Kristin Hersh The Grotto 4AD

It takes a lot of courage to release two albums on the same day, especially when they are polar opposites that would typically appeal to very different audiences. Kristin Hersh isn’t one to play media mind games though, and in March this year released two albums rather than keep one on hold. The higher profile album in this case is by a reformed Throwing Muses, with the second being her latest solo release The Grotto.

No Kristin Hersh album has sounded like the previous one so far. From Hips and Makers in 1994 to Sunny Border Blue in 2001, each record is a transition, a new style, and a new mood. This time it is a retreat from the more commercial band sound that Sunny Border Blue consisted of and back to a sparse, open soundscape of acoustic guitar.

The Grotto sounds like winter. It is like looking out the window on a frozen morning, your world falling apart, yet the light remains bright outside and the birds are still dancing around making patterns in the snow. For such a basic recording the results are exceptionally visual because the music is not overpowering on the senses. It leaves space for your mind to absorb it all and react.

The acoustic arpeggios are accompanied by violin and piano from the talented bow of Andrew Bird and the magical fingers of Howe Gelb. Both successful musicians in their own right and their input here adds further depth and emotion to the recording. The ability to remain silent at times being equally important to the parts they choose to play.

‘Sno Cat’ is as musically stripped down as Hersh has ever gone before. The guitar riff is basic but effective. The sound of those steel strings reverberating encompasses your head as successfully as a full on rock show. On ‘Deep Wilson’ the violin part overshadows the guitar slightly because it is such a powerful, yet sad hook making it one of the instant “hits” of the album: Raw, beautiful and once again, completely visual.

Throughout the piece you are subjected to the most honest and unrelenting songwriting you may find all year. It would be difficult to say this is Hersh’s best album because the competition is too fierce and varied. However, it is a beautiful and unique acoustic album good enough to grace your time.

Steven McCarron

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