| · Throwing Muses re-form, but that doesn’t mean Kristin Hersh’s solo career is finished.
During the early ’90s, Throwing Muses were one of a handful of "alternative" bands that were quietly putting out excellent, challenging albums while their better-known and better-publicized contemporaries (the Pixies, Breeders, et al) were reaping the rewards of a public hungry for something different.
Anchored by co-founders (and step-sisters) Kristin Hersh and Tanya Donelly, the Muses’ blend of unusual time signatures and vocal harmonies produced little commercial success but succeeded in amassing a devout fan following. While the Muses have always been Hersh’s vehicle, Donelly’s 1992 departure nonetheless robbed the band of one of its strongest assets.
As the ’90s wore on, Hersh soldiered on, but also embarked on a solo career. She officially disbanded the Muses in 1996, citing financial woes. (Why pay an entire band when you can do it on your own?) When the Muses resurfaced last year for a handful of live shows, aging college rockers were abuzz with the prospect of a long-rumoured new album finally seeing the light of day.
As it turns out, the wait was worth it. Throwing Muses 2003 reunites all the original members (including oft-overlooked drummer David Narcizo) for what is presumably a last kick at the can. While Donelly’s contributions are minimal (backing vocals on eight of 12 tracks), her very presence seems to help recapture the dynamic that the Muses once commanded at their peak.
Recorded over just three weekends in 2002, Throwing Muses 2003 sounds as though the Muses are generally enjoying themselves, tearing through 12 tracks in less than 40 minutes. While the album is wholly engaging from start to finish, high points come on tracks like "Pandora’s Box," where Hersh’s raspy growl melds effortlessly with Donelly’s seraphic trill, resulting in the wonderfully disparate harmonies that won them many of their fans in the first place.
In stark contrast to the Muses’ feverish roar, Hersh’s latest solo album, Grotto, is sparer and more down-tempo, relying almost exclusively on her vocals and guitar. Hersh’s lyrical strength has always been most evident on her solo outings, safe from the din of a full band. Rife with fantastical lyrical imagery (snakes, moons and silver suns abound), Grotto nonetheless comes off somewhat dour and plodding.
All is not doom and gloom, however, as Hersh counters the minor tones of her guitar with flourishes of piano that help to brighten the corners of tracks like "Snake Oil" and "Vanishing Twin."
THROWING MUSES 4/5
KRISTIN HERSH 3/5
RYAN ELLIS
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