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Any new Elvis Costello album, either with The Imposters, alone or with a variety of partners, is a big issue, column inches, musical discussion and, it seems, appearances on ‘The One Show’. One would almost think that his appeal was now older, more comfortable ex-complainers still wearing DMs but with glasses and bellies (I certainly am); there’s been a cancer scare and op recently of course and all the musical diversion, as if that brittle anger and sneering didn’t cut it, wasn’t enough. Recent albums have been a racket though, unsettling and brittle; this is a more swollen affair, replete with female voices and strings. Sounds complete. Sounds satisfied.
‘Under Lime‘ is undeniably cheery on predominant piano and big beat, the female backing vocals help too, the chirpy brass band almost too much. It’s a solid start of excellence, one which almost tells us ‘you’re in safe hands here.’
And he shows his celeb rub too, the following ‘Don’t Look Now‘ has the unmistakably soft piano of Burt Bacharach but as often, the vocals are infected with his mournful charm too, whilst ‘I Let The Sun Go Down‘ is a big backing tune with wistful horns and harmonies, a beautiful seemingly anti Empire lyric cutting against it all; ‘Isabelle In Tears‘ a stark vocal and piano affair.
When he raises the tempo, it’s more interesting, ‘Mr & Mrs Hush‘ is all tight horns and gorgeous shuffling groove, matched by the gentle wander of cabaret and ‘Suspect My Tears‘ is such a Bacharach swagger, taking so many of his motifs, it’s an identical twin, except the middle has downbeat woodwind and becomes exactly Costello – what a triumph.
There’s also a Carole King co-write, dusted off after many years and thank goodness, dramatic and smooth all at once, ‘Burnt Sugar Is So Brittle‘ links back to the past so well and pushes forward in the faintly disco guitars, nassed female voices and tight brass. It’s just stunning.
This album isn’t as brittle, as raucous, as reactionary as some recent Costello albums. It has a comforting feel, elegaic moments, it seems rounded and comfortable but never in a lethargic way. If many of these songs start with a mid pace, thickly mixed warmth, they can surprise in the middle and have a sense of being the best that they can be at this moment. They don’t all work, some mine one seam for less delight, but they frequently begule and that’s such a rarity.
Now Look, Elvis Costello is producing some of his finest work here. With a smile on his face. And brass. So much brass. Strip Jack Naked With A Stanley Knife? Knockout Whist With A Souzaphone. Yes please…
Out On Concord Records
Remedy Rating :   Another Appointment For Better Medicine
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