| Kristin Hersh — Possible Dust Clouds (October 5, 2018) |
Kristin Hersh — Possible Dust Clouds (October 5, 2018)
✹ Je zajímavé, že v doprovodném rozhovoru k minulému albu „Wyatt at the Coyote Palace“ Kristin Hersh porovnává svojí zkušenost se sdílením své práce na albu se sdílením svého náboženství s jiným, protože toto dvojalbum, doprovozeno knihou, činí všechny náročné zážitky v zázraky, které se zdají srovnatelné. Zatímco získáte kvantum zkušeností z této práce, vše se dá simultánně poslouchat s alespoň jedním přečtením knihy v reálném čase s maximální koncentrací. V takovém případě stojí za to obětovat každou sekundu a osobní energii. Toto desáté album je podobným zázrakem.
✹ Kristin Hersh práce s Throwing Muses a 50 FOOT WAVE jí zaručila působivé dědictví. Přesto trvalá kvalita jejího významného sólového výstupu byla pozoruhodnou skutečností a současně svědectvím, čímž překonala očekávání, kladená na absolventy alt~rockového boomu z devadesátých let. ‘Possible Dust Clouds’ udržuje vysoký kalibr psaní písní a artikulaci vynikajícího „Wyatt at the Coyote Palace“ z roku 2016.
✹ Na rozdíl od mnoha svých sólových nahrávek, než aby sama hrála všechny nástroje, pozvala celou řadu spolupracovníků, aby jí pomohli při vytváření písní. „Sociopati nemohou realizovat svůj potenciál bez toho, aby lidé vyřešili své stížnosti,“ vysvětlila své rozhodnutí otevřít svůj tvůrčí proces. Kristin Hersh je známá svým hluboce osobním proudem lyrického přístupu k vědomí a zdá se, že spolupracovníci jí umožnili, aby ho dále rozšířila do samotné hudby. Hlavní singl ‘No Shade in the Shadow’ byl časnějším a základním prvkem psychedelické textury celého alba. Začíná s opravdu osvěžujícím a rafinovaným kytarovým riffem, píseň nabobtná díky zpracovaným doprovodným vokálům a tlumeným beatům. Stejně tak bolestné kytary a cyklické rytmy v ‘Loud Mouth’ způsobují obrovský zážitek. Znovu a znovu podkopává přímky ve prospěch zkreslených a překroucených perspektiv.
✹ ‘Possible Dust Clouds’ ukazují jedno: Kristin Hersh je umělecky zvídavá a vynalézavá tak, jako kdykoli předtím. Snaží se vyhnout snadné hudební a lyrické volbě, jejím záměrem nadále zůstává zkoumat temnou složitost mysli a pokračovat v nejlepším díle své kariéry. Je to umělkyně, která se stále vyvíjí, výsledky jsou opět oslnivé a vždy fascinující. Život jde dál.
Birth name: Martha Kristin Hersh
Born: August 7, 1966, Atlanta, Georgia, United States
Location: Providence, Rhode Island
Recording Location:
✹ Stable Sound Studio, Portsmouth, RI
✹ Studio Paradiso, San Francisco, CA
Genre: Folk, Indie Rock, Singer~Songwriter
Album release: October 5, 2018
Record Label: Fire Records
Duration: 36:26
Tracks:
01. LAX 3:50
02. No Shade In Shadow 3:34
03. Halfway Home 3:58
04. Fox Point 3:12
05. Lethe 3:50
06. Loud Mouth 3:33
07. Gin 2:47
08. Tulum 3:45
09. Breathe In 3:20
10. Lady Godiva 4:37
Credits:
✹ Fred Abong: Bass
✹ Christopher E. Brady: Bass, Backing Vocals
✹ David Narcizo, Wyatt True O’Connell: Drums
✹ Rob Ahlers: Drums, Engineer
✹ Steve Rizzo: Engineer, Mastering, Mixing, Producer
✹ James Nicholls: Executive Producer
✹ Kristin Hersh: Guitar, Vocals, Bass, Drums, Percussion
✹ Kristin Hersh, Steve Rizzo: Mixed
✹ Kristin Hersh, Steve Rizzo: Producer
✹ Kristin Hersh: Written by
Review
by Sam Shepherd | first published: 11 Oct 2018 | Score: ****
★↔★ Kristin Hersh’s career has seen her create a number of classic albums with her bands Throwing Muses and 50ftWave, but for many, it’s her solo output that really impresses. Her solo career began in earnest with Hips And Makers back in 1994 (although a version of Throwing Muses’ 1992 album Red Heaven included a solo show), and since then she’s flourished as a solo artist.
★↔★ Possible Dust Clouds is her 10th solo album, and it finds her changing tack somewhat by involving other musicians more significantly. Hersh describes the album as a “sociopath”, and states that “sociopaths can’t realise their potential without people to work out their grievances on”. In order to remedy this, she invited musicians to join her in the creation of the album (including Throwing Muses alumni Fred Among and Dave Narcizo, and Pond’s Chris Brady).
★↔★ Hersh’s willingness to include others this time around means that Possible Dust Clouds doesn’t sound much like a bona fide solo album, but rather the creation of a band. Clearly these are songs played by a band and Hersh is at the helm, but the sheer wave of noise and live feel that envelops these songs makes them feel like a cohesive collaborative unit battling though a sonic fuzz.
★↔★ Not only has Hersh embraced additional musicians, but there’s a definite swing towards distortion and the glory of noise this time around. Gone are the sparse and haunted arrangements that populated the likes of Hips And Makers and Sunny Border Blue or the distinct pop sensibility that informed Echo, this time around Hersh is embracing sonic chaos and obfuscation. This somewhat hazy approach is not only confined to the music, Hersh’s lyrics leave gaps that require a degree of filling in to make sense of. Just as it should be. This desire to ramp up the chaos is indicated on the first few moments of opening track LAX, with its fuzzed-up processed drums hitting heavy behind a squall of bass and guitar.
★↔★ Sonic assault is present on many of these songs, and it is glorious. Half Way Home might start out relatively gently with strummed guitar, but soon multiple layered vocals enter the fray and a scree of guitar feedback washes across Hersh’s vocals. Fox Point takes a folky Led Zeppelin intro and fuses it to a doom-laden take on Chicago’s 25 0r 6 to 4. It’s a rancorous beast, and one that pushes Hersh’s voice to its limits; scratchy and hoarse, she’s delivering her vocals with a much harsher edge these days. Lethe also takes on a Zeppelin approach as Hersh sings about slowly sinking in sand as she anticipates Lethe (a Greek spirit of oblivion and forgetfulness – which is handy, for at least if oblivion is on the horizon, you’ll forget all about it soon enough).
★↔★ Harking back to the days of grunge is Loud Mouth, an absolute hammer blow of a song. “Noise crawls through cracks in the wall, drowns out your loud mouth” barks Hersh as the guitars burst into a fearsome cacophony. The song’s relentless rhythm pattern gives it an ominously unstoppable feel, and yet, there’s something joyous about hearing Hersh commanding such an oppressive and forceful song.
Tulum sounds like a relative of Fox Point — there are definitely melodic similarities, but this is a far more sparse (at least initially) tune. Awash with sarcasm and dark wit (and possibly a few slugs of tequila), Tulum finds Hersh at her most cutting. “Your freakouts, a lot like fakeouts” she intones, before delivering somewhat chilling lines “lying in a Mexican mortuary, finally found your future: extraordinary calm”.
★↔★ Breathe In shrouds Hersh’s vocals in distortion, whilst the guitars oscillate around her in a shimmering haze. Only the fibrous pulse of the bass gives something to cling to. It’s a blink and miss it song, but it sums up the album’s ethos quite neatly. It floats like a butterfly and stings like a bee – only this butterfly is fluttering around in a dense, doomy fog and is armed with some seriously heavyweight sonic armoury. It all amounts to Hersh’s harshest offering in sometime, but it’s also the sound of an artist rejuvenated and inspired. ★↔★ https://www.musicomh.com/
Description:
★↔★ Kristin Hersh’s prolific career has seen her heralded queen of the alternative release. Her tenth studio album, ‘Possible Dust Clouds’ is a highly personalised sociopathic gem delivered as a futuristic rewriting of how music works, a melodious breeze with a tail wind of venomous din.
★↔★ Enveloping the juxtaposition of the concept of ‘dark sunshine’, a brooding solo record created with friends to expand her off~kilter sonic vision; a squally, squeaky mix of discordant beauty.
★↔★ Feedback and phasing gyrate from simply strummed normality, imagine Dinosaur Jr and My Bloody Valentine cranking up a Dylan couplet.
★↔★ ‘Possible Dust Clouds’ is a glorious return to form for one of alternative rock’s true innovators.
★↔★ “She’s still as powerful a presence as she ever was.” — Pitchfork
★↔★ “The prodigious output and commitment to quality is pretty staggering, but then Kristin Hersh is a very, very special musician.” — The Quietus
★↔★ “Throwing Muses became a byword for college~rock feminism in the late 80s, largely because of Hersh’s uncompromising impressionist poetry of emotional anguish, subjugated womanhood and mental illness.” — The Guardian
Website: https://www.kristinhersh.com/
Twitter: https://twitter.com/kristinhersh
Facebook: https://www.facebook.com/strangeangels
Bandcamp: https://kristinhershfire.bandcamp.com/album/possible-dust-clouds
Studio albums:
↔ Hips and Makers — 1994
↔ Strange Angels — 1998
↔ Murder, Misery and Then Goodnight — 1998
↔ Sky Motel — 1999
↔ Sunny Border Blue — 2001
↔ The Grotto — 2003
↔ Learn to Sing Like a Star — 2007
↔ Speedbath — 2008 under Creative Commons License
↔ Crooked — 2010
↔ Wyatt at the Coyote Palace (2 CD, November 11, 2016)
↔ Possible Dust Clouds (October 5, 2018)
_____________________________________________________________
| Kristin Hersh — Possible Dust Clouds (October 5, 2018) |
✹ Kristin Hersh práce s Throwing Muses a 50 FOOT WAVE jí zaručila působivé dědictví. Přesto trvalá kvalita jejího významného sólového výstupu byla pozoruhodnou skutečností a současně svědectvím, čímž překonala očekávání, kladená na absolventy alt~rockového boomu z devadesátých let. ‘Possible Dust Clouds’ udržuje vysoký kalibr psaní písní a artikulaci vynikajícího „Wyatt at the Coyote Palace“ z roku 2016.
✹ Na rozdíl od mnoha svých sólových nahrávek, než aby sama hrála všechny nástroje, pozvala celou řadu spolupracovníků, aby jí pomohli při vytváření písní. „Sociopati nemohou realizovat svůj potenciál bez toho, aby lidé vyřešili své stížnosti,“ vysvětlila své rozhodnutí otevřít svůj tvůrčí proces. Kristin Hersh je známá svým hluboce osobním proudem lyrického přístupu k vědomí a zdá se, že spolupracovníci jí umožnili, aby ho dále rozšířila do samotné hudby. Hlavní singl ‘No Shade in the Shadow’ byl časnějším a základním prvkem psychedelické textury celého alba. Začíná s opravdu osvěžujícím a rafinovaným kytarovým riffem, píseň nabobtná díky zpracovaným doprovodným vokálům a tlumeným beatům. Stejně tak bolestné kytary a cyklické rytmy v ‘Loud Mouth’ způsobují obrovský zážitek. Znovu a znovu podkopává přímky ve prospěch zkreslených a překroucených perspektiv.
✹ ‘Possible Dust Clouds’ ukazují jedno: Kristin Hersh je umělecky zvídavá a vynalézavá tak, jako kdykoli předtím. Snaží se vyhnout snadné hudební a lyrické volbě, jejím záměrem nadále zůstává zkoumat temnou složitost mysli a pokračovat v nejlepším díle své kariéry. Je to umělkyně, která se stále vyvíjí, výsledky jsou opět oslnivé a vždy fascinující. Život jde dál.
Birth name: Martha Kristin Hersh
Born: August 7, 1966, Atlanta, Georgia, United States
Location: Providence, Rhode Island
Recording Location:
✹ Stable Sound Studio, Portsmouth, RI
✹ Studio Paradiso, San Francisco, CA
Genre: Folk, Indie Rock, Singer~Songwriter
Album release: October 5, 2018
Record Label: Fire Records
Duration: 36:26
Tracks:
01. LAX 3:50
02. No Shade In Shadow 3:34
03. Halfway Home 3:58
04. Fox Point 3:12
05. Lethe 3:50
06. Loud Mouth 3:33
07. Gin 2:47
08. Tulum 3:45
09. Breathe In 3:20
10. Lady Godiva 4:37
Credits:
✹ Fred Abong: Bass
✹ Christopher E. Brady: Bass, Backing Vocals
✹ David Narcizo, Wyatt True O’Connell: Drums
✹ Rob Ahlers: Drums, Engineer
✹ Steve Rizzo: Engineer, Mastering, Mixing, Producer
✹ James Nicholls: Executive Producer
✹ Kristin Hersh: Guitar, Vocals, Bass, Drums, Percussion
✹ Kristin Hersh, Steve Rizzo: Mixed
✹ Kristin Hersh, Steve Rizzo: Producer
✹ Kristin Hersh: Written by
Review
by Sam Shepherd | first published: 11 Oct 2018 | Score: ****
★↔★ Kristin Hersh’s career has seen her create a number of classic albums with her bands Throwing Muses and 50ftWave, but for many, it’s her solo output that really impresses. Her solo career began in earnest with Hips And Makers back in 1994 (although a version of Throwing Muses’ 1992 album Red Heaven included a solo show), and since then she’s flourished as a solo artist.
★↔★ Possible Dust Clouds is her 10th solo album, and it finds her changing tack somewhat by involving other musicians more significantly. Hersh describes the album as a “sociopath”, and states that “sociopaths can’t realise their potential without people to work out their grievances on”. In order to remedy this, she invited musicians to join her in the creation of the album (including Throwing Muses alumni Fred Among and Dave Narcizo, and Pond’s Chris Brady).
★↔★ Hersh’s willingness to include others this time around means that Possible Dust Clouds doesn’t sound much like a bona fide solo album, but rather the creation of a band. Clearly these are songs played by a band and Hersh is at the helm, but the sheer wave of noise and live feel that envelops these songs makes them feel like a cohesive collaborative unit battling though a sonic fuzz.
★↔★ Not only has Hersh embraced additional musicians, but there’s a definite swing towards distortion and the glory of noise this time around. Gone are the sparse and haunted arrangements that populated the likes of Hips And Makers and Sunny Border Blue or the distinct pop sensibility that informed Echo, this time around Hersh is embracing sonic chaos and obfuscation. This somewhat hazy approach is not only confined to the music, Hersh’s lyrics leave gaps that require a degree of filling in to make sense of. Just as it should be. This desire to ramp up the chaos is indicated on the first few moments of opening track LAX, with its fuzzed-up processed drums hitting heavy behind a squall of bass and guitar.
★↔★ Sonic assault is present on many of these songs, and it is glorious. Half Way Home might start out relatively gently with strummed guitar, but soon multiple layered vocals enter the fray and a scree of guitar feedback washes across Hersh’s vocals. Fox Point takes a folky Led Zeppelin intro and fuses it to a doom-laden take on Chicago’s 25 0r 6 to 4. It’s a rancorous beast, and one that pushes Hersh’s voice to its limits; scratchy and hoarse, she’s delivering her vocals with a much harsher edge these days. Lethe also takes on a Zeppelin approach as Hersh sings about slowly sinking in sand as she anticipates Lethe (a Greek spirit of oblivion and forgetfulness – which is handy, for at least if oblivion is on the horizon, you’ll forget all about it soon enough).
★↔★ Harking back to the days of grunge is Loud Mouth, an absolute hammer blow of a song. “Noise crawls through cracks in the wall, drowns out your loud mouth” barks Hersh as the guitars burst into a fearsome cacophony. The song’s relentless rhythm pattern gives it an ominously unstoppable feel, and yet, there’s something joyous about hearing Hersh commanding such an oppressive and forceful song. Tulum sounds like a relative of Fox Point — there are definitely melodic similarities, but this is a far more sparse (at least initially) tune. Awash with sarcasm and dark wit (and possibly a few slugs of tequila), Tulum finds Hersh at her most cutting. “Your freakouts, a lot like fakeouts” she intones, before delivering somewhat chilling lines “lying in a Mexican mortuary, finally found your future: extraordinary calm”.
★↔★ Breathe In shrouds Hersh’s vocals in distortion, whilst the guitars oscillate around her in a shimmering haze. Only the fibrous pulse of the bass gives something to cling to. It’s a blink and miss it song, but it sums up the album’s ethos quite neatly. It floats like a butterfly and stings like a bee – only this butterfly is fluttering around in a dense, doomy fog and is armed with some seriously heavyweight sonic armoury. It all amounts to Hersh’s harshest offering in sometime, but it’s also the sound of an artist rejuvenated and inspired. ★↔★ https://www.musicomh.com/
Description:
★↔★ Kristin Hersh’s prolific career has seen her heralded queen of the alternative release. Her tenth studio album, ‘Possible Dust Clouds’ is a highly personalised sociopathic gem delivered as a futuristic rewriting of how music works, a melodious breeze with a tail wind of venomous din.
★↔★ Enveloping the juxtaposition of the concept of ‘dark sunshine’, a brooding solo record created with friends to expand her off~kilter sonic vision; a squally, squeaky mix of discordant beauty.
★↔★ Feedback and phasing gyrate from simply strummed normality, imagine Dinosaur Jr and My Bloody Valentine cranking up a Dylan couplet.
★↔★ ‘Possible Dust Clouds’ is a glorious return to form for one of alternative rock’s true innovators.
★↔★ “She’s still as powerful a presence as she ever was.” — Pitchfork
★↔★ “The prodigious output and commitment to quality is pretty staggering, but then Kristin Hersh is a very, very special musician.” — The Quietus
★↔★ “Throwing Muses became a byword for college~rock feminism in the late 80s, largely because of Hersh’s uncompromising impressionist poetry of emotional anguish, subjugated womanhood and mental illness.” — The Guardian
Website: https://www.kristinhersh.com/
Twitter: https://twitter.com/kristinhersh
Facebook: https://www.facebook.com/strangeangels
Bandcamp: https://kristinhershfire.bandcamp.com/album/possible-dust-clouds
Studio albums:
↔ Hips and Makers — 1994
↔ Strange Angels — 1998
↔ Murder, Misery and Then Goodnight — 1998
↔ Sky Motel — 1999
↔ Sunny Border Blue — 2001
↔ The Grotto — 2003
↔ Learn to Sing Like a Star — 2007
↔ Speedbath — 2008 under Creative Commons License
↔ Crooked — 2010
↔ Wyatt at the Coyote Palace (2 CD, November 11, 2016)
↔ Possible Dust Clouds (October 5, 2018)
_____________________________________________________________