Customer Reviews

Throwing Muses

5 star:		(19)
4 star:		(4)
3 star:		(1)
2 star:		(2)
1 star:		(1)

 

 

A first note - anyone who appreciates good, rocking guitar music should love Throwing Muses. If you like Sleater-Kinney or The White Stripes in particular, this band's for you.

At my relatively early listening stage, the tracks that stand out are Mercury, Civil Disobedience (those two have that early Muses vibe to them), Pandora's Box, Solar Dip and Pretty Or Not.

This review is coming from a longtime Throwing Muses fan, and I can tell you that if you have any capacity to enjoy this band, you will love this album. It reunites Kristin Hersh with her sister Tanya Donelly, for the first time since the Muses' 1991 album "The Real Ramona." Though Donelly is not a full-fledged band member (she only sings backup on 5 songs, and there are none of her own songs), her presence combined with the late-90's "Power-Trio Muses" lineup combines for an album that has the Muses' stamp all over it. This is evidenced by the driving and constantly changing rhythms reminiscent of their earlier work, the vocal interplay between Hersh and Donelly reminiscent of the "middle" albums, and the catchy melodies and louder guitars that were evident in the more recent Muses albums (the last of which was in 1996).

Despite these comparisons, the album itself does not sound like anything the Muses have ever done before. The drumming of David Narcizo, one of the best and most under-appreciated drummers in the music world today, has always been excellent, but on this album it is outstanding, as if he had been waiting to dig his teeth into new Muses material much as a ravenous dog would anticipate digging his teeth into a juicy steak. And the same goes for Bernard Georges' incredible bass playing.

All in all, this is a great and unique album that belongs in any and all CD collections.

When the Throwing Muses released "Limbo" in 1996 I thought that it was to be their last album. There were a few previously unreleased tracks on the 1998 collection "In A Doghouse" but I was thrilled to learn that 2003 would mark a return for the band that has touched me more than any other.

"Throwing Muses" is a wonderful set of twelve brand new songs. The band is the same line up from "Limbo", Kristin Hersh, David Narcizo and Bernard Georges, and includes backing vocals from Tanya Donelly on five of the tracks.

The opening notes from the powerful "Mercury" signify the album's intent. The Muses are straight down to business with stop-start drumming, a ferocity and energy that I know from albums such as "Red Heaven", and the complicated layers of sound that no other band has ever matched in my experience. "I hope I don't stomp on your heart I know what that's like", sings Kristin, and you can hear it in her voice, she knows.

There are at least two people inside Kristin Hersh's body, one is sweet and gentle, one is full of demons and pain. This is evident on the second track "Pretty Or Not". It starts off gently and then erupts as she screeches the chorus. It drags the listener into her world and forces them to pay attention.

The songs are full of startling changes of tempo and volume, and each is like a little journey. "Status Quo" highlights this about three minutes into the song when it completely changes, like many of the songs on the debut album all those years ago.

Speed And Sleep is very scary. It is a song of betrayal and I hope that it isn't true, although I fear that it is. This woman has been hurt enough already. I love the line "Tiny strings across the United States run from you to me and to everyone we ever breathed with". It makes me think of Fate and the times I have met Kristin and the band.

Solar Dip is already a classic Muses song, one of the best things they have ever produced. It is like a rollercoaster ride with complicated changes throughout. Ferocious and compelling.

Epiphany has a beautiful guitar line in it that almost speaks. This is full of melancholy and reminds me of something ending.

The chorus of Half Blast sounds more like something Belly would do. Maybe that is because Tanya's backing vocals remind me of that sound? I think this would make the best single.

Every track here is a success. After seven years it is more than I ever hoped for.

Listening to the Muses is never dull. Kristin's voice reminds me of Mother Nature. One minute you are in the eye of the hurricane, with chaos and destruction all around you, the next moment you are bathed in warm sunshine and touched by a gentle breeze. The guitar sound is unique and unmistakable, the vocals are strong and she lives them as she sings. David and Bernard are the perfect compliment to provide the multi-layers of sound, and Tanya's contribution is a welcome one after such a long absence.

Amazingly enough, this album could be the best thing the Muses have ever produced. I don't say that lightly. I can't imagine life without Kristin Hersh's voice being in it. Please buy this album and experience music that touches every emotion and the very core of your being.

Maybe one of these days, Kristin will get what's coming to her.

You know that whole "alternative" music scene we hear about so much these days? That one that busted out with Nirvana's NEVERMIND, about a dozen years ago? Well, a half dozen years before that, a teenaged Kristin Hersh was exorcising her deamons with the help of her band, Throwing Muses. The first American band signed to 4AD, the Muses traded riffs with the Pixies, turned the bars and music halls of Europe upside down (R.E.M. opened for them, way back), and dominated college radio in the late 80's. Most importantly, the Muses helped lay down some of that serious trackwork which paved the way for folks like Kurt Cobain. Does the mainstream music press give her props for ANY of this? No.

Begging your pardon, but, frankly, I believe in credit where credit's due. But I digress.

Kristin's had her share of ups and downs -- she had to bust up her beloved band because they couldn't afford to stay together, for example -- but through all of it, she makes her music the way she likes it. Because she has to. And, dear lord, in this day and age of handpicked, corporategrown and groomed "rock grrls", it just doesn't get any better than that.

This is the Muses' first album since 1996. They're as strong as they ever were. Hold this album up to the likes of, say, the Vines or the Hives or (shriek) the Strokes and you'll see that it stands firm against any uppity up-and-comers. Tracks like "Mercury", "Pandora's Box" and "Civil Disobedience" are proof that Kristin and her band are still at the top of her game. And what a disturbing game it is -- take a minute to learn a thing or two about Kristin, and you'll discover that she's done more living than most of us.

Interesting living makes for interesting music, that's for sure. You think that pesky Avril's got problems?

Kristin knows better than anybody how to rage, AND she's got four kids. Pick up this album and see for yourself why she remains my undisputed queen of alternative rock.

(sorry to shout like that...) Here I am, some 15 months after this album's release and I've finally gotten around to getting a copy. When it (and The Grotto) did come out, I had been listening to Throwing Muses for ten years, but not much at all recently. Plus, I'd already heard most of these songs in acoustic-demo format through the "Works In Progress" feature in throwingmusic.com, and they hadn't excited me too much. But none of that gave me a good idea of what this album sounded like.

Kristin plus her songs plus an electric guitar is always an awesome force of nature, no question about it. I read her say once that she uses distortion as kind of a "crutch," but so what! Kristin on "crutches" backed by Mr. David Narcizo (one of my favorite drummers of all time), and let's not forget the redoubtable Bernie Georges on thunderbroom, will whoop your @$$, buddy, so watch it! Yes, this sound and lineup makes ALL these songs just bristle, burn, and flat-out rock. I am so ashamed for letting this sit for more than a year before buying it.

The production and sound are fairly rough and raw, but that's exactly right for these songs and this band at this time. Mr. Culver's reviews are usually on-target, but I'm afraid he's really missed the boat on this one. And someone else said this one reminded them of Red Heaven, but I don't really see that, except for the loud, distortion-heavy guitar: _Red Heaven_ has kind of a faraway feel, to me at least, while this one is right in your face. If I felt the need to compare this album with previous work (well, why not?) I'd call the sound of this one maybe a cross-pollination between the volume of _Red Heaven_ and the backbone and brashness of _Limbo_. Tanya Donnelly's backing vocals are mixed very much in the back, such that it's not at all obvious that it's her. That's kind of too bad, I guess, but then again, so what? And now, on to the other end of the spectrum of the Hersh experience, with _The Grotto_...

I can't believe that someone would accuse this record of being hookless; the bridge riff on "Pandora's Box" is a textbook hook, so delightfully baited that i'll catch on it again and again. And confusing a sparse production with "underproduction" speaks more of the expectations of the listener than of any impartial judgement of the record.

The album is surprising and gripping. It is delightful. The music alternately makes you headbang, bounce, and soar. The changes in tempo and time signatures are performed perfectly, and the revelation here is Bernard Georges' muscular, authoritative bass work.

Yes, you aren't going to find airy tunes like "Carnival Wig" or "Honeychain" on this disc... it's strictly a meat-and-potatoes record. But it is definitely a superb recording. Buy it now.

For those who missed the Muses live experience, this is as close as you get. With the Marshalls stacked to 11, the band tear through a new claustrophobic setlist with a ferocity never heard on any of the previous studio albums. What lacks in melody and snappy hooks is more than compensated for by punishing guitars and vertiginous tempo and sonic shifts; in fact, this might be best collection of guitar compositions by Hersh since the second album. It certainly is the most brutal. Having said that, there is zero relief for those who appreciate a gentle strum now and then (for that, check out the simultanously released Hersh solo record, The Grotto) and the overall effect can be cacophonous and wearying to anyone with the volume knob turned to less than max. The album was recorded quickly and pretty much live, and the mix is dense, even sludgy sometimes, which is its one major drawback. But the glory of this record is to play it as loud as at all possible and give yourself over to loving the Muses all over again.

I didn't realize how much I truly missed Kristin Hersh rocking out until this masterpiece was released.

This side of the Atlantic, she is far more known for her beautiful (yet largely acoustic) solo work. But where she truly shines as a musician is belting out songs for her band.

I don't know where to start with this album. Amazingly, this just might be the best ever Throwing Muses album while at the same time being the most accessible since The Real Ramona. It could appeal to anyone who enjoys the current alt rock/punk that permeates the radio thesedays.

I have always loved Throwing Muses because their music will rock you silly. But then you hear Kristin's profound lyrics and you're just grateful. Her words are pure poetic bliss. You will be floored and able to identify with what she writes. She has a true gift for songwriting that I've yet to see anyone even come close to.

Standout songs here are the frenzied "Mercury", the bouncy "Solar Dip", the euphoric "Half Blast", and gorgeously raw "Civil Disobedience". Founding Muse Tanya Donelly offers her beautiful voice to five of the songs. The harmonies Tanya and Kristin make are worth the price of this CD alone.

This is honestly one of the best rock CDs I have ever heard in my life. Very highly recommended.

Loaded with stinging punk aggression, I wasn't too sure about this album at first. But with repeated listens, Kristen Hersh's usual brilliant songwriting shone through. So much for mellowing with age! Sadly, it looks like this may be the Muses swan song, but it's also an indication of the new, hard-edged things to come with Hersh's new band 50 Foot Wave! Catch the new wave!

As a bonus, this CD package is one of the wildest I've ever seen with colorful paintings on panels that unfold to create larger images - way cool!

This is far and away the best Throwing Muses album since House Tornado, and infinitely more accessible than that thorny masterpiece. The emphasis her is strictly on the music (the vocals are buried deeper than they've ever been), but the quality of the composition and the exhilirating energy of the playing make you perfectly willing to shift your aural focus. Seven of the songs here rank among Kristin's best compositions ever ("Half Blast," "SolarDip," "Epiphany," "Mercury," "Flying," "Civil Disobedience", "Los Flamingos"), with hooks that absolutely drill into your brain after two or three listenings, and Kristin's trademark galvanizing tempo and texture shifts; and the other five range from great to merely very good. Honest to God, the least great song here ("Status Quo", which has a generic KH rant for its second half) is a better piece of music than anything on Hunkpapa besides "Fall Down" and "Santa Claus."

Granted, many listeners come to Kristin Hersh for lyrics first, second, and third, as well they should, since there's no one in rock who does overtly poetic lyrics any better. These fans may find this a disappointment, since the lyrics take such a back seat (they're good, understand, but you're not continually startled by brilliant phrases as has usually been the case in the past). Me, I'm astonished that Kristin could shift her focus and make a record that is musically the equal of anything in the history of alt-rock.

The Throwing Muses were one of the most promising rock bands to emerge in the mid 80's. They produced some of the most outstanding and original music not only of the 80's but, in my opinion, in the history of rock. With roots in the folk-punk of the Raincoats and Slits, they created a cacophonous sound of women possessed by goddesses, in songs with remarkable lyrics that easily slipped between time signatures and unique tempos. Although Sleater-Kinney later appropriated, and refined some of their magical art-punk-pop ethos, their sound remained like no others.
After a bit over two years, this formative period (most of which is available on "In A Doghouse") gave way to a more listener friendly version of Indypop. Although tamed by the industry, and aiming for commercial success, occasional signs of their early genius popped up on records now and then.
Now nearly 17 years after the original brilliant self titled album "Throwing Muses", they have re-released a new self-titled CD that recaptures and builds upon this early period. Although the live production is occasionally muddy, this nevertheless may be their best album yet. Bandleader, Kristen Hersh's new spare acoustic solo album also is a great complement. Along with the new Cat Power, this is shaping up to be a great year in rock!