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Over the past 27 years, Polly Jean Harvey has released nine albums, two collaborative releases with John Parish, a theatrical score, a compilation of Peel Sessions and a set of 4-Track Demos, but no best-of collection to date, despite having released something on the order of around 40 singles. She has, however, released a number of absolute masterpieces, and remains the only artist to win the Mercury Prize twice. Named for a carving of a woman stretching her vulva, as seen in England and Ireland, the song is a push-and-pull between sexual aggression and repulsion, rife with double-entendre and critical takes on sexual double standards. Salinger story, which she translates into a stunning quasi-industrial pop gem. Not particularly pleasurable ones. Notice the bleeds part? It almost feels like a wager accepted, turning something innocent and ordinary into an act of wanton desire. And then there are others that feel epic, befitting a cinematic experience with the budget of a Coppola or a Scorsese. PJ Harvey had arguably never sounded so heavy until this point, and since, for that matter.
Post a Comment. The quiet ones are always the scariest. Polly Jean Harvey 's appearance on the cover of White Chalk -- all wild black hair and ghostly white dress -- could replace the dictionary definition of eerie, and the album itself plays like a good ghost story. It's haunted by British folk, steeped in Gothic romance and horror, and almost impossible to get out of your head, despite but really because of how unsettling it becomes. White Chalk is Harvey 's darkest album yet -- which, considering that she's sung about dismembering a lover and drowning her daughter, is saying something. It's also one of her most beautiful albums, inspired by the fragility and timelessness of chalk lines and her relative newness to the piano, which dominates White Chalk ; it gives "Before Departure" funereal heft and "Grow Grow Grow" a witchy sparkle befitting its incantations. Most striking of all, however, is Harvey 's voice: she sings most of White Chalk in a high, keening voice somewhere between a whisper and a whimper. She sounds like a wraith or a lost child, terrifyingly so on "The Mountain," where she breaks the tension with a spine-tingling shriek just before the album ends. This frail persona is almost unrecognizable as the woman who snarled about being a foot queenie -- yet few artists challenge themselves to change their sound as much as she does, so paradoxically, it's a quintessentially PJ Harvey move. The album does indeed sound timeless, or at least, not modern.