Sounds, February 11, 1989: Difference between revisions
(formatting) |
(fix typo) |
||
Line 13: | Line 13: | ||
In Brett Easton Ellis' ''Less Than Zero'', the benumbed narrator, Clay, spends a great deal of time sprawled beneath an old ''Trust'' period Costello poster on his bedroom wall. It's the nearest the character ever gets to voicing actual disaffection with the way things are. | In Brett Easton Ellis' ''Less Than Zero'', the benumbed narrator, Clay, spends a great deal of time sprawled beneath an old ''Trust'' period Costello poster on his bedroom wall. It's the nearest the character ever gets to voicing actual disaffection with the way things are. | ||
He's attracted, we assume, as much by the '60s suited, skinny-tied outsider image as anything within the songs themselves. In those days, Elvis was still with The Attractions and making ''almost'' conventional bass drums, guitar pop records. It was so much easier, wasn't it? | He's attracted, we assume, as much by the '60s suited, skinny-tied outsider image as anything within the songs themselves. In those days, Elvis was still with The Attractions and making ''almost'' conventional bass, drums, guitar pop records. It was so much easier, wasn't it? | ||
Since then, the only predictable thing about Costello has been his unpredictability. His last two albums, both from 1986, may have continued to pile on the agony, but they did it in very different ways. On the surface, ''King Of America'' was deeply textured and fully confident in its handling of rock, country and Irish folk, with strands of cajun and Tex Mex thrown in. ''Blood And Chocolate'', just a few months later, went straight for the throat: an angry, sneering, rough-house return to basics. Whatever next? | Since then, the only predictable thing about Costello has been his unpredictability. His last two albums, both from 1986, may have continued to pile on the agony, but they did it in very different ways. On the surface, ''King Of America'' was deeply textured and fully confident in its handling of rock, country and Irish folk, with strands of cajun and Tex Mex thrown in. ''Blood And Chocolate'', just a few months later, went straight for the throat: an angry, sneering, rough-house return to basics. Whatever next? |
Revision as of 21:46, 12 September 2014
|