Advertisement

The Boy Named If Proves That Elvis Costello & The Imposters Have No Intention of Slowing Down

Costello and Co.'s latest LP doesn't match 2020's Hey Clockface, but it's not far behind, either

elvis costello the boy named if album review
Elvis Costello, photo by Mark Seliger
Advertisement
Advertisement

    With over two dozen studio collections — and roughly fifty years as a professional musician — under his belt, English power-pop/pub rock songsmith Elvis Costello has nothing left to prove. And yet, he’s been putting out superb records since 1977’s My Aim is True. In fact, 2020’s Hey Clockface was one of his most multifarious and consistent efforts in several years.

    Fortunately, follow-up The Boy Named If (out Friday, January 14th) is another winning entry in his repertoire. Admittedly, it’s not quite as exceptional or significant as its immediate predecessor, but it nonetheless proves that Costello (and The Imposters) are still highly capable of dishing out charmingly eccentric, poignant, and catchy compositions like no one else.

    According to Costello, the album’s full title is The Boy Named If (And Other Children’s Stories). He explained in a statement: “‘IF,’ is a nickname for your imaginary friend; your secret self, the one who knows everything you deny, the one you blame for the shattered crockery and the hearts you break, even your own…”

    Advertisement

    Once again, he enlisted Sebastian Krys as co-producer. In contrast to the miscellaneous, globe-spanning cast of musicians who appeared on Hey Clockface, though, The Boy Named If naturally features the same line-up as 2018’s Look Now (Costello, keyboardist Steve Nieve, bassist Davey Faragher, and drummer Pete Thomas). Unsurprisingly, each one of them stands out as an essential part of the recipe, and it’s clear that the chemistry between them is as strong as ever.

    The set wastes virtually no time delighting and impressing thanks to the quasi-symphonic quirkiness of the title track. Full of dynamic arrangements and satisfyingly erratic phrasing, it offers some truly adventurous instrumentation and hearty singing.  “Penelope Halfpenny” and “The Difference” are just as full-bodied, but with a bit more carnivalistic edge and hooky romanticism. Another heavy highlight comes with “Mistook Me for a Friend,” where backing harmonies, wide-ranging verses, and in-your-face rhythms find the foursome successfully stretching themselves vocally and instrumentally.

    As expected, the record also contains some softer gems that demonstrate the group’s resilient knack for nuance and melody. Namely, there’s “Paint the Red Rose Blue,” a gorgeous ballad concerning “a bereft couple [who] learn to love again, painting a melancholy blue over the red of romance.” Its sundry accentuations and expressive storytelling (“He haunted the shadows/ And waited until/ They had secrets to sell him/ And some practical skill”) make it extraordinary. Oh, and Costello embodies the subject matter through his trembling timbre, too.

    At times, the slightly more Americana “My Most Beautiful Mistake” — a duet between Costello and the always-great Nicole Atkins — nearly reaches the same level of mesmerizing mournfulness. Notably, and probably unintentionally, the penultimate “Trick out the Truth” seems like an alternative version of the outstanding “God’s Comic” (from 1989’s Spike). As for closer “Mr. Crescent,” it evolves tactfully from a lightly decorated acoustic ode to a divinely embellished farewell whose magnificence lingers long after it’s finished.

    Advertisement

Personalized Stories

Around The Web

Advertisement