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For those who have enjoyed the intense and frankly downright kooky works spanning her 20 year career, the fact that Hersh wanted to rock out and lose it won't really come entirely as a surprise. But brace yourself - 50 Foot Wave (defined perfectly by Hersh as 'the ultra Muses') are infinitely harder hitting and blunter than anything she has produced previously. Also, if you're keen on Hersh's usually dulcet tones, you may be somewhat alarmed by the husky, almost straining vocals that she produces here. But, as she points out 'What could be more fun than turning it up to '10' and screaming your head off for an hour every night?'
The trio also comprises Bernard Georges (former Muses bassist) and Rob Ahlers, who was recruited because Hersh wanted a drummer who plays like he's pushing a drum kit down the stairs, which he ably manages. There's a massive grunge influence at play here, yet whilst they don't pander to the previous sophistication of Hersh's work, her unique command of rhythm is still hugely prevalent - basically, despite her wish to underplay her involvement with the band, you can spot it's her from a mile off.
To ease your way gently from your favourite Muses albums to Golden Ocean, skip straight to 'Clara Bow'; with its melodic backing vocals and fiercely catchy chorus, it's the most reminiscent of previous Hersh recordings. However, arather filthy bassline adds the 50 Foot Wave stamp to it. "Sally Is A Girl" is guttural, cathartic and about a really humid night; given the track's sound, it must have been one in Seattle in around 1991. "Long Painting" is relentless but entirely to the point - like the album as a whole. On your first listen, you'll feel like you've been hit by a truck, but you'll still be disappointed it was over so quickly. --Kate Lawrence
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This album is raw, fast, and loud in a good way--similar to Wire's recent 'Read & Burn' and 'Send' albums. It's a distorted, yet melodic wall of noise that instantly grabs you by the neck and keeps your attention until the very last song.
Did I mention it's loud? Other artists go mellow with age, but this is Kristin Hersh's loudest yet. I have no idea what makes an almost 40 year-old mother of four scream like this (unless it's _being_ an almost 40 year-old mother of four that makes you want to scream), but she does it in an inspired, breathtaking sort of way.
If you think that there's no way 11 short bursts of guitar noise can be interesting, think again. Hersh's guitar playing is as strong as ever, and for the past ten years bassist Bernard Georges has proved to be a congenial complement. Drummer Rob Ahlers drives the songs along with unprecendented energy.
Chances are that if you loved the recent Throwing Muses albums, you'll love this, as it drives Hersh's musical development to a new peak. However, if you didn't like them, you'll love this too, as it has all the tension and energy that other recent albums seemed to have lacked.
The vignettes of her solo work are gorgeous and intimate, the multi-layered riffs hammered out with her bands Throwing Muses and Fifty Foot Wave are intense and breathtaking. FFW's recordings seem to most closely resemble the Muses' self-titled 2003 comeback album: fierce, uncompromising and full of bitterness and rage. Where 'Golden Ocean' differs from 'Throwing Muses' is that the sweeping, avalanche choruses are as buried in heavy, ever-shifting, wall of sound riffs as the rest of the song structure.
FFW are relentless yet cerebral, crushing yet subtle. The intelligence and subtlety in Hersh's heavier music comes with both the unexpected twists and writhings of the guitar work (always supported by imaginative, frenetic and equally intelligent bass and drums) and the ugly beauty of her lyrics and vocal delivery. To cram bitterness, rage, regret and hope into the delivery of one spiteful line is a gift only Hersh possesses.
When I saw FFW play live recently, it was notable that, despite the blistering volume and pace of the show, nobody was really moshing - they were listening and watching intently to this remarkable artist and performer.
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