Reviews of Kristin Hersh <>

Written by David Thorpe on Thu, 5 Feb 1998 19:21:20 +0000.

There have been several slightly unflattering reviews recently in the national UK press - last week's Guardian, for example, gave it a "mediocre" rating. The following reviews from the NME and Times respectively:

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From the NME 1st Feb 1998
(C) Copyright IPC Magazines

AAARGH!!! A SECOND DOSE OF shrieky solo mumrock from the ex-Throwing Muses songstress whose favoured vocal style still sounds like the aural equivalent of someone gargling mouthwash while performing particularly complex vocal scales.

Fun is quite clearly off the menu. Instead we get Kristin - accompanied by the lone twang of an acoustic guitar - mulling over the complexities of life amidst a barrage of meaning-riddled metaphors. Take it as read, then, that the slow-boiling strains of 'Cold Water Coming' is less about troubles with the boiler than the drug addiction of a friend; 'Stained' refers not to drink spillage following a night's carousing but to the relentless passage of time; and 'Baseball Field' is not about the day Kristin scored a home run at the high school sports day.

Rather, we are in that strangest of environments: the sanitised world of the 'adult' relationship; where hate mail still has the correct postcode on it and pained silences over tea and toast become the stuff of cringingly over-earnest lyrics. Think the sound of singer-songwriter angst minus all the fire'n'brimstone and replaced by the woolly philosophy of those hippy-schtick salespeople you find in New Age shops the globe over, eager to regale you with tales of how spiritual fulfilment is impossible without a major investment in healing crystals.

Highs as there are, then, come in the form of lows. The plaintive 'Pale' comes with the couplet, "You better bring your fork and knife/'Til we see eye to eye" (best not ask) while the delightfully titled 'Gut Pageant' manages to tangle some pleasant harmonising around screwball lyrics such as, "That fine fever brought us here... lambasted eyeballs" in a manner which suggests Kristin likes keeping us at a safe distance.

Let us not, however, be blinded by such daring forays into stream-of-consciousness lyricism. This is, after all, Kristin Hersh. The difficulty comes with the fact that whereas on 1994's 'Hips And Makers' such bittersweet laments were occasionally wrapped up in a glorious rush of guitars, here they're so exposed they could almost be charged with public indecency. Plus, in a straight-laced indie-universe where the sublimely downbeat strumming of Beth Orton marks the boundaries for singer-songwriter geekiness, Kristin appears quaintly outdated. And with pop's attention span decreasing by the second, the chances of anyone but the faithful finding their way to this album seems highly improbable.

"I asked him why the grass is blue and stray boys don't go home... why 4am's so screwy," she gushes on 'Gut Pageant', eyes the size of saucers, eternally lost in the midnight revelations of a teenage slumber-party.

Not for the uninitiated. 4/10

Paul Moody

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>From the Times 1st February 1998 (C) Copyright News International

KRISTIN HERSH Strange Angels 4AD CAD 8003, #13.99

SOME artists have so many talents that it's hard to keep all of them in focus. As a member of Throwing Muses, Kristin Hersh drew most attention for her lyrics (so oblique they make Tori Amos's wilder efforts sound like the Postman Pat song); and some for her tendency to write music in equally odd time signatures. It was only when she made her first solo album, 1994's masterpiece, Hips and Makers, that the simple, acoustic setting allowed us to realise just how extraordinary her guitar playing is, and how powerful her voice: on her own, with an acoustic guitar, she was able to generate the same kind of dynamics as Nirvana did with the amps at 11. Hersh was, presumably, as impressed as the rest of us, because she's disbanded Throwing Muses in favour of a solo career. Strange Angels is even more stripped down than Hips and Makers, but is it as good? On initial listening it falls just short of that benchmark; but it took months of listening for Hips and Makers to reveal its depths - you'd be foolish to bet against Strange Angels doing the same.

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