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Kristin Hersh — Possible Dust Clouds (October 5, 2018)

Kristin Hersh — Possible Dust Clouds (October 5, 2018)            Kristin Hersh — Possible Dust Clouds (October 5, 2018)Kristin Hersh — Possible Dust Clouds (October 5, 2018)✹   Je zajímavé, že v doprovodném rozhovoru k minulému albu „Wyatt at the Coyote Palace“ Kristin Hersh porovnává svojí zkušenost se sdílením své práce na albu se sdílením svého náboženství s jiným, protože toto dvojalbum, doprovozeno knihou, činí všechny náročné zážitky v zázraky, které se zdají srovnatelné. Zatímco získáte kvantum zkušeností z této práce, vše se dá simultánně poslouchat s alespoň jedním přečtením knihy v reálném čase s maximální koncentrací. V takovém případě stojí za to obětovat každou sekundu a osobní energii. Toto desáté album je podobným zázrakem.
✹   Kristin Hersh práce s Throwing Muses a 50 FOOT WAVE jí zaručila působivé dědictví. Přesto trvalá kvalita jejího významného sólového výstupu byla pozoruhodnou skutečností a současně svědectvím, čímž překonala očekávání, kladená na absolventy alt~rockového boomu z devadesátých let. ‘Possible Dust Clouds’ udržuje vysoký kalibr psaní písní a artikulaci vynikajícího „Wyatt at the Coyote Palace“ z roku 2016.
✹   Na rozdíl od mnoha svých sólových nahrávek, než aby sama hrála všechny nástroje, pozvala celou řadu spolupracovníků, aby jí pomohli při vytváření písní. „Sociopati nemohou realizovat svůj potenciál bez toho, aby lidé vyřešili své stížnosti,“ vysvětlila své rozhodnutí otevřít svůj tvůrčí proces. Kristin Hersh je známá svým hluboce osobním proudem lyrického přístupu k vědomí a zdá se, že spolupracovníci jí umožnili, aby ho dále rozšířila do samotné hudby. Hlavní singl ‘No Shade in the Shadow’ byl časnějším a základním prvkem psychedelické textury celého alba. Začíná s opravdu osvěžujícím a rafinovaným kytarovým riffem, píseň nabobtná díky zpracovaným doprovodným vokálům a tlumeným beatům. Stejně tak bolestné kytary a cyklické rytmy v ‘Loud Mouth’ způsobují obrovský zážitek. Znovu a znovu podkopává přímky ve prospěch zkreslených a překroucených perspektiv.
✹   ‘Possible Dust Clouds’ ukazují jedno: Kristin Hersh je umělecky zvídavá a vynalézavá tak, jako kdykoli předtím. Snaží se vyhnout snadné hudební a lyrické volbě, jejím záměrem nadále zůstává zkoumat temnou složitost mysli a pokračovat v nejlepším díle své kariéry. Je to umělkyně, která se stále vyvíjí, výsledky jsou opět oslnivé a vždy fascinující. Život jde dál.
Birth name: Martha Kristin Hersh
Born: August 7, 1966, Atlanta, Georgia, United States
Location: Providence, Rhode Island
Recording Location:
✹   Stable Sound Studio, Portsmouth, RI
✹   Studio Paradiso, San Francisco, CA
Genre: Folk, Indie Rock, Singer~Songwriter
Album release: October 5, 2018
Record Label: Fire Records
Duration:     36:26
Tracks:
01. LAX   3:50
02. No Shade In Shadow   3:34
03. Halfway Home   3:58
04. Fox Point   3:12
05. Lethe   3:50
06. Loud Mouth   3:33
07. Gin   2:47
08. Tulum   3:45
09. Breathe In   3:20
10. Lady Godiva   4:37
Credits:
✹   Fred Abong: Bass
✹   Christopher E. Brady: Bass, Backing Vocals
✹   David Narcizo, Wyatt True O’Connell: Drums
✹   Rob Ahlers: Drums, Engineer
✹   Steve Rizzo: Engineer, Mastering, Mixing, Producer
✹   James Nicholls: Executive Producer
✹   Kristin Hersh: Guitar, Vocals, Bass, Drums, Percussion
✹   Kristin Hersh, Steve Rizzo: Mixed
✹   Kristin Hersh, Steve Rizzo: Producer
✹   Kristin Hersh: Written by
Review
by Sam Shepherd | first published: 11 Oct 2018 | Score: ****
★↔★    Kristin Hersh’s career has seen her create a number of classic albums with her bands Throwing Muses and 50ftWave, but for many, it’s her solo output that really impresses. Her solo career began in earnest with Hips And Makers back in 1994 (although a version of Throwing Muses’ 1992 album Red Heaven included a solo show), and since then she’s flourished as a solo artist.
★↔★    Possible Dust Clouds is her 10th solo album, and it finds her changing tack somewhat by involving other musicians more significantly. Hersh describes the album as a “sociopath”, and states that “sociopaths can’t realise their potential without people to work out their grievances on”. In order to remedy this, she invited musicians to join her in the creation of the album (including Throwing Muses alumni Fred Among and Dave Narcizo, and Pond’s Chris Brady).
★↔★    Hersh’s willingness to include others this time around means that Possible Dust Clouds doesn’t sound much like a bona fide solo album, but rather the creation of a band. Clearly these are songs played by a band and Hersh is at the helm, but the sheer wave of noise and live feel that envelops these songs makes them feel like a cohesive collaborative unit battling though a sonic fuzz. 


★↔★    Not only has Hersh embraced additional musicians, but there’s a definite swing towards distortion and the glory of noise this time around. Gone are the sparse and haunted arrangements that populated the likes of Hips And Makers and Sunny Border Blue or the distinct pop sensibility that informed Echo, this time around Hersh is embracing sonic chaos and obfuscation. This somewhat hazy approach is not only confined to the music, Hersh’s lyrics leave gaps that require a degree of filling in to make sense of. Just as it should be. This desire to ramp up the chaos is indicated on the first few moments of opening track LAX, with its fuzzed-up processed drums hitting heavy behind a squall of bass and guitar. 


★↔★    Sonic assault is present on many of these songs, and it is glorious. Half Way Home might start out relatively gently with strummed guitar, but soon multiple layered vocals enter the fray and a scree of guitar feedback washes across Hersh’s vocals. Fox Point takes a folky Led Zeppelin intro and fuses it to a doom-laden take on Chicago’s 25 0r 6 to 4. It’s a rancorous beast, and one that pushes Hersh’s voice to its limits; scratchy and hoarse, she’s delivering her vocals with a much harsher edge these days. Lethe also takes on a Zeppelin approach as Hersh sings about slowly sinking in sand as she anticipates Lethe (a Greek spirit of oblivion and forgetfulness – which is handy, for  at least if oblivion is on the horizon, you’ll forget all about it soon enough).


★↔★    Harking back to the days of grunge is Loud Mouth, an absolute hammer blow of a song. “Noise crawls through cracks in the wall, drowns out your loud mouth” barks Hersh as the guitars burst into a fearsome cacophony. The song’s relentless rhythm pattern gives it an ominously unstoppable feel, and yet, there’s something joyous about hearing Hersh commanding such an oppressive and forceful song. 

Tulum sounds like a relative of Fox Point — there are definitely melodic similarities, but this is a far more sparse (at least initially) tune. Awash with sarcasm and dark wit (and possibly a few slugs of tequila), Tulum finds Hersh at her most cutting. “Your freakouts, a lot like fakeouts” she intones, before delivering somewhat chilling lines “lying in a Mexican mortuary, finally found your future: extraordinary calm”.
★↔★    Breathe In shrouds Hersh’s vocals in distortion, whilst the guitars oscillate around her in a shimmering haze. Only the fibrous pulse of the bass gives something to cling to. It’s a blink and miss it song, but it sums up the album’s ethos quite neatly. It floats like a butterfly and stings like a bee – only this butterfly is fluttering around in a dense, doomy fog and is armed with some seriously heavyweight sonic armoury. It all amounts to Hersh’s harshest offering in sometime, but it’s also the sound of an artist rejuvenated and inspired. ★↔★    https://www.musicomh.com/
Description:
★↔★    Kristin Hersh’s prolific career has seen her heralded queen of the alternative release. Her tenth studio album, ‘Possible Dust Clouds’ is a highly personalised sociopathic gem delivered as a futuristic rewriting of how music works, a melodious breeze with a tail wind of venomous din.
★↔★    Enveloping the juxtaposition of the concept of ‘dark sunshine’, a brooding solo record created with friends to expand her off~kilter sonic vision; a squally, squeaky mix of discordant beauty.
★↔★    Feedback and phasing gyrate from simply strummed normality, imagine Dinosaur Jr and My Bloody Valentine cranking up a Dylan couplet.
★↔★    ‘Possible Dust Clouds’ is a glorious return to form for one of alternative rock’s true innovators.
★↔★    “She’s still as powerful a presence as she ever was.” — Pitchfork
★↔★    “The prodigious output and commitment to quality is pretty staggering, but then Kristin Hersh is a very, very special musician.” — The Quietus
★↔★    “Throwing Muses became a byword for college~rock feminism in the late 80s, largely because of Hersh’s uncompromising impressionist poetry of emotional anguish, subjugated womanhood and mental illness.” — The Guardian
Website: https://www.kristinhersh.com/
Twitter: https://twitter.com/kristinhersh
Facebook: https://www.facebook.com/strangeangels
Bandcamp: https://kristinhershfire.bandcamp.com/album/possible-dust-clouds
Studio albums:
↔   Hips and Makers — 1994
↔   Strange Angels — 1998
↔   Murder, Misery and Then Goodnight — 1998
↔   Sky Motel — 1999
↔   Sunny Border Blue — 2001
↔   The Grotto — 2003
↔   Learn to Sing Like a Star — 2007
↔   Speedbath — 2008 under Creative Commons License
↔   Crooked — 2010
↔   Wyatt at the Coyote Palace (2 CD, November 11, 2016)
↔   Possible Dust Clouds (October 5, 2018)
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Kristin Hersh — Possible Dust Clouds (October 5, 2018)

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HOUPACÍ KONĚ: SOULKOSTEL 8 11 2019 (April 25, 2020)
Sarah Longfield — Dusk (April 22, 2020)
Ariel Pink — House Arrest (2002/Mar 2011/April 24, 2020)
All The Best, Isaac Hayes (A Spoken Word Album)
Prophecy Playground — Comfort Zone (Feb. 15, 2020)
Mark Lanegan — Straight Songs Of Sorrow (8th May, 2020)
Genesis Revisited: Live at The Royal Albert Hall — 2020 Remaster
Joan As Police Woman — Cover Two (May 1, 2020)
Kuře v hodinkách — Flamengo
Kuře v hodinkách — Flamengo
Devon Williams — A Tear in the Fabric (May 1, 2020)
Johanna Warren — Chaotic Good (May 1, 2020)
emozpěv — Spolu (1st May 2020)
THE LEAGUE OF ASSHOLES — UNPLUGGED (1st May 2020)
Morgan1
Zuzana Mikulcová — Slová
The Fratellis — Half Drunk Under A Full Moon (8th May, 2020)
The Fratellis — Half Drunk Under A Full Moon (8th May, 2020)
Cocteau Twins — Victorialand (April, 1986, Reissue 2020)
Coloured Clocks — Flora (May 2, 2020)
I Break Horses — Warnings (08 May 2020)
Hawkwind — Acoustic Daze (25 Oct. 2019)
Indoor Voices — Animal (Feb. 14, 2020)
I Break Horses — Chiaroscuro
Einstürzende Neubauten — Alles In Allem (May 29th, 2020)
100 Gecs — 1000 gecs (May 31, 2019)
Evergreen — Overseas (15 Jun 2018)
Kurt Rosenwinkel Trio — Angels Around (May 8, 2020)
The Feather — Room (10 July, 2020)
Eyvind Kang — Ajaeng Ajaeng (May 1, 2020)
Eyvind Kang — Ajaeng Ajaeng (May 1, 2020)
Kaitlyn Aurelia Smith — The Mosaic of Transformation (May 15, 20
Kaitlyn Aurelia Smith — The Kid (October 6, 2017)
Mr. Alec Bowman — I Used to Be Sad & Then I Forgot (May 1, 2020)
György Ligeti — Lontano (22. Oct.,1967)
OWEN PALLETT — Heartland (March 3, 2014)
Badly Drawn Boy — Banana Skin Shoes (22nd May, 2020)
A.O. Gerber — Another Place to Need (May 22, 2020)
Kaleidoscope — Faintly Blowing (11 April 1969, Reissue, Remaster
Perfume Genius — Set My Heart On Fire Immediately (15th May 2020
Perfume Genius — No Shape (5 May, 2017) BC
Perfume Genius — No Shape (5 May, 2017) FC
Sungazers — Wasting Space (May 18, 2020)
Cermaque — Lament (22nd May, 2020)
Mountaineer — Bloodletting (May 22nd, 2020)
Jetstream Pony — Jetstream Pony (May 22, 2020)
Steve Earle — Townes (May 8, 2009)
Steve Earle & The Dukes — Ghosts of West Virginia (May 22, 2020)
Sixth June ‎— Trust (17 Jan 2020)
White Tail Falls — Age of Entitlement (May 29, 2020)
Weyes Blood — “Wild Time” from Titanic Rising
Nicole Atkins — Italian Ice (29 May 2020)
Deerhoof — Future Teenage Cave Artists (May 29, 2020)
Deradoorian — Find the Sun (Sept. 18, 2020)
Bob Dylan — Rough and Rowdy Ways (June 19th, 2020)
The Magnetic Fields — QUICKIES VINYL BOX SET (June 19, 2020)
The Magnetic Fields — QUICKIES VINYL BOX SET (June 19, 2020)
This Will Destroy You — Vespertine (June 9, 2020)
Jake Blount — Spider Tales (May 29, 2020)
Jake Blount — Spider Tales (May 29, 2020)
Yoko Ono, Kim Gordon & Thurston Moore — YOKOKIMTHURSTON
Psychic Markers — Psychic Markers (29 May, 2020)
The Memories — Pickles & Pies (May 29, 2020)
Songs for the Late Night Drive Home (Feb. 5, 2016)
Spc Eco — Dark Matter (Nov. 20, 2015)
SPC ECO — June (June 1, 2020)
Yves Tumor — Heaven to a Tortured Mind (April 3, 2020)
Norah Jones — Pick Me Up Off the Floor (June 12th, 2020)
Larkin Poe — Self Made Man (June 12th, 2020)
Ezra Furman — Sex Education [Original Soundtrack] (April 24, 202
Endless Field — Alive in the Wilderness (June 12, 2020)
Wesley Gonzalez — Appalling Human (June 12, 2020)
Noveller — Arrow (June 12, 2020)
Kim Myhr & Australian Art Orchestra — Vesper (17.04. 2020)
Kim Myhr & Australian Art Orchestra — Vesper (17.04. 2020)
Andrej Šeban — Triplet (March 22, 2019) inner cover
Andrej Šeban — Triplet (March 22, 2019) cover
The Crossing & Donald Nally — James Primosch: Carthage (05/2020)
Jerskin Fendrix — Winterreise (April 17, 2020)
Zoongideewin — Bleached Wavves (June 19, 2020)
ULRICH SCHNAUSS — A Long Way To Fall — Rebound (3rd April, 2020)
Sports Team — Deep Down Happy (5th June, 2020)
Wrekmeister Harmonies — We Love to Look at the Car (2020)
Midlake — Antiphon (Nov. 4, 2013)
ANASTASIA MINSTER — Father ©Michael Haley
Jessie Ware — Glasshouse (Deluxe; 20 Oct 2017)
Teen Daze — Morning World
Jessie Ware — What’s Your Pleasure (June 26, 2020)
Art Feynman — Half Price At 3:30 (June 26th, 2020)
Bo Ningen — Sudden Fictions (26th June, 2020)
Khruangbin — Mordechai (June 26, 2020)
Pottery — Welcome to Bobby’s Motel (June 26th, 2020)
Orlando Weeks — A Quickening (June 12, 2020)
John Craigie — Asterisk the Universe (June 12, 2020)
Kavus Torabi — Hip to the Jag (May 22, 2020)
Nadine Shah — Kitchen Sink (June 5, 2020)
Paul Weller — On Sunset [Deluxe Edition] (3rd July, 2020)
Corb Lund — Agricultural Tragic (June 26, 2020)
Christine Ott — Chimères (pour ondes Martenot) (May 22, 2020)
The Beths — Jump Rope Gazers (July 10th, 2020)
Ashley Paul — Window Flower (May 13, 2020)
Grey Daze — Amends [Deluxe Edition] (July 3, 2020)
Grey Daze ©Photo credit: Anjella / Sakiphotography
Ajimal — As It Grows Dark / Light (June 26, 2020)
Ajimal — As It Grows Dark Light (June 26, 2020)
Eleanor Friedberger — Rebound (May 4th, 2018)
ELEANOR FRIEDBERGER — NEW VIEW (January 22, 2016)
Immigrant Union — Judas (June 19, 2020)
Julianna Barwick — Healing Is a Miracle [Japan Edition] (2020)
Neil Young & Crazy Horse — Colorado (Oct. 25, 2019)
Neil Young — Homegrown (19th June, 2020)
The Jayhawks — XOXO (July 10, 2020)
Joy Division — Closer (40th Anniversary) [2020 Digital Master] (
Daniel Bachman — The Morning Star (July 27, 2018)
Daniel Bachman — Green Alum Springs (June 6, 2020)
Becca Mancari — The Greatest Part (June 26, 2020)
Ytamo — Vacant (June 12, 2020)
Bright Eyes — Down In The Weeds, Where The World Once Was (Aug.
Thin Lear — Wooden Cave (24th July, 2020)
Devendra Banhart — Vast Ovoid (July 24, 2020)
Cub Sport — LIKE NIRVANA (24 July, 2020)
Sara Serpa — Recognition (June 5th, 2020)
Sara Serpa, Ingrid Laubrock, Erik Friedlander — Close Up (2018)
Klara Lewis — Ingrid (1st May 2020)
Buju Banton — Upside Down (June 26, 2020)
Son Lux — Learning Structures vol. 1~4 (Oct. 11th, 2019)
learning structures, vol. 3 distance between us (Oct. 11, 2019)
learning structures, vol. 2: end firma
learning structures, vol. 3: distance between us
The Boomtown Rats — Citizens of Boomtown (13 March, 2020)
Ralph of London — The Potato Kingdom (19th June, 2020)
Mike Polizze — Long Lost Solace Find (July 31, 2020)
Land of Talk — Indistinct Conversations (July 31, 2020)
The Heliocentrics — Infinity Of Now (Feb. 14, 2020)
TANYA DONELLY: Swan Song Series bonus tracks (FC)
The Heliocentrics — Telemetric Sounds (Aug. 7, 2020)