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The Crane Wife

by

The Decemberists

 
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The Crane Wife
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Avg: 4.0 (99 ratings)

Colin Meloy and friends return with even more beautifully wrought murder ballads, Civil War tragedies and doomed Shakespearean romances.

  • We Say...

    The Crane Wife retains the bullish folk-rock character of 2005's Picaresque, its 12-string guitars fattened, Arcade Fire-fashion, with the grainy textures of wheezing pump-organ, accordion, hurdy-gurdy and dulcimer appropriate to Colin Meloy's beautifully wrought murder ballads, Civil War tragedies and doomed Shakespearean romances. Two three-part suites significantly expand his ambitions, however: "The Crane Wife" itself is an extended rumination on human-avian interaction comparable to Joanna Newsom's "Only Skin," while "The Island" shifts from marshland bird-life to a grisly trad-folk narrative of rape and murder, its dramatic tone and pulsing Hammond organ conjuring up the bizarre prospect of Emerson, Lake & Palmer covering Dock Boggs or the Carter Family. Recorded with help from local Portland, Oregon, talent like Laura Veirs and her producer Tucker Martine, the results have a strangely compelling faux-antique manner.

  • They Say...

    Colin Meloy and his brave Decemberists made the unlikely jump to a major label after 2005's excellent Picaresque, a move that surprised both longtime fans and detractors of the band. While it is difficult to imagine the suits at Capitol seeing dollar signs in the eyes of an accordion- and bouzouki-wielding, British folk-inspired collective from Portland, OR, that dresses in period Civil War outfits and has been known to cover Morrissey, it's hard to argue with what the Decemberists have wrought from their bounty. The Crane Wife is loosely based on a Japanese folk tale that concerns a crane, an arrow, a beautiful woman, and a whole lot of clandestine weaving. The record's spirited opener and namesake picks off almost exactly where Picaresque left off, building slowly off a simple folk melody before exploding into some serious Who power chords. This is the first indication that the band itself was ready to take the loosely ornate, reverb-heavy Decemberists sound to a new sonic level, or rather that producers Tucker Martine and Chris Walla were. On first listen, the tight, dry, and compressed production style sounds more like Queens of the Stone Age than Fairport Convention, but as The Crane Wife develops over its 60-plus minutes, a bigger picture appears. Meloy, who along with Destroyer's Dan Bejar has mastered the art of the North American English accent, has given himself over to early-'70s progressive rock with gleeful abandon, and while many of the tracks pale in comparison to those on Picaresque, the ones that succeed do so in the grandest of fashions. Fans of the group's Tain EP will find themselves drawn to "Island: Come and See/The Landlord's Daughter/You'll Not Feel the Drowning" and "The Crane Wife, Pts. 1 & 2," both of which are well over ten minutes long and feature some truly inspired moments that echo everyone from the Waterboys and R.E.M. to Deep Purple and Emerson, Lake & Palmer, while those who embrace the band's poppier side will flock around the winsome "Yankee Bayonet (I Will Be Home Then)," which relies heavily on the breathy delivery of Seattle singer/songwriter and part-time Decemberist Laura Veirs. Some cuts, like the English murder ballad "Shankill Butchers" and "Summersong" (the latter eerily reminiscent of Edie Brickell's "What I Am"), sound like outtakes from previous records, but by the time the listener arrives at the Donovan-esque (in a good way) closer, "Sons & Daughters," the less tasty bits of The Crane Wife seem a wee bit sweeter.

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