The Decemberists are back with their sixth-studio album - that’s the good news. The best revelation of all, however, comes in their continued evolution as an indie-rock outfit; the album working to showcase an intriguing new focus.

Long gone are the days of grandiose opera as heard in The Hazards Of Love and the band are similarly, for the most part, through with their maritime magnificence. The King Is Dead sees The Decemberists flourish with an exuberant Americana effort, drawing in blues and folk components across the record. Typically, the band appear conscious and direct in their ideas, making a sudden decision to shun the prog detours and exotic excursions characteristic of their past work. In addition, The King Is Dead bears no mark of a concept album, a slew of stand-alone songs on offer here. Put simply, the Portland quintet have opted to make a departure this time around. Fortunately, it’s paid off. We’ve been given a real treat: an appealing, straight-down-the-line record that wastes no time in revealing its splendours.

One of the most impressive aspects of The King Is Dead is its considered introduction of a country flavour, a tact that ultimately that colours much of the album without alienating any indie-rock addicts. The approach also conceals a welcome simplicity, with Colin Meloy’s craft suddenly methodical yet genuinely captivating. The bare-bones brilliance of his songwriting shines through in ways the band has seldom explored of late, both captivating and almost instantly accessible. As a result, The King Is Dead enables the listener to slip in and out of its experience with ease.

The record’s more successful moments may also be attributed to The Decemberist’s obvious enthusiasm. With rarely a quiet interlude to be had - the sleepy, Sunday-afternoon cut in "Rise To Me" and the stripped-back "January Hymn" the primary exclusions - the band have come into this record all guns blazing, as emphatic as ever. "Don’t Carry It All" sets the scene perfectly, a sweet harmonica-laced stomper leaving Meloy to bleat wildly as we know and love. Meanwhile, "Down By The Water" is the most memorable of the bunch. The single finds a happy middle between Paul Kelly and REM whilst bearing a killer hook in one rich, compact gem unburdened by The Decemberists’ usual prose stratagem. Funnily enough, guitarist Peter Buck actually guests on the track.

Some may come to grapple with notions of authenticity inevitably tied to The King Is Dead. After all, The Decemberists’ seem to be chasing an aesthetic, working very obviously within a particular genre. For that reason, the record can risk coming off as contrived, its meticulous nature verging on all-too-perfect. If you can look past that, however, The King Is Dead is a surprisingly uplifting affair and a refreshing new chapter for the band, simultaneously demonstrating their formidable creative potential. It’s not epic, but it’s certainly a lot of fun and an album to be embraced easily. You have to wonder just where they’ll head next. With results like these, however, most will be sure to follow.

Review Score: 8/10