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In Dearland

6 customer reviews

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Frequently Bought Together

In Dearland + Ash Wednesday + Doomsday Ep
Price For All Three: £28.31

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Product details

  • Audio CD (6 April 2009)
  • Number of Discs: 1
  • Label: XL
  • ASIN: B001Q8FS2U
  • Other Editions: Vinyl  |  MP3 Download
  • Average Customer Review: 4.7 out of 5 stars  See all reviews (6 customer reviews)
  • Amazon Bestsellers Rank: 52,075 in Music (See Top 100 in Music)

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Product Description

Product Description

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BBC Review

Elvis Perkins first came to prominence with his debut album Ash Wednesday in 2007. Son of Psycho actor Anthony Perkins and photographer Berry Berenson, most of the attention at the time was drawn not only to his background and but also his mother's tragic death in 9/11. All this threatened to overshadow his music, yet somehow it managed to inform it. He was named 'Elvis' was because his dad was a Presley nut. I suspect he's not the only one out there who has overcome the connotations of such a moniker.

After a solid year or so of touring, Perkins decided to form Elvis Perkins In Dearland with the multi-instrumentalists Brigham Brough, Wyndham Boylan-Garnett and Nick Kinsey that he'd been touring with. For the band's debut, Perkins takes his sound into semi-joyous territories delighting and beguiling. Even something entitled Doomsday is turned into a brass-heavy knees-up.

In Dearland should hopefully grant Perkins and cohorts a wider audience. His voice resonates with the ancient quality of proper country. Few people manage to channel Hank Williams as effectively as Perkins does on the marvellous tuba-tooting Chains Chains Chains, or Send My Fond Regards To Lonelyville, which could've been written at any point in the last century.

Elvis Perkins In Dearland is a faster and fuller step on from Ash Wednesday. Perkins eloquently observes and explores the many variants of loneliness and despair, and with his chums, he makes such ponderings into elegantly mournful country soul magic. --Ian Wade

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Customer Reviews

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Most Helpful Customer Reviews

5 of 5 people found the following review helpful By Red on Black TOP 50 REVIEWERVINE VOICE on 18 April 2009
Format: Audio CD
There is not too much point in going into the well rehearsed family tragedy that Elvis Perkins faced when he recorded Ash Wednesday. Suffice it to say that the death of his mother in the 9/11 tragedy and his actor father from AIDS cast a long shadow. It resulted in one of the greatest songs of recent years "While you were sleeping" (check out his 2007 Lollapalooza performance on You Tube) but also an album which sometimes (and understandably) only just succeeded on staying on the right side of being morose or more kindly was "gorgeously depressing" as one reviewer described it.

For this second album Elvis and his cohorts in Dearland have recorded an album which is clearly more upbeat and fun. It is more of a band album and collective effort and all the better for it. Most importantly it shows that his fine songwriting is deepening and maturing. "Shampoo" is one of the best songs I have heard in years and is a brilliant start. It will not doubt be snapped up by some aspiring film producer to grace a movie soundtrack (despite the fact that intro makes you think your car alarm is going off - just listen to it and see what I mean!). Only a few artists really have the ability to weave gorgeous lyrics and melodies the way Elvis Perkins can. Love the cover in addition "very Rothko".

In terms of the feel of the album I think one real inspiration for it comes from the late great Dr. Winston O'Boogie - John Lennon and that atmosphere he captured on Stand by Me on the "Rock n Roll" album. In one setting it is sort of shambolic but in the other it makes eminent good sense. Other standout songs out of many include "Chains, Chains, Chains" the brass driven "Doomsday" and "Hours last stand". Difficult to pin this album down and put it into the usual boxes.
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9 of 10 people found the following review helpful By Mr. Gideon D. Brody VINE VOICE on 28 April 2009
Format: Audio CD
On September 11, 2001, the life of Elvis Perkins changed forever. A day short of the ninth anniversary of his father's passing, Perkins' mother, Berinthia Berenson, was on board one of the ill-fated flights that hit the World Trade Center. Blessed with what would appear to be an idyllic childhood, Perkins was the son of two talented creatives; his father was actor Anthony Perkins (famously cast as Norman Bates in Hitchcock's Psycho) and his mother was a well-respected photographer. In the space of nine years, Perkins' charmed life would become beset with tragedy. In what is the second, and possibly conclusive, part of his often quite perturbing public catharsis, Elvis Perkins In Dearland sees Perkins countenance his loss with both great honesty and dignity.

Listening to Perkins' debut album is an excruciating experience. Ash Wednesday is a truly beguiling piece of music and funereal to the extent that you feel like you're placing flowers beside him. Although half the album was written and recorded before Berry Berenson's untimely death, the whole album seems flooded with melancholy. In the way we apply meaning to the most abstract confessions and declarations of the singer-songwriter, so we can't help associate each word and each major and minor chord with the turmoil of a grieving man. Clearly under the influence of Dylan, Perkins, well before time, delivered his own Blood On The Tracks.

Yet, for all its melancholy and for all its bereavement, Perkins' music possesses the delicate charm and eccentricity of an old, wiry vagabond that has spent too much time on his own, proselytising in pubs and bars to people who are simply fed up of listening. Like all the best singer-songwriters, loneliness and a wandering mind are merely tools of inspiration for Perkins.
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1 of 1 people found the following review helpful By J. Jenkins on 2 Dec. 2009
Format: Audio CD
I saw Elvis Perkins in Dearland play at the Birmingham Bar Academy when Perkins was still promoting his majestic Ash Wednesday album. Perkins arrived at the venue midway through one of the support acts, wrapped heavily in a scarf and long coat, and walked unassumingly to the bar.

In a rare glimpse behind the lustrous veil of celebrity, me and my girlfriend saw Perkins asking the surly barmaid who had served us earlier for permission to use the venue's kettle for a hot drink. Having granted her assent, Perkins struggled for a couple of minutes to get the obviously broken kettle to work, as the barmaid looked amusedly on. Eventually Perkins gave up, and rather than stamping his feet with petulant assertions of 'who he was', merely walked away.

Hopefully you'll forgive me the slightly indulgent anecdote, but I think it well illustrates one of the most appealing qualities of Perkins and his music. A quick glance at the man's biography will show that a broken kettle would rank pretty low on a list of his personal tragedies. But the manner of his response, to bear it not with self-pity or prima-donna fits of temper, but rather with quiet resignation, and above all dignified composure, is emblematic of the way he has attempted to deal with deeply tragic personal circumstances through his life affirming music. Like Eels' Mark Everett, Perkins has an extraordinary, and extraordinarily tragic, life story. But the modesty and humanism through which he filters his lyricism, alongside a genuine everyman quality, give his music a transcendant resonance. They give what could, in lesser hands, only make sense to handful of unlucky individuals, universality. And they offer a beacon of hope that persists in even the darkest circumstances.
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