Although a folk album at heart,
The Last Laugh owes as much to baroque pop and pastoral psychedelia as the folk traditions that provide its foundation. Singer/songwriter
Helena Costas is a modern-day troubadour, a student of Arthurian legend one moment and an indie temptress the next, and she plays each role for several scenes before flitting off to the wings to change. Had
The Last Laugh been her own solo project, these unusual tales of goblins, jousting knights, and jellybeans might seem too fanciful for their own good.
Joker's Daughter takes strength in collaboration, however, and
Costas' delicate folk songs are supported by production from
Danger Mouse, string arrangements from Italian composer (and
Gnarls Barkley associate)
Daniele Luppi, and occasional horn toots from
Neutral Milk Hotel's
Scott Spillane. It's an unexpected combination, but the synthesis works quite well, creating a sort of psych-folk oddity that alternately recalls
Donovan,
Suzanne Vega, Renaissance-era madrigals, and '60s Italian cinema.
Danger Mouse claims co-writing credits on every song, and his musical contributions are tastefully understated: a rhythmic pulse here, a softly buzzing synthesizer there, but never anything resembling the neo-soul or club-worthy material of his past projects. It's fun to see folk music taking such unexpected turns, especially when the result sounds this enchanting.