Review Summary: When given the chance, Elsie proves to be a near-masterpiece lacking in very little, and offering much more than most. A truly honest and genuine batch of songs sure to please.
When someone thinks of New Jersey in the realm of music, thoughts of Bon Jovi, Bruce Springsteen, and Whitney Houston come to mind almost synonymously. It's time to add two new names to that storied list.... Brian Fallon and Ian Perkins.
These two New Jersey locals bring you Elsie. A deeply personal offering laced with individual connections to be made with every note.
Many know Brian Fallon from his white-t days in The Gaslight Anthem, a band whose unique blend of pop-rock anthems and downplayed balladry have landed them in hearts the world over after releasing a string of highly successful records. Ian Perkins' name may take a little digging in order to fully register in the minds of the masses, but his contribution to this record is equally proportional to Fallon's.
Gone for the most part are the jingly, chiming guitar chords of Fallon's main project, and present are odes of woe and struggle teeming with hope and forgiveness. Where the guitars in The Gaslight Anthem act as the driving force of a song's delivery, they now act as subtle nuances and atmospheric instigators that lend a hand to the work rather than fully embrace it. There is a haunting mixture of pianos, strings, and chilling guitars which help to make up the overall feel of Elsie, and repeated listens pay off in spades as the textures woven into each song become more and more apparent.
The album opens with a whisper. An introduction of sorts which reveals what will flow into the listeners ears throughout the albums near forty-five minute runtime. The follow-up tune acts as an accurate representation of Fallon's previous work in The Gaslight Anthem, and the bridge he has crossed with Perkins in order to find their new sound. Fallon's voice works wonders throughout the record. Switching between a quiet reserve, and a roaring rasp seems to be the template of his delivery,, but when combined with the music it takes the songs to new heights that could only be attained with such a unique timbre. A perfect example of such vocal work acts as the highlight of "Cherry Blossoms", this powerful moment serving as the emotional centerpiece of the record.
Much can be said about The Horrible Crowes' dual songwriting prowess. The lyrics contain understated nuances and project feelings that can be absorbed during casual listening or with active ears and close attention.
Scattered throughout the disk there are some instances of wordplay which conjure thoughts of great songwriters of days gone by. Within the song "Black Betty and the Moon", Fallon croons "I hope the money fills the holes, cuz see the roof is caving in." This use of imagery is commonplace in Elsie and helps the listener imagine exactly what each song is trying its best to convey.
The album's closing combination of Blood Loss and I Believe Jesus Brought Us Together act as a pair of powerful climaxes which lend their efforts to the rest of the record. Where Blood Loss initiates feelings of angst and aggression, I Believe Jesus Brought Us Together bookends the album on a wounded note of soured relationships. Each piece of music contains its own personality, and once given several listens each of those personalities shape and evolve to include subtle meanings not found on a first listen. When given the chance, Elsie proves to be a near-masterpiece lacking in very little, and offering much more than most.
