What happens when Harvey and Parish collide — again? Read on.
After the last two records, you have to wonder if the British rock goddess is reinventing herself into something else — an art-rock angel or nu-folk nymph.
Harvey’s 2004 record, “Uh Huh Her,” had the singer-songwriter doing what she does best: Melodically intoxicating, lyrically weird, sensually appealing melodic rock. The 2007 follow-up, “White Chalk,” was something else entirely — enjoyable but challenging, if a bit too prodding. This collaboration with writer-producer John Parish isn’t of the same sonic territory, but the philosophy of mining alternate veins is still front and center.
Fans of Harvey’s penchant for scraggly, downbeat songs will connect with the organ-haunted “April,” and itap easy to hear the singer’s connection to spirited folk music in the howling, backwoods free-form of “Sixteen, Fifteen, Fourteen” — a song thatap oddly reminiscent of John Cale’s most recent work.
Not that Harvey has ever released a record that made for simple listening, but this one takes particular care on the first few listens. Non-fans won’t likely get past the first 90 seconds of “Pig Will Not,” which draws from noise music and art rock alike. “The Soldier” is pretty like a dainty music box, but only if you can find the beauty in Harvey’s deliberately wavy vocals.
Should we be surprised that Harvey released such a challenging, difficult record at this stage in her career? Nope, but she shouldn’t be surprised to lose a couple fans because of it.
Ricardo Baca is the founder and co-editor of and an award-winning critic and journalist at The Denver Post. He is also the executive director of the , Colorado’s premier festival of local music. Follow his whimsies at , his live music habit at and his iTunes addictions at .
