Posts Tagged ‘Kristin Hersh’

‘Sun Racket’ is the brand new album from legendary Boston trio Throwing Muses, consisting of Kristin Hersh, David Narcizo and Bernard Georges. The follow up to 2013’s ‘Purgatory/Paradise’ is an outpouring of modal guitars, reverbed shapes, echoey drums and driving bass set behind Kristen Hersh’s well-thumbed notebook of storylines.
A ten-song opus of suitably wrought tales set against a wall of sound that’s at once calm and ethereal before building into glorious cacophonous crescendos. When Throwing Muses wrote their last album, they were shattered. Pieces were coming and going, elements repeating and charging the whole. “It sounded beautiful jumping around like that”. Two-minute songs reappearing as twisted instrumentals or another song’s bridge.
They mimicked the effect live which kept them on their toes. Whatever was happening was already over in other words. ‘Sun Racket’ is the opposite. It refused to do anything but sit still. It says, “sit here and deal”.
“All it asked of us was to comingle two completely disparate sonic vocabularies: one heavy noise, the other delicate music box. Turns out we didn’t have to do much. Sun Racket knew what it was doing and pushed us aside, which is always best. After thirty years of playing together, we trust each other implicitly but we trust the music more” – Kristin Hersh

New album from the legendary Boston trio consisting of Kristin Hersh, David Narcizo and Bernard Georges. Sun Racket is an outpouring of modal guitars, reverbed shapes, echoey drums and driving bass set behind Kristen Hersh’s well-thumbed notebook of storylines. A ten-song opus of suitably wrought tales set against a wall of sound that’s at once calm and ethereal before building into glorious cacophonous crescendos.

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And so, they continue. Business unusual.

Released September 4th, 2020

Sun Racket

“Sun Racket’ is the brand new album from legendary Boston trio Throwing Muses, consisting of Kristin Hersh, David Narcizo and Bernard Georges.

The follow up to 2013’s ‘Purgatory/Paradise’ is an outpouring of modal guitars, reverbed shapes, echoey drums and driving bass set behind Kristin Hersh’s well-thumbed notebook of storylines. a ten-song opus of suitably wrought tales set against a wall of sound that’s at once calm and ethereal before building into glorious cacophonous crescendos. when Throwing Muses wrote their last album, they were shattered. Pieces were coming and going, elements repeating and charging the whole. “it sounded beautiful jumping around like that”. two-minute songs reappearing as twisted instrumentals or another song’s bridge.

They mimicked the effect live which kept them on their toes. whatever was happening was already over in other words. “Sun Racket’ is the opposite. it refused to do anything but sit still. it says, “sit here and deal”. “all it asked of us was to comingle two completely disparate sonic vocabularies: one heavy noise, the other delicate music box. turns out we didn’t have to do much. “Sun Racket’ knew what it was doing and pushed us aside, which is always best. after thirty years of playing together, we trust each other implicitly but we trust the music more” – Kristin Hersh and so, they continue. business unusual. “a ground-breaking band who changed the face of alternative music rather than follow the rule book.” Mxdwn “pioneers of the 80s/early 90s college rock sound” pitchfork “one of America’s finest guitar bands”..

Taken from the new album ‘Sun Racket’, out on Fire Records 4th September 2020.

Throwing Muses reveal new video for ‘Dark Blue’ from their forthcoming album ‘Sun Racket’ out 4th Sept. Returning with their signature sound, the legendary Boston trio Throwing Muses, consisting of Kristin Hersh, David Narcizo and Bernard Georges, release their tenth studio album ‘Sun Racket’ on 4th September.

“Sun Racket’ is the brand new album from legendary Boston trio Throwing Muses, it’s the long awaited follow up to 2013’s ‘Purgatory/Paradise’ is an outpouring of modal guitars, reverbed shapes, echoey drums and driving bass set behind Kristen Hersh’s well-thumbed notebook of storylines. A ten-song opus of suitably wrought tales set against a wall of sound that’s at once calm and ethereal before building into glorious cacophonous crescendos.

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When Throwing Muses wrote their last album, they were shattered. Pieces were coming and going, elements repeating and charging the whole. “It sounded beautiful jumping around like that”. Two-minute songs reappearing as twisted instrumentals or another song’s bridge. They mimicked the effect live which kept them on their toes. Whatever was happening was already over in other words. Throwing Muses has been a favourite band, They never EVER disappoint, and i simply cannot Wait to hear the full album!.

‘Sun Racket’ is the opposite. It refused to do anything but sit still. It says, “sit here and deal”. “All it asked of us was to comingle two completely disparate sonic vocabularies: one heavy noise, the other delicate music box. Turns out we didn’t have to do much. Sun Racket knew what it was doing and pushed us aside, which is always best. After thirty years of playing together, we trust each other implicitly but we trust the music more” –
Kristin Hersh

Releases September 4th, 2020

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Fans of the Throwing Muses have found themselves having to wait quite a bit longer for the trio’s new pandemic-delayed album “Sun Racket”, but they at least were are now rewarded with another new track off the album, the grinding rocker “Bo Diddley Bridge.”

Fire Records have delayed the release of the first new Throwing Muses album in seven years because of record industry complications due to the coronavirus. The 10-song album, will be the band’s 10th record overall, It had been due out May 22nd but now is scheduled to be released September 4th.

The band’s — singer/guitarist Kristin Hersh, drummer David Narcizo and bassist Bernard Georges — were in the studio last year when they played their first shows in five years, a handful of concerts and a slot handpicked by Robert Smith at The Cure’s Pasadena Daydream Festival outside the Rose Bowl.

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FIRE RECORDS · Throwing Muses – Bo Diddley Bridge

Of the new song, Hersh says:

“My little boy, Bo, used to fish off Bo Diddley Bridge down the street before it collapsed, around the time our life collapsed. But we lived; we swam in a life sunshine somehow. And both bridges — the Bo Diddley one and the life one — were rebuilt around us.”

“Bo Diddley Bridge.” available through Fire Records 

Throwing muses purgatory paradise cover

Originally released in 2013, “Purgatory / Paradise” gets reissued on double vinyl with a gatefold sleeve. Emerging ten years from a hiatus, it’s a formidable 32 track opus of tangible bliss from the alt-rock heroes. Devised as a book with essays by Kristin Hersh with art by drummer Dave Narcizo, it’s a fractured album about loss, most tracks are short, broken, some are even reprises. Everything is tentative with memories listed in order of disappearance – includes Milan about a neighbourhood in New Orleans where Hersh’s house was destroyed by hurricane Katrina, Static that deals with a close loss of a close friend and Terra Nova an ode to the band’s first break up.

Available on double Black Vinyl. Throwing Muses released their long awaited Purgatory/Paradise in 2013, 10 years after their previous studio album this vinyl reissue features all 32 tracks from these alt-rock heroes.

recordstore day

‘Sun Racket’ is the brand new album from legendary Boston trio Throwing Muses, consisting of Kristin Hersh, David Narcizo and Bernard Georges. The follow up to 2013’s ‘Purgatory/Paradise’ is an outpouring of modal guitars, reverbed shapes, echoey drums and driving bass set behind Kristen Hersh’s well-thumbed notebook of storylines.
A ten-song opus of suitably wrought tales set against a wall of sound that’s at once calm and ethereal before building into glorious cacophonous crescendos.
When Throwing Muses wrote their last album, they were shattered. Pieces were coming and going, elements repeating and charging the whole. “It sounded beautiful jumping around like that”. Two-minute songs reappearing as twisted instrumentals or another song’s bridge.
They mimicked the effect live which kept them on their toes. Whatever was happening was already over in other words. ‘Sun Racket’ is the opposite. It refused to do anything but sit still. It says, “sit here and deal”.
“All it asked of us was to comingle two completely disparate sonic vocabularies: one heavy noise, the other delicate music box.

http://

Turns out we didn’t have to do much. Sun Racket knew what it was doing and pushed us aside, which is always best. After thirty years of playing together, we trust each other implicitly but we trust the music more” –
Kristin Hersh

Releases May 22nd, 2020

Throwing Muses get nautical on the thrashing new song “Dark Blue.” The track is the lead single off the band’s new album, Sun Racket, out May 22nd on Fire Records. Returning with their signature sound, the legendary Boston trio Throwing Muses, consisting of Kristin Hersh, David Narcizo and Bernard Georges,

“If I were a better dreamer, you’d be a dream come true,” Kristin Hersh seethes on “Dark Blue.” She sings over a crunching guitar riff, swimming through the dark waters of the chorus before repeating “Coming down” over and over, making her way back to shore. The album is an outpouring of modal guitars, reverbed shapes, echoey drums and driving bass set behind Kristen Hersh’s well-thumbed notebook of storylines and haunting vocals that get into your psyche.

A ten-song opus of suitably wrought tales set against a wall of sound that’s at once calm and ethereal before building into glorious cacophonous crescendos.

“All it asked of us was to commingle two completely disparate sonic vocabularies: one heavy noise, the other delicate music box,” Hersh said in a statement. “Turns out we didn’t have to do much. Sun Racket knew what it was doing and pushed us aside, which is always best. After 30 years of playing together, we trust each other implicitly but we trust the music more.”

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Sun Racket will be the band’s 10th album, following 2013’s Purgatory/Paradise“We all have big muscles when it comes to this shit, and we are so nice you would think we were doormats,” Hersh said in 2013. “Something about the pairing of balls and kindness is what attracts me to these people.”

This item will be released on May 22nd, 2020

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The album of the week shines in every facet of its existence. Phosphorescent (aka Matthew Houck) has meticulously crafted an intensely warm album of americana pop, drawing together a multitude of instrumental textures – from guitars and pedal steels, to synths, to his own voice – and yoking them into perfect harmony. his lush melodies are executed with the utmost sincerity, giving his music a widescreen poignancy.

There are many more tasty treats out this week…big thief vocalist Adrianne Lenker has struck out on her own with an absolute pearl of an album. sweet & understated, this collection of songs poured out of her in the moments between performing & practicing with her band, resulting in her most intimate work yet. that’s on very limited glow-in-the-dark vinyl, for people who like to listen with the lights off. picking up the tempo a little, Molly Burch’s country pop sophomore features that same beautiful, warbling voice channelled through a stronger, more confident set of songs founded upon indelible melodies.. we’ve also been loving the debut from kentucky’s the Other Years, whose angelically pure vocal harmonies, underpinned by a sweet backing of violin & banjo, are a thing of simple beauty. this is the perfect album to come home to after a strenuous day – trust. predictably, Cat Power’s new album is a stone-cold stunner! her largely acoustic set of folk-tinged, blues-tinted songs continue to prove her to be one of the strongest songwriters working today.

Further recomendations Throwing Muses’ Kristin Hersh delivers another powerful solo album of darkly melodic scuzz-songwriting Will Hoge injects his rumbly-voiced country with an invigorating dash of soul and an exhilarating bolt of rock bravado;  it’s also worth knowing that Blood Orange’s ‘negro swan’ is finally in on vinyl, amy helm’s red vinyl lp has finally popped in & settled its round little body into our shelves. & Marie Davidson’s excellent new record – which had me & mark jiving away.

Reissues this week, Bloc Party‘s classic debut ‘silent alarm’ arrives for the very first time on sturdy 180 gram vinyl. john Lennon’s ‘imagine’ gets a new stereo remaster, along with a bounty of alternate mixes & alternate takes that offer tremendous insight into his recording process. and possibily the greatest guitar album ever Television’s very seminal ‘Marquee Moon’ is in on blue vinyl, with a bonus disc of alternate versions – yum!

Imagine (2018 reissue)

John Lennon  –  Imagine (2018 reissue)

this truly unique edition of one of the most iconic albums of all time sees the timeless record remastered with a new stereo remix and some additional non-album singles.

digging through extensive archival content, Yoko and her team deliver us an incredibly personal journey through the entire songwriting and recording process – from the very first writing and demo sessions at John’s home studio at tittenhurst park through to the final co-production with Phil Spector – providing a remarkable testament of the lives of John Lennon and Yoko Ono in their own words. ***the deluxe 2cd comes with an extensive bonus disc of different mixes, demos and alternate takes. *** ***the super deluxe boxset comes with an incredibly vast array of different mixes, demos and alternate takes, the restored ‘Imagine’ and ‘Gimme Some Truth’ films and a 120 page hardcover book documenting the album’s creation***

Abysskiss

Adrianne Lenker – Abysskiss

the big thief vocalist lays down a mesmerising set of songs that are hushed & disarmingly intimate, in which we climb into her consciousness without encountering any barriers & revel in the sweet beauty of her gentle melancholy.

the songs chosen for this collection were the songs that felt the most alive in the room. these are not castaways or b-sides. some of these songs have been alive for years while some were written just days before the recording session. with this collection, Lenker further illuminates to the listening public that she is a songwriter of the highest order, following her voice & the greater voices that pass through her with an unflinching openness & clarity of translation. “it’s an invitation to peer into the hidden spaces of an extraordinary modern songwriter, where calm & quiet moment prompt superlative work”

C’est La Vie

Phosphorescent  –  C’est La Vie

Matthew Houck has crafted an electrifying collection of songs that blend a dreamy, psychedelic americana aesthetic with solid pop foundations that never fail to engage.

this album reveals a crystallisation of what made ‘Muchacho’ such a breakout record release — a little sweetness and a little menace, sometimes boot-stomping and sometimes meditative. the magic of Matthew Houck’s music has always been the way he weaves shimmering, almost golden-sounding threads through elemental, salt-of-the-earth sounds. it’s not experimental, exactly, but it’s singular and it’s definitely not traditional. that knack, the through-line across the phosphorescent catalogue, is front and centre here. fans of bon iver, iron and wine, bonnie prince billy, damien jurado and okkervil river will love this! “songs of experience make up Matthew Houck’s heavenly seventh”

First Flower

Molly Burch  –  First Flower

a walk through Molly Burch’s most intimate thoughts – broken friendships, sibling relationships and overwhelming anxiety – ‘First Flower’ is a bright, beautiful album peppered with moments of triumph with Burch’s voice as strong and dexterous as ever.

opening track “Candy” is a swinging, playful hit, while “Wild” deals with pushing away fear. title track “First Flower” is classic Burch, a simple love song that gives you goosebumps when she breaks into the chorus. but the album’s true stand-out is “To the Boys”, a courageous, sassy fuck-you to her own self-deprecation where she learns to love all the things she hated about herself. if you enjoyed angel olsen’s ‘My Woman’, this is the album for you. “more dreamy, torchy country-pop goodness from this Austin breakout”

Stardust Birthday Party

Ron Gallo –  Stardust Birthday Party

Ron Gallo’s punk-poet persona remains intact, backed by a generous injection of scuzz and fuzz.

“the details of my path are pointless because everyone’s path is different. it is about me sitting with myself for the first time and confronting the big question ‘what am i, really?’ it’s about the love and compassion for all things that enters when you find out you are nothing and everything. i think at one point i wanted to change the world, but now i know i can only change myself, or rather just strip away everything that is not me to reveal the only thing that’s ever been there. and that’s what this album is about, it’s me dancing while destroying the person i thought i was, and hopefully forever”. fans of oh sees, ty segall and warm drag should check this out

WANDERER

Cat Power  –  Wanderer

Chan Marshall’s return to the folkier, bluesier side of the tracks is very welcome on this lustrous set of understated, yet quietly powerful, acoustic ballads.

produced in its entirety by Marshall, ‘Wanderer’ includes appearances by long-time friends & compatriots, as well as guest vocals courtesy of Lana del Rey & an exquisite cover of Rihanna’s ‘Stay’. the 11 tracks encompass “my journey so far,” says Marshall. “the course my life has taken in this journey – going from town to town, with my guitar, telling my tale; with reverence to the people who did this generations before me. folk singers, blues singers, & everything in between. they were all wanderers, & i am lucky to be among them.” “the set has both strength & a lean, lustrous beauty, tapping Carole King-style classicism & american folk standards”

Fall Into the Sun

Swearin’ – Fall Into The Sun

their scuzztastic reunion has gifted us a blissful set of melodic bangers that go hard on distortion and easy on the ears.

much like the band’s previous albums, Gilbride anchored the recording and producing of the record, but this time around, the band worked to make the process feel more collaborative than ever before. “i feel like this was the first time i could look at a Swearin’ record and say that i co-produced it, and that felt really good,” said Crutchfield. Crutchfield and Gilbride always had an innate ability to mirror the other’s movements in songs, but here, they build a focused lyrical perspective across their songs, one that’s thankful for their past, but looks boldly toward the future. fans of rilo kiley, the beths, speedy ortiz and forth wanderers need to check this out!

Masana Temples

Kikagaku Moyo – Masana Temples

the psych-prog quintet return with a serene set of wah-heavy motifs, seasoned with moments of exquisitely delicate, hushed vocals.

more than the literal interpretation of being on a journey, the album’s ever-changing sonic panorama reflects the spiritual connection of the band moving through this all together. inspecting the harmonies and disparities between their evolving perspectives, the group reflects the emotional impact of their nomadic paths. the music is the product of time spent in motion and all of the bending mindsets that come with it. fans of minami deutsche and sundays & cybele should check this out.

Possible Dust Clouds

Kristin Hersh  – Possible Dust Clouds

enveloping the juxtaposition of the concept of ‘dark sunshine’, this brooding solo album expands her off-kilter sonic vision; a squally, squeaky cocktail of discordant beauty.

feedback and phasing gyrate from simply strummed normality, imagine Dinosaur jr and My Bloody Valentine cranking up a Dylan couplet. messing with both extremes of the sonic spectrum: atonal and arrhythmic, a unique sound and a glorious return to form for one of alternative rock’s true innovators. “sometimes the most subversive thing i can do musically is adhere to standard song structure, sometimes the creepiest chords are the ones we’ve heard before, twisted into different shapes” – Kristin Hersh, july 2018. “the prodigious output and commitment to quality is pretty staggering, but then Kristin Hersh is a very, very special musician.”

LIVE AT THIRD MAN RECORDS

Father John Misty – Live at Third Man Records

Live at Third Man Records covers songs from the first three of his albums, heard here stripped totally bare, you lucky tikes.  In September last year, Josh Tillman stopped by Third Man’s Nashville headquarters on an otherwise ordinary Tuesday afternoon and surprised them with a lunchtime solo, acoustic set before his sold-out Ryman Auditorium performance. They, of course, had our 1955 Scully Lathe warmed at the ready to capture the occasion. As is typical for direct-to-acetate recordings in the Blue Room, Josh warmed up the room (and our engineers) with two songs before they started cutting the LP. He began with the debut performance of his newly penned Mr. Tillman(foreshadowing its release as the first single on God’s Favorite Customer 9 months later). They then used the second song as an opportunity to carve a 12” on-the-spot single of Now I’m Learning to Love the War, which was promptly handed it to a lucky attendee for safe keeping. If you want to know more about that, you’ll have to scour the depths of FJM’s fan net. Live at Third Man Records covers songs from all three Father John Misty albums out at the time of its recording, heard here stripped totally bare

my american dream

Will Hoge  –  My American Dream

Hoge gives it his all on this blazing album of gritty, country soul, newly infused with a furious rock energy.

with ‘My American Dream’, Hoge hopes that others will follow his lead, see the world through someone else’s eyes, and maybe begin to fix the mess we’re living in. “i don’t want to write songs telling people how they should feel” Hoge says. “if anything, maybe there’s a 16- or 17-year-old kid in the small-town south who has rumblings of these feelings but doesn’t have anybody in his little community to go, ‘hey man, think about it like this for a second. here’s another group of people’s perspectives’”. fans of chris stapleton, lydia loveless, steve earle’s ‘copperhead road’ and nikki lane will love this!

ICON OF EGO

Arc Iris  –  Icon of Ego

the trio’s third is a vividly expressionistic record that reflects their protean talents, creating an avantgarde experimental pop that’s entirely their own.

‘Icon of Ego’ finds a stronger, more experienced band. the band has evolved into a concentrated pop-prog explosion, mixing styles with disparate elements that captivate and surprise. with heavy synthesiser work by Tenorio and Jocie Adams, and seemingly impossible transitions executed effortlessly by Belli, the songs here carry a thick, analogue electronic sound that harks back to the ’70s. presiding over these are Adams’ powerful vocals that house the energy under pop forms. fans of cocorosie and deerhoof should check these guys out.

I

Terry – I’m Terry

the Melbourne quartet capture their particular kind of witty diy, garage pop beautifully on this lp.

there are few rules in Terry’s world. “they seem to make a song out of whatever sounds good to them. the only stylistic consistency is in their hat wear. terry are like Steely Dan or 10cc. both bands make me queasy after a certain point. Terry probably also make me a bit queasy, singing about police beatings and nationalism and all that. but they’re not out to hurt you. they’re like the kindly bearer of bad news. Terry puts it in terms that speak to me. it’s a tragicomedy.” – fans of the go-betweens, courtney barnett and rolling blackouts coastal fever need to hear this.

henry / I

Soccer Mommy – Henry / I’m on Fire

Soccer Mommy aka Sophie Allison puts her own heavenly spin on the boss’ timeless classic, plus reworks the lead track from her obscure 2016 album ‘For Young Hearts’, previously only physically available as a rare cassette release. we think she’s done Bruce proud. Soccer Mommy is a must for fans of snail mail, phoebe bridgers, lucy dacus and julien baker.

LIVE AT THIRD MAN RECORDS

Kevin Morby – Live at Third Man Records

Kevin Morby performs two tracks for third man, stripping them down and revealing something completely new, in relation to their studio counterparts.

Formally a member of New York folk group Woods, Kevin Morby has made a name for himself with his four acclaimed solo releases. these songs, “Destroyer” and “Black Flowers”, come from his third record ‘Singing Saw’. “Destroyer” is an autobiographical minimalistic keyboard ballad, a distant cousin of the full band album version. “Black Flowers” on this single borrows less from the sweeping orchestras of leonard cohen’s catalogue and more from the melancholic austerity of bert jansch.

When, The Cure’s Robert Smith announced the first dozen hand-picked artists for this year’s Meltdown Festival, with KRISTIN HERSH numbering among them. Having just finished her U.S. tour with Grant Lee Phillips and with a sold-out Meltdown show on her hands, she’s just announced a 6-date whirlwind U.K. tour following the festival, which will take her to Glasgow, Newcastle, Halifax, Cambridge, Ramsgate and Brighton.

Whether or not you reside in the vicinity, you may still be thrilled at the fact that she is previewing a new track, called ‘Lax’. This is a rough version of the track, as the final version will be on her album ‘Possible Dust Clouds’, r released later this week.

Indie rock legend Kristin Hersh, is most recognised as the front person for the influential art-punk band Throwing Muses and power trio 50FOOTWAVE, she has a short visit to the UK this summer with her sold-out performance at Robert Smith’s Meltdown Festival.

‘LAX’, a track from of her forthcoming album ‘Possible Dust Clouds’,Throwing Muses first gained traction in the early ‘80s, playing with similarly singular artists, such as The Pixies and Dinosaur Jr. They continue to release groundbreaking music, most recently with 2013’s double CD masterpiece ‘Purgatory/Paradise’

. Kristin’s solo career spun off in 1994 with the release of ‘Hips and Makers’, a widely acclaimed album that included ‘Your Ghost’, a duet with R.E.M.’s Michael Stipe. Since then, Kristin has released a steady stream of distinctly individual solo albums, including 2010’s ‘Crooked’, released as her first in the inventive book/CD format for which she is now known.

2016’s ‘Wyatt at the Coyote Palace’, on which Kristin played all of the instruments, received rave reviews; an explosive defined by blistering guitars, powerful drumming and her signature visceral vocal technique. Her poignant true stories bring the listener into what the BBC calls Hersh’s “dark and dizzy world”.

In 2004, Kristin formed the noise rock power trio 50FOOTWAVE, releasing a series of frighteningly intense mini-albums, all available for download free of charge. Their most recent ‘Bath White’ EP was described as “a series of loud explosions, of velvet like dreams all intermingled at the same time. Bath White takes no prisoners.” 

Kristin’s writing career has flourished with the highly acclaimed ‘Paradoxical Undressing’ (released as ‘Rat Girl’ in the USA) and the award winning  ‘Don’t Suck, Don’t Die’, a personal account of her long friendship with the late Vic Chesnutt, as well as the enchanting books which now accompany each of her record releases.

Kristin Hersh’s prolific career has seen her heralded queen of the alternative release. Her tenth studio album, ‘Possible Dust Clouds’ is a highly personalised sociopathic gem delivered as a futuristic rewriting of how music works, a melodious breeze with a tail wind of venomous din.

Enveloping the juxtaposition of the concept of ‘dark sunshine’, a brooding solo record created with friends to expand her off-kilter sonic vision; a squally, squeaky mix of discordant beauty.
Feedback and phasing gyrate from simply strummed normality, imagine Dinosaur Jr and My Bloody Valentine cranking up a Dylan couplet.

‘Possible Dust Clouds’ is a glorious return to form for one of alternative rock’s true innovators. “She’s still as powerful a presence as she ever was.” Pitchfork
“The prodigious output and commitment to quality is pretty staggering, but then Kristin Hersh is a very, very special musician.” The Quietus
Throwing Muses became a byword for college-rock feminism in the late 80s, largely because of Hersh’s uncompromising impressionist poetry of emotional anguish, subjugated womanhood and mental illness.” The Guardian

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releases October 5, 2018