Everybody Put Your Best Suit or Dress on

Suit up, folks! It's Friday, and that means it's "ALL HAIL (THE CONCEPT ALBUM)" day! Last week, we spotlit the very brainy, obtuse album, "The Hazards of Love" by the Decemberists. Some concept albums try to cram complex ideas and plots into some grandiose story. However, today, I'd like to showcase the other side of concept albums--simple thematic ties and overall cohesion of sound--with indie quartet Death Cab for Cutie as our shepherd.

Without further ado, ALL HAIL TRANSATLANTICISM!


Where does this stuff come from? After three albums of low-fi, indie-shoegazer anthems, Death Cab decided to design an album that flows from beginning to end, rather than a collection of songs--with beautiful results.

...And your point is? The album is a loose depiction of the narrator's life after his girlfriend abandons him in favor of the promise of Eurasia. The resulting effect of being separated by an ocean is the invented word, "Transatlanticism." The narrator reminisces about the good times they had, is plagued by reminders of their former connection, and ultimately blames his ex-lover for his current disposition. Various vignettes of melancholia and yearning lead to the two-part finale--the jarringly aggressive "We Looked Like Giants" and the slow unfurling of "A Lack of Color--where the narrator realizes that his actions drove his love away, leaving only himself to blame. It's a unique take on the standard "emo" fare, one that is both touching and thought-provoking--without being cliched.

Tell us what you really think (my 50-word review). DCFC’s ”Transatlanticism” is an amazing exercise of combining polar opposites. Emo without the whining, introspective verses with huge choruses, and catchy with brains; the album’s triumph comes from its modesty. Simple electric-acoustic songs tied together with ambient sound take the listener on a journey into multi-layered heartache. Repeat listens demanded.

If you only listen to one song on the album... Choose the title track, "Transatlanticism." Not only does it encapsulate the plot of the album, it provides a sonic blueprint--minimalistic sound effects giving way to plaintive melodies and a slow-build to stadium-worthy resonating chords and an iconic chant. If any song can capture the entire breadth of Transatlanticism, look no further than this terrifically epic tune:



For those of you well-versed in Death Cab, what's your take on this LP? And for the uninitiated, are you encouraged to learn more? Sound off!!!

...And That's How I 'Came Your Humble Narrator

As a blog devoted to celebrating greatness in music, I am pleased to introduce a new weekly feature, "ALL HAIL (THE CONCEPT ALBUM)!" Once during each seven (7) day period, I will herald an album that boasts a central theme or musical/lyrical continuity throughout. For a more thorough explanation of the concept of concept albums, bow down to the WikiGods.

Today, the Decemberists' most recent effort is the subject of admiration. ALL HAIL THE HAZARDS OF LOVE!


Who writes this stuff? Indie folk band The Decemberists, along with knockout female vocals from Lavender Diamond and My Brightest Diamond frontladies, guitar from cult icon Robyn Hitchcock, and more!

What's the story (morning glory)? A Shakespearean tragedy akin to "Romeo and Juliet," except Romeo is a shape-shifted fawn-cum-human named William. A fair maiden named Margaret encounters William as a injured fawn in the forest and, upon fixing his leg, finds the fawn to be a human. She does what any normal girl would and winds up impregnated by the man-beast.

William's mum, the Queen (of the actual forest), is displeased with the William's interactions with human world. She hires a human named The Rake to kidnap and molest Margaret as punishment to William. The Rake (no stranger to crime, including infanticide) obliges, and William (ignorant of his mom's actions) begs the Queen to let him rescue her, allowing her his "life for the evening ... [to] retake by morning."

William then makes a deal with the treacherous water surrounding Margaret that the water may drown him on his return trip if it allows him safe passage to his love. When William encounters the Rake, the ghosts of his three children take their revenge and murder their father. As our star-crossed protagonists board their sea vessel, they realize that only in death can they peacefully be together, so they hold an impromptu wedding as the water claims their lives.

Why should you care (my 50-word review)? The Decemberists always leaned on grandiose lyrics, stellar melodies, and a deference to the archaic. On The Hazards of Love, they meld such cornerstones perfectly-with some surprises. They contrast Pink Floyd-esque folk-psychadelia, Black Sabbath guitar thunder, and powerhouse female vox for intense auditory drama. A masterpiece meant for the stage.

If you only listen to one song on the album... Make it "The Wanting Comes in Waves / Repaid." It's everything great about the LP in 6:26, showcasing the album's biopolar tendencies to maximum effect.



What do you think? Have you already heard this album? If you haven't, are you moved to?

Let's talk, kids.