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With a blast of harmonica-fueled, prairie-style fury, The Decemberists ring in the new year with their album The King Is Dead. Though they abandon tunes that explore bizarre topics including Shakespeare-inspired gang violence (“O Valencia”) and cannibalistic feasts (“16 Military Wives”) in favor of more relatable material, the troupe of Oregon natives continues to bring the drama and talent on their latest release.

In true Decemberists’ style, the album features intelligent subject matter and thoughtful song composition. The group’s name, which calls to mind a Russian uprising, should cue listeners in to the musical experience that The Decemberists seek to create: one that celebrates multi-dimensionality and creativity while incorporating historical themes. On The King is Dead the group casually includes cultural references evidenced by their discussion of the Andalusian tribe in “Calamity Song.”

While “Calamity Song” provides an intellectual nugget for listeners to digest, “This Is Why We Fight” bestows a true musical treat. Amid layers of both subtle and overt instrumentation, The Decemberists deliver a complex tune that avoids obvious rhyme sequences and embraces exposed vocals and percussion for effect. At the back end of the song, John Moen uses the drums to build the intensity that will surely have listeners reaching for the repeat key.

The Decemberists have never been afraid to challenge audiences. The fourth track on the album, “Rox in a Box” may at first induce some head-scratching and have listeners wondering if they’re caught in a bad Dr. Seuss novel that failed the spell check. Don’t be fooled. Despite the title, the lilting violin on the track might just inspire listeners to wrap a tartan, assume a brogue and kick up their heels in a lively jig.

No Decemberists’ record would be complete without the band’s signature brew: references to war, death and power. The King Is Dead easily makes good on listeners’ lofty expectations for such talented musicians. Although the album lacks the tongue-in-cheek humor of previous records, audiences’ appreciation for the Decemberists’ latest will grow with each track. Like The National’s acclaimed album High Violet, listening in succession will allow audiences to appreciate its seamless flow.

While The Decemberists function as one unit, Colin Meloy’s raw vocals undoubtedly help to draw listeners to the group’s niche genre. The tenderness of the vocals Meloy delivers on “Dear Avery” harkens back to previous tune “Leslie Anne Levine.”

Such reminiscences prove that though the group has matured musically, they have not grown away from their roots. Meloy’s melancholy vocals also seem to give melodic substance to the feelings induced by seasonal affective disorder in “January Hymn.” Such an intricate and ethereal interpretation of winter might help listeners to find the beauty in a gray day.

The Decemberists’ latest is a perfect record to kick start the new year. Songs on the album such as “Rise to Me” provide the auditory encouragement to stick to those resolutions. And really, who can resist a steel guitar?

With collaboration from R.E.M.’s Peter Buck and Gillian Welch, The Decemberists have retained their status as indie, folk royalty. Don’t have a resolution for the new year? Then, check out The King Is Dead and celebrate The Decemberists’ unique salute to 2011.

4 out 5 stars