Posts Tagged ‘Throwing Muses’

‘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

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.

Belly was an rock band formed in 1991 by former Throwing Muses members Tanya Donelly (who was also in The Breeders) , joined forces with the Gorman brothers Thomas and Chris (on guitars and drums respectively) and bassist Fred Abong to launch Belly Star” was their debut album by this American alternative rock band Belly.

It was released in 1993 and was an unexpected success. With their jangling, over driven guitars and breathless, mysterious vocals, Belly suggests the hard/soft edge of electric girl groups and power pop bands like The Bangles.

Much of Star is like looking through the world from the otherside of the glass. From the ominous foreboding of “Low Red Moon” to the heady frenzy of “Slow Dog”, the whole thing drifts and jumps majestically. Marbled and distorted colours and sounds make new, hypnotic shapes. It’s the realm of dreams made into music.

The energy and infectious indie-pop hooks still have me dancing around the kitchen whenever it makes one of many outings. The guitar jangles are still as elastic and rawkus as ever and Tanya Donnelly’s otherworldly and haunting vocals still intoxicate me.  Using the trance like harmonies of dream pop as a foundation, Donelly expands the genre’s boundaries, trimming away its pretensions and incorporating a flair for sweet, concise pop hooks and folk-rock inflections. She also spikes her airy melodies with disarmingly disturbing lyrics. Images of betrayal and death float throughout the album, but what hits home initially — and what stays after the album is finished — are the hooks, whether it’s the rolling singalong of “Gepetto” the surging “Slow Dog,” the melancholy “Stay” .

Belly’s second single ‘Gepetto’ taken from their debut album ‘Star’ – featuring Tanya Donelly (formerly of Throwing Muses and The Breeders), Chris Gorman and Tom Gorman. Bass on the first Belly album comes from former Muses bassist Fred Abong, who was later replaced by Gail Greenwood.

Donelly named the band “Belly” because she thought the word was “both pretty and ugly.”Their EP, Slow Dust (1992), made it to number one on the UK indie chart. Soon after, their single “Feed the Tree” made the Top 40 in the UK Singles Chart and their first album, Star (1993), hit number two on the UK Albums Chart.
In the United States, the album was certified gold, largely based on the success of “Feed the Tree” played on Modern Rock radio stations and MTV, where the video was featured as part of MTV’s Buzz Bin videos and Alternative Nation video show for much of 1993. Two follow-up singles were released, “Gepetto” and “Slow Dog” but neither matched the initial success of “Feed the Tree.” Star was consequently nominated for two Grammys. The album went on to sell over 800,000 copies in the US alone and two million worldwide.[citation needed]
In the spring of 1993, they embarked on a US tour supported by Radiohead

Recorded Sound Emporium Studios, Nashville, Tennessee
Amazon Studios, Liverpool, England .

Star-Belly

With stints in Throwing Muses and The Breeders behind her, Tanya Donelly was more than ready to front her own alternative rock band, and Belly captured the spotlight even more firmly than those previous groups. Filled out by three musical cohorts from Donelly’s Rhode Island home base, Belly made an impressive debut with “STAR” the 1993 Sire set included a Modern Rock chart-topper in “Feed The Tree,” another MTV favorite in “Gepetto,” and brought the quartet two Grammy nominations. These 15 originals give indie dream pop plenty of appealing hooks – even if the album’s sweet-sounding vocals sometimes sing about rather strange stuff. Today we’ll wish upon a Star in honor of Tanya Donelly’s birthday.

Star was borne out of artistic restlessness, Donelly having blossomed as a songwriter in her first band, Throwing Muses, by the sessions for their fourth album The Real Ramona, becoming an equal to the band’s heretofore leader, and Donelly’s stepsister, Kristin Hersh.  Donelly came to the sessions with more than her requisite pair of songs, quickly realising elsewhere would be a better fit for the bulk of them rather than the latest Muses’ album.  Initially, that home was ostensibly The Breeders’ sophomore release:

“The songs I brought to The Real Ramona were the two that ended up on there (“Not Too Soon” and “Honeychain”), “Full Moon, Empty Heart,” “Slow Dog,” and “Gepetto” (all songs that would appear on Star).  This was around the time [the early quartet lineup of Throwing Muses] had started to dissolve so I thought, I’ll have the two on there and save the rest for The Breeders.  They had several home options for about six months there.”

In the time off between Throwing Muses albums at the turn of the 1990s, Donelly and Pixies guitarist Kim Deal collaborated on a new project, The Breeders, who released their debut Pod in 1990 largely consisting of Deal’s songs with the plan of the follow up featuring largely Donelly’s songs.  As luck would have it, that second Breeders album would become Belly’s first.

“Everything that is on Star was intended for the next Breeders album.  All the old reels I have in my basement of the demos are labeled The Breeders.  The Pixies had announced a year long, worldwide tour and Kim signed on for that.  I sort of got antsy, had already left the Muses and so I thought, I’m taking my songs and making my own band!”

In retrospect, with such a flurry of activity occurring in such a compact timeframe, the aesthetic groundwork for Star appears to have been laid in Donelly’s final pair of Muses tracks; the off-kilter, chipper pop of “Not To Soon” and the harrowing dreamlike beauty of “Honeychain” portending the two ends of Star’s spectrum.  Indeed, Donelly views the latter as forming “the bridge between my Muses and my Belly life.”

Star’s appeal is clear; its tone is impeccably balanced between oblique jangle-pop and moody dream-pop, tracks that individually would appear at odds with each other benefitting by this balance to achieve an unwitting congruity.

That said, with the exception of REM’s Automatic For The People, the upper echelon of the UK albums chart in and around February 1993 was continuously peppered with compilations of legacy pop acts with nary a blink at rising alternative acts until Suede’s debut would chart a couple months later, so how and why Star?  .

Indeed, few albums can as deftly move from the Eastern European flavours of “Angel” to “Gepetto”s jangly bounce, veering over to “White Belly”s gorgeous murk and back around to the countrified folk of “Untogether”.

While truthfully a rather sprawling album at 15 tracks over 51 minutes, Star plays small owing to its constant shift in tone reinvigorating the listener track to track.  “Dusted”s razor wire riff belongs chiseled on a Rushmore of indie rock hooks while there is nary a chorus as exuberant in the annals of indie rock as “Slow Dog”.

It’s Donelly’s unsuspecting vocal prowess that threads Star together as an album rather than a collection of songs.  Wafting vaporously into view on opener, “Someone To Die For”, she proceeds, throughout the album, to emit just enough grit and force to stay atop her band’s thunderous patches while reining back at precisely the opportune respite points.

Release date 25th January 1993