Rolling Stone - p.713.5 stars out of 5
-- "[N]o one can turn vitriol into art better than Elvis Costello. This fact is reconfirmed by MOMOFUKU..."
Entertainment Weekly - p.122
"Soul ballad 'Flutter & Wow' might be the best of his rare love songs, and harmonies from Rilo Kiley's Jenny Lewis add elegance to this garagey mix." -- Grade: A-
Record Collector (magazine) - pp.88-894 stars out of 5
-- "[T]here's a rough'n'ready garage feel that harks back to the past: Steve Nieve's stabbing Vox Continental organ parts on 'American Gangster Time' and 'Go Away' have the cut-and-thrust of THIS YEAR'S MODEL."
Elvis Costello/Elvis Costello & the Imposters: Davey Faragher (vocals, background vocals); Steve Nieve (melodica, grand piano, Clavinet, organ, Wurlitzer organ); Pete Thomas (drums).
Personnel: Elvis Costello (vocals, guitar, baritone guitar, piano, organ, background vocals); Jonathan Wilson (vocals, guitar, 12-string guitar); Johnathan Rice (vocals, guitar); Farmer Dave Scher (vocals, lap steel guitar, organ); Jenny Lewis (vocals); David Hidalgo (guitar, viola); Tennessee Thomas (drums).
Audio Mixer: Jason Lader.
Recording information: Sound City Studios, Van Nuys, CA (01/16/2008-02/14/2008).
Photographer: Jason Lader.
Over the course of the decade preceding MOMOFUKU, the notoriously eclectic Elvis Costello made albums with everyone from jazz guitarist Bill Frisell to opera singer Anne-Sofie Von Otter, but with the inauguration of his band the Imposters (essentially the old Attractions with a new bassist) with 2002's WHEN I WAS CRUEL, it felt like a rock-&-roll rebirth for the old New Waver. His third Imposters album, MOMOFUKU, is the most expansive of the three, combining the gritty attack of its two predecessors with the knotty angularity of Costello's 1989 album, SPIKE.
MOMOFUKU is front-loaded with straight-ahead rockers ("No Hiding Place," "American Gangster Time") that recall Costello's glory days with the Attractions, but soon enough he begins shifting methods and modes. The piano-led "Mr. Feathers" betrays a strong Beatles/Kinks influence, while "Harry Worth" bares an exotic aura and a laid-back bossa-nova-meets-Bond-film flavor. A musical magpie at heart, Costello can dazzle with diversity and get back to his roots at the same time.