Showing posts with label kristin hersh. Show all posts
Showing posts with label kristin hersh. Show all posts

Friday, December 2, 2016

November Playlist: Winter's On The Phone

Hey everyone - it's December! But before you break out the Christmas hits, here are 10 non-Yuletide tracks that I really enjoyed listening to in November and that I hope you'll enjoy listening to right now.


1. Holy Hell It's Cold by Quiet Marauder

(from MEN)

I tend to revisit MEN (originally released in 2013 - read my three-year-old review of it here) every year at around this time, and this rib-tickling but also slightly sobering cut seemed like an appropriate choice given the current temperature outside.


2. Treaty by Leonard Cohen

(from You Want it Darker)

You Want it Darker - which it's probably safe to assume was written and recorded by a Leonard Cohen who knew that he would soon be dead - has a certain duality to it. Many of its songs make it sound like Len had made his peace with the world and was ready to go, but a couple of songs (including Seemed the Better Way and this beautiful number) suggest a certain amount of regret, a desire to go back and change something. More thoughts on You Want it Darker here.

Friday, November 4, 2016

Review: Wyatt at the Coyote Palace by Kristin Hersh


You know that wrung-out, strung-out sensation you get when you wake up wearing yesterday's clothes on someone else's sofa or the back seat of a car? Wyatt at the Coyote Palace, the new album from Throwing Muses singer Kristin Hersh, kind of sounds like those mornings feel. It's the leftover Chinese food you find sitting in your kitchen on a Sunday morning. It's the cigarette that you smoke, bleary-eyed, on the balcony at 9am while the world goes about its business below. It's the half-empty glass of rum and coke that you pour down the sink because you didn't finish it last night and the thought of drinking it now makes you feel nauseous.

Perhaps this album's hungover, barely-hanging-together appeal comes from Hersh's wonderfully weathered voice, which sounds like it was made to sing about the morning after. Or perhaps it's the relatively raw production, which makes each note feel like it's had a layer of skin peeled off it.