THE DECEMBERISTS
The Crane Wife
EMI
· Conceptual razzle-dazzle.
The Decemberists’ elevation from Kill Rock Stars-signed indie darlings into the ranks of EMI came as a surprise. What EMI thinks they’ll do with Colin Melloy’s brand of narrative sea shanties and indie-folk theatre pieces in today’s hit-driven major label environment remains to be seen (keep in mind that Radiohead, perhaps the most forward-moving major label artist, is currently without a label home, opting not to re-sign their own worldwide deal with EMI). If EMI isn’t deserving of props enough for taking on the Decemberists, Melloy and friends deserve shovel-loads of "artiste cred" for entering into the major leagues with The Crane Wife.
There are many highs – the spooky "Shankill Butchers" and elegant opener "The Crane Wife 3" to name just two. However, much of The Crane Wife is marred by a slight sense of disconnection. Melloy’s admitted the inspirational Japanese story behind The Crane Wife’s narrative arc even confuses him (man marries woman, woman makes beautiful silk behind closed doors, man opens door he’s been barred from entering and realizes his wife’s a crane who then flies away), uncertain of the true lesson behind it. It’s easy to sense The Decemberists’ tenuous grasp of their muse.
There’s no major knock to make, however, given how exuberant and layered The Decemberists have proven themselves time and time again. Sure, The Crane Wife feels more like Melloy’s show than ever, but the pure idealism and thrill behind it (even the three-part "The Island’s" daft dribblings into prog) keep The Decemberists’ loftiest ambitions aloft. The Crane Wife takes its time, and in order to explore it fully, so should you. Perhaps they’ll throw everyone for a loop and be huge after all.
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