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Weak for their standards
on 3 January 2010
It's quitte difficult to convince someone today how important have the Throwing Muses been for rock - female and in general - throughout the 80's and the early 90's when never did important numbers of people buy their albums . Still , one could say it was meant to be that way and they were destined to become a cult secret between eclectic music listeners , all fascinated by dark things . Maybe then it's because of the fact that their music initially needs some extra energy and patience to get into . Occasional cd buyers who help Bon Jovi and Lenny Kravitz conquer the charts every now and then or people who listen music once in a while , during a ride in the car simply won't get what this band is about . Downloading isolated tracks for the internet simply won't do either . You have to buy their stuff , study them . Once you see the whole picture though you'll instantly get hooked .
Limbo now , is actually album number eight for the Boston band . Kristin Hersh had nothing to prove to nobody . Childhood friend David Narcizo was still on the drums sit . Ex guitarist Tanya Donelly was preparing for the release of her first solo album . Bassists Leslie Langston and Fred Abong had deceided to continue their lives outside the music business long time ago . Bernand Georges was now playing the four-chord instrument . In past efforts the Muses combined that sense of madness that had always been their trademark with power ( " University " ) , sorrow ( " Hunkpapa " ) and ethereal nature ( " The Real Ramona " ) . On Limbo they sound plain schizophrenic .
Many fans who adore them will simply be satisfied by watching Hersh , a strangely happy woman perfoming a grey, unhappy rock song in the video clip of " Ruthie's Knocking " . " Tango " ' s lyrical agenda ( " thank you for chaining me into bed / that was sweet " ) and cold , impersonal vocals are indicative of the record's mood . Not that the energy is not once again here and there are many good ideas to notice ( you would never have imagined how well a cello could fit in a rock tune like " Buzz " ) . You can tell that the songwritting is strong and that there's something special in there but often , it's simply unpleasant listening .
In conlusion , " Limbo " suffers from the same things which made Belly's " King " so problematic in the first place : it deserves respect for sounding messy by choice and carries the power of the mysterious personallity behind it but lacks the overall power to make it matter outside the artist's fanbase