Rock CriDick - The Hazards of Love by The Decemberists

Concept albums are a difficult chore. Specifically when they become a chore. The artist works so hard to fit the pieces of the puzzle together that the vision is so often squandered beneath a pile of frustration and a heap of overwrought expectations. Sometimes the subject matter is so obscure that the listener is completely unable to even grasp the common theme at play. Perhaps it is cohesive, perhaps it is a masterpiece... But the consumer is left wondering, "just what the fuck is it?"


This is what makes The Hazards of Love so appealing. Colin Meloy and company are not trying to reinvent the wheel, they are simply telling a story. And no doubt thanks in part to Meloy's background in literature, they are pretty good at it. What the Decemberists' did was to keep everything simple. None of the songs, standing on their own, are overly complex, and the album itself follows similar patterns and themes, even to the point of simply using the same song structure on multiple occasions throughout the album. Melodies are rehashed, themes recur, and songs repeated. Like any story, told in any medium... And it's done so easily

Aesthetically, the piece is moody. Some of the songs are angry, some peaceful, some are longing and regretful, and some are downright evil. But even while working with such an array of emotion, the collective work flows seamlessly, transitioning from different perspectives and their correlative passions, effectively and without the slightest hindrance, or even notice. Perhaps this is a result of flawless production, clear vision, or the poetic form in which these songs were crafted and are delivered. Or perhaps it is because the album never stops. After the initial silence of the first track, the music never stops. And no matter who is employed to sing the story, be it Meloy or one of the other two vocalists, the shifts are never cumbersome or alarming.

Sure, Meloy can not but help but indulge, whether it is by referencing obscure synonyms for barren wastelands or his reliance on words such as "thistle". And while such tendencies will surely send the critics howling into the night, it is exactly this willingness to be ridiculous that allows the project to be successful, by allowing the listener to immerse themselves in the world unfolding before them over the course of the album. He sells the concept, and this is why he succeeds in his goal, whether one fancies the final product or not.

And this is what is so amusing, the Decemberists have been targeted for years because of their tendency toward pretension. But does the simple fact that they have released a concept album, position them in this category once again? The songs on this album are laid out simply and the music remains well within the folk and rock genres with definite allusions to the progressive era. If the songwriter having a formidable grasp of the English language is sufficient qualification for considering him vain, then so be it. But check your criteria, you may fall into the same category yourself by simply employing the term.

One final note, and even some homework: if you put on the track titled Hazards of Love 3, and then close your eyes, you can actually see Colin Meloy, in the flesh, with middle-finger extended while others remain clenched, directed squarely at every AV Club commenter and outdated rock critic there is. Gotta love a brazen display, especially when delivered with a wink.