PJ Harvey, To Bring You My Love–**** (of 4)
Most everyone complained about Steve Albini’s production job on Harvey’s
Rid of Me album, but I thought it made the whole thing work. I
didn’t mind that her voice was so low in the mix. It had an effect.
Hotshot British producer Flood takes the reins on this new release and
shines by doing just the opposite of Albini. Harvey’s voice is way out
there, every soul moan and growl of it. It has an effect.
The CD opens with the title track, and Harvey’s voice booming ominously
over a sparse single-guitar riff. Pardon the expression, but “bad-ass” is
the first phrase that comes to mind.
“Meet Ze Monsta” follows with a plodding drum beat, machine-fart bass and
crunchy guitar. It strikes me that Harvey might be called a Tori Amos with
guts, but who wants to talk about Tori Amos at a time like this?
Most of the album rides along on the strength of Harvey’s vocals and
lyrics, such as the sparse “C’mon Billy.” A thick and rich musical
structure adds icing to the cake. On tunes like “Long Snake Moan,”
featuring fine bass work by Mick Harvey of Birthday Party and Bad Seed
fame, PJ wails with abandon and the guitar grinds. It’s a rock party.
The first single and video release, “Down By the Water,” is suitable for
both the dance floor and night driving.
PJ Harvey shows great staying power with this third release. She has an
effect.
Mike Watt, Ball Hog or Tugboat?— ***1/2
Mike Watt has one of the most distinctive voices in rock music. His deep
gravelly growl peaks out of classic songs by the Minutemen, Firehose and,
occasionally, Ciccone Youth. So when he makes a solo album, the standout
tracks are definitely the ones where the big man from San Pedro sings
himself.
Unfortunately, Watt sings only a few songs on this CD. Fortunately, though,
he plays bass everywhere and proves himself the “tugboat” of this
album.
One of the best songs is the single “Big Train,” which acts as Watt’s
“invitation to the dance.” His vocals roll along with the steam engine beat
like they were meant to from the beginning.
When Watt isn’t he singing, he is often spieling, as on “Against the ’70s.”
Watt offers the wise advice that “the kids of today should defend
themselves against the ’70s.”
Several instrumentals and near-instrumentals on the album (“Intense Song
for Madonna to Sing” and “Forever — One Reporter’s Opinion”) hark back to
Minutemen jam songs.
Guest vocal standouts include Mike D, Adam Horovitz, Henry Rollins, Edward
Vedder and Carla Bozulich
The list of musicians gathered for this album is a Who’s Who of
contemporary hipsters: J Mascis of Dinosaur, Jr.; Flea of the Chili
Peppers; Frank Black; Evan Dando; Bernie Worrell; Krist Novoselic and Dave
Grohl from Nirvana.
The list goes on — it’s a telling tale of Mike Watt’s status and influence
with the current crop of hitmakers. Still, it would be nice to hear more of
Watt’s own voice.
Spiritualized, Pure Phase— ****
Spiritualized is one of the best things going in droney music. Between this
band and Spectrum (both the splinters of the late great Spacemen 3), these
folks prove that drones don’t have to be boring and depressing. Also, it’s
good to hear British music that you don’t have to dance to.
Spiritualized’s style is sonic, but it’s a world apart from domestic aural
artists like Sonic Youth. It’s a spacey sound all around, with farfisa
organ, dulcimers, “wha-monicas” and a variety of guitars fading in and out
of the mix in vibratory pulses. Doesn’t that sound fun?
Seriously, though, it rocks like you wouldn’t believe space music could. J.
Spaceman’s vocals waver above the sonic soup and invoke interstellar travel
as easily as down-the-road blues. Songs like “Lay Back In the Sun” are
perfect anthems for that drive to the beach on Spring Break. You can feel
the groove and feel artsy at the same time, and isn’t it important to feel
this way these days?
Melvins, Stoner Witch— ****
This one’s been out for a while, but it’s more than worth the mention
still. The heaviest-hitters of the Northwest scene put out another album
thick with real grunge (not the grunge lite we’re suffering most of the
time).
The CD opens with “Skweetie,” which is full of the Melvins trademarks we
all know and love: pounding drums and ten-pound guitar hammering. Track
two, “Queen,” doesn’t disappoint either. King Buzzo’s deep growls is in
full effect.
“Sweet Willy Rollbar” actually speeds things up, Melvins-wise. Dale C’s
drums roll across the chunks and crunches of King Buzzo’s guitar and newest
bassist Mark D’s riffs.
Lest the assault be overwhelming, they throw in a moody piece like “Goose
Freight Train” to let the listener relax for a moment. Then it’s on to
traditional Melvins noise-fests like the sneaky 7 1/2 minute “At the Stake”
and the guitar phase-noise of “Magic Pig Detective.”
If you’re in the mood for the absolute heaviest rock-n-roll (and aren’t we
all sometimes?) this latest release from the Melvins is it. No one else
come close to these guys.
