Damn it, Colin, was it really necessary to end the Pavilion’s description of this show with the word “apotheosis?” Yes, we know you made fifty gazillion dollars from The Crane Wife, and yes, that breaks down to about $25 gazillion per narrative cycle. Still, it had finally started to seem as though the public had finally grown past all the gleefully manic verbal quirks, at least enough for music writers to stop relying so heavily on the word “literate” (oops!) and pay attention to the other cool aspects of the record — structural humor in “The Perfect Crime,” regal tom rolls in the title track, etc. But then out comes “The Hazards Of Love,” a concept album filled with “lithesome maidens” and “irascible blackguards” and other things that prompted Slate to write an honest-to-God cheat sheet. There’s no arguing with tunes like “A Bower Scene” and “The Wanting Comes In Waves,” of course, but you’re still digging your own grave here.

Laura Viers will be around to give the last rites.

—>The Hook’s Stephanie Marie Garcia interviews guitarist Chris Funk