Last week, The Decemberists announced the release of a double live album, We All Raise Our Voices to the Air, on March 13. On that date, the Portland band, almost caricature-ishly known for their erudite topics and lyrics (Google results for “Decemberists” + “hyper-literate” = 49,800), will join KISS, The Allman Brothers, Peter Frampton, The Grateful Dead, Kraftwerk and Sting in the pantheon of artists who have documented their stage performances. The live album has fallen into mostly-deserved ill repute (Google results for “live album” + “hoary” = 16,000), but perhaps Decemberists leader Colin Meloy can refresh the tradition with his sesquipedalian panache. Here are a few guesses at the [...]

The Decemberists' new album, The King Is Dead, takes the band in a new direction: tamer, more pastoral lyrics and a pared-down, bluegrass-tinged sensibility (with guest vocals from the always-excellent Gillian Welch). Critics have taken note, and the reviews have been mostly positive—people seem relieved by the band's turn away from the melodramatic subject matter and overwrought musical stylings that have characterized their last couple albums. But the most notable difference from the band’s older music—and one I've yet to see a critic mention—is that there's not a single rape or abduction to be found on the entire album.

I started listening to The Decemberists eight years ago, when [...]