Colin Meloy – bookish leader of Portland’s alt-folk outfit The Decemberists – recently told Clash their next album would be a “folk opera”, and his claim really rings true upon hearing ‘The Hazards Of Love’.
The signs were always there, of course – from previous LP ‘The Crane Wife’’s ever-curious character plotting, to their multi-instrumental forays – but ‘The Hazards Of Love’ can only be described as a progressive record. Its built-in fables and vast instrumentation instantly bring to mind ‘70s prog, done only to middling pretension: minus the inclusion of double-necked guitars, 19-minute solos and caped twunts muttering about goblins. A doff of the cap is also made to the golden era of rock operas throughout – think ‘Tommy’ gone organic – but Meloy’s fascination with the British folk revival keeps it from veering into Circulus territory. Like all the best rock operas, it’s a journey, and one that sees their customary folk of old laced with shots of crunching great Zeppelin riffs, not to mention the choirs, weaving harpsichords, strings and countless other additions.
It’s a complex affair, and to explain the folkloric narrative of characters Margaret and William that runs throughout here would be as much fun as wading through a broadsheet dissection of a cinema score – let’s just say the press release is four pages long. A prelude aside, the album opens with ‘Hazards Of Love 1 (The Prettiest Whistles Won’t Wrestle The Thistles Undone)’, and the tracks soon begin to segue together almost unnoticed. But what is noticeable is the inclusion of additional vocalists Becky Stark and Shara Worden.
‘A Bower Scene’ sees things kick into life: theatrical guitar bursts building into a savage, Sabbath-esque affair (complete with archaic language references – aren’t we nearing goblin territory here?). Their vision to mix the more leftfield elements of the Brit folk revival and the blasting zeal of classic metal works best on ‘The Wanting Comes In Waves/Repaid’, which flips from an opening lament to a wall of Arcade Fire-like grandeur, before merging into a blues-metal strut. Downbeat closer ‘The Hazards Of Love 4 (The Drowned)’ throws up another highlight, but at an expansive 17 tracks woven together it’s wise to say ‘The Hazards Of Love’ works best as a whole.
It ultimately throws up such a vast cauldron of ideas that it’s impossible to even get close to if stumbled upon by the casual listener. Refreshing and courageous in today’s whirlwind of three-minute soundbites, but whether fans will commit the time required to digest this record is yet to be seen. For The Decemberists, however, you get the sense they may just be getting started, and ‘The Hazards Of Love’ is indeed the prog-folk opus Meloy had planned, crafted for its creators. Should you wish to take the dive, enter the puzzle.
