This album is yet another departure from "classic" Elvis Costello, while still being classic Elvis Costello. It's a great album, very vibrant and upbeat sounding with a lot of energy and sounding a bit more uplifted than some albums. Don't get me wrong, I love Elvis Costello and have all his releases, but some sound slighly morose and introspective.

He sounds like he is relaxed and having fun while making this album, which I believe was recorded in the space of a week; a method of production which hasn't been so commonplace since the 1960s but which obviously works.

My favourite tracks are Turpentine, Drum & Bone, Flutter & Wow and Go Away.

I try and give time to everything this man releases, but I haven't repeat played any of his albums since All This Useless Beauty. That's not to say there aren't good moments on The Delivery Man, When I Was Cruel, Brutal Youth, River In Reverse etc but I found them a little difficult to get through.

This is a looser album than any of those, with a wider variety (its almost like the days of Imperial Bedroom when you didn't know what style of song would be coming next). Sonically its reminiscent of Blood & Chocolate with a few echoes of the new wave days.

The songs are great. American Gangster time has a superb chorus. Turpentine has so many hooks you end up dazzled. Flutter & Wow, Go Away, Song With Eve and Harry Worth add loads of variety into the mix.

The true test, however, is that I have been playing it almost uninterrupted on my ipod for the last 2 weeks. My favourite Costello album since at least as far back as Spike. Wonderful.

Wow!! Whether you like Costello fast, slow, thoughtful or pure punk there is something on here for everyone. No Hiding Place has a feel of Trust to it while Pardon Me, Madam, My name is Eve has echos of Useless Beauty. Drum and Bone is the favourite to turn up the volume and put the throttle down to. Flutter and Wow is one for the girlies, it is stunning. Listen and melt ! Stella Hurt comes with lots of distortion and demands the bass hyped up. And as ever there is a track for which we humbley thank you for raising awarness of the cause, this one is Mr. Feathers. If this doesn't make the hairs on the back of your neck stand on end then you aint human. It isn't easy to listen to but it isn't meant to be.
Every parent in the world will relate to My Three Sons. Poignant, beautiful and from the heart.
There really isn't a bad track on this album. Put it on, dont go skipping tracks and you will be rating it amongst your favourite Elvis albums in no time at all.

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, again, highlights the powerful drumming of Pete Thomas 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.

Like so many others, I am a huge EC fan who has found it difficult to swallow some of his meanderings, but this new one again is good but not great. I disagree with the reviewer who says "My three sons" about his - ahem - three sons - is not cringy. I think it is. I bless the day you came into this world or words to that effect - corny yuk. And shouting "To the bridge" in the middle of the song is inexcusable. James Brown he is not.
Some of the lyrics sound contrived, as his lyrics often do. Sometimes he gets away with it, sometimes he doesn't. Some good stuff here, some filler, I quite like it, hence 3 stars. Maybe it'll grow on me as other albums of his have, like "Imperial Bedroom" or "Blood and chocolate" but it's not an immediate grabber like, say, "King of America" or "All this useless beauty" or "Brutal Youth" or "Mighty Like A Rose", all masterpieces in their own way. And it's much better than "Punch the clock" or "Goodbye Cruel World". He's still one of the best live acts out there though...