"Momofuku" review

[johnfoyle]

http://entertainment.timesonline.co.uk/ ... 896030.ece

The Sunday Times

May 11, 2008

Elvis Costello: Momofuku

Dan Cairns

Recorded in just nine days (and all the better for it) at Sound City, California, this is Costello’s best album for years. The first three tracks tear out of the traps: No Hiding Place is spiky, chippy EC, settling scores; American Gangster Time finds him biting the hand that now feeds him, as Steve Nieve essays an Oliver’s Army-style keyboard motif beneath him; Turpentine recalls the melody of High Fidelity, as Costello and guests, including Jenny Lewis and Pete Thomas’s daughter Tennessee (of the Like), surround the song with an unsettling sonic squall. It’s not perfect – one song’s liberatingly ramshackle approach is another’s self-indulgent meandering – but Costello sounds invigorated, and that remains, even now, a thrilling situation to witness.

Lost Highway 1766583

[invisible Pole]

http://www.pitchforkmedia.com/article/r ... 0-momofuku

Elvis Costello and the Imposters
Momofuku
[Lost Highway; 2008]
Rating: 7.5

Elvis Costello's career has taken so many left turns since his new-wave beginnings that it's nearly more surprising to hear him record a rock record these days than one of his many excursions in other genres. But Momofuku returns him to his band the Imposters-- their first in a while, and likely the sort of record most of his fans have been waiting for. Fortunately, it's the best of all that would imply: a fiercely melodic record that sinks or swims on the dynamics of his band, much in the vein of his relative comeback album When I Was Cruel and at times even Blood and Chocolate. The songs are raw and unfussy, and they show off what must come naturally to Costello: tracks stitched together from several disparate and equally unforgettable hooks, and lyrics filled with deft wordplay and plenty of seething and unsatisfied characters.
Most of all the record's songs are wrested from guitar and organ, whether it's the irrepressible pop of "American Gangster Time", the hushed, percussive groove of "Drum and Bone", or the distorted stomp of "Stella Hurt". Extra flourishes are kept to a minimum, with the exception of copious amounts of backing vocals. Costello fears no overdub on "American Gangster Time" or "Pardon Me Madam, My Name is Eve", while he gets help from a vocal "supergroup" bolstered by Jenny Lewis and several others on many of the record's tracks, be their contributions manically layered on "Drum and Bone" or just subtle coloring from Lewis on "Song With Rose".

From the album's opener, Costello is already aiming at critics in "No Hiding Place" who have grown more anonymous as his career has gone on (while taking note of "The very near future/ When everything will be free"), has no kind words for corruption across the pond in "American Gangster Time" ("It's a drag saluting that starry rag"), and finds even finds strife in, depending on your beliefs, the world's first coupling ("Pardon Me Madam, My Name Is Eve"). Yet while Costello is known for his pith, there's a certain amount of gentleness and grown-ass-man maturity present elsewhere: The honking jazz guitar of "Harry Worth" almost mocks Costello's previous ballroom pretensions, while the lyrics are like an answer to embittered earlier songs like "Almost Blue" or "The Long Honeymoon" as the narrator seeks to bring together dueling newlyweds, assuring them, "it's not very far between tears and mirth." Later, the placid ballad "My Three Sons" is a hopeful ode to estranged parents and finds glimmers of acceptance in growing old.

Even a meat-and-potatoes rock record from Costello would be nothing to complain about, but Momofuku finds small, but significant ways to diversify. Aside from the welcome downshift of "Harry Worth", there's a distinctive country twang (no stranger to his catalog) behind the prideful grand piano banging in "Song for Rose", while "Mr. Feathers" walks the middle ground between woozy Beatlesque melodies and the trashcan symphonies of Tom Waits. There's some percussive feats of wonder as well, from the chaotic clatter that closes out "Stella Hurt" to some of the man/machine editing that marked the material from When I Was Cruel on "Turpentine", one of two songs where the Imposters swelled to nine musicians, including Pete Thomas' daughter Tennessee from the Like on additional drums.

It's a remarkably consistent album, but what unifies these songs is how they were recorded, and how Costello and company play to their particular strengths. Even with all these extra musicians-- all valuable players who acquit themselves beautifully, of course-- it goes to show that Costello's songwriting voice is indelible, no matter who is or how many people are playing. While his omnivorous ears and musical appetite should be lauded, perhaps this is why records like these feel like more natural contexts for him. It lacks any standout single to rally around or champion, but maybe it's better that Momofuku's no-nonsense mood is unbroken. It's the longtime fans who'll be happiest with Momofuku, as the traditional four-piece "American Gangster Time" and closing track "Go Away", with its harsh vocal echo and buzzing organ, might be as close to vintage Costello as we may ever hear again.

-Jason Crock, May 12, 2008

[migdd]

I know you've all been holding your breath waiting for this - Rolling Stone's mighty and insightful 3 1/2 star review of Momofuku courtesy of Will Hermes :


As the recent reissue of This Year's Model proved, no one can turn vitriol into art better than Elvis Costello. This fact is reconfirmed by Momofuku — a name the singer's latest album shares with a Manhattan restaurant and that, fittingly, resembles an excellent English-language expletive. "In the not very distant future/When everything will be free/There won't be any cute secrets/Let alone any novelty," Costello spit-croons on the opener, "No Hiding Place," a slow-burn rocker that indicts Internet culture amid "na-na-nas" and "woo-oos."

Among his sharpest sets in years, Momofuku was first released on double-disc vinyl (it's now available on CD and MP3), one of many signs of Costello's old-school allegiance; see also "Flutter & Wow," a bruised ballad that likens the singer's lovesickness to the irregular motion of a turntable motor. But dude's not living strictly in the past. In addition to veteran Costello bandmates Steve Nieve and Pete Thomas, young singer-songwriters Jenny Lewis (Rilo Kiley) and Johnathan Rice add sparks to Momofuku. Lewis' knowing, slightly jaded character studies owe plenty to Costello, whose collaborative imaginativeness proves he's no average curmudgeon. Long may he sneer.


http://www.rollingstone.com/reviews/alb ... 2/momofuku

[pophead2k]

What a lazy-ass review. No Hiding Place is a 'slow burner'?? No, On Your Way Down is a slow burner. No Hiding Place is quite peppy, thank you very much. Sorry, I'm just full of vitriol for Rolling Stone these days. After years of understanding that putting actors and celebrities on the cover helped sell issues, the latest features the cast of The Hills. I can't defend, accept, or understand this decision. So, officially, they suck. So sayeth Pophead, and so shall it be.

[spooky girlfriend]

Well, reviews are certainly mixed, but pretty good for the most part. I just can't critically review most music myself though.

The reason that I don't feel that I can accurately judge the musical quality of an album is because I tend to get too emotional about them. Most of the time, I'm incapable of stepping outside the lyrics or the tune to give the song a "grade." I usually listen with my heart and I develop a sort of relationship with the song. Especially with Elvis' music. I mean, I'm such a girl - when I hear Elvis say, "My voice got stuck in my throat... Pulled my hand up into the sleeve of my coat so you'd never know how it was shaking" I could just die.

And that's why I can't critically judge an album.

[johnfoyle]

More reviews -

http://www.orlandosentinel.com/entertai ... 6328.story

http://www.independent.ie/entertainment ... 76777.html

http://www.idahostatesman.com/entertain ... 82650.html

http://www.timeout.com/newyork/articles ... -imposters

http://www.dailynexus.com/article.php?a=16835

http://soundcheck.freedomblogging.com/2 ... s-friends/

[migdd]

Thanks for posting, JF! These made for an entertaining read during my morning cup of green tea.

It's pretty striking how non-Costellophile reviewers really don't know how to connect with the new album. This has been an ongoing problem for most of EC's releases, even in "the old days". It seems as though, the lack of a press release in hand, most reviewers can't make a critical, informed decision on their own - as if listening to the album more than once was an unthinkable proposition. Of this bunch, only Ben Wener's review offers any amount of original thought about the record. If, as the trite saying goes, opinions are like assholes, uninformed opinions are like shit. Or, at least, they shouldn't be "published", whatever that means anymore. I rarely bother with record reviews these days but am always too curious to look the other way when it comes to seeing what "the press" has to say about the latest EC release, hoping there is some broad-minded critic out there that connects with the record enough to see its true strengths and write about them in an interesting way. When am I going to learn?

. . .so fuck it, no more reviews today. I think I'm gonna go listen to MF now. That's bound to cheer me up. I like it.

[mood swung]

I always rely on the Idaho Statesman.




















For my farm reports.

I like it better, but I don't love it. And I've come to believe that the entire world is out of ideas and words and creativity and individuality and it's all the fault of the internet.

[spooky girlfriend]

Sometimes I wonder if Elvis ever gets as tired as I do of hearing the whole "angry young man" thing. In case anyone hasn't noticed, he's been married to a jazz singer for a few years and has twin boys that he pushes around in a fancy-dancy baby stroller while he shops at Whole Foods. He hasn't looked really angry in quite a while.

Reviews-schmews.

[migdd]

With ya there, moody.

Funnily enough, some of the best, honest and most down-to-earth press EC has received lately has been during his swing through Nashville, Memphis, Knoxville and Louisville this past month. Why is it that he can't get an honest (you know, without the preconceptions of being "ELVIS FUCKING COSTELLO") notice in the some of the more metropolitan areas he has been haunting for years. Why do I get the idea that if Momofuku was his first album, the reaction to it would be quite different?

I really need to let this go. I'm really going to go listen to MF now. Thank God I don't need to go to Idaho to do it!

[migdd]

Sometimes I wonder if Elvis ever gets as tired as I do of hearing the whole "angry young man" thing. In case anyone hasn't noticed, he's been married to a jazz singer for a few years and has twin boys that he pushes around in a fancy-dancy baby stroller while he shops at Whole Foods. He hasn't looked really angry in quite a while.

Reviews-schmews.

I agreed, spooky! EC has a life that makes him happy. Good on him! The balance of happy, angry, indignant, proud, humble, etc, makes for a much deeper listening experience. It was all there in KOA, TDM and now MF!

[spooky girlfriend]

And I've come to believe that the entire world is out of ideas and words and creativity and individuality and it's all the fault of the internet.

And some of these damned fan sites . . .

[wardo68]

Here's a review from Ben Wener of the Orange County Times. To sum up: it's a grower.

http://soundcheck.freedomblogging.com/2 ... s-friends/

[MOJO]

And I've come to believe that the entire world is out of ideas and words and creativity and individuality and it's all the fault of the internet.

And some of these damned fan sites . . .

\

We've passed from the industrial age to the information age in the past 10-20 years. Science, art, religion are connected/related but, (collectively) we cycle through periods of time where one form tends to dominate more than the other. So science (Internet technology, etc) is pushing us through another state of living - information age. I guess it's a state of mind.. but I think music is timeless. Maybe you should listen to Harry Worth... it's a mellow, happy-go-lucky tune...

[Otis Westinghouse]

Well Graeme Thomson likes it:

http://music.guardian.co.uk/pop/story/0 ... 09,00.html

Been waiting for either Guardian or Observer to acknowledge it, so it's good to see this. Good review, I think. OMM is a bit heavy on the 5-star allocations, though.

[johnfoyle]

Another one -
http://www.theaustralian.news.com.au/st ... 90,00.html

[John]

Here's one from AMG
Review by Stephen Thomas Erlewine

Originally Momofuku was going to be released only on vinyl and digital download, an expression of Elvis Costello's frustration with the State of the Record Industry in 2008, but those plans soon changed, turning the album into a standard release yet not removing a sense of confusion surrounding its sudden appearance, as it arrived just after Costello publicly swore off ever recording again (or performing in the U.K., but that's another matter for another time). The very title of the record was a source of mystery, as it was suggested that it could perhaps be named after David Chang's string of N.Y.C. restaurants, but Costello clarified the situation by explaining that he and Chang shared a similar love of Momofuku Ando, the man who invented cup noodles. Such squawking over foodie arcana leaves little question that Momofuku the album exists where the air is rarefied but, as always with Elvis, words have meaning — as this record sprang to life in an instant, just like a bowl of ramen noodles. Invited to sing on Jenny Lewis' follow-up to Rabbit Fur Coat, an album he praised publicly, Costello arrived in a studio where half of his Imposters were already working on the record — along with Tennessee Thomas, the daughter of longtime Costello drummer Pete, and Lewis' boyfriend Johnathan Rice — and before long a couple of new Elvis originals were cut alongside the planned songs for Jenny, and that snowballed into the quickly written, quickly recorded, quickly released Momofuku.

That quicksilver speed is the key to Momofuku, and what separates it from all the albums Elvis Costello has cut in the decade since he signed with Universal. Almost every record from 1998's Painted from Memory on has had a conceptual thrust — even 2002's When I Was Cruel was designed as a back-to-basics record — but not this. It's merely a collection of 12 songs, all bashed out in a matter of weeks, not an album that's been labored over for months. Ironically enough, that rush of creative energy gives Momofuku a unified feel so it holds together as well, if not better, than such recent records as When I Was Cruel, which felt too deliberate in its classicism, or The Delivery Man, which was only wanting for the kinetic energy that this has in spades. That dynamic energy is down entirely to the speed of conception, how the record was cut in a short enough span so that Lewis, Rice, and Dave Scher (of Beachwood Sparks and All Night Radio) could lend harmonies throughout the record, lending a grace to the clattering "Turpentine." As the only female here, Lewis naturally stands out from the pack, but she's also given the opportunity to stand toe to toe with Costello, such as on the superb closer, "Go Away," as simple and addictive a song as he's written in years. Much of Momofuku is indeed this direct, at least in its construction — applying equally to the old-fashioned ballad "Flutter & Wow" as it does to such lean rockers as "American Gangster Time" — but the lyrics are as expertly crafted and wryly sophisticated as any latter-day Costello record. This sophistication can creep into the music as well, as the loungey puns of "Harry Worth," the clenched, dense rhythms of "Stella Hurt," and the cabaret shuffle of "Mr. Feathers" all recall a Spike recorded sans accoutrements. Again, that's where the speed of this whole enterprise works in its favor, as it makes these digressions seem funny, not fussy, and that's ultimately the charm of Momofuku: it captures a loose, natural Elvis Costello, somebody who hasn't been captured on record in years. It's still a Costello who plugs Lexus, writes operas, and plays jazz festivals, but here he's not trying to prove anything; he's just making music, and that's why it's one of his most enjoyable latter-day records.

[MOJO]

Joel Selvin's review in the SF Chronicle:

http://www.sfgate.com/cgi-bin/article.c ... 10JF4L.DTL

[johnfoyle]

.... and another -

http://www.mercurynews.com/music/ci_930 ... ck_check=1

[johnfoyle]

More-
http://www.azcentral.com/ent/music/arti ... elvis.html

[johnfoyle]

More -
http://www.suntimes.com/entertainment/m ... 25.article

[thepopeofpop]

Sydney Morning Herald, from a couple of weeks ago:

http://www.smh.com.au/news/cd-reviews/m ... 43559.html

[jmm]

http://www.milesofmusic.com/


ELVIS COSTELLO
Momofuku
You really are here because you want to know how good 'Momofuku' is. It's excellent! One of his best! I don't say that lightly, either. It's obvious on first listen that the reason why he decided to set the record off with an initial vinyl-only strategy was because this is a classic-level Elvis Costello record. He surely wanted to remind his listeners of the first time they listened to 'My Aim Is True' or 'This Year's Model.' This is not Elvis Costello experimenting with his classical side. It is an old-school Elvis Costello record with occasionally loud guitars, plenty of bile and a bit of punctuating organ here and there. Don't get me wrong, this isn't a full-tilt rock album, because it does have its softer, more reflective moments, but so do the two classics listed above. Costello is a songwriter and he tends to like to write lyrically dense material.

Sometimes you need a softer backdrop to tell a story. Like his 2002 masterpiece, 'When I Was Cruel' and his 1994 rocker 'Brutal Youth,' this album finds Costello in a very familiar comfortable place. All the albums I have just listed each have their own distinct sound, and 'Momofuku' continues that line, but the truth is, each one has showcased Costello the rock star. (Albeit, a rock star who can write more literate rock songs than your average seething curmudgeon-y social critic.) ...[T]here isn't a weak track on 'Momofuku.' It's Elvis Costello completely in his element. It's a clear five star example of a legend adding to his stack of classics. Here's someone who has worked for the past 31 years with no large, significant breaks, honing his craft, creating a diverse catalogue for the ages. 'Momofuku' is a worthy addition to any Elvis Costello fan's collection. -- Allan Raible, abcnews.com

[Otis Westinghouse]

I'm still finding it very strange that the Guardian and Observer have chosen not to review it, only the Observer music mag with the 5 star Thomson review. It doesn't seem possible that he's become marginalised to the point of not meriting a review as obviously they need to be pretty selective what they include, and its so patently worthy of a good review. I have to put it down to it being 100% unplugged.

[taramasalata]

Hi there
the German "Rolling Stone Magazin" (which sucks a lot less compared to the "original") gives it a 4.5 stars (out of 5) in its june 08 issue
I will post a translation any day soon whenever I find some time to do so...

http://rollingstone.de/content/tontraeg ... monats.htm

Die „richtige“ Version dieses Albums sei auf zwei Stücke schwarzes Plastik gepresst, schreibt Elvis Costello auf seiner Website. „Momofuku“ erschien daher zunächst nur auf Doppelvinyl (inkl. Downloadcode). Die gut 47 Minuten hätten zwar auch auf eine einzelne Platte gepasst, aber der Künstler wollte maximale Soundqualität. So mutet die schöne Idee, mit einer klassischen LP-Veröffentlichung noch ein letztes Mal die Kunstform Album zu feiern, am Ende wie ein spleeniger HiFi-Fetischismus an. High fidelity – can you hear me?

„Momofuku“ trägt den Namen des Erfinders der Instant-Nudelsuppe, denn „all we had to do to make this record was add water“. Eigentlich hatte Costello nur bei einigen Songs der Rilo Kiley-Sängerin Jenny Lewis mitsingen wollen, dann wurde daraus eine Session, bei der neben Lewis Imposters-Bassist Davey Faragher Songwriter Jonathan Rice, Dave Scher von den Beachwood Sparks, Tennessee Thomas (Tochter von Pete) und schließlich alle Imposters mitspielten.

Dass Elvis Costello nicht genügend gute Songs auf Lager hat, musste man noch nie befürchten. Wenn er mal scheiterte, dann an zu großer Ambition. Doch dafür war dieses Mal gar keine Zeit. „Momofuku“ ist der musikalisch direkteste Costello seit „Brutal Youth“. Und wie damals wirft er sich mit Verve in längliche Narrationen und brachiale Melodik. Doch die amerikanisch-beseelten Imposters (der Bass!) sind variabler als einst die britisch-bissigen Attractions, und die Mitmusiker erweitern das klangliche Spektrum noch um einige Farben. So hat „No Hiding Place“ zu Beginn zwar die Kratzigkeit von „Blood And Chocolate“, doch die Harmonien der „Vocal Supergroup“ um Jenny Lewis sorgen für den erlösenden Pop-Moment. Die Sex-&-Crime-Story „American Gangster Time“ kommt da kompromissloser, die Imposters im Crazy Horse-Modus, und Steve Nieve holt die alte „Pump It Up“-Orgel raus. Pete und Tennessee Thomas evozieren auf „Turpentine“ die Polyrhythmik von „When I Was Cruel“, psychedelische Gitarren durchkreuzen himmlische Harmonien, und man zählt seine zehn liebsten Costello-Songs durch und schaut, ob da noch Platz ist für diesen hier.

Einmal umdrehen, und es folgen der leichte, urkomische Bossa Nova „Harry Worth“, der federnde Shuffle „Skin & Bone“ und die erhabene Ballade „Flutter & Wow“ – Costello zwischen Allen Toussaint und Van Morrison. „Stella Hurt“ zeigt die Imposters zu Beginn der dritten Seite auf Attractions-Spuren, ca. „Trust“, „Mr. Feathers“ paart Kinks-Lakonie mit „Revolver“-Harmonien, das rührende „My Three Sons“ ist Costellos „Forever Young“. Die Träne, die man da verdrückt, muss man gar nicht erst wegwischen, denn auf Seite vier drosselt Costello das Tempo, nimmt sich Zeit für große Emotionen: beim in vollem Country-Rock-Ornat betörend zurechtgemachten „Song With Rose“, das er mit Rosanne Cash schrieb, und der mit Loretta Lynn verfassten filigranen Stilübung „Pardon Me Madam, My Name Is Eve“. Am Ende kehrt Costello mit dem furiosen Beat von „Go Away“ zurück an die Merseyside. „But she won’t need possessing/ Just undoing and undressing.“ Der größtmögliche Spaß, den man vollständig bekleidet haben kann. Jetzt auch auf CD.

Maik Brüggemeyer