Let England Shake

(3/5) I'm being kind and giving this a polite 3 because I liked the other album of hers we've had.. "Stories From The..". But -- full confession -- I don't get this one. It doesn't resonate with me. I understand the history of it and England's fall from grace as a colonial power and then subsequent ass kicking in the two World Wars. I'm sure the British people had (or may continue to have) a huge existential reckoning with that. Hell, I **KNOW** our number is up soon (maybe we're in the process?) with our own homegrown 'Nero' at the helm -- I'm American if you didn't catch the reference. That makes this album, however, really really insular. The music is ok. Stylistically it is all over the place but leans heavy into indie/pop rock on the slower side with folk elements. She's clearly a good songwriter, but here's another example of the Anglocentrism this list is filthy with. Sorry, lads, i don't get it. Additionally, it is another Mercury Prize winner that bounces right off of me.

In typical fashion for this list, we just had our first PJ Harvey album (Stories From The City, Stories From The Sea) about 10 days ago, and after that introduction I really wanted to like this one. I even thought that it got off to a decent start in its first couple of tracks, which sounded distinctly different from that previous outing. But the long middle of this album took enough twists and turns that I got lost along the way, perhaps complicated by the fact that I am not British and the themes herein seemed to be directed specifically at that demographic. She's obviously intent on giving nods to every influence she's had, as it is also stylistically diverse almost to a fault. Still, I liked this slowed down version of her (closer to the Tori Amos and Fiona Apple sound that I'd expected before the last album) and will will score this one the same 3.5/5 as the last, this time without rounding up.

So PJ Harvey seemed to be going through something on this album with regard to her home nation. I can sympathize. This was an album that one does after you’re 20+ years into your career. She did deep dives into topics that drew her interest and spent years there. The outcome is an album that is part rumination with the other part therapy. It full of vast macro ponderous imagery intersecting with the personal introspection. Again, I respect the overall product more than I enjoy it. 3/5

219. Let England Shake - PJ Harvey (2011) 9.28.26 Variety: 5 Adequacy: 4 Listenability: 4 Uniqueness: 4 Emotionality: 4 = 4.2 rounded down to a 4 "Pack up your troubles and let's head out/ To the fountain of death and splash about/ Swim back, forth, back, back, laugh out loud" This was the last full album by PJ Harvey I've listened to ( have heard several tracks off the last two that were good, just have not taken the time), and I remember liking it quite a bit at the time, but thinking that White Chalk was better. This one apparently sold a lot more and won the Mercury Prize, so what do I know? It's been quite a while since I've listened to this one though. Harvey has four albums total on the list, and we just reviewed Stories From The City, Stories From The Sea a couple weeks ago. Always interesting when the same artist shows up so close together. That one got an easy 5 from me, and is solidly my favorite album from her. I don't think that's an out there opinion at all. Curious how things will shake out **ahem** eventually, but I predict a solid showing for all the ones on here. She always has interesting stuff on her albums, and is constantly changing which is great. So many artists, even the great ones end up on cruise control after a certain amount of time. The younger ones are even guilty of this. Harvey has released ten solo albums this far, and each one is pretty distinct, even if there does end up being overlaps. She's also done a ton of collaborations, so there's plenty of stuff left to get to. This will be a small dent in the discography, but I'm happy to revisit. THE TRACKS "Let England Shake" - This was a great opener. It feels just as haunting as the stuff on White Chalk, and Harvey is leaning into the ethereal vocals, only this time there's less of an beautiful and intimate depression cycle on repeat, and more of universal and chaotic tone. The touches on home and country and national identity, jingoism, nationalism, and many other -isms we'll find throughout this are handled here with a mythic touch. This feels like a musical summoning of sorts, with Harvey in conversation with the land itself, or I guess the old nickname "Bobby" is used here to give a face to it. Cool shit, and hoping everything else holds up just as well. "The Last Living Rose" - We get a warm drum beat to open this one, along with some choppy electric strumming. Looooved the trombone on this one, which along with the tambourine gave it New Orleans funeral marching band feel. This compares very favorably to "Lullaby of London" from If I Should Fall From Grace With God by the Pogues, which we just had as our last album, and could almost serve as a more bitter companion piece, with it's nighttime riverside walk, past the sounds of human aggression played out in the streets, and full of the memory of the dead: - - - - - "As I walked down by the riverside/ One evening in the spring" - - - - - "And the shouts from bars/ And the laughter and the fights" - - - - - "May the wind that blows from haunted graves" "The Glorious Land" - And we come to the first big flaw. The choice of the reverie trumpet playing over this is possibly the most heavy handed, and clumsy artistic choice I can think of on the album. The song underneath is pretty danged good still. I really like how she leans into the high pitched delivery and seems to even add some accent work to the package. The forward momentum of the song feels panicky and almost akin to some of the post OK Computer Radiohead material. It's still not bad by any means, its just the one track that makes me wince a tiny bit. I trust Harvey enough that I'm willing to bet she was going for discomfort on this one, but that doesn't mean I like it. "The Words That Maketh Murder" - I recall this one being my favorite track on the album, and this relisten did not do anything to disabuse me of that notion. There's more bitterness here, this time specifically focused on the political end of the war machine with the little tiny dicked chuds who get the ball rolling on these things, and how they funnel their weird hang ups and resource mongering into the policies and speeches that result in the human grist for the mill. The "lumps of meat" and are pure capital to these people, resources to be moved around and used to prop up their illusory system, and the leftover change after the expensive transaction is the human misery. *whew* Sorry for the tirade, but the music works here. It was certainly effective in getting me riled up enough to waste a few minutes on some invective that barely anyone will ever read. That there seems to be no statistical suicide spike of note amongst the politicians ultimately responsible for the untold amounts of death and destruction their verbal diarrhea has cause, speaks to an what seems like an unsurprising level of psychopathy amongst that profession. "All and Everyone" - Slower, and with a lethargic beat, we get another song about the horror that was the invasion of Gallipoli which resulted in around a quarter million dead on both sides, and wiped out the bulk of the Australian and New Zealand forces. The lyrics are very death metal, but the presentation is sadly beautiful, with an eerie reverb on the vocals. Brutal, and "On Battleship Hill" - A continuation on the Gallipoli subject, this time a bit jauntier to start with before it becomes an ethereal and almost delicate meditation on death and decay where you almost get the sense that the physical earth itself is calling out for a blood sacrifice. It doesn't go full Wicker Man or anything, but it's eerie and the anthropomorphism of the cruel natural world is treated almost as a given. The sense of hopelessness is palpable. And yet it's all very pretty, which makes it all the mor sinister. "England" - This one opens with some sampled background vocals from a 1920s Kurdish folksong recorded by Said El Kurdi, and Harvey's vocals take on a ragged and forlorn quality, that feels exhausted, but not exhausting. The dissonance that plays out challenges you to dislike the effect, but it didn't work on me, as I still found it very pretty. Maybe the best vocal performance from Harvey on an album full of great ones. The structure of the song itself almost functions as a synecdoche for the lyrics in which she seems to have trouble making sense of the contradicting feelings she has about England itself. "In the Dark Places" - Fuzzed out guitars and a metronomic cymbal beat carries this very mournful track along. It's good, and has a lot of interesting textures, but feels just a little bit underwhelming compared to most of the stuff surrounding it for the first part. The horns almost bring me back around to thinking differently 2/3 of the way through, and it does climb up to something special by the end. Torn on this one, so I'll bump it down for the moment. "Bitter Branches" - This works much better for me, and has a grungy, nervous guitar that hearkens back to Harvey's early days. The vocals are far removed from that era though, and reach up into the high registers for a harrowing, worried, and restless feeling delivery and some creepy as imagery with the soldiers dead and not knowing it yet, the earth already reaching out to pull them under. "Hanging in the Wire" - This one was airy and pretty, and gentle, which served to contrast the lyrics about soldier, dead or dying, tangled up in the barbed wire in No Man's Land. There's a non-committal nature to the lyrics that don't give much indication of anything more than an acknowledgement of waste and consumption of human life. Is this Walker meeting his demise with grace? Unlikely given the messiness of the battlefield. "Written on the Forehead" - Interestingly we seem to get the rare outside point of view on things, that isn't so blindingly focused on the European or Australian experience, though still once removed via the Western narrator. The suffering of the actual people in the theater of war seems to be the point of the thing. Musically though, it might be my least favorite track. Partly due to the warbled, almost out of tune processing on Harvey's vocals, but there's also not much of anything that grabs me melodically either. the one track that maybe would have been better left as a demo. "The Colour of the Earth" - I read that among her influences for this album, Harvey cited both the Pogues and the Velvet Undeground. I think I can hear both on this track in particular with it's military folk ballad content and form that's mixed with the simple, repetitive dronish beat. It feels funereal and melancholic, and serves as a fine closing last shovel full of dirt that Harvey is tossing in the grave before giving it a good pat and moving on. HIGHLIGHTS - "Let England Shake" - "The Last Living Rose" - "The Words That Maketh Murder" - "All and Everyone" - "On Battleship Hill" - "England" - "Bitter Branches" - "Hanging in the Wire" MIDLIGHTS - "The Glorious Land" - "In the Dark Places" LOWLIGHTS - "Written on the Forehead" FINAL THOUGHTS One of the units I remember most from my English courses at school was focused on the WWI poets like Wilfred Owen, Siegfried Sassoon who wrote poetry detailing the tragedy and horrors of what they and their fellow soldiers had experienced. It was quite literally an existential crisis that shattered European confidence, and which created a massive psychic shockwave that is felt to this very day. Whole art movements were incited and old ones changed an morphed due to the inability of people to express just how earth-shattering the event was. The history of popular music is littered with anti-war songs and albums, Harvey's work on this album is one of the few modern ones I can think of to successfully tackle similar subject matter while still being a pretty danged listenable experience. So much political art, even the stuff I wholeheartedly agree with can feel like homework, or worse yet, nagging, and ultimately feel pointless. Not so much this. It mostly works for me, the few minor expectations having already been noted, and is way less clumsy than most attempts. I'm sure me and Bono probably agree on a lot of issues, but I really don't want to ever here from him again about this sort of thing. And it was, by all accounts, Harvey's final word on the subject. She may have continued to make mor socially conscious art, I'll find out I guess when I eventually get through most of her newer stuff, but I don't think she dwelled on it, and became an obsessive. you know the type that once they glom onto a thing can't shut up about it? She made her statement, and appears to have worked out whatever demons were bothering her, and moved on. Artistically there's a lot to love on this thing. The switch up from White Chalk's ghostliness to the earthy, but still haunted feel here, along with lots of new and interesting instrumentation, didn't seem to affect her ability to thrown down some great melodies. Hooks abound, and the textures and variation from track to track kept me always interested in what was coming next. I never felt bored or like I was getting the same content over and over again, even despite the overarching themes. Ostensibly a response to the war in Afghanistan, it still felt universal enough that it seemed to jump all over time, especially in regards to England, and it's troubled history and felt like it was more a case of "same old, same old, no lessons learned", but less from any sort of scolding point of view than it was from a farther back, long historical view, full of contempt and even pity. I don't think Harvey is naive enough to think any of this will ever change, but is willing to dig up the tragedy of all our unlearned lessons and at least put them on display. It's an album full of mourning and loss, and it's a sad acknowledgment, nothing more. Though maybe a bit of an apocalyptic one. No rubbing the listener's face it, like some performative punk band ( I won't name any names but we've had some much less subtle protest music ( though I'd call this more historical and personal commentary than protest) on the list so far) might do. This one's an achievement, and it's up there in her discography, but the trouble is that it's such a solid catalogue that there are a few that outshine it. Possible turn-Offs might include: - political messaging that might your diaper-baby MAGA feelings - some momentary lapses in judgement ( looking at you, "The Glorious Land") - a possibly disorienting change into a wholly different sound You Might enjoy this if you: - enjoy lots of crowded, interesting textures in your music - don't mind some unconventional instrumentation - are not thrown off by big themes and pseudo-pretentious concept albums PLAYLIST ALTERATIONS - Lose "Written on the Forehead" FURTHER LISTENING Precursors: - Highway 61 Revisited by Bob Dylan - The Velvet Underground & Nico by The Velvet Underground & Nico - Songs of Leonard Cohen by Leonard Cohen - Five Leaves Left by Nick Drake - Liege & Lief by Fairport Convention - Rum Sodomy & the Lash by the Pogues - It'll End in Tears by This Mortal Coil - Swordfishtrombones by Tom Waits - Your Funeral... My Trial by Nick Cave and the Bad Seeds - Within the Realm of a Dying Sun by Dead Can Dance - The Crane Wife by The Decemberists Contemporaries: - The King of Limbs by Radiohead - The Harrow & the Harvest by Gillian Welch - 50 Words for Snow by Kate Bush - Apocalypse by Bill Callahan - The Whole Love by Wilco - Sun by Cat Power Descendants: - 2020 by Richard Dawson - Relatives in Descent by Protomartyr - Punisher by Phoebe Bridgers - Mutable Set by Blake Mills

Meia bomba

Great

Weird to me that this is the PJ Harvey album here-hopefully there are more, but the rest of the list makes me doubt it. Dry is one of my fave records ever, Rid of Me is unforgettable. The list goes on, but never have I seen this mentioned. It’s not my favourite flavour of PJ, but I’m glad she’s here.

Here and there, the album had some very interesting tracks, though there were also a few annoying ones. Overall, my relationship with PJ Harvey’s music remains complicated. Sometimes I really like it, and sometimes it annoys me. And that’s how it is with this album, too. 3/5

A Little spaced and uneven in quality or at least in how much I liked each song. It was fine mostly.

I thought i would like this more but didn't feel super strong one way or another.

This is surprisingly good - maybe I'm in a receptive mood, reminds a little of nick cave / elements of radiohead. some spoken word pieces

Liked it; didn't love it. 3.4

First time listening to a PJ Harvey album. Not sure if I get it. It's okay, but nothing I'm too enthused about. It's lyrically kinda interesting, but again, its not my go-to.

I enjoyed this a lot more than I expected. It’s a really solid pop album on the surface, but the songwriting is what really piqued my interest. A lot of these songs are catchy enough to sound almost light until you start paying attention to what she’s actually singing about. The title track is a decent opener, but “The Glorious Land” was the one that really stood out. Somehow this makes the second day in a row I’ve listened to an anti-war song that uses a bugle. What are the odds? It’s such an odd little detail, but it works, and the song itself is ridiculously catchy considering the subject matter. That contrast is probably what I liked most about the album. The music can sound almost pretty or playful while the lyrics are dealing with war, death, and national identity. Favorite song: “The Glorious Land”

Many songs sounded similar but I was okay with that for my morning coffee.

I wish I loved it - I hate to disappoint early-seasons Rory Gilmore. I like All And Everyone and On Battleship Hill.

Not stirred

PJ Harvey continues to push herself forward musically on this folky chamber pop album. These songs are lush and detailed, with a lot of different instruments plucking about. Harvey's vocals are higher than her typical register, and they sound good. Lyrically the album often covers history and war, and that creates a bit of a conflict with the music. Musically this feels very artistic and almost classical, which contrasts with the personal, darker lyrics; it almost feels too modern or technical for the subject matter. The last couple songs avoid this with the rustic, rhythmic "Written on the Forehead" and "The Colour of the Earth," which sounds like a Billy Bragg protest song. The rest is pretty but with everything that's going on it ends up being a set of songs that don't really stand out from each other.

Occasional flashes of the early PJ Harvey stuff I used to love, but had drifted away from her stuff before this album came out. I can see why it got the plaudits, but unlikely to return

eighth album release by pj harvey, a project that took almost 2 and a half years to make and recorded in a church in southwest england. the album is mostly focused on war and historical violence, which she took a lot of time to research. she wrote the lyrics before putting the words to music, reading literature, testimonies, and even finding extra influence from film and art. the album won many awards shortly after release. ol' pj always offers interesting music for me to dive into. a nice break from some of the boring dudes. her vocals are always a standout to me whenever i listen, with how loud and serious she takes all her tracks. it compliments this more folky take on writing music this time around, it's a welcome change after all that hard alt rock stuff i've heard from her in years gone by... diving into the subjects of war and struggle within the country she loves, when she gets high and scratchy with her voice, you can just feel every sentiment, every aspect of the material. for such complex and serious lyrical themes, the sound itself isn't really too intense. some tracks kinda fall flat, but i think it works pretty well for the most part. i was a lot more engrossed than i thought i would be.

A fine album. Possibly a part of the overrepresented English scene in Dimery's work -- not his fault, he's English. Folky with a rock edge. Vocally impressive. Production a bit of-its-time. Instruments clean and competent; could be session players or her band. If we're allowing national partisanship, I'd suggest you try Broken Social Scene or Feist instead of this. Or in addition! No need to compete. Good not great. 3/5

Kändes som ett helt ok album som blev klart bättre andra gången jag lyssnade igenom det. Är ändå inte riktigt minn kopp te.

Zoned out after the first whiny song

It was interesting enough, but do we really need 4 albums from her on this list?

Nice

An interesting one: I liked 'Stories...' but wasn't gripped by this on first listen. But it has that quality to it that hints I'd love it if I listened to it enough. Maybe on subsequent plays and giving it more undivided attention.

Chans nöd genau imene genre iordme (maybe folklore) Verzellt e story, cleane übergang zwüsched de lieder Wird zunehmend hessiger, mega starki emotione Fühlt sich chli ah wie e trurigi aber au rebellschi gschicht

p931. 2011. 4 stars. The Brit alt-rock darling's finest hour, with songs of war and loss. It's not perfect - there are a couple of duds - but it's close.

Sure.

2.2/5 not her best kinda mid

I have never listened to PH Harvey before so very excited for this. Song reviews: Let England shake: I love the tuned percussion at the start. It’s really different and unique. Has a creepy undertone. Personally I don’t love her singing style. I love how melody from start comes back. Great song but not the type I would just put on to listen to. 4/5 The last living rose: I like the beat. This one more catchy than last. I like tambourine. I love how she experiments with different instruments. 4/5 The glorious land: I love how all the songs are different to each other. This song has so many little genius instrumentalisations. I love the fugal, it helps complete the reference. 4/5 The words that maketh murder: I always love clapping in a song.

I can’t stand PJ Harvey’s voice, and some of the musical choices on this album were rather difficult to listen to. However, it’s laser focused lyrically, the music is mostly beautiful, and even the unsavory musical choices make sense in context. On balance, it’s a very good album at what it tries to do, I just don’t really enjoy it that much.

Бля, я б сказал что-то между 3 и 4, но поскольку 3,5 тут нету ставлю 4

Not their best

This is not PJ Harvey I am used to, this is so Björk-like, and if I wish to listen to Björk, I'll listen to Björk 😁 Album is not bad, just miss that raw, hoarse, honest, tobacco-shaped voice she develops later on ❣️

A dirge for the damned, a requiem for the forgotten. It's a record that trudges through the mud of history, dragging us through the wreckage of wars past and present. Spins: 2 Playlist Additions - Let England Shake - The Last Living Rose - The Glorious Land - The Words That Maketh Murder

Wow, there are quite a handful of PJ Harvey albums on this list. Not sure about that given some other albums excluded. This album was pretty good but not rushing out to buy it.

One I’ve not heard from PJH - sounds like an early one? Pretty cool tbh

I saw PJ a few times in the 90s. I would go again, it was always fun. Sounds like she's stayed relevant. It wasn't bad

interesting but not exceptional. Textbook 3, glad to have listened but will be quickly forgotten

meh

As with most PJ Harvey I find myself enjoying it from a distance without fully getting into it. Would probably benefit from repeat, more attentive listens. RYM: N Saved a song: N

Dull, underproduced semi-acoustic numbers where the guitar strumming barely varies from track to track. The lyrics are intent on making A Big Statement but aren't enlightening to any degree.

Pretty good

Brilliant. Probably her best.

Excellent listen, love The Last Living Rose. *I came back to give this 5, haven't stopped listening to it all week

She's just so good.

Not really my style. Something about her singing voice just doesn’t really hit for me.

A beautiful album, and I still haven't delved deep into the lyrics. At least for me one of the more well made albums of the 10s.

Decent

Not a bad album, and a bit more accessible than some of her other albums, but I would not say that LET ENGLAND SHAKE is a transcendent album. It is an album that was written for, and about, England and English citizenship, but that does not make this an essential listen for the rest of us outside of isle. Flood produces and engineers it well, but once you get past the English navel gazing lyrics, there is not much going on with the instrumental arrangements and performances that we haven't heard before and they feel a bit too David Bowie adjacent, and it's vocal sound also feels a bit uncomfortably Björk adjacent in way that doesn't feel creatively authentic either. I also felt like she overdosed on Italian Spaghetti Westerns before recording this album. Her material is miles and miles better than her ex-lover Nick Cave, but if we are being honest none of her albums selected for this list feel like complete albums that demand being heard as essential to understanding the evolution of Western Popular Music. My only truly favorite track of hers over the years is the most recently released "Voyager", in which I feel like she manages to sound true to herself and simultaneously capture the yearning of an entire planet.

I'm very glad I got to experience this. no individual ratings for this one, I felt it was worthless

Not bad! 3/5

Gotta relisten

Didn’t really make me feel any which way.

I like PJ

Wasn't really feeling much from this one.

Good stuff

Musically decent album, just not for me 3/5

I preferred this to some of the other PJ Harvey albums I've listened to, but sometimes it has a bit of a Björk feel to it.

ig weis nid.

Schön aber irgendwie gleichförmig

I can't help but feel that this album feels quite different for PJ Harvey when compared to other records - it's poetic, melodic and beautifully put together - but it perhaps lacks that impact or memorability that her other material has. Maybe it's just my interpretation of the album - it's still an emotive, haunting listen, and enjoyable, but I think Cities and Rid Of Me are better. 7/10.

I'm not familiar with PJ Harvey's work so I was looking forward to hearing what she sounds like. I'm still not sure because there is just too many effects going on over her voice on most of the tracks. Luckily track 1 is the worst offender so that's out of the way early. There some pretty interesting music going on, but I just can't get past the vocals. Not something I'll go back too. 2.5* rounded down to 2*

nice

- Some legitimately haunting lyrics ("Hanging In The Wire" is a great example), but the entire sound, including Harvey's vocal register, does not grip me with the visceral resonance that seems to be intended. - "All And Everyone" and "In The Dark Places" start to get there, but ultimately this is an album that is more interesting in theory than in execution. While the anti-war themes are always (and sadly) timely, so much of the imagery being brought forward is directly from WWI and thus causes there to be some inevitable distance. - Maybe I am not English enough to fully appreciate this?

Amazing album. Has a melancholic vibe throughout it. Great harmonies.

I like how the music is softer than her earlier work, yet the lyrics are more scathing

one of my fave songs lives on this album - The last living rose is a masterpeice so i cant not rate this 5 star. PJ Harvey i love you always.

Maso

meh

I liked it. Listened twice

Quite uninteresting to me. Maybe one song that I found catchy.

Pretty good selection of songs

When this first came out, I did not particularly like the sound/production of this album (in comparison to her earlier releases). That being said, I still liked the album and have listened to it many times over the years. But I still preferred the earlier albums. Yet, here I am, confused by my earlier assessments. This is a great album: concept, actualized music/lyrics, and production. This is an awesome album (at least for this day and through a couple listens). Thanks PJ. Still, I am reticent on giving this a full 5 because I know before today, I'd rather have listened to the earlier (grittier) stuff. But, wow! Maybe I just like PJ Harvey more than most. I am seeing the skies are full of stars. 5 "down with it" stars.

2.7

What the fuck is this bullshit? At first you think you might know this, but it’s just sampling with her squeaky vocals over it. It’s weird, it’s crap, and only sold like a couple 100k units in a few decades, so it begs the question, why is it here? Perhaps this list should focus less on what the “critics” think and put real successful albums on this list so it’s not such a damned torture.

путаю её с другой дамой (не помню имя), каждый раз удивляюсь что она прям поёт. но поёт не для меня…

Brutal. Not for mex the good ones sound like they are AI generated for a bad movie soundtrack, and the bad ones are bad.

Music for Nick Cave fans (derogatory)

Pretentious as all other PJ Harvey albums on this list. I will never understand what makes this album, or artist, essential listening.

I like a lot of stuff that Peej does, but couldn't really get into this one.

This album loses some of the grit that defined PJ's first two albums, but the masterful songwriting remain on full display. Excellent album by a brilliant singer & musician.

No me gustó, no mucho mas que decir. Pretty weird innit?

One of her best.

Better than some of her other stuff 3.5.

4.5

I think I like the lyrics, content and concept more than the music, but this is definitely one of PJ Harvey’s better records for sure.

Polly Jean went for an entirely different approach here, evoking chamber pop to layer over an anti-war, anti-colonial album that doesn't accuse as much as lay bare. It's a political album on only a way Polly Jean could do it, and that renders more powerful and impactful. I'll need to dive deeply into this one at some point.

Quest album è molto diverso da Rid of me. Molto sperimentale e ricercato ma non riesce a colpirmi. L'ho trovato noioso

Er se her album dårligt? Nej, men det er ikke lige så godt som de andre PJ albums vi har haft. Stadion tårnhøjt bundniveau.

Et anti-krigs-album som samtlige magtmennesker burde høre 24 timer i streg inden de træffer beslutninger der både lemlæster og slår unge mennesker ihjel. Ikke fordi de skal træffe en anden beslutning, nogen gange må man forsvare sit territorie, folk og måde at leve på med voldelige midler, men fordi de skal tage sådanne beslutninger med åbne øjne (og øre) for konsekvenserne af deres beslutninger.

Not bad

Stories From the City Stories From the Sea came up earlier in our group, but I missed it that day. I have attempted to go back to it a number of times, but have struggled to make it past the first couple songs. I was able to listen to this in one sitting, but it never rose above mid for me. It seems to be a song cycle about England... I'm guessing there is a whole other level of appreciation that I'm missing out on not being from the British Isles.

This certainly had a different feel than Stories From The City, Stories From The Sea. The subject matter around England is intriguing and honest, pretty cool all-around. I don’t think this is sonically as much my style as the other album but she’s so creative and ambitious and it shows again. 1 listen Favorite Tracks: All And Everyone, The Last Living Rose, Title Track, The Words That Maketh Murder

"Though I'm quite sure I liked this more than ""Stories from the City, Stories from the Sea,"" still can't bump this past 3."

music is love

7/10… art rock / chamber pop / *2011

not as good as Joni Mitchell’s Blue

really interesting