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Battles | Gloss Drop
CD Reviews
Elvis Perkins | Elvis Perkins in Dearland
XL (2009)
By
ZETH LUNDY
|
March 3, 2009
Elvis Perkins | Elvis Perkins in Dearland (2009)
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3.0
Stars
Elvis Perkins is the third Elvis on my iPod, and he's also the least controversial of the lot: he doesn't shake his pelvis or appropriate the unsung musical styles of others, and he certainly hasn't engaged in an epithet-laced bar fight at a Holiday Inn.
Perkins's bag is a knack for making the lonely conceits of the contemporary singer-songwriter sound uplifting. His sophomore release,
Elvis Perkins in Dearland
, which shares the name of his terrific band, offers both minor- and major-key songs, all of them extending their arms skyward like huzzahs from the barstool; even "Doomsday" is quite the reveler.
Perkins's simple, folk-hymn melodies are helped along by New Orleans brass, harmonica, B-3 organ, and harmonium, their trumpeting and wheezing sounds adding levity to blunt statements like "Black is the color of a strangled rainbow." This push-and-pull makes for a listening experience that's introspective
and
celebratory, a beautiful confusion in your gut — or, as Perkins puts it near the end, "We were happy once, you and me, when we were sad."
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Bio beware
Elvis Perkins has got a backstory on him.
Elvis Perkins
“I heard a sound when I was a child,” Elvis Perkins sings in “It’s Only Me,” a typically introspective folk-pop number from this debut album.
That kind of pretty
I hop a curb, and — in the middle of Comm Ave — introduce myself to Elvis Perkins before his show.
Work the weekend
Potent triple dip at the Common Pub
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The Low Anthem return home — for just a little while
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Oak Lonetree hemorrhages more discs than Kool Keith — which, for those who don't know, is a bootyload.
Anat, Elvis, and Jenny
In the wake of a single solo album on her own label in 2005, Anat Cohen is suddenly everywhere.
Persistence of memory
Though you don’t need to know anything about Elvis Perkins’s colorful and, at times, deeply tragic family history to appreciate his debut album, significant details can’t help but call out to you.
Gil Scott-Heron | I’m New Here
It's always easy to forecast others' doom, announces Gil Scott-Heron near the end of his first album since 1994.
Titus Andronicus | The Monitor
As if to allay any fears of a starchy Civil War concept album, Titus Andronicus frontman Patrick Stickles spends the first minute of The Monitor shouting out a series of cultural artifacts that postdate that conflict by, oh, about a hundred years: the Garden State Parkway, the Newark Bears, even the Fung Wah bus.
Jónsi | Go
To the Sigur Rós fans still weeping over the band’s decision to scrap their latest full-length and take an indefinite paternity leave: dry your tears with Jónsi’s uplifting solo debut.
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| May 01, 2012
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Out of the Game is being billed as the most "pop" album of Rufus Wainwright's career, which is to say that it dismisses many of his trademark classical and/or stagey affinities.
THE DANDY WARHOLS | THIS MACHINE
| April 17, 2012
The title of the Dandy Warhols' eighth record may be a Woody Guthrie allusion, but don't fret — the closest the Portland, Oregon, band get to politics here is a cover of Merle Travis's "16 Tons."
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ZETH LUNDY
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