The Decemberists: Colin Meloy (vocals, acoustic guitar, electric guitar, bouzouki, percussion); Chris Funk (guitar, electric guitar, pedal steel guitar, banjo, bouzouki, hammer dulcimer, hurdy-gurdy, percussion, background vocals); Eyvind Kang (violin, viola); Nate Query (cello, upright bass, electric bass, percussion, background vocals); Jenny Conlee (accordion, Wurlitzer piano, Hammond b-3 organ, pump organ, Moog synthesizer, glockenspiel, percussion, background vocals); Christopher Walla (keyboards, background vocals); John Moen (drums, percussion, background vocals); Steve Drizos (drums); Ezra Holbrook (background vocals).
In 2006, the Decemberists unveiled their Capitol Records debut, THE CRANE WIFE, after three albums for the indie label Kill Rock Stars. Happily, the revered Portland, Oregon-based crew, captained by singer/guitarist Colin Meloy, made the journey into major waters with their quirky, days-of-old sound firmly intact, as revealed on the wistful acoustic "The Crane Wife 3" and the more upbeat "O Valencia!" which stands out as one of the Decemberists' catchiest songs. The group also indulges in the more dramatic, narrative aspect of its aesthetic on two extended tracks that each pass the 10-minute mark, proving without a doubt that any potential corporate allegiance is far outweighed by the fascinating siren call of Meloy's own muse.
Colin Meloy and his brave Decemberists made the unlikely jump to a major label after 2005's excellent Picaresque, a move that surprised both longtime fans and detractors of the band. While it is difficult to imagine the suits at Capitol seeing dollar signs in the eyes of an accordion- and bouzouki-wielding, British folk-inspired collective from Portland, OR, that dresses in period Civil War outfits and has been known to cover Morrissey, it's hard to argue with what the Decemberists have wrought from their bounty. The Crane Wife is loosely based on a Japanese folk tale that concerns a crane, an arrow, a beautiful woman, and a whole lot of clandestine weaving. The record's spirited opener and namesake picks off almost exactly where Picaresque left off, building slowly off a simple folk melody before exploding into some serious Who power chords. This is the first indication that the band itself was ready to take the loosely ornate, reverb-heavy Decemberists sound to a new sonic level, or rather that producers Tucker Martine and Chris Walla were. On first listen, the tight, dry, and compressed production style sounds more like Queens of the Stone Age than Fairport Convention, but as The Crane Wife develops over its 60-plus minutes, a bigger picture appears. Meloy, who along with Destroyer's Dan Bejar has mastered the art of the North American English accent, has given himself over to early-'70s progressive rock with gleeful abandon, and while many of the tracks pale in comparison to those on Picaresque, the ones that succeed do so in the grandest of fashions. Fans of the group's Tain EP will find themselves drawn to "Island: Come and See/The Landlord's Daughter/You'll Not Feel the Drowning" and "The Crane Wife, Pts. 1 & 2," both of which are well over ten minutes long and feature some truly inspired moments that echo everyone from the Waterboys and R.E.M. to Deep Purple and Emerson, Lake & Palmer, while those who embrace the band's poppier side will flock around the winsome "Yankee Bayonet (I Will Be Home Then)," which relies heavily on the breathy delivery of Seattle singer/songwriter and part-time Decemberist Laura Veirs. Some cuts, like the English murder ballad "Shankill Butchers" and "Summersong" (the latter eerily reminiscent of Edie Brickell's "What I Am"), sound like outtakes from previous records, but by the time the listener arrives at the Donovan-esque (in a good way) closer, "Sons & Daughters," the less tasty bits of The Crane Wife seem a wee bit sweeter. ~ James Christopher Monger

Rolling Stone (p.69) - 3.5 stars out of 5 -- "[The] affectations are rendered tolerable by Meloy's unmistakable melodic gift....There's a kick in the way song after song masks his darkish vision in elegantly hooky arrangements..."
Rolling Stone (p.105) - Ranked #23 in Rolling Stone's "The Top 50 Albums Of 2006" -- "[W]ith electric guitars, prog-rock bravado and even Seventies funk..."
Spin (p.103) - 4 stars out of 5 -- "[Meloy's] verses are sharp and smart....This is the best-sounding Decembrists album to date."
Spin (p.61) - Ranked #11 in Spin's "The 40 Best Albums of 2006" -- "[T]he band's emotive narratives...feel very much here and now."
Entertainment Weekly (p.68) - "Colin Meloy specializes in lurid historical dramas....Several of these studies in heartbreak and homicide rank among his most moving." -- Grade: B+
Q (p.99) - 3 stars out of 5 -- "It's rendered intriguing by a liberated approach that touches on everything from sea shanties to Jewish klezmer music without ever losing sight of the tune."
Uncut (p.73) - 4 stars out of 5 -- "[They are] twisting the esoteric into arresting and complex new shapes."
Alternative Press (p.188) - "[S]hrewder minds among us will be right at home with the complex wordplay and tragic love in 'O Valencia!' and the three-part title track, as well as the new wrinkles of prog rock and art-school funk..."
Magnet (p.93) - "THE CRANE WIFE is an admirable experiment, the work of a band approaching the thorny major-label issue by willfully mucking with a proven sound."
Q (Magazine) (p.78) - Ranked #28 in Q's "The 50 Best Albums Of 2007" -- "[With] nods to nu-folk, baroque pop and even '70s prog."