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Throughout his illustrious career, Elvis Costello has written two kinds of songs — rock-oriented tunes that can be immediately appreciated, and well- intentioned experiments that must be approached intellectually. Fans can place The Juliet Letters in the latter file — it's another one of Costello's frustrating, close-but-no-cigar experiments.
Only academicians will appreciate The Juliet Letters — the music contained within is so bookish, it seems aimed at the parlor set. The album finds Costello collaborating with the British string ensemble the Brodsky Quartet, which provides the flowery musical canvas upon which Costello spills dark, smirky vocals. It's a melodic match forged in Hades.
Costello adds insult to injury by attempting to hit notes far outside his comfort range. As for the melodies, the music floats about in an abstract fashion, creating a disorienting effect.
Lyrically, the album fares much better. The Juliet Letters is a homage to the printed word. Each song represents letters of all sorts — love letters, chain letters, junk mail, Dear Johns, suicide notes, etc. The album opens almost as a play, with Costello offering us a glimpse into desperate, failing relationship. To wit: "I don't know what I would do / if this letter should fall into / other hands than it should pass through / for other eyes."
Throughout the album Costello allows listeners to eavesdrop on someone's correspondence. The concept seems wasted, however, without compelling musical performances to push it along.
As evidenced by his constant dabblings into country, jazz, vaudeville and other music styles, Costello has never been interested in being a rock star. But with The Juliet Letters, the singer has been betrayed by his own ambition.
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