THE HAZARDS OF LOVE

It's rare that a recording captivates me in such a way that the music cannot be expelled from my head, even if I have only heard it once and cannot recite a single passage. Such was the case with The Decemberist's previous album The Crane Wife (which touched me on a visceral level), and such is the case with The Hazards of Love. This is a folk-rock opera in the finest sense. The deceptively simple songs almost all flow together from one to the next, themes are repeated throughout, and a coherent and captivating fairy tale is masterfully woven. It's also not often that progressive rock (or rock music in general) these days is blessed with such a phenomenal and smart lyrics. The words are coherent enough to understand without robbing the story of its air of mysticism or making speculation impossible (Could it be that William the shifter is actually Isaiah, the murdered son of the Rake?).

"Prelude" The low hum of bass rises to call forth drenches of organ, that ushers in the soft, gentle, feminine voice.

"The Hazards of Love 1 (The Prettiest Whistles Won't Wrestle the Thistles Undone)" The first song is heavily based on a twelve-string guitar riff, and does a great job setting the story in motion. Immediately, the erudition of the lyrics are shown to be an asset to this album. The instrumentation builds gradually, the drumming is interesting every time, and the bass is solid.

"A Bower Scene" The previous track gives way to an urgent main theme. The heaviest, almost destructive sounding bit comes in here, and brings in the next piece flawlessly.

"Won't Want for Love (Margaret in the Taiga)" The first song to feature beautiful female vocals, not to mention an absolutely amazing chorus. The male vocals are a perfect contrast in the midst of the piece.

"The Hazards of Love 2 (Wager All)" A soft, genuine song about the simplicity of amorous love, this one should make men who are in love ready to shower their affections of their women.

"The Queen's Approach" Things suddenly get dark, as if a shadow looms over the scene, thanks to a harrowing synthetic sound and a lonesome banjo.

"Isn't It a Lovely Night?" Before the Queen can announce herself, however, there is time for a lovely waltz to guitar and accordion. The female and male vocals are slightly disharmonious, which initially put me off, but now seems beautifully natural.

"The Wanting Comes in Waves / Repaid" The longest song on the album is actually a compound piece. After the harpsichord part with the beseeching male vocals, the Queen sings over gritty guitar and Jefferson Airplane-like psychedelic blues rock.

"An Interlude" This interlude is a quiet and pensive acoustic guitar piece with some electric guitar and other sounds laid over top, like a blanket over a child just after dusk.

"The Rake's Song" Here is a boastful song with catchy music that should please any indie-rock fan. The lyrics are dark, as the narrator tells of how he disposed of his own children.

"The Abduction of Margaret" The theme of "A Bower Scene" returns, which establishes its nature as "the lass is in trouble" music, and it drives the narrative onward.

"The Queen's Rebuke / The Crossing" The Queen returns with the hard and bluesy entourage. Devilish guitars scream and wail throughout. The second part of the song is a more urgent rock song that sounds rather similar to Uriah Heep, with crunchy guitars and wild organ.

"Annan Water" Punctuated gasps of accordion and mandolin bring in the twelve-string guitar to this also urgent song. The folk music becomes a pleading over a lone organ.

"Margaret in Captivity" The twelve-string guitar returns as the Rake describes the captivity of Margaret; the female vocals are stunning over such grandiose music.

"The Hazards of Love 3 (Revenge!)" Urgency once again follows as the climax of the story draws nigh. Guitars and organ work alongside each other, reproducing the theme from "The Wanting Comes in Waves" to introduce the haunting child-like vocals (the specters of the children the Rake murdered).

"Wanting Comes in Waves (Reprise)" This ninety-second track repeats the most magnificent part of the album, just as the title promises! It's a glorious segue to the conclusion of the album.

"Hazards of Love 4 (The Drowned)" The final song has a country flavor, mainly consisting of acoustic and steel guitar. True to his promise, William and Margaret sink to the bottom of the Annan Waters, but not before declaring themselves married with the waves as their witness. If a man hears this song and doesn't want to take up his girl and dance with her, he may have no soul.