On September 6, Gaslight Anthem frontman Brian Fallon and guitar tech Ian Perkins released Elsie, the hotly anticipated debut from the duo’s moniker, The Horrible Crowes. The album represents a clear and visible continuation of Fallon’s always-maturing song-craftsmanship, from his previous two efforts with Gaslight—The ’59 Sound and American Slang. The entire record is steeped in a dark, lush sense of nostalgia, which serves only to augment the bombastic, cinematic sound, achieved by the duo.

Elsie opens up with “Last Rites,” which is essentially an introduction to the album. Fallon’s lyricism kicks in with the opening lines, which read like an instruction manual: “Start up the car, bury your memories. Call on your lovers, speaking slow and heavy.” The shaking of a single tambourine sets the “6/8” tempo and continues after the guitar and vocals drop out, delivering a haunting exposition. From there, the record quickly picks up steam with “Sugar,” a chilled, whispered reproach of a runaround lover, marked by pounding floor toms and a cold, shrill organ tone. Fallon plays it cool on “Sugar,” letting the track simmer throughout, never fully building the tension. The third track on the record, also the single, “Behold The Hurricane” offers a change in the form of a swelling, anthem of a barn-burner, replete with pop sensibility in its sing-along “woahs” and soaring choruses. Fallon’s vocals absolutely ache, quivering around the imagery of a lost soul, alone in an old house at night—a metaphor familiar to listeners of his primary band.

On all of Elsie, Fallon really shines as a storyteller, crafting exquisite film noir vignettes with characters that seem to reappear and themes that recur throughout. Gaslight fans may know Fallon as a talented lyricist, but one of his more extraordinary musical moments on the album comes in the form of “I Witnessed a Crime,” which sounds inexplicably haunting yet remarkably groove-laden. For as darkly romantic an image as Fallon’s lyrics weave, The Horrible Crowes’ music proves an absolutely perfect compliment; from the tasteful use of percussion and organ to the warm guitar tones to the overall “mood” of the album, the music itself seems to “work” cogently with every last lyric.

The record comes to a fevered head with “Go Tell Everybody,” a soulful, motown kick in the teeth. Fallon’s vocal prowess, which has drastically improved since the days of The ’59 Sound is showcased as he howls, “I been known to wear a fine black suit, and a murder of a tie. I got miles on my shoes that your brothers can’t buy,” setting the tone for the rest of the song. The ending of “Go Tell Everybody” may be the most powerful moment on the record, with Fallon apparently channeling his inner 1970s R&B diva.

Elsie continues with “Cherry Blossoms,” a mournful, tender ballad that wells palpably during the bridge, followed by the straightforward “Lady Killer,” one of the more narrative songs on the album. “Crush” starts off with Fallon sounding notably Springsteen-esque and positively preaching by the end, bringing the Gospel feel with the refrain of “god’s gonna trouble the water.” Fallon testifies further in “Mary Ann,” a punishingly soulful number about a steady-handed Lolita.

There’s a definitive sense of resolution reached by the end of Elsie, with “I Believe Jesus Brought Us Together.” Fallon has a certain way of ending his albums with these slow, sad songs that let the mood of the record settle with some finality on the listener (see: “Here’s Looking At You Kid,” “We Did It When We Were Young,” Gaslight Anthem album closer). The final number on Elsie finds Fallon making a solemn plea to a lover and leaves on a somewhat somber note.

Brian Fallon and Ian Perkins’s Elsie is a stunning piece of musical cinematography, a black and white flash of bittersweet nostalgia; one is hard-pressed to guess at what could come from Fallon’s main endeavor after this record. The duo’s instrumentation compliments Fallon’s verses immaculately, and the overall mood of the record is somewhat poignant and definitely moving. Elsie is soulful, dark, and might actually be one of the best records to come out thus far this year.

★★★★.5/★★★★★

*This review was composed by Paul Adler