
This CD opens with an organ playing a pedal tone (its a d) for almost a minute. Upon which a chord is built and a simple chord progression is played, setting the stage of the rest of the album. It ends with a PAC (but that doesn't really matter). And a small amount of dissonance leads seamlessly in to the next song.
The next song is stays in the same key and seems to not stray from an established "Decemberists" sound. It is entitled "The Hazards of Love (The Prettiest Whistles Won't Wrestle the Thistles Undone)." The bass is provided by a upright string bass. This song provides an introduction to the rest of the story.
And suddenly "A Bower Scene" starts; once again there is no transition and starts in the key of d. Margret, the main character (introduced in the previous song), is being spoken to and this being asked by her sister when her she will birth her child. And while she steadily gets bigger because of her sleeping with her lover, she runs off to the forest. The music gets "harder" at about a minute, foreshadowing later styles toyed with on this album. The music fits the lyrics, however, there is no specific reason why it does.
Transition in to forth movement is music like the middle section of the previous, and has a powerful bass line. This movement opens with a blues-y riff, that reminds me of the Band Maylene and the Sons of Disaster. ruining the portions of this song with the riff. This is the first scene to feature Margret, the Heroine. She has a wispy, beautiful soprano voice that I cannot get enough of. Margret enters the forest, and is lost so she calls out to the wild to clear her a path so she can get to her love, William (who is not introduced by name, but rather in the album art). She has grown weak and tired so she longs for her Love's embrace. William calls back for her. When William enters, the music changes and uses a slightly distorted guitar, probably suggesting his masculinity. This movement is entitled "Won't Want for Love (Margret in the Taiga)."
"The Hazards of Love 2 (Wager All)"
William begins this ballad like song, he speaks of laying down with Margret, not caring, and "wagering it all" to risks of love. Here he is showing his love for her. This song is written beautifully even though the instrumentation is simple and the chord progressions are, as well. This serves the purpose of a simple scene where there is only love.
"The Queen's Approach"
This instrumental opens with a simple banjo melody. it is soft an quiet, but elegant.
"Isn't it a Lovely Night?"
An accordion opens the song with a cheery melody who is then imitated by Margret. She is singing about the baby that is on it's way. William replies and they then sing together. This song is oddly moving and fits the older style of the Decemberists more, especially with the accordion. and the rhythms This song is my favorite so far and very moving, for me. It reminds me of the movie "Sweeny Todd." The Steel guitar, is strange, as well, but fits the song well and doesn't make it feel like a bluegrass song too much.
"The Wanting Comes in Waves / Repaid"
This opens with a harpsichord, with a simple repeating melody. This is a discussion between the Queen and William. (And I just realized I was probably giving too much a away, but since I've started I will continue.) The queen is the Mother of William, making William a prince. In this movement William is symbolized by the harpsichord. He is basically accused by his mother that rescued him from the world of men, of being ungrateful and wishing for the world outside the forest. The Queen is represented by distorted electric guitars, she has a alto voice, the suits her part well. She sings in a bluesy style that reminds me of some female jazz singers.
"Interlude"
I'm going to end this post with the interlude. I don't have much to say. It is an interlude, it serves it's purpose.
