Pitchfork is cool to the Pernice Brothers' new album Goodbye, Killer because it's too much like what the band has done before. I'm not sure that's the case actually, the album has a much looser and offhand feel than their previous work. There is something beguiling about the character sketch "Jacqueline Susann" (the subject of the song reads both Susann and Ford Madox Ford) and "Newport News" has the emotional specificity of a good short story. There's even a funny song called "We Love The Stage" that details the joys and hazards of life on the road. There's something to be said for a career spent writing smart, adult, lushly romantic pop songs. How different do we want Pernice to be? Goodbye, Killer is a small, quick album, but one still full of pleasure and one certainly not worthy of the hypocrisy with which a certain influential music site reviewed it. Later this summer the Arcade Fire will release a new album; if it turns out to be a collection of Greek Orthodox hymns it will be praised as a bold departure but if it's a note-for-note cover of their previous record some quarters will hail it as a the triumph of a band working at the height of its powers. Under these circumstances, how can Joe Pernice catch a break?
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