For its fourth full-length, the Decemberists decided to capitalize with a change in labels. The Oregon quintet drifted from Washington-based Kill Rock Stars and was adopted by a major, allowing Capitol Records to be the band’s new homestead.

“The Crane Wife” continues in tradition with the band’s progressive folk methodology. Instrumentation features non-commercialized noise makers such as an accordion, pump organ, glockenspiel, bouzouki and banjo. Even more instruments make up the complete list of tools used for these 10 tunes.

The quintet decided to not embrace an overproduced album. Vocals and the toy chest of instruments sound natural and not blemished by technology. Melodies ring inspiringly during “Yankee Bayonet” and “Summersong.” Colin Meloy’s lyrics are clear and comprehensible, leaving little purpose for liner notes. Three main songwriting formulas are heard on “The Crane Wife,” showcasing the band’s more traditional and creative thoughts.

Meshed together are radio-friendly indie songs, colonial folk endeavors and the questionable ’70s rhythmically-induced porn soundtracks. The first two categories are no surprise and are of less interest on the record. As a result, the gyrating of “The Island…” and “The Perfect Crime” are worthy of analysis.

“The Crane Wife 3” slowly works it way into the epic 13-minute, three movement composition of “The Island; Come And See- The Landlord’s Daughter- You’ll Not Feel The Drowning.” The rhythmic introduction is deceiving because it only appears as a setting for the first movement, but each sub-category of the song contains its own Moog part. The ending of the track is disappointingly uneventful.

Suave and sly attitudes are perceived by the organ-full “The Perfect Crime.” A subtle resonating guitar riff cascades its way throughout the up-tempo song.

With mediocrity and mainstream appeal, you question the tacky quality of a gimmick or true inspiration.

Adrian Finiak is a music critic for the

Northern Star.