an honesty thing. Outside the floodlit fatuity that is the circus
ring of commercial rock and pop, a group of souls has always made
music in the shadows. Music that roars with devastating emotional
intensity from the wings.
Kristin Hersh has been a fringe dweller most of her life. Not just
as the singing/songwriting core of Throwing Muses, who cut a sonic
ferocity with a skewed and feminised, neo-folk temperament and made
some damned fine alterno-pop records in their 13-year history, nor
as an anguished solo artist struggling to come to terms with the
loss of her band (which folded after "Limbo" in 1996) and subsequent
feelings of betrayal, but also as a sufferer of the bi-polar disorder
that has long been both her muse and bete noire. Talk of demons
comes cheap in this business, but Hersh has had to wrestle with
more than most. Creativity for her has long meant being tormented
by the sounds of her songs forcing themselves upon her, unbidded.
At least, it did up until 1999's breezy, cleanly beautiful "Sky
Motel" LP, where Hersh wrested direct creative control for the first
time ever and wrote the songs herself.
Response, rather than empathy is central to Kristin Hersh's music.
Her songs do so much more than have you humming a nice tune, because
they come from a wild and different place. They're often frightening
and sometimes terrifyingly fragile, but even then they hit with
the force of a Mach 10 wind. Says Hersh, "Throughout my career,
I never got the feeling that these songs were just for me. For some
reason, no matter how shy I felt, I didn't think the songs were
shy. And when I play them, I'm not embarrassed and I don't feel
like I'm baring my soul, I feel like I'm voicing what we all have
in common." More information can be found at http://www.4ad.com/artists/hersh_kristin/biography.htm