Let England Shake
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Let England Shake
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|Vinyl, 14 Feb 2011||
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Vinyl LP pressing. 2011 album from the critically adored British singer/songwriter. Let England Shake was recorded in a 19th Century church in Dorset, on a cliff-top overlooking the sea. It was created with a cast of musicians including such long-standing allies as Flood, John Parish, and Mick Harvey. What is remarkable about Let England Shake is bound up with it's music, it's abiding atmosphere and in particular, it's words. If Harvey's past work might seem to draw of direct emotional experience, this album is rather different. It's songs centre on both her home country, and events further afield in which it has embroiled itself. The lyrics return, time and again, to the matter of war, the fate of the people who must do the fighting, and events separated by whole ages, from Afghanistan to Gallipoli. The album they make up is not a work of protest, nor of strait-laced social or political comment. It brims with the mystery and magnetism in which she excels. But her lyric-writing in particular has arrived at a new, breathtaking place, in which the human aspects of history are pushed to the foreground. Put simply, not many people make records like this.
The title of Polly Harvey’s seventh album, 2007’s White Chalk, seemed to address England’s psycho-geography by way of Dover’s iconic coastline. Perhaps that’s projection. But her eighth most definitely does. It’s a concept album, folks. Songtitles include The Last Living Rose, England and The Glorious Land, with a distinct whiff of landscape and legend. A fragile Hanging in the Wire even namechecks "the white hills of Dover". Pete Doherty doesn’t have a copyright on singing about Albion, you know.
Going by her latest photos, Harvey’s position as the alternative Lady Gaga, confounding expectations and changing hair styles at each turn, remains undiminished. This time, the black gown and headpiece screams Hel, the Norse God of the dead. And when you read the lyric sheet, death fair stares you in the face. Its first words are "Let England shake / Weighed down with silent dead"; The Last Living Rose sings of "the grey damp filthiness of ages," and it turns out "the glorious fruit of our land" is "orphaned children". Add various references – Battleship Hill, Bolton Ridge, the Anzac trench – to the disastrous Allied invasion of Galipoli, Turkey in World War One and we appear to have a psycho-geographic lament around the perils of colonialism and the ravages of war that resonate right up to the present.
As a backdrop to this brutal battlefield, Harvey has shifted from White Chalk’s gaunt piano ballads to a broader sound that is no less feverish and close to the bone. Imagine a minimalist take on her debut album Dry’s folk-blues tilt, all urgent and wiry rhythm. It’s recorded mostly live with multi-instrumental support from the long-serving John Parrish and (former Bad Seed) Mick Harvey. But there are subtle additions; the signature horse’n’ hounds bugle leading the hunt is woven into a shifty The Glorious Land, the Bulgarian women’s choral wail (shouldn’t that be Turkish?) on the otherwise skeletal England. There is a playful reference to Eddie Cochran’s Summertime Blues via "what if I take my troubles to the United Nations?" into a skiffle-shaped The Words That Maketh Murder; but this is categorically a sad, despairing album. It ends with The Colour of the Earth, where a host of male voices (including the band) and Polly recall a soldier cut down in action and now "nothing but a pile of bones".
Ah, Earth, so much to answer for. But thankfully we have PJ with another fearsomely creative, emotional record to lead the resistance. God bless unique, unfathomable, great Queen Polly.
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Looking forward to buying many more PJH LP's
PJ in 2011...she has not lost her touch as there are fab tunes here....