as some kind of grand scale departure from the signature sound they've forged for themselves over the course of the last 5 records. This puzzles me. OK, I will agree that this is an overall different sounding album, and I was a little surprised at it's simplicity after 2009's majestic opus, The Hazards of Love. However, what I am hearing with this album is something the band has been naturally progressing toward, and it seems maybe I'm the only one hearing it. Well, maybe not so much as a natural progression, as more of a welcomed regression. Let's make one thing clear. I am a big fan of roots inflected rock music. Whatever you may want to brand it. Alt-Country, Roots-Rock, Folk Rock, whatever. It all just strikes me as very earnest, impassioned and deeply rooted music, driven by tasteful soundscapes and honest songwriting. What had endeared me to the Decemberists in the first place was their elegant use of rustic tones, with the integration of accordion and banjo with their intelligent, indie rock resonance. As much of a fan as I have been of their previous albums, I couldn't help but yearn for those country/folk tinged harmonies to become much more flourished. Don't get me wrong, I fully appreciate everything that The Crane Wife and The Hazards of Love have accomplished as full scale artistic statements, and wouldn't change anything about them. They really are masterpieces in their own right. It's just that those rural subtleties that have been lurking just under the surface the whole time, have just been a little bit of a tease and have left me craving something more organically developed.

Well, if all the previous albums have been the tease, I would be tempted to liken this new record to the ensuing orgasm. On the ambiguously titled, The King Is Dead, the band has completely abandoned their over the top indie rock pretenses, and in the words of Neil Young, "got back to the country". Gone are the ambitious art-rock concept pieces with the delicately understated southern twang, and here we get the band's most direct and accessible record to date. When you think about it, it only makes sense. Where else could they possible go after The Hazards of Love? The heavily themed, mammoth rock opera that is now being worked into a broadway production, set the bar pretty high for large-scale concept albums. It seems like a logical progression to avoid trying to outdo what has been done, and rather just get back to basics. The King Is Dead is a glorious celebration of traditional American sounds, with warm, austere soundscapes and graciously idyllic textures. The record is surprisingly immediate with it's straightforward arrangements, and in-your-face melodies. It's impressive how the band has managed to effectively streamline the raw basics of their sound into a very simple, yet engaging piece of work. Quite simply put, this is a very straight up folk-rock album, that doesn't sound that far off from Blue Rodeo. Also, the fact that Gillian Welch appears on here to contribute her sweet vocal harmonies, just makes this effort all the more complete.

The lead off track, "Don't Carry It All" wastes no time in setting the tone, and making a statement as to where this record is going to take us. It begins with a straight beat and a bold harmonica riff, which already paints a vivid landscape of endless prairies and lonesome highways. The tone doesn't let up, as "Calamity Song" takes the tempo up a notch with an upbeat rhythm driven by an arpeggiated acoustic guitar riff, followed by a sweeping, tuneful chorus. The album's shining moment comes with the dark and emotional balladry in "Rise To Me" with it's weeping pedal steel, and Welch's high mountain harmony. The song's sweet, melancholic melody echoes sentiments of Gram Parsons and Emmylou Harris. The overall aesthetic of the album is best summarized in "Down By The Water", which is very catchy, but at the same time carries an ominous undertone that is rather suggestive of R.E.M. Although, the fact that R.E.M.'s own Peter Buck provides 12-string guitar duties on the song may have more than something to do with it.

Despite the simpler musical arrangements, frontman Colin Meloy's lyrical vocabulary, as always, reaches all corners of the English lexicon. In fact, lyrically speaking, the album continues the band's tradition of still carrying somewhat of a thematic element to it. There is a vague lyrical concept running through the record that explores the ongoing cycle of the seasons. This is perhaps punctuated by the 2 companion pieces, "January Hymn" and "June Hymn", which are both beautiful, sensitive ballads that almost serve as solo performances by Meloy with their very sparse instrumentation. The album closes out with the sad, lonesome lament, "Dear Avery" which is a bittersweet melody that prominently showcases Meloy's unique trademark vocal delivery, well complimented by Welch's rich harmony.

This album is very easily my favourite of the year so far. It almost feels as though the band has recorded this project as a special treat just for me. Everything I love about great roots music is exploited generously throughout this recording. Minor chorded dirges, and Appalachian barnstorms colorfully embellished with fiddle, mandolin and steel guitar. Although there are many critics bemoaning the abandonment of the band's ornate extravagance, and accusing them of relinquishing themselves to something more ordinary and prosaic, I wholeheartedly disagree. It feels to me like it has been a long time coming, and is part of the great master plan. It also seems to me that the bold indulgence of these types of traditional sounds after such elaborate, monumental efforts is a further testament to the dedication these guys have to staying creative. I wouldn't necessarily expect this album to mark the direction the band will be going forward, as it feels more like a short stop on a long journey of musical reconnaissance.

http://decemberists.com/
http://www.myspace.com/thedecemberists

Money In The Banana Stand - There's Always

Despite their ridiculously atrocious name, Money In The Banana Stand are a bona fide punk rock powerhouse from Charlottetown, P.E.I. I like their album, There's Always. I recently did a review of the record for noisography. Check it out here:

http://noisographyreviews.blogspot.com/2011/02/album-review-money-in-banana-stand.html

I also did a review for the Benjamin Russell album, Rockhill. To sum it up, don't waste your time. Read the full review here:

http://noisographyreviews.blogspot.com/2011/02/album-review-benjamin-russell-rockhill.html

Album Review: Social Distortion - Hard Times and Nursery Rhymes

      It seems to me that Social Distortion are one of those bands. You know, one of those bands that either you love, or you've never heard of them. It's hard to have anything but respect for these guys. Enduring many rehab and jail stints, hiatuses, and the death of co-founding member Dennis Danell in 2000, the band continues on with frontman Mike Ness as the only remaining original member. One thing I will say about Social Distortion is that they are consistent. Although, they damn well better be with the amount of time it takes them to release an album. With their output being so solid, paired with how infrequent it's actually released, the unveiling of a new Social Distortion record has come to be a monumental occasion in the world of punk rock. Except it would be entirely unfair to strictly associate the band with the punk rock scene alone. Although credited with helping kickstart the L.A. punk scene in the early 80's with peers Youth Brigade and X, they have long since established themselves as a rock and roll tour de force. Their 1983 debut, Mommy's Little Monster was a seminal punk landmark, which along with debuts by Black Flag and Minor Threat, helped mold the landscape for 80's hardcore and drive punk rock back into the underground. (For the time being, at least). Never ones to follow any kind of musical trends, their 1988 album Prison Bound found the band driving a stake into the ground of a new sound altogether. Well, if not a new sound, at least a new blend of familiar ones. Like no one else before them, Mike Ness and group began running a thread of country and rockabilly tones through their already established punk rock bombast. Perhaps becoming complacent with Reagan-era punk rock in the late 80's, Ness re-discovered his roots in sounds influenced by the Rolling Stones, Hank Williams and Wanda Jackson. Albums to follow, such as their 1990's self-titled, and 1992's Somewhere Between Heaven and Hell were classic collections of hard luck ballads and rock and roll love songs that sounded like they should have come complete with a leather jacket, switchblade and self-tattooing kit. By the time Green Day was about to re-introduce punk rock to the disaffected, post-grunge youth and blow it wide open into the mainstream, Social Distortion had already forged their own brand of roots-fueled punk that created the ideal soundtrack for whiskey-soaked heartbreak, redemption, and wide eyed rebellion.

      The latest from Social D's catalog gives us Hard Times and Nursery Rhymes. This is the long anticipated follow up to 2004's near masterpiece: Sex, Love and Rock 'n Roll. Was it worth the wait? One look at the track listing alone gives us an idea that we are already treading into familiar and comfortable territory. The songs prove this is mostly the case indeed, albeit with a couple of surprises. I was immediately taken in with the album's first proper track, "California (Hustle and Flow)". The song is driven by a dirty blues shuffle, and carries into a soulful Stones-esque chorus complete with female gospel singers on backup. There are a few classic sounding gems, such as "Diamond In The Rough" and "Machine Gun Blues" built on the tried and true formula of driving power chords, soulful melodies and Ness's trademark gruff vocal delivery. What I like most about this record is the heavier emphasis on harmony vocals, which have been present in the past but not near as prominent. Case and point is the chorus on the heart-wrenching ballad "Bakersfield" that sweeps you in with densely layered harmonies cutting through the mix. The album is mostly good. There are plenty of driving rhythms, sincere melodies and swaggering punkabilly. Except I do have a few gripes. One of my favourite things about Social D in the past, has been Ness's painfully honest and poignant lyrics. Classic tracks such as "Ball and Chain" and "When The Angels Sing" were highlighted with simple, yet deep and impassioned lyrics that could speak to the downtrodden vagabond soul. On this album, they straddle the line between poignant and trite. It almost seems that Ness is so arrogant as to not bother really trying anymore. In the past he's been able capture the true essence of the sensitive rock and roll rebel who's down on his luck, with pained and confessional lyrics that anybody with a whiskey buzz and life of regret can relate to. Unfortunately, some of the lyrics here start to sound a bit tired and cliched. Also, the album's instrumental opener, "Road Zombie" is a pretty killer riff but sounds like an unfinished song. Had they added some lyrics and a chorus, it could have the the album's most rocking number.

     Much has happened to the face of punk rock in the past decade or so. Since claiming widespread mainstream appeal in the mid-90's, the scene has become diluted to say the least. New sub-genres have emerged from the shadows. Emo. Screamo. Post-Hardcore. Pop-Punk bands have invaded pop radio and reality TV. The very ethic from which punk rock was born in the 1970's is completely lost on today's youth, and has become everything that punk was rebelling against in the first place. Social Distortion is one of those bands that have been around since the beginning, and have stayed true to their original vision. Amidst the chaos of trendy mallrat punks and mopey emo-kids, its refreshing that these guys are still around making music that conjures up images of hot rods and pin up girls, and makes you want to grease up your hair and take your bike out on the town.

www.socialdistortion.com
www.myspace.com/socialdistortion

Top 10 Love Songs

I have a new album review coming very soon. In the meantime, just for something to do here's a quick list of the 10 songs you should have on your Valentine's Day playlist.

10. We Don't Mind - Hayden
9. Blind Love - Tom Waits
8. Don't Forget Me - Harry Nilsson/Neko Case
7. Nights In White Satin - The Moody Blues
6. A Pair of Brown Eyes - The Pogues
5. Lovesong - The Cure
4. Crimson and Clover - Tommy James and The Shondells
3. No One's Gonna Love You - Band of Horses
2. Wicked Game - Chris Isaak
1. Nothing Compares 2 U - Sinead O'Connor