On March 24, baroque folk band The Decemberists will release their first album since the 2006 release of The Crane Wife. Inspired by 1960’s British folk music, this new collection, The Hazards of Love, is the band’s first full-fledged concept album. It follows the love of a young woman, Margaret, and William, a mythical, shape-shifting fawn. The Decemberists accomplish a masterful combination of vintage inspiration and their already-established sound by applying progressive use of such instruments as the Hammond organ and using more expected instruments such as the accordion.
Siren staffers Emma Jayne Stabbe and Erin Hall now take a closer listen to this complex and ambitious work, track by track.
EJS: The album kicks off with a prelude. The eeriness of this first lyric-less track sets the tone for the story being told through the rest of the album.
EH: In typical Decemberists fashion, there are heavy strings; violin, viola, and cello. The 60s inspiration is shown through the Hammond organ, which is used to evoke the haunting presence of the forthcoming tale. Light vocals lead you into the second track.
EJS: At the end of the prelude the listener is ushered into the first track that bears the album’s name – “The Hazards of Love 1 (The Prettiest Whistles Won’t Wrestle the Thistles Undone)”. This title is used throughout the album, splitting it into four smaller, easily digested sections. In the first Hazards of Love, we’re introduced to Margaret and William. Margaret comes across William for the first time as she wanders through the forest. William takes the form of a fawn, which is surprisingly easy to get past within the context of the song. She tends to his wounded leg and then the seemingly innocent scene takes a sinister twist. It’s suggested that after Margaret’s kind gesture, William, still in the form of a fawn, rapes her (“but Margaret heaves a sigh/her hands clasped to her thigh/singing: oh, the hazards of love”). This is a very strange way to start a love story, but till the very end it seems that Margaret does not know that the fawn was William, a fact that William isn’t exactly excited to let her in on. There’s nothing particularly surprising about that. I wouldn’t have told her either.
EH: The first of the four Hazards of Love is laid out simply enough. Light ornamentation throughout the track gives it a feeling of pop-folk that the listener has come to expect with The Decemberists but light never means boring with this band; even in something as simple as the upright bass being subtly intriguing. The parts are kept light enough to be built upon in the other three installments of “Hazards of Love”; which are more emotionally complicated. The mood of the lyrics follows through to the music. The track is calm and consistent. There is no panic; there is rush. You would think a rape would be violent and confrontational, but you forget that this is a love story.
EJS: We come now to a track that has more bearing on reality. “A Bower Scene” is the only glimpse we’re ever given of Margaret’s home life. The events of the preceding track have left the young woman pregnant. Her disgraced family reacts with anger. Their general lack of understanding (surprise, surprise) eventually leads Margaret to run away to the forest. The rest of the story is set in the forest and Margaret never actually returns home again.
EH: This track has more tension than the previous, seeing as how it has conflict (not that the last lacked). Varying electric guitar creates the idea of a controversy between Margaret and her sister. At the same time, there is a light sound of a new beginning. It ends in harsh conflict leading us nicely into the next track.
EJS: We get our first real taste of Margaret’s personality in “Won’t Want for Love (Margaret in the Taiga).” Driven by hormones, she sets out in the taiga, determined to find her lover, William. While she’s used as a typical damsel in distress, there is a surprising strength in her that is not at all common in such stock characters. Her unexpected pregnancy never gets the best of her and is never really seen as a burden. It’s simply the situation that she’s been put in. She insists that it will not effect her unhealthy desire for William, a man who she doesn’t know nearly so well as she seems to think (and all this stirring inside my belly/won’t quell my want for love).
EH: Margaret is one determined woman. She marches off into this forest with a swelling stomach full of baby. She deserves a theme song at the very least. That is certainly what is created here for her. Still light, as all things seem to be with Margaret, but it is very determined. This is one of the more progressive tracks, which really takes inspiration from the 1960’s rock era.
EJS: The next “Hazards of Love” installment, “The Hazards of Love 2 (Wager All),” is a love scene between Margaret and William. This is the first we see of the more emotionally healthy side of their relationship. Yes, everything that takes place in this track is consensual. It’s full of quaint euphemisms and well-described images and is the first quality example of the “love story” element that the album boasts. It’s difficult to comprehend that the smooth-talking William and the womanizing fawn from the first “Hazards of Love” are one and the same.
EH: The chorus of this particular track is so triumphant. The drums are really noticeable for the first time in the album. After William’s humble declarations, the progression to the chorus is particularly resilient. It’s something you can really get invested in and it is incredibly memorable. The music really compliments the lyrics. They fit together so exquisitely. This is the best example of the music and lyrics fusing so far in the album.
EH: “The Queen’s Approach” is a 30-second track warning William of his mother’s forthcoming presence. It is incredibly foreboding. A small group of strings, and the banjo are used to their full potential in this short piece to lay out the coming of the queen. It is an excellent example of foreshadowing in music.
EJS: In “Isn’t it a Lovely Night?” the couple addresses the subject of Margaret’s baby… Margaret and William’s baby, that is. Margaret is still completely unaware that her baby is actually William’s. William expresses nothing but happiness, excitement, and support. It’s a testament to Margaret’s naivety that William’s lack of surprise over the matter isn’t odd to her. Despite being so early in the story, this is the last time that Margaret’s unborn child is mentioned. Within the excitement of forthcoming events it’s easy to forget that she had ever been pregnant, which could have been a major strength in the plot.
EH: The use of the accordion and pedal steel guitar within this particular track made it stand out to me. Upon my first listening of the album, I liked this track the most but when looking at the lyrics, I almost lost my love for it. The lyrics lack in comparison to the delightful instrumentation and exquisite use of the instruments presented. But when I sit back and focus on the original reasons for my love, I can look past and focus on how much I wish they used an accordion in every song.
EJS: Two songs are fused together to show an argument between William and his mother, the queen. “The Wanting Comes in Waves” is William’s song. He pleads with his mother to give him one night’s freedom to do what he wishes. We can only assume that it has something to do with his lady friend. “Repaid” is the queen’s song. She goes through the typical “ungrateful child” argument, going on and on about how she saved him as a child and gave him the life he couldn’t have had without her and he owes her and on and on and on. William insists that the life she’s given him is a hollow one, that he’s always left wanting and unhappy. He’s portrayed not as ungrateful, but realistic. He knows what she owes him (and you owe me life).
EH: The harpsichord opens this track, so obviously you notice it first. The usage of that particular instrument plays into some of the archaic language that is throughout the album. As Emma stated, the track is split into two pieces, and you’re lead to the second half with a more powerful lyric (still the wanting comes in waves) and then heavy drums and electric guitar. And then you’re into “Repaid” and momma is home… and unhappy. Powerhouse vocalist (well, not really, but we’re easily fooled) Shara Worden sings the role of the queen. She is introduced here, vocally, for the first time. And what an introduction! But William is not afraid. He comes back with the harpsichord and a wager. The drums build up more intensity and he spouts off with more declarations. But momma is not to be silenced; however, she does compromise and lets William go, but not without some more demonstration of her vocal abilities.
EJS: The interlude that follows does nothing to further the plot or the audience’s feelings about the situation or characters, but it is a nice addition to the collection.
EH: William gets to go back to Margaret. Yay, happy times! Life is good. Mandolin is such a nice instrument! Oh – oh – oh. Oh no, conflict…
EJS: “The Rake’s Song” is arguably the strongest song on the entire album, conceptually speaking. It accomplishes an impressive amount in only three minutes. We’re introduced to a brand new character, a villain. Due to this song, the rake is the strongest and most fully-realized character in the whole story. I personally am kind of in love with him. He is given a strong voice and fairly detailed personal history. He is disturbingly detached from the horrors of his own doing, the most gruesome of which being the murders of his three young children. We leave this track knowing what he’s capable of how little he cares (“Isaiah fought but was easily bested/burned his body for incurring my wrath”).
EH: When you’re not listening to this song in its lyrical context, it is still amazingly grand; electric guitar and drums are put to excellent use. But what really makes this song the great accomplishment that it is, are the lyrics. So witty! So detached! The personality of the rake is set up so well. It is hard to not attach to him when he has the most character out of all the others. The steady and constant pace of the song is an excellent backdrop for showing the rake’s consistency in personality and demeanor.
EJS: “The Abduction of Margaret” is just that. The rake swoops in and takes Margaret. It’s not completely clear why he does this, other than his being one messed-up fellow. As he flees, Margaret in tow, we’re introduced to the great force that is the river.
EH: This song is so intense! It’s made of the same fabric as “A Bower Scene.” But it all builds to the climax, which introduces us the next song.
EJS: In encouraging the rake’s abduction of Margaret, the queen is given another song, “The Queen’s Rebuke/The Crossing.” There are brilliant images of who and what the queen is (“My feet are the trunks and my head is the canopy high”). In essence, she is the forest. She then tells the rake of how she’d found William as a baby and taken him as her own. She obviously feels threatened by William’s love for Margaret. She steps in to assist the rake in crossing the river while hinting at the awful things that will be done to Margaret (“To abduct and abuse and to render her used and defiled”). It sounds remarkably similar to what William has already done to her. Though she is an accomplice, it’s never actually said that the queen had arranged the abduction, though I wouldn’t count it out.
EH: You didn’t actually expect her to go away, did you? The queen is back complaining about the responsibilities she has filled as William’s mother but this time she is telling the rake. She is angry and wants action. The music does an excellent job of conveying this and this is where Shara Worden really shines. Her voice conveys the queen’s quiet anger but easily switches to her malice. With heavy organ this is the most progressive track on the album and quite possibly the most influenced.???
EJS: “Annan Water” tells of William’s troubles with the power of the river. Against the odds and his mother’s wishes, William decides to finally man-up and sets out to rescue Margaret. It is here that he makes a hero’s pact. He considers how to reach the far shore and makes a promise to the river: “If you calm and let me pass/you may render me a wreck when I come back.” He seems to know that Margaret will die no matter what becomes of him. He chooses his own death, in the river alongside his lover.
EH: The sheer and utter defeat that William is feeling in this track is conveyed so well through Colin Meloy’s vocals. The bargain he strikes up creates some movement in the music, also showing the river’s movement. The use of the mandolin really sets the tone of the song and lays out William’s sacrifice out loud and clear, though the hammered dulcimer is what really drives the sorrow home. This song really makes use of some interesting instruments that bear mentioning, such as the hurdy-gurdy, accordion, upright bass, autoharp, and marxophone.
EJS: By the time we reach “Margaret in Captivity,” we are well aware of the rake’s lack of compassion. He taunts Margaret and assures her that there is no hope for her. Margaret’s strength continues to hold out and she ignores him, continuing to call out for William, who is fighting to save her from one evil and deliver her to another.
EH: Musically, this is the most gorgeous song on the entire album. The acoustic guitar is plainly stunning and every instrument that is added into this mix after is done with such care and tact. Margaret’s delicate voice (sung by Becky Stark) has never been more fitting as she cries out for help. But she is constantly drowned out by the outlying conflict and a gorgeous group of strings.
EJS: “The Hazards of Love 3 (Revenge!)” is hands-down the creepiest song on the album. It’s creepy enough that the rake’s slain children have returned, but they speak to him as if they’d never been gone. It’s evident that not all of the children understood what had happened to them as they run-through the circumstances of their deaths in their own words. We’re only offered their side of things in this song, but it’s never mentioned how the rake reacts. Being as disconnected as he is, it would have been interesting to see his deterioration, if that’s what happened. It seems reasonable that the ghosts of children that died by your hand would effect you in some manner, even if you are callous and unfeeling.
EH: Simply laid out with straightforward instruments; harpsichord, synthesizer, percussion, and a small group of strings, this song doesn’t need a whole lot of musical ornamentation. The child-like (or possibly actual children’s) vocals are enough to set the scene for anyone. In a choir-like effect, they sing in unison and creep me the hell out.
EJS: The reprise of “The Wanting Comes in Waves” expresses William’s worsening discontent with the queen as he continues through his struggle for Margaret.
EH: This track is strangely upbeat for being William’s fight for Margaret’s life. But nonetheless the piano dances around the scene and adds motion. It all builds to end abruptly and lead us to the ending track of the album.
EJS: A lot of thought seems to have been put into the way in which this album would close. In the final track, “The Hazards of Love 4 (The Drowned),” the Decemberists have avoided undoing all of the work done in the preceding tracks by giving the tale too satisfying an ending. Instead, Margaret and William are given the dignity of a beautifully tragic ending when the river collects on what it’s been promised. This song seems William’s way of an apology to Margaret for getting her mixed up in the whole mess (I caught you and I brought you here/ didn’t I, didn’t I, didn’t I). It undeniably is his fault, though it’s doubtful that any feeling person would blame him for it. He owns up to his having instigated every bad thing that has happened to Margaret and she inevitably forgives him as they both drown in the river. It’s also worth mentioning that with his last dying breath he still does not tell her that he was the fawn that raped her in the first Hazards of Love.
EH: The lyrics and music on this album don’t always match up emotionally. But on this particular track, the marriage between the two is perfect. I was truly dazzled by the use of southern inspiration and how it was applied throughout the album and making its final debut here at the end. It leaves us feeling at peace with the ending presented. I almost accept this ending with a smile.
The Hazards of Love is most certainly the Decemberists’ most ambitious project to date. They took on the intricacies of a concept album without letting it get the best of them. As a band, they have progressed while maintaining their own identity. The Decemberists have always had a unique style to their work and it continues to shine through where it could easily have been lost.
-Emma Jayne Stabbe and Erin Hall
