Review of “Let England Shake”
PJ Harvey's "Let England Shake," is both a love letter to her home and an intervention. War is the theme here, violence and death predominate in the lyrics and the music veers between glittering menace and hypnotic dirges. What else is new?
"Let England Shake" is probably a better introduction to the artist than nearly anything released in 10 years. While very different in tone and sound from her early period, these songs nevertheless return to some of Polly's favorite motifs: catchy, circular guitar work, theatrical vocals and multi-layered instrumentation. 'All & Everything' shines in particular, surging and sagging like the tides of Gallipoli, bearing the shattered bodies of England's patriotic dead.
"I don't like to repeat myself," is Harvey's unofficial motto, however, and this album challenges and rattles long time listeners. Seemingly uncomfortable with their own status quo, these songs suffer constant foreign invasions. A xylophone riff from the 'Four Lads' song "Istanbul (not Constantinople)" shivers through the title song, a reggae riff bumps into "Written on my Forehead," and a martial bugle call echoes through "This Glorious Land's" Broken Social Scene rumble. Off-putting at first, these interruptions gradually reinforce the central point of this album: England is never quite as isolated as it pretends.
As strange as these digressions might sound, Polly's singing never strays long from the pleasure principle. 'The Last Living Rose' and 'The Words That Maketh Murder" snap with some of Harvey's most memorable melodies. The falsetto from 2007's "White Chalk" remains, but it's no longer a plaintive wail, but a crackling whip.
What's it good for? Demanding and rewarding your attention, "Let England Shake" is like an auditory movie and should be treated as such. Long drives and evening contemplations should be the rule. Do not listen to casually.
Related posts: