The Decemberists, Heartless Bastards
Music: Clubs:
When: 08/05/09 @ 7:30pm
Cost: $28 ($26 adv.)
Call: 258-4141
Web: www.decemberists.com
More Information:
THE DECEMBERISTS show scheduled at the Orpheum Theatre on August 5 has been moved across the street to Overture Hall.
Everything else remains the same. Tickets are general admission, $26 advance, $28 day of show. Doors are at 6:30 and the show starts at 7:30 with an opening set by Heartless Bastards.
Tickets are available at the Overture Center Box Office, charge by phone at 608.258. 4141, or online at www.overturecenter.com.
Tickets purchased previously will be valid for admission; refunds are available at the place of purchase.
“There’s an odd bond between the music of the British folk revival and classic metal,” says The Decemberists frontman Colin Meloy. “A natural connection between, like, Fairport Convention and Black Sabbath—of course, Sandy Denny from Fairport even sang with Led Zeppelin on ‘The Battle of Evermore.’ I think there’s a shared sense of narrative and ambience, of moving beyond the first person in your writing. And I thought it would be interesting to mess around with that.”
The band’s fifth album, The Hazards of Love, represents the most glorious kind of messing around. It’s the most ambitious and most accomplished project to date from the Portland-based quintet of Meloy, Chris Funk, Jenny Conlee, Nate Query, and John Moen—a full-length song cycle rooted in ancient language and imagery, yet entirely modern and accessible. The follow-up to the group’s 2006 breakthrough, The Crane Wife (which NPR listeners voted their favorite album of the year), The Hazards of Love solidifies the Decemberists’ standing as one of the most innovative and important creative forces in music today.
The album began when Meloy—long fascinated by the British folk revival of the 1960s—found a copy of revered vocalist Anne Briggs’s 1966 EP, titled The Hazards of Love. Since there was actually no song with the album’s title, he set out to write one. Soon, though, he was launched into something much larger than just a new composition.
“It grew into the idea of creating a suite of songs based on old folk songs,” says Meloy. “Building a narrative, piecing together disparate motifs, developing actual protagonists.” Of course, working with elaborate song forms isn’t new territory for the Decemberists. As far back as 2004, the band released “The Tain,” an eighteen-and-a-half minute single based on an Irish myth. The Crane Wife took as its starting point an ancient Japanese folk tale, which was interpreted across three separate songs. The album climaxed with “The Island,” a 13-minute, three-section murder ballad.
“I wanted to continue to experiment with songs with longer, extended themes,” says Meloy. “This album is really an expansion of the ideas from the earlier stuff.”
Our story begins, in classic form, with a journey, on the gentle, moody “Hazards of Love 1 (The Prettiest Whistles Won’t Wrestle the Thistles Undone)”—offering, as Meloy puts it, the centuries-old theme of “the danger of the woods versus the safety of the house.” With that first step taken, he says, the tale’s direction “emerged in front of me.”
The album’s first half was written in order, one song after another. “Then it got harder, once I was imposing a narrative on it,” says Meloy. “It’s fun to toy with little suites when you don’t have to fully develop them, but I’m used to keeping things open-ended.”
In its final, 17-song form, The Hazards of Love (produced by Tucker Martine) tells the tale of a woman named Margaret who is ravaged by a shape-shifting animal; her lover, William; a forest queen; and a cold-blooded, lascivious rake. The range of sounds reflects the character’s arcs, from the accordion’s sing-song lilt in “Isn’t It a Lovely Night?” to the heavy metal thunder of “The Queen’s Rebuke/The Crossing.” Melodies echo across different songs—“The Abduction of Margaret” mirrors “A Bower Scene.”
Meloy points out that his bandmates were entirely supportive of him chasing this daunting vision. “All along, everybody has been very sweet about humoring me and my whims,” he says. “There was an extra charge in the studio—everyone was really just up for the challenge.”
The album’s language is intricate, often archaic, without feeling labored. (“Wasn’t it a lovely breeze/That swept the leaves of arbor eaves/And bent to brush our blushing knees?,” sings Meloy on “Isn’t It a Lovely Night?”) But Decemberists fans have a context for this approach: Earlier efforts, like 2003’s Her Majesty the Decemberists or 2005’s Picaresque, were characterized by fantastical songs full of sea captains, legionnaires, and chimney sweeps.
One triumph of The Hazards of Love is that it’s just as compelling to listen to whether or not you’re following the story line. “It’s a rock record—you’re supposed to fill in the blanks a little,” says Meloy. “There should be stuff that’s more abstract and left to interpretation. So you can come to it without knowing the narrative, or you can pull out the lyric sheet and try pull it all together.”
A host of guests are featured on the album, giving it additional texture and even more of a theatrical feel. Lavender Diamond's Becky Stark and My Brightest Diamond's Shara Worden deliver the lead vocals for the female characters, while My Morning Jacket's Jim James, Robyn Hitchcock, and the Spinanes' Rebecca Gates appear in supporting roles.
The Decemberists plan to tour in the spring, playing The Hazards of Love straight through for the show’s first half and older material for the remainder. “It’s intended to be performed all in one piece, but it’s not meant to be acted out,” says Meloy. “There’s the voices and the lyrics, and you should be able to draw the narrative from that.” (This is a band that doesn’t shy away from major stage production, having performed The Crane Wife with full orchestral accompaniment on several dates in 2007, including a stop at the historic Hollywood Bowl with the Los Angeles Philharmonic.)
“This album is the apotheosis of my obsession with British folk songs,” says Colin Meloy. “I’ve been toying with it for so long, I really needed to get this done. Doing The Hazards of Love took a lot out of me. And I’m definitely curious what will come out now that I’ve got this out of my system.”
The Decemberists have announced most of Phase Two of their "A Short Fazed Hovel" 2009 tour in support of The Hazards of Love, their ambitious new album on Capitol Records. Kicking off July 17 in Seattle, Washington, Phase Two will also include two shows at the Edgefield Winery in their hometown of Portland, Oregon.
On tour, The Decemberists will play two sets a night, the first a full performance of The Hazards of Love, and the second consisting of their older material. Joining the band on stage will be special guests Lavender Diamond's Becky Stark and My Brightest Diamond's Shara Worden. Pitchfork called the band's live debut of the piece at SXSW "a triumph," while The Wall Street Journal declared it "a remarkable experience."
www.decemberists.com
Fat Possum Records is proud to announce that the Heartless Bastards have confirmed a very impressive and exciting summer 2009 touring schedule. The band recently finished their first tour overseas and are fresh off a powerfully memorable performance at Bonnaroo as well as some dates supporting Wilco; one look at their summer tour schedule proves 2009 is undoubtedly their year.
Next up for the Austin, TX-based quartet are three of this summer's most high profile tours supporting Jenny Lewis, The Decemberists and The Avett Brothers, as well as being invited by Andrew Bird himself to open for him at the Greek Theatre in Los Angeles and festival performances at Lollapalooza, All Points West, Outside Lands and Austin City Limits. Main Bastard Erika Wennnerstrom and her fantastic new backing band (Dave Colvin on drums, Jesse Ebaugh on bass and Mark Nathan on guitar) are touring in support of the critically acclaimed The Mountain, and garnering new fans and rave reviews at a feverish pace. After the band's set at SXSW this year, the New York Times exclaimed, "Wennerstrom took the stage and knocked everybody down," while Details called her an "unstoppable frontwoman." Rolling Stone hailed, "Wennerstrom finds a softer side on her band's third album -- but still finds time to howl like a 'nads- free Robert Plant."
The Decemberists' guitarist Chris Funk said, "It's been a few years since I've had a voice on repeat in my mind. This voice seems to arrive in my ears while sound checking, often before the shows on a pre-show play list and after shows too -- the songs are just perfect and the band has found their spots behind this incredible woman. A unique and enduring artist arrived into our world once again."
Heartless Bastards recently had the opportunity to record their incendiary live set for the Austin City Limits TV show, which will air nationwide later this fall. The episode pairs them with one of their favorite bands and musical influences, Sonic Youth, and includes a special guest appearance by good friend Alex Maas of The Black Angels recreating with Wennerstrom the classic June Carter and Johnny Cash duet on Tim Hardin's "If I Were A Carpenter."
Wennerstrom and Maas (with a little help from Colvin and Ebaugh), started a side project called Sweet Tea. Recorded earlier this year, Sweet Tea is their unique collaborative take on classic country and Fat Possum will release the first single digitally later in July, comprising the studio version of "If I Were A Carpenter," and the Ray Price classic "Crazy Arms." A collector's, limited edition white vinyl 7" will be made available in both band's websites and at live shows later in the year; it will hit stores nationwide Sept. 1st.
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