The Decemberists, American non mainstream shake gathering known for its profoundly adapted, educated melodies. The band’s primary individuals were lead artist and guitarist Colin Meloy (b. October 5, 1974, Helena, Montana, U.S.), keyboardist and accordionist Jenny Conlee (b. December 12, 1971, Seattle, Washington), guitarist Chris Funk (b. November 28, 1971, Valparaiso, Indiana), drummer John Moen (b. August 23, 1968, Brainerd, Minnesota), and bassist Nate Query (b. September 5, 1973, Bellevue, Washington).
Shaped in 2000 in Portland, Oregon, The Decemberists (with drummers Ezra Holbrook to 2002 and Rachel Blumberg from 2002 to 2005) at first cut to an essentially folk-pop stable worked around acoustic guitar tunes. Their first collection, in any case, Castaways and Cutouts (2002), highlighted the rococo instrumentation and account tune structures (just as Meloy’s eccentrically nasal voice) that would turn into the band’s trademarks.
In 2003 the gathering discharged Her Majesty The Decemberists, which based on the main collection’s sound to incorporate noticeable horn and string segments. Their EP (an organization moderate long between a solitary and a collection) The Tain (2004) comprised of a solitary melody broken into numerous developments and foreshadowed The Decemberists’ future course. As the band developed increasingly effective, its live shows built up a particular theatrical twisted, loaded with expound stage plans and props, and The Decemberists ended up one of outside the box shake’s most mainstream show draws. Their third full-length record, Picaresque (2005), highlighted a wide-running arrangement of melodies that recount to the tales of an assorted cast of characters, including a bereaved vendor, spies who grievously experience passionate feelings for, a couple of destitute wanderers, and two men caught inside the stomach of a whale. The remainder of these tracks, “The Mariner’s Revenge Song,” was an eight-minute epic in the style of an ocean shanty, which ended up one of the band’s mark show numbers, its presentation expanded by the nearness of an enormous papier-mâché whale.
After The Decemberists marked in 2005 with real name Capitol Records, a few onlookers hypothesized that the band may be required to make imaginative trade offs for the standard name. Be that as it may, the gathering’s first collection with Capitol, The Crane Wife (2006), alleviated those feelings of dread. It highlighted exquisite songs about a man beginning to look all starry eyed at and wedding an injured crane that incidentally appears as a lady, close by rambling dynamic shake injected sticks, and was on numerous commentators’ arrangements of the year’s best collections.
In 2009 the band’s continuous hour-long shake show The Hazards of Love appeared at number 14 on the Billboard collection graphs. The gathering’s development, The King Is Dead (2011), denoted The Decemberists’ arrival to both a free name and the natural folk-impacted sound of their most punctual work, and it achieved number one on the Billboard graphs in the primary week after its discharge.
The band in this way took a four-year rest. During that time Meloy composed (and his better half, Carson Ellis, represented) a trio of kids’ books, the Wildwood Chronicles, while the other individuals visited and recorded as a major aspect of the elective folk band Black Prairie. The Decemberists returned in 2015 with What a Terrible World, What a Beautiful World, an all the more traditionally pop-situated collection. After two years they worked together with British artist Olivia Chaney to frame a folk-musical gang, Offa Rex, and recorded The Queen of Hearts. As The Decemberists, they discharged I’ll Be Your Girl (2018), a mixed gathering going from the Russian folk story “Rusalka, Rusalka/The Wild Rushes” to the field shake step “We as a whole Die Young.”