Momofuku (Shm-CD) [SHM-CD, Import]

This may not be the return to Vintage Costello that older fans have been waiting for, but it's not far off. It's definitely his best album since Blood & Chocolate (although any Costello release always has something to recommend it). Significantly on this one he seems to be having FUN. Bashed out over a week in February our Elvis seems to be rejuvanated by having the kids round (both his new twin boys and the musical scamps who gatecrash his party), which include Jenny Lewis and her beau Johnathan Rice as well drummer Pete Thomas's drumming daughter Tennessee.

Right from the word go Costello is in prime in-your-face form with No Hiding Place and particularly American Gangster Time (this one especially features a classic Steve Nieve '60's organ line that'll send you right back to Pump It Up). Over the following 10 tracks Costello moves from rockers, to country ballads to a touchingly autobiographical My Three Sons and finally to Go Away with a 96 Tears-like organ track that you'll be trying to get out of your head long after you've heard it.

On Drum and Bone he declares himself "a limited, primitive kind of man" and to some extent that's reflected in the music here - tracks that make you want to stomp and sway rather than sit and ponder. Lyrically though he's as astute as ever. "I'd rather go blind for speaking my mind" he says on American Gangster Time and so he does time after time.

Off the pop radar for some time now Momofuku probably won't change this, but for those of us in the know it's a time for celebration - Elvis is in the building.

I have listened to Costello's music for what seems like for ever and have enjoyed the varied styles of music that he has recorded. His different interests in a variety of music have been like a journey - a musical education for his fans. I have enjoyed them all, save for 'For the Stars', although even that had some intersting stuff on it. Despite enjoying all the diverse style's of music then, it's his rock/pop records that hold my real attention. Therefore when I heard Momofuku for the first time, I was chuffed to say the least.

Momofuku has great songs, great lyrics, a great band and a great sound. On first listening it reminded me of Blood and Chocolate, but on repeated listenings as the songs come into there own I have realised that it is a very different record to that one and is quite a unique album for him. American Gangster Time as other reviewers have pointed out does remind you of early Costello and for me Mr. Feathers and Harry Worth remind me of songs that could perhaps sit comfortably on Spike. Mr. Feathers equally reminds me of 60's era Kinks in the sound and in the phrasing - could just be me though. Mr Feather's is one of my personal favourites at the moment along with Stella Hurt and Go Away, which are both pounding guitar driven songs, which make you go back to them again and again.

My Three sons is possibly the most direct and personal song I have heard Costello sing. The obvious love he feels for his three sons in this song comes through but doesn't sound cringy in the slightest. The weakest song for me is Song with Rose, but it's no where near a bad song, it just doesn't have the punch that the other tracks do - yet anyway.

A great album that many people, more than just fans of Costello, should own. Ideally this should be viewed as one of the great albums of 2008, but sadly it will probably be overlooked for some commercial drivel.

Recorded in a week and originally released on vinyl only, 'Momofuku' (named after the inventor of instant cup noodles) is a very pleasant surprise from Costello who had recently, in interview, said that he had no plans to release any new material for a while. There is no cause to believe that Elvis was bluffing at the time because this whole album happened organically when he turned up to provide vocals for a Jenny Lewis album and, having the Imposters there (who were also working with Lewis) the personnel and location led to Elvis being inspired to write and record a new album right there and then. The immediacy and energy which sparked and influenced the recording of 'Momofuku' has culminated in Elvis & The Imposters releasing a truly brilliant album which sporadically sports an early-career Attractions sound but is, from start to finish, a genuine treat for the longtime Elvis Costello fan and well as any lovers of great music who perhaps haven't discovered the full extent of his genius just yet..

So, that's the preamble - now for the music itself.

Starting proceedings, the immediately arresting 'No Hiding Place' is Elvis at his catchiest and, given the fact that the whole album was recorded so quickly, sounds incredibly well-formed and polished, especially the backing vocals of the 'supergroup' (Jenny Lewis, Johnathan Rice, Dave Scher and bassist Davey Faragher). The high-quality feel of the album continues with the superb 'American Gangster Time', another instant Costello classic. The first thing that hits you about it is the brilliant Steve Nieve Vox Continental organ-line, reminiscent, in parts, of 'Pump It Up'. Boasting a powerful, stomping ending, it really is brilliant, urgent, vital stuff and would, I hazard a guess, sound fantastic live.

'Turpentine', a very enjoyable rhythmic track, featuring an almost tribal tom-tom beat from Pete, has a moody feel to the verse and then an uplifting chorus, giving the track an interesting, varied texture. Next up we have 'Harry Worth', a laid-back, jazzy song, which is the first track on the album reminiscent of late 80's/early 90's solo Elvis material rather than his Attractions days. Following that, 'Drum And Bone' is a low-key, foot-tapping and yet vaguely menacing song in which Elvis proclaims that he's a "limited, primitive kind of man" - a case of lyrics and music working in perfect harmony on this particular composition.

The next track, 'Flutter & Wow', could have easily been a track from Elvis' collaboration album with Allen Toussaint (The River In Reverse), being a rather lovely, gentle, melodic and soulful track performed with real passion. However - as a direct and possibly deliberate contrast - the following track, 'Stella Hurt', is a incredibly catchy, minor-key, mid-paced rocker which harnesses some of that early album energy and highlights the powerful drumming of Pete Thomas' daughter, Tennessee, and the accentuating, punctuating organ of Nieve.

'Mr. Feathers', a piano-driven stroll, whilst bringing to mind tracks from 'Spike', also reminds me of the character-based songwriting of Ray Davies, but - regardless of the musical references it conjures up - it's a brilliant original song. As is 'My Three Sons', a straightforwardly sentimental tribute to his sons which, in the hands of many other artists, could easily have sounded ham-fisted, slushy or sugary but Elvis handles the subject matter with sophisticated, genuine sincerity and his love shines through in such a way that we're able to share it rather than merely observe.

'Song With Rose' (co-written with Roseanne Cash), appears to be a slightly unremarkable song at first, but - if you give it a couple of listens - the beauty of the composition slowly reveals itself, especially during the climax of the piece. Steve's subtle piano-work really shines as do Elvis' vocals. Immediately, 'Pardon Me Madam, My Name Is Eve' (co-written with Loretta Lynn) reminded me of 'Less Than Zero' and, while it - as a whole - lacks a little of the immediacy and youth of 'My Aim Is True' era-McManus, is it an oddly-satisfying mix of the old rock and new country flavours of Costello's work. The album closer, 'Go Away', is another classic, mid-paced Imposters rocker, featuring a very groovy beat and an immensely catchy 'Brutal Youth'-esque chorus, wrapping up the proceedings very nicely indeed.

Simply put, 'Momofuku' is yet another highlight in a career literally filled with highlights. I would have to put this wholly satisfying album alongside 'When I Was Cruel' and 'The Delivery Man' in terms of content and quality and am absolutely delighted to have another album of such fantastic original material from Elvis and the Imposters. With every listen, a little more of the album is absorbed and my love of this record just grows and grows. Without doubt, a solid five stars for this truly great release.