Elsewhere, November 12, 2020: Difference between revisions
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So how does Elvis Costello, now umpteen albums into his career – which has embraced phlegmatic New Wave post-punk, country music, folk-rock, work with the Brodsky Quartet, Allen Toussaint and Burt Bacharach, the ''Wise Up Ghost'' revisions with the Roots and more – keep himself, and just as importantly us, interested? | So how does Elvis Costello, now umpteen albums into his career – which has embraced phlegmatic New Wave post-punk, country music, folk-rock, work with the Brodsky Quartet, Allen Toussaint and Burt Bacharach, the ''Wise Up Ghost'' revisions with the Roots and more – keep himself, and just as importantly us, interested? | ||
By opening this | By opening this 31<sup>st</sup> studio album with a mournful Middle Eastern melody and a spoken word piece (Revolution #49), by bringing in a French ensemble as well as guitarist-without-portfolio Nels Cline, by firing off the scratchy salvo of No Flag which sounds like he hasn't aged or become more calm since the bitter fury of Pump It Up more than four decades ago: “''Why should anybody listen to me, I'm tearing up the sheets your love left stained . . .''” | ||
Whether you like him or not – and that once irritating vibrato which ruined many an album here returns, mercifully briefly, on the lovely piano ballad The Whirlwind – you'd have to concede that Elvis Costello still has it in him to find new approaches and ideas. | Whether you like him or not – and that once irritating vibrato which ruined many an album here returns, mercifully briefly, on the lovely piano ballad The Whirlwind – you'd have to concede that Elvis Costello still has it in him to find new approaches and ideas. |
Latest revision as of 19:40, 30 April 2022
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