Song, by Toad

Finally, finally, an album to which I was hugely looking forward manages to actually cut the fucking mustard this year.  He’s managed to change gears from Ash Wednesday without making anything that you would really describe as a dramatic break from his existing sound.  It sounds, I suppose, like a slightly weird take on a New Orleans funeral band.

When we played Shampoo on Fresh Air Radio, Dylan, who was co-presenting at the time, mentioned that there is something about the beat of this album which gives it an air of swagger.  He’s right.  Even the quicker rhythms seem to be underpinned by something a little more laid back, and you can almost imagine Perkins himself sauntering casually along at the heart of the aforementioned funeral procession whilst the rest of the band cavorted gaily around him.

It’s not, of course, a jolly record, so don’t let me give you that impression.  It’s just that whereas his last album found the sadder moments all-enveloping, here they appear to be something to be faced head on, given a twirl around the dancefloor, and then sent firmly home at bedtime before they get too giddy.  Hours Last Stand is gorgeous like that, as is Hey.  But it’s the whole record, really, so there’s no point picking on individual songs.  It’s hard not to, though.  Shampoo and Doomsday make me want to laugh out loud, their mood is that infectious.

I don’t know how some people manage to change without alienating their audience behind, whilst others seem to just head off into the distance leaving the rest of us behind to wonder what they’re up to. Maybe it’s just a personal thing, but this is as good a sophomore record as I have heard in a long time.  The second album is supposed to be difficult but, honestly, it seems like Elvis Perkins in Dearland was the most effortless waltz in the world.

Elvis Perkins in Dearland – Shampoo

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Elvis Perkins in Dearland – Hours Last Stand

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