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Originally titled Emotional Fascism, the new Costello is, for me, one of the most eagerly awaited albums since before the Christmas crunch.
Costello is one of the most interesting of the new performers, a mix 'n' match combination of Buddy Holly and Johnny Rotten, combining traditional rock basics with the angry intensity of his lyrics. He apparently thinks that emotional nihilism is enough without adding the musical nihilism of some of the punk rockers.
Costello is slightly sinister, always intense, sometimes playful. He is one of the most important musical figures today, an oddity when you consider his slight, conservative looks (and his slight record sales).
There's nothing on this album with the immediate impact of "Watching the Detectives" from the first album or the subterfuge of "Alison," but Costello is still a master at constructing relentlessly brutal arrangements.
Armed Forces is the most demanding album Costello has put out yet, owing in part to his complex, yet obscure lyrics, but also because of the (deliberately?) muddied vocals.
Costello and his band, The Attractions, along with producer Nick Lowe spent a month in the studio, long by his standards, but still the vocals are maddeningly buried in places.
But with repeated listenings and concentration, some of Costello's wordplay begins to emerge.
From "Accidents Will Happen," there's: "Your mind is made up / but your mouth is undone." And in "Senior Service" there's the line, "It's the death that's worse than fate."
Costello also sometimes manipulates his melodies to conflict with his lyrics. "Oliver's Army" starts almost brightly, only to have the lyrics refer (apparently) to mercenary soldiers, who could be fighting in South Africa, Palestine, China, Hong Kong:
"Well, there's no danger / it's a professional career / but we could all be erased / with just a word in Mr. Churchill's ear."
"I'd rather be anywhere else but here..." Costello's obvious hostility and suspicion involving women seems not to have abated. First, there was the seemingly loving, but ultimately bitter, "Alison" and from the second album there was "This Year's Girl."
On this album, there's "Big Boys" and "Moods for Moderns" on the same theme. Is it coincidence that the background vocal of "Moods for Moderns" sounds like "emotional violence"?
There are all sorts of intriguing references and teases. What about the positioning of the chilling "Chemistry Class" ("are you ready for the final solution") followed by "Two Little Hitlers" ("two little Hitters will fight it out / until one little Hitler does the other one's will / I will return / I will not burn")?
The lyrics are full of British references and double meanings, making the vocal vagueness even more annoying. But perhaps it's planned that way. Costello will not be listened to casually, even if his rhythms on songs like "Two Little Hitlers" and "Goon Squad" will help to grab an inattentive listener.
And if the vocals are blurred, it's not for lack of intensity. Costello sometimes sings as if the words are being torn out of his throat. Other times, he shows surprisingly subdued phrasing.
A bonus for you early buyers (in the first 200,000 copies) is an EP containing a great, long version of "Watching The Detectives," a quieter, piano-dominated version of "Accidents will Happen" and "Alison," all recorded live at Hollywood High.
Elvis lives!
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