Pitchfork, November 10, 2003: Difference between revisions
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The only catch with ''North'' is that Costello seems less concerned with presenting a collection of melodically clever and empathetic songs filled with his trademark sense of irony and double-entendre than with recording an album for the classical and jazz elites. In other words, it looks like the result of self-conscious pandering to his inner music critic. Note that Costello inexplicably released the album on the acclaimed classical label, Deutsche Grammophon (the beaming yellow of the label's logo jumps out ridiculously against the sharp gray contrasts of the album art), and while he might gain "street cred" amongst the classical music in-crowd with this move, the result makes for his least compelling work yet. | The only catch with ''North'' is that Costello seems less concerned with presenting a collection of melodically clever and empathetic songs filled with his trademark sense of irony and double-entendre than with recording an album for the classical and jazz elites. In other words, it looks like the result of self-conscious pandering to his inner music critic. Note that Costello inexplicably released the album on the acclaimed classical label, Deutsche Grammophon (the beaming yellow of the label's logo jumps out ridiculously against the sharp gray contrasts of the album art), and while he might gain "street cred" amongst the classical music in-crowd with this move, the result makes for his least compelling work yet. | ||
North may be better understood as a stylistic experience than as a musical one: Costello has eschewed all sense of melody and humor in favor of rambling, mock-jazz noodling. Where Costello matched the sparse arrangements of his jazz-influenced classic "Almost Blue" with the nuanced simplicity of standards like "Body and Soul," North defies this simple beauty as one long drab exercise. Fortunately, the album does find some saving grace in the iconic marvel of Costello's voice. His delivery here sounds like a rich, thick slab of wet red paint, adding rich texture and depth to the dim gray backdrop of his accompaniment. Also, touches of classic Costello rear their head every now and again; especially on the yearning nostalgia of "Fallen" (''"I believed that life was wonderful, right up to the moment when love went wrong"'') and "I'm in the Mood Again," the elegant, wondrous love song set amidst New York City which closes the album. | ''North'' may be better understood as a stylistic experience than as a musical one: Costello has eschewed all sense of melody and humor in favor of rambling, mock-jazz noodling. Where Costello matched the sparse arrangements of his jazz-influenced classic "Almost Blue" with the nuanced simplicity of standards like "Body and Soul," ''North'' defies this simple beauty as one long drab exercise. Fortunately, the album does find some saving grace in the iconic marvel of Costello's voice. His delivery here sounds like a rich, thick slab of wet red paint, adding rich texture and depth to the dim gray backdrop of his accompaniment. Also, touches of classic Costello rear their head every now and again; especially on the yearning nostalgia of "Fallen" (''"I believed that life was wonderful, right up to the moment when love went wrong"'') and "I'm in the Mood Again," the elegant, wondrous love song set amidst New York City which closes the album. | ||
Still, from the melodramatic opener "You Left Me in the Dark" (sample lyric: ''"You left me standing alone / Although I thought that we could not be parted"''), notes tumble on ad infinitum, leading nowhere and standing in direct contrast to their meticulously crafted maudlin surroundings. The sentimental "When Did I Stop Dreaming" offers a possible excuse for the album's unrelentingly dim mood: If Costello has indeed become paralyzed with cynicism as signified by the lyric, ''"Pardon me, if I seem distant and strange / Just tell me when did I stop dreaming?,"'' it makes sense that this batch of songs reeks of such icy indifference. | Still, from the melodramatic opener "You Left Me in the Dark" (sample lyric: ''"You left me standing alone / Although I thought that we could not be parted"''), notes tumble on ad infinitum, leading nowhere and standing in direct contrast to their meticulously crafted maudlin surroundings. The sentimental "When Did I Stop Dreaming" offers a possible excuse for the album's unrelentingly dim mood: If Costello has indeed become paralyzed with cynicism as signified by the lyric, ''"Pardon me, if I seem distant and strange / Just tell me when did I stop dreaming?,"'' it makes sense that this batch of songs reeks of such icy indifference. |
Latest revision as of 07:46, 1 December 2020
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