Elvis Perkins In Dearland : S/T :: Review
Elvis Perkins has pulled off quite a sonic transformation on ‘Elvis Perkins in Dearland’, his new eponymous sophomore album. Whereas his solo debut, ‘Ash Wednesday’ was a spare and often times maudlin affair, ‘Elvis Perkins in Dearland’ seems almost joyful in its moroseness. ‘Elvis Perkins In Dearland’ is a full band effort and this change seems to have added some energy and looseness to Elvis Perkins style. Elvis Perkins is now joined by touring band mates, Brigham Brough (upright bass, saxophone, vocals), Wyndham Boylan-Garnett (pump organ, guitar, harmonium, trombone, vocals), and Nick Kinsey (drums, percussion, banjo, clarinet, vocals).
Elvis Perkins still sings like an old soul but the full band effort more closely matches his cabaret style of performance. With songs that are rooted in darker moods and tones, the band is able to provide a fuller atmosphere than a lone acoustic guitar. Opener “Shampoo” benefits from this style with its Dylanesque harmonica and swampy keyboards that lurk in the background. The droning “Hours Last Stand” has an accented piano and organ that wonderfully complement the vocals as a drum beats out a lonely cadence.
Stylistically, ‘Elvis Perkins In Dearland’ is all over the map. Outside influences play heavily on this album as traces of Dylan, Waits, and George Harrison can be found in various songs. There are shades of the former style that Elvis Perkins incorporated on “Ash Wednesday” notably on “Send My Fond Regards To Lonelyville” and “How’s Forever Been My Baby.” “Doomsday” sounds like a New Orleans funeral dirge while “123 Goodbye” is a reflective lament.
‘Elvis Perkins In Dearland’ demonstrates that Elvis Perkins is willing to experiment with his sound and that those experiments are also successfully rewarded.
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