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The Decemberists
Castaways and Cutouts
Splendidezine (or just "Splendid," to remove the wonderfully anachronistic descriptor "e-zine" from the title) was once a competitor to the now-mighty Pitchfork, but called it quits back in 2005. It's funny to go back and look at the site, which is still online, nowadays. It's like a time capsule, stuck a half decade in the past, with outdated graphic design, and randomly loading reviews on the front page from bands you and I have never heard of, and will never hear of again. But in the upper right of the page is a link, still alive, to the last feature interview they every did, with Grizzly Bear, years before they became the indie powerhouse they currently are. And in a way, that's perfect, because it really sums up everything that was great about Splendid. They ignored trends, they reviewed everything they received, and they never gave anything a quantifiable grade. They simply described what the music sounded like, who it might appeal to, and what positive attributes it had. Nothing was panned, nothing was ripped, nothing was lionized. And best of all, they offered audio samples of every record. That doesn't sound like a big deal now, but back in 2002 it was practically unheard of. Even Pitchfork only recently started linking to samples. Splendid had one for every album, right there on the page (in RealAudio format. Talk about dated.) But all these things combined to make Splendid the best place to actually find good new music. Hell, they pointed me towards the Decemberists months before they were even on the radar at most other music sites. And now they're dead.
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The Decemberists
Always The Bridesmaid EP
"Valerie Plame" is still a great, great song. And listening to it today really made me long for the 'old' Decemberists, despite the fact that the song could probably be considered 'new.' (Are we looking at two Decemberists, like how we have two Metallicas? Pre-Crane Wife and post-Crane Wife? Seems fair to me.)
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The Decemberists
The Hazards Of Love
Well, it seems that they've done it. The Decemberists have released an album that I just plain don't like. You can read my previous post about the album if you really care about why I don't like it, because my opinion hasn't really changed since then. Hell, you could read just about every other Decemberists post on here, because the theme has remained the same: They're just a better band, and Colin Meloy a better songwriter, when they stick to more humble pop songs. I don't mean that to bash them or something; their "humble pop songs" are exponentially better than 99% percent of their peers'. But it seems to me that they've already proven with The Tain that they can do a hard rockin' conceptual song set, but have also proven with The Crain Wife that they maybe shouldn't stretch that into an entire full length. I'm already just about tired of listening to it, and I can't imagine coming back to it much in the future, which is something I can't say for any of their other releases. Oh well; six out of seven isn't too shabby, I guess.
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The Decemberists
The Hazards of Love
11 tracks into the new Decemberists record and I've yet to actually hear a song. Lots of intros, a couple choruses, a handful of bridges, and a vamp here and there, but nothing that I would qualify as a "song." If you told me 5 years ago that the Decemberists would release a dark, heavy, experimental rock opera, I would've taken an entire bottle of sleeping pills and set my alarm for March 2009, because it just sounds too perfect. But now that it's here... I don't know. At least I have my new Mastodon album to look forward to. I just hope it's not a collection of anachronistic folk pop ditties about sailors and scallywags.
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The Decemberists
Always The Bridesmaid: A Singles Series
After looking for weeks to find it, I finally came across the Decemberists' "Always A Bridesmaid" records at the Cheapo on Snelling. It's a series of three vinyl-only singles (and B-sides) that aren't on any other albums or EPs, and are well worth the somewhat ridiculous pricetag. They all have beautiful die-cut and silver leafed packaging, and (as usual) cool illustrations by Carson Ellis. But beyond all that, the music is all really solid--especially first song "Valerie Plame," which is probably the best song they've done since "The Sporting Life." Most of the songs really prove a point I made on my previous Decemberists post; for all the focus they've put lately on big "proggy" arrangements and epic, quirky historical English-major lyrics, they might be at their best when sticking to simple pop tunes with much simpler lyrical themes. I mean, really, would you rather spend your time listening to "The Infanta," or "Grace Cathedral Hill"? And no, the answer can't be "neither."
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The Decemberists
Castaways And Cutouts
Enough years have past now that I'm just going to go ahead and say it: I think Castaways and Cutouts is the Decemberists' best album. Yes, everything they've done since has all been excellent in its own right, but there's something about Castaways that lets it dodge some of the potholes that their later albums occasionally hit. Since it was their first album, there's a certain lack of self-consciousness that makes all of the ridiculous lyrics seem just a little more honest, and the arrangements are interesting, upbeat, but never overblown. Basically, they weren't trying to outdo themselves yet. Funny how when it came out, everything written about them compared them (favorably and otherwise) to Neutral Milk Hotel. And now, listening to the record years later, that comparison doesn't enter my mind for a second.