Louder Than War, October 13, 2018: Difference between revisions
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Elvis Costello is impossible to pigeonhole. Over his almost fifty-year career, the Liverpudlian-cum-Londoner has played the part of arsenic-laced punk curmudgeon and tear-stained country troubadour. His most successful records, though, are simply the ones where he has something important to say | Elvis Costello is impossible to pigeonhole. Over his almost fifty-year career, the Liverpudlian-cum-Londoner has played the part of arsenic-laced punk curmudgeon and tear-stained country troubadour. His most successful records, though, are simply the ones where he has something important to say — whether he be raging against the dying of the light in fuzz-drenched despondency (see ''My Aim is True'', ''Brutal Youth'', ''When I Was Cruel'') or lamenting the minutiae of suburban love in perfectly-formed pop (''Get Happy!!'', ''Blood & Chocolate''). Sitting somewhere in between, of course, is the baroque brilliance of ''Imperial Bedroom'', his 1982 magnum opus that married Costello's musical curiosity to the chamber pop production of the late, great Geoff Emerick. | ||
After touring that record recently with his trusty steeds The Imposters, Costello felt the time was right to stretch his musos and return to the studio. The resulting record, ''Look Now'', is like ''Imperial Bedroom'', in which Costello is a spy in the house of love, searching smoking embers in burnt-out bedroom parlours and neglected crevices for tales of familial fatigue and wandering eyes. | After touring that record recently with his trusty steeds The Imposters, Costello felt the time was right to stretch his musos and return to the studio. The resulting record, ''Look Now'', is like ''Imperial Bedroom'', in which Costello is a spy in the house of love, searching smoking embers in burnt-out bedroom parlours and neglected crevices for tales of familial fatigue and wandering eyes. |
Latest revision as of 01:56, 6 May 2020
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