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Elvis Perkins | Elvis Perkins in Dearland
March 3, 2009
Elvis Perkins | Elvis Perkins in Dearland (2009)
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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
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."
That kind of pretty
Elvis Perkins has got a backstory on him.
“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
Interview: The Low Anthem
The Low Anthem return home — for just a little while
Review: Oak Lonetree, Lava + 2
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.
Science and Technology
Science and Technology
Audio and Video Devices
Digital Music Players
"Hush Hush Sweet Harlot," with Chris Kasper + Brother & Co.
@ The Red Door
"To the East, Blackwards: Islam & Muslims in the Black Radical Imagination"
@ University of New England - Portland
ARTICLES BY ZETH LUNDY
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Bill Withers has always been the down-to-earth, odd-man-out of the '70s soul brothers: he's the one who came bearing a lunch box on the cover of his relaxed 1971 debut, Just as I Am .
R.E.M. | DOCUMENT [25TH ANNIVERSARY EDITION]
| September 19, 2012
Fans of R.E.M. enjoy arguing over which album was the band's true shark-jump, but 1987's Document was inarguably the end of a groundbreaking era.
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