It’s been three years since Portland, OR based folk juggernauts The Decemberists released their last album, leaving a dedicated fan base waiting anxiously for more. What a Terrible World, What a Beautiful World marks a departure from the groups infamously “high concept” indie folk sound, moving toward something more akin to classic Americana, singing often about themselves and less about topics like Victorian soldiers. Fans shouldn’t be disheartened, however, as the music is still very much The Decemberists.
 
The album opens with “The Singer Addresses His Audience,” a pretty, if simple, tune, directly addressing the listener. The lyrics are somewhat campy and contrived, addressing the bands absence and the changes in style to be expected, breaking the fourth wall so to speak. The song itself is musically enjoyable, but the lyrics mar an otherwise easy folk song. “Cavalry Captain” sounds as though it was torn from an unheard REM album and is painfully poppy. The problem lies more in production than in musicality, with the acoustic instruments in general, the accordion in particular, buried in the mix and a silly Tom Jones horn and string section taking center stage.

“Philomena,” with a distinct air of Doo Wop, is a welcome reprieve from the built for radio tunes so far. With simple but engaging guitar work and lovely backup singing framing well sung, if slightly cutesy, lyrics from Colin Meloy.

“Make You Better” is much deeper than what has come so far, downbeat and reflective, and certainly more introspective than what is expected from the Decemberists. There’s a clear sense of life and living in the words and music that has a draw to close your eyes and sing along. It is, perhaps, fair to point out the radio friendly nature of the song, as it is one of the two lead singles off the record, but simplicity is underrated sometimes.

In keeping with the more personal themes across the whole record, “Lake Song” tells another story from Meloy’s perspective. The lyrical content is somewhat cliche, perhaps, but familiar to anyone who lived through the awkwardness of 17. Musically, the song is flowing and gentle, and fitting to the themes within.

“Till The Water’s All Gone” is a total change of pace, leaning much more in the direction of Bert Jansch during his tenure with the Pentangle. Deep, powerful lyrics, paired with delicate and flowing guitar work, and a subtle string arrangement. This is the standout track on the album, perfectly capturing the groups ability to blend the sound of old and new together, presenting a modern folk gem. Up next, “The Wrong Year,” a song that sounds wonderfully like listening to a great pub band at last call, again, showing lyrical strength, as well as musical diversity. Layers of texture really round this out nicely.

“Carolina Low” is s somber, slow tune, again very reminiscent of Bert Jansch. The delicate, fingerstyle guitar and strong lead vocal are intense and enthralling. The echo applied to the vocals are a bit heavy handed, perhaps, but don’t really distract from the simple beauty of the track, or the narrative presented, leaving you with a hauntingly beautiful track that runs headlong into “Better Not Wake The Baby,” a stomping, rowdy vignette that sounds ripped out of a seaside tavern.

“Anti-Summersong” references, of course, “Summersong” from the groups 2006 release The Crane Wife. The lyrics are campy silly and self-indulgent. The song is mercifully short, but would have been nest served left on the shelf. “Easy Come, Easy Go” is a country-fried tune, full of twangy guitars and western themes. Sadly, it’s simple structure and plodding lyrics leave the listener flat and wanting.

Much better is “Mistral,” which displays more patience and thought. The lyrics are the center of attention, here, and rightly so. The guitar and harmonica solos, though, are a nice touch.

“12/17/12” is the date of President Obama’s national address following the Newtowne Massacre, and the first victims funeral. The song reflects on Colin Meloy’s feelings during the time following the tragedy. It is simple and beautiful, with a message of love, loss, and fear, a reminder to hold your loved ones close. It is stunning in its simplicity, and another standout track.

The band closes at the start with “A Beginning Song,” an anthemic track, big enough to draw you back from the intensity of the previous song, and bring everything to a big, satisfying end. The song swells and crashes, grabbing the listeners attention and emotion, obligingly providing a big crescendo to the album as a whole.


 
By and large, What A Terrible World, What A Beautiful World is a very enjoyable album. “Till The Water’s All Gone” and “Carolina Low” are the best example of pure, simple songwriting on the album, while “12/17/12” shows off the groups ability to make something beautiful from something tragic. After three years, this is a satisfying return, if not the completely triumphant one the band hoped for, and will hopefully inspire more music sooner rather than later.