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Krsitin Hersh, "The Grotto"
4AD
Curling up with a Kristin Hersh solo album is much like curling upalone in bed with a good book late at night. There's always somethingto discover with the other route Hersh takes with her songs, headingdown the path without bombastic drums and fuzzy guitars. This timearound, Hersh has also taken a step back, completely opposing one of mytop picks of 2001, her Sunny Border Bluealbum. In 2001, Hersh was almost completely alone and filled the trackswith drums, bass and electronics, whereas here, she's assisted by HowieGelb on Piano and Andrew Bird on violin, and the songs are all acousticand drum-free. While I'm very fond of this record, I question thearrival date for a couple reasons. First of all, I always need to spenda lot of intimate time with Hersh and her songs to get as close to themas possible. Being punched twice on the same day with this and theMuses album can be something difficult to recover from. Next, The Grottois possibly one of Hersh's most reflective albums, with anindescribable feeling of coldness that only somebody growing up in NewEngland truly knows. It comes as no surprise that this album wasrecorded over the past year, which was the snowiest winter we here inthe north east USA have seen in years. It's odd to start listening tothis album in March, just as the snow's about to melt and give way to awarm, green spring. The piano and violin add something magical to heracoustic fingerpicking, providing a perfect soundtrack to the firstlight of the sun on a cloudless morning, reflecting off a snow-coveredlawn, while her words, significantly subdued from any Muses recording,are both tender and sharp. I can honestly lose hours in headphone landwith Hersh's solo albums, and while The Grotto is no exception, I might have to pull this one out again in November for the best effect.
Curling up with a Kristin Hersh solo album is much like curling upalone in bed with a good book late at night. There's always somethingto discover with the other route Hersh takes with her songs, headingdown the path without bombastic drums and fuzzy guitars. This timearound, Hersh has also taken a step back, completely opposing one of mytop picks of 2001, her Sunny Border Bluealbum. In 2001, Hersh was almost completely alone and filled the trackswith drums, bass and electronics, whereas here, she's assisted by HowieGelb on Piano and Andrew Bird on violin, and the songs are all acousticand drum-free. While I'm very fond of this record, I question thearrival date for a couple reasons. First of all, I always need to spenda lot of intimate time with Hersh and her songs to get as close to themas possible. Being punched twice on the same day with this and theMuses album can be something difficult to recover from. Next, The Grottois possibly one of Hersh's most reflective albums, with anindescribable feeling of coldness that only somebody growing up in NewEngland truly knows. It comes as no surprise that this album wasrecorded over the past year, which was the snowiest winter we here inthe north east USA have seen in years. It's odd to start listening tothis album in March, just as the snow's about to melt and give way to awarm, green spring. The piano and violin add something magical to heracoustic fingerpicking, providing a perfect soundtrack to the firstlight of the sun on a cloudless morning, reflecting off a snow-coveredlawn, while her words, significantly subdued from any Muses recording,are both tender and sharp. I can honestly lose hours in headphone landwith Hersh's solo albums, and while The Grotto is no exception, I might have to pull this one out again in November for the best effect.
