Customer Reviews

University

5 star:		(13)
4 star:		(3)
3 star:		(1)
2 star:		(0)
1 star:		(1)

 

 

The core of University is lead singer Kristin Hersh. Her voice is powerful yet modest: she doesn't attempt (thankfully) an operatic range or embellish her lines with unnecessary vibrato. The straight-up rock cuts are intense and moving (Bright Yellow Gun, Calm Down). University is minimalist (the melody is purposely subdued), rhythm driven and structurally complicated.

The most intriguing and adventurous cut is `Flood.' The composition opens with a sparkling guitar lead, overlays Kristin's voice with tick-tock string plucking, breaks into a second vocal melody (and a higher octave), then ends with a short synthesized harmony. The cut also changes tempo at least twice. If this sounds tedious and studied, it's not meant to. University is not a compilation of toe-tapping ditties. Each composition is smart and unique: `Start' is atonal, `That's All You Wanted' multi-layers Kristin's vocal harmonies, and `University' pastes together an assortment of sounds effects (including a child's voice) with rhythm guitar. Their frequent use of dissonance and resolution is scarce (and seldom accomplished) in popular music.

University reminds me of the noise-as-music experimentation of The Velvet Underground, the ambient pieces of Brian Eno, and the electronic experimentation of The United States Of America. I must credit Throwing Muses for their courageous risk taking and subsequent success.

Okay, two great things about this album: a) Kristin is in particularly good form here. Her quality of execution in both guitar playing and vocals is simply stunning. This is an album made by someone who musically knows what she wants, and goddamn NAILS it! b) Bernard Georges gets a really *sweet* bass tone on this album. Perhaps I'm predisposed to notice that since I'm a bass player myself, but this is just emblematic of what this album is all about; each member of the trio making the most of their individual abilities to create a product that is as airtight and downright superb as any album you'd care to name. Give it time to sink in, though, that's the case with every Throwing Muses album. But they are worth it in spades...

I can't remember where I was when I first heard Kristen Hersch and Throwing Muses. I'm not even sure what made me go out and purchase "University", but there it was, popped into my CD player - again, and again, and again, and again. I couldn't find anyone to share my enthusiasm over this record and was fairly dumbfounded as to why TM was not on the lips of every indy rocker out there. Just mine. But that was okay, because I had found something that no one else had or seemed to appreciate. "University" was a turning point for me, as I had finally discovered music that somebody made that seemed to be made just for me. I didn't care if others didn't share my enthusiasm, or didn't think it was the best thing they've ever heard. It just didn't matter. What mattered was there was a band out there that didn't care, either. They just made music that made them feel good, and didn't give a damn that they weren't cracking the top 40. And that made me feel good, too.

It's a depressing thought really , that more people on this earth own a Goo Goo Dolls cd than a Throwing Muses one . Unlike the various one hit wonders of our times though , the Muses' music always had the ability to stay for a long long time in the minds and hearts of the listeners who chose to explore it .

Their 1995 offering " University " is one of the most sharp rock records of that year . Kristin Hersh powerfully perfomes some of the tracks in a serial killer-like style ( " Bright Yellow Gun " , " Shimmer " ) and others almost sounding in pain ( " Hazing " , " Flood " ) . The tittle track is a haunting instrumental piece which feels like child ghosts playing hide and seek while " Teller " is probably the album's discreet highlight . The most suprising track though must be " Snakeface " where the band lets loose and delivers a sly , highly addictive melody .

None of the Muses' albums ever reached the top 20 but that is mostly because they themselfs seem to prefer to be rock's most enigmatic underdogs capable of remarkable things . Overall , " University " is first-class stuff , full of satanic riffs and arresting vocals . Sadly out of stock in amazon.com , this is one for you to pick up right away.

University is, flat out, one of the best rock albums of the nineties (so is the Muses' other "masterpiece," The Real Ramona). University is louder and more immediate than its predecessor right from the first song (Bright Yellow Gun). It's a wide ranging album, expanding on the pop-rock sensibilities found in The Real Ramona with songs like Shimmer and Bright Yellow Gun, but also showcasing slower, melodic tunes (Crabtown, Snakeface), and more aggressive works (Hazing, Shimmer). The Muses are in top form here; Hersh's songwriting is excellent and the band presents a coherent, uniformly excellent album. If you like inventive, aggressive rock music, this album is for you.

I'm a late-comer to Throwing Muses, but theirs is the type of music that will last a long, long time. University is the best of the lot, combining Hersh's intellect with some amazing melodies and beats. The funny thing is that when I first listened to this cd, I was rather unimpressed. It wasn't until I took another listen a couple of months later that I realized that while I had been passively acknowledging their musical skill, I had also been ignoring the power of Hersh's words. That is where the true beauty of the Muses' music is found. Once you actually "listen", their mixture of music and message is so unique (and yes, at times, weird) that it immerses you. This cd is a great experience. I may have arrived late to the scene, but I plan to stay around for quite a while.

Throwing Muses - University (1995)

Sometimes a great album comes along and maybe it's just not the right time to hear it. You're not in a place in your life where you can really appreciate or connect with it. For example, when David Bowie's HOURS album first came out, I thought it was limp and lackluster. But the fact is, it was a time in my life when all I wanted to do was just rock out. I wanted to hear Bowie albums like ALADDIN SANE or disk 2 of BOWIE AT THE BEEB. Since then, HOURS has turned out to be one of my favorite Bowie albums.

Such is the case with Throwing Muses' UNIVERSITY. When it was first released I was actually attending a university and hearing an album with that title just didn't appeal to me for some reason. I was already in the middle of a "university" experience. And then I heard the lead single "Bright Yellow Gun" which, at the time, sounded to me like a contrived slice of alterna-pop, a cheap bid to get noticed by the alternative rock community, far removed from what the Muses were truly capable of. And thus I passed on the latest Throwing Muses album that year . . . So it's kinda strange that after over two decades of listening to this group, one of my very favorite bands of all time, I have come to regard UNIVERSITY as, song for song, the very best album they've ever done.

Some of their other songs are actually better than anything on UNIVERSITY. For example, I think "Pearl" and "Carnival Wig" are two that would definitely qualify, and I would say RED HEAVEN, the record that contains these two tracks, is a strong contender for top honors. But it has a few songs that don't rank so high. One in particular, "Dio", which I always skip, is weak enough to disqualify RED HEAVEN from my number one spot on its own. I expect most people would say that the best albums ever made have no weak songs; you love listening to the whole thing front to back without wanting to skip anything. And for me, UNIVERSITY fits that bill.

Certainly THE REAL RAMONA is the biggest fan favorite and deservedly so. The last album to feature Tanya Donelly, it's loaded with fantastic, melodic pop songs along with adventurous, hard-edged guitar tracks. But unfortunately, there's one track I always skip and that would be "Golden Thing". For me it's the weakest track and it features lyrics that really annoy me ("Golden thing, and when you get there better kiss me!" - ugh). Besides, I prefer the heavier, more rocking later albums where Kristen Hersh is front and center.

Even though it's almost impossible to choose from so many great albums, my personal favorite would have to be RED HEAVEN. But for the sake of remaining objective, I believe UNIVERSITY deserves to be called their very best. Highly recommended.

Breakdown!

"Bright Yellow Gun" - Contrary to my initial reaction, this is indeed a great song. It does start off like a rather conventional alternative track, but give it a chance and it soon reveals itself as having much more depth than I gave it credit for. Full of multiple rhythms and guitar lines, it builds with intensity into a streamlined kaleidoscope of heaven. Kristen Hersh is one of the most underrated guitarists and songwriters that I've ever heard! ****1/2

"Start" - is a brilliant song. I just love the way Kristen lays her guts on a platter for the feasting. Her voice is so distinctive and raw and this song is so sexy..."I start at his knees and I'll end in his dreams..." And like many of these songs, her overdubbed background vocals are so effective and moving. Intense! *****+

"Hazing" - has an forceful, lurching rhythm. So many of her songs have a power more compelling than even the heaviest metal through sheer emotion, brilliant songwriting and musicianship. "Hazing" is indeed powerful, all the more so for its shifting dynamics and surprising bursts of energy. Looking at the CD sleeve back in college, I foolishly concluded that I didn't need to hear a song about hazing. It is indeed about hazing, about enduring twisted forms of abuse and accepting victimization with a resigned nonchalance. *****+

"Shimmer" - is an upbeat, driving rocker, building in intensity like many of the songs on UNIVERSITY. And also like many of these songs, it evokes water imagery. Exactly what this running theme is meant to convey I couldn't really say; it's open to interpretation, no doubt one of the truly great things about music. New bassist Bernard Georges provides a muscular, melodic bass line. In fact he proves himself to be an excellent addition to the band throughout the whole album. ****1/4

"Calm Down, Come Down" - At a minute and a half, this tune is sort of an interlude between songs. It's a nice mid-tempo rocker that meanders around while Kristen informs us in song that she doesn't want to calm down, come down. ***3/4

"Crabtown" - is lovely and quite serene, accompanied by sounds of seagulls and the seashore. There's a hint of heartbreak and escapism as well as intoxication, one of the most common elements in Hersh's songs. *****

"No Way in Hell" - Full of psychedelic wah-wah sprawl, this song paints a brutal picture, once again open to interpretation, but I see it from the point of view of a homeless alcoholic woman who is being taken advantage of by a man she still desperately clings to. *****+

"Surf Cowboy" - has such a tasty, slinky rhythm ...and once again Kristen slips under the water...David Narcizo turns in a typically perfect drum performance, on point as always, and in this case, suitably understated. Like Kristen, he's another unfairly underrated musician - one hell of a drummer! *****

"That's All You Wanted" - is a sweet, easy-going tune with some very nice cello accompaniment (an instrument that makes several appearances on UNIVERSITY). It's my least favorite song on the album but it's still very good and it's since grown on me quite a bit (truth be told, it used to annoy me). There's some nice guitar picking and subtle chord changes in there. ****

"Teller" - gets my vote for best song on the album. It's got so much going for it - a haunting, potent vocal melody from Hersh, powerhouse drumming from Narcizo, a muscular guitar riff, sophisticated changes, evocative lyrics, classic soft/loud dynamics...absolutely entrancing! *****+

"University" - is a spacey interlude featuring Kristen's own baby son doing what little boys in the studio typically do when put in front of a microphone, and it's undeniably cute. Soon a guitar begins to play below a placid atmosphere scattered with swarming ghosts. One guitar picks out a rhythm while another adds some colorful texture. Very nice. ***3/4

"Snake" - slithers sexily. One hears an organ beneath the drum kit, bongo drums and other percussion effects to enhance the mood..."One more button undone..." *****

"Flood" - A gripping track that, from my perspective, conveys the overwhelming experience of getting really high...*****

"Fever Few" - "You bring me water/ You bring me dope/ I don't like you/ But you're my only hope"...this should give you an idea about the desperation felt in this incredible, head-spinning song full of hallucinations and longing. A potent climax to an incredible album. *****+

This is my only Throwing Muses album, so I'm in no position to speculate as to whether it's their best or worst, but all I can say is that I'll hunt down the rest of their records as soon get the cash together...
The Throwing Muses made great rock music - not sweaty, cathartic rock so much as intelligent, melancholy afternoon music. In spite of the great guitars on this album, "University" always makes me feel reflective and a bit wistful rather than giving me that urge to hurl myself around my bedroom. Kirstin Hersch's voice is rich and huge, but its throaty, seductive ache speaks of weariness rather than real heat; even at its most euphoric, as in "Shimmer", the undertow of sadness in the song overwhelms the surge of passion. Hersch usually manages to sound both wise and addled at once. I'm usually annoyed by overly oblique, surreal lyrics, but for some reason, Hersch's seem affecting and incredibly evocative within the context of the music. At first this album seemed just like a solid collection of rock songs, but each time I listen to it, its full texture and complexity reveals a little more of itself. Highly reccommended.

So as a Throwing Muses fan who came in a little late in the game, i must say i havent seen my opinion expressed by anyone else so i feel compelled to speak up. i was first exposed to TM with the release of their latest album (the new self-titled one) and i love it. i can't get enough of it. my next purchase was In A Doghouse (compilation of their earliest work), and i love that too-- great new wave / punk music with lots of imagination, and no cheesy mixing. that said, i can't get past the godawful dated ass production on every album in between. i started with house tornado and began working thru their collection in order and now i've gotten to this one, where they finally cut back on the early nineties bloated drums and fluffy guitars, but the whole album is so low key it puts me to sleep. its a beautifully crafted album, and i can definitely appreciate it as a work of art that someone put a lot of time and effort into, but the fact remains that i listen to tracks 1, 2, and 4 and turn it off.

University Good Ole '90s rock cd I saw perform on the now defuncted 'Song Effects' on FX channel. Personal fave, cheap.