King Is Dead

"The King is Dead" the new and sixth album by Portland's finest "The Decemberists" sees Colin Meloy and chums return with an album of much more straightforward songs than their previous theatrical concept outing "The Hazards of Love". The consequence for this reviewer is unadulterated pleasure since while Hazards was an impressive piece of work it is the Decemberists of the "Picaresque" era which really starts the pulses racing. Having listened to this album for two weeks streaming on NPR you will find a hugely accessible and accomplished set full of crisp Americana based songs with enough hooks to catch mackerel as evidenced by the thumping opener "Don't carry it all". In the background throughout "TKID" you will also detect the influence of two master musicians namely the jangle guitar miester Peter Buck from REM and one of gods representatives on earth, Gillian Welch the great Appalachian style country singer who sings on seven of the ten tracks.

Listen to the huge alt country ballad "Rise to me" or the gentling rolling "All arise" full of guitars, fiddle, accordion, harmonica and pedal steel to detect Welch's direct influence and it is a force for good. Not that this greater simplicity has blunted Meloy's wordy gymnastics. Anyone who can rhyme "enzymes" with "fault line" deserves a pat on the back as does the use of REM style "Reckoning" era motifs in the brilliant "Calamity song". The rollicking "Rox in the box" sounds like a nod to Mike Scott and his folk fest "Room to roam" and for good measure the Decemberists throw in a snatch of the folk standard "Raggle Taggle Gypsy" to add spice. Meloy's acoustic guitar picked ballads are always lovely and sumptuous and "January Hymn" is one of his finest yet and will one day figure on the "Best of the Decemberists". To add icing to the cake they partly reprise it with the equally sublime "June Hymn" later in the album. Another of the album's many highlights "Down by the water" starts with a haunting Springsteen like harmonica and brilliant backing vocals from Welch and combines with faint echoes of REMs "The One I love" tantalizing in the background. It's stirring stuff and destined to rock summer festivals. Meloy also admits that the excellent "This is why we fight" owes a huge debt to the Smiths with its Johnny Marr guitar lines and rousing pace (perhaps the title of the album also tips a nod to the Smiths epic "the Queen is dead"?). The brakes are put on however for the final track the ever so gentle "Dear Avery" where Welch enlists her musical partners Dave Rawlings and fellow Portlander Laura Viers to provide backing vocals.

"The King is Dead" is an understated album devoid of complexity, twelve minute prog epics and Gentle Giant like chord progressions. As such if this is what attracts you to this great band then some disappointment will follow since the template here is Neil Young's simple wonder "Comes a time" which has provided Meloy with the source inspiration for the mood of the album. This is very much the Decemberists "Americana" roots album, strong on songs, melodies and with choruses designed to infiltrate your head with greater effectiveness than a Paul McKenna hypnotist session. It is a real pearl of an album and proves what a great songwriter Colin Meloy has become. All in all a fantastic opener for 2011.

For 'The King Is Dead', it seems that The Decemberists have gone backwards to go forwards. This album echoes the sound of their earlier albums, and not 2009's 'The Hazards of Love', an album that polarized both fans and critics. As you will see across many reviews, this album has a simpler sound, though that certainly isn't a criticism. The majority of the songs clock in at around 3 minutes and immediately hit the mark upon your first listen. Some songs are sombre, and some simply put a smile on your face, it accompanies every type of emotion. From the beautiful melodies to the sometimes soul-searching lyrics, this is an album that you won't regret buying, and one that you'll find yourself listening to for quite some time!

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, most endearing 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