Kristin Hersh
The Grotto
[4AD; 2003]
Rating: 8.0
Sometimes we music writers do wrong by Kristin Hersh: we can steal her words. The press around her last
album, Sunny Border Blue, honed in on a few lines that made unusually (for her) naked admissions
about troubles in her life-- her custody battle over her eldest son, or the break-up of the Throwing Muses--
wrapped up as conveniently as when John Lennon first sang, "I don't believe in Beatles." It's easy to write
a story around these clear-cut revelations, but reading the words denies you the chance to hear her tell
it herself, which is far more powerful.
The Grotto doesn't even come with a lyric sheet, or anything else that could shortcut Hersh's
enthralling delivery on one of the starkest albums she's ever recorded. Sunny Border Blue was
solid, but it was also easy-going, with even the toughest lyrics set in tuneful pop. This time, she's
changed course to release two of her most extreme discs: the startling Throwing Muses reunion, which in
New England parlance is "wicked loud," and its complement, this quietly blinking acoustic album.
Her voice, raspy and harsh against the gently ringing acoustic guitar, makes you expect a gloomy, even
maudlin disc. But that can distract from what makes it great: its ambiguity, the way she expresses herself
in such strangely personal terms yet never settles on an emotional tone. She weaves domestic themes
(family, love and marriage, alcohol, child-rearing) into pieces that come out so fully formed it's almost
easier to take them individually than as an album. Yet as careful as they sound, they don't reach many
answers. She reportedly joked to her husband, "These songs seem to be about how I can't leave you," and
that would be a pretty concise explanation-- but anybody who's been married knows there are hundreds of
ways to stay together.
Her words drop like lead weights. Take the opening statement of the captivating "SRB": "Headfirst into the
headboard/ I'm shatterproof." Or the album's first song, "Sno Cat", which is a scattering of images and
scenes from a marriage. Other songs are more impressionistic, though never as abstract as, say, the
strangest stuff on Hips and Makers; her voice can rise from a rough, direct tone, to the guttural
wails that trail across "Vitamins V", and then to a pace that's almost hypnotically introverted-- like
"Ether", which lilts in circles at a slow, methodical pace. And that's not to say that every track is
so serious, but not even the lighter ones sound casual: there's a heavy silence between these notes.
While the words may be the focus, the music is tuneful and perfectly rendered. There are beautiful moments
throughout the album, like the guitar bridge of "SRB", the twinkling piano that opens "Vanishing Twin", or
the whistling ghost town ambience of "Silver Sun". Hersh has two strong accompanists, Giant Sand's Howe
Gelb on piano and the inimitable violinist Andrew Bird. Gelb's playing is restrained, sometimes limited
itself to a few notes at the end of a song or a quiet backing line that adds just enough sentimentality;
likewise Bird, judiciously used on just a few tracks, has a perfectly yearning tone, sad without melodrama.
Gelb and Bird have toured with Hersh, and even though they stay respectfully out of the spotlight you can
hear their camaraderie-- on "Arnica Montana", a carefree tune that actually rollicks; or when they end the
album together on "Ether", Hersh wrapping them into her stark, introverted narrative.
The transitions from joy to isolation make clear how much ground Hersh has staked out here: even she may
not understand all the feelings laid out in these songs. The most striking sections don't describe deep
crises or dramas, but spread across day-to-day life; the outcome is neither content nor bittersweet.
Instead, like most of her best work, it's stuck on the emotions she can't decipher.
-Chris Dahlen, March 21st, 2003