CONCERT REVIEW ALL EYES ON POLLY JEAN HARVEY
In the Berlin Spandau Citadel play PJ Harvey and her nine-piece band an impressive concert - just might have someone to darken the sky.
Everything is bright and blue and smells of June when Polly Jean Harvey with her nine-piece band feeds with marching drums and timpani. Nothing against daylight, the eighties also are long gone. And the courtyard of the distant fortress in western Berlin can be quite a well secluded as apt place for rock and medieval rock couples in particular, which today are the majority here. But if there is nothing else there at this as imposing event something to complain about, then the place.
In PJs band legends and luminaries play like Mick Harvey (ex-The Bad Seeds), long-term Kooperateur John Parish, the omnipresent baritone saxophonist Terry Edwards, Alain Johannes (Queens Of The Stone Age, etc.) and James Johnston (Gallon Drunk). The gentlemen in dark suit take on their big instruments with which probably also Brian Wilson SMILE could perform faithfully, Polly in their midst. The artist contributes to ankle leather mini, about a shimmering spring cocoon. Everything raven black bird to the mighty eye make-up.
Your presence. It is something from there. All eyes on Polly. No moment without body tension. She has mastered the art behind the microphone stand to stand around without a second stand around. And she dances also still, tripping, stalking, sneaking in itself, is a snake, crouching in the undergrowth, painted with free hand and whole arm additional notes and underlining in the air, turns his head from here to there with a sudden jerk and big eyes. The too much theatricality highlights the fictional character. And as she sings. It applies not just any sound, but also each of their roles she has assumed in the last 25 years and internalized.
Your great musicians round there is no need for the force, but rather for the finely differentiated sounds, the polyphonic interplay which in its native Sessions character counterpoint is to last so very conceptual become consciously lifted work Harveys. And at the end, just the second title with the older titles - three pieces of TO BRING YOU MY LOVE treated, the rest is but neglected - but then also for the force.
Men who sing so, have long been bent toward the abyss.
Particularly impressive, although not always blended punchy enough for the whole farm: the three saxophones. And the sonorous male voice choirs, where pride and fatalism celebrate a desperate marriage. Men who sing so, have long been bent toward the abyss. How is ever encountered again and again in this concert that PJ Harvey is not only one of the major contemporary forces of the Blues, when it comes to fill this vessel with new content. But it lands in search of the urgency expressed again and again during the gospel without actually want to "black" sound. But just the technique of amplification by polyphonic repetition we know thence - and she makes a call-and-response chorus such as "What is the glorious fruit of our land? It's fruit is deformed children "from" The Glorious Land "also a highlight of the concert. The bitterness.
Only if again someone asks why the songwriters would not occur to the current situation in the world: The pieces of PJ Harvey's latest albums THE HOPE SIX DEMOLITION PROJECT and LET ENGLAND SHAKE are perfect protest song material . Just not from the Pete Seeger school. They instead offer plenty of space for your own interpretation. But who does not ascribes the listeners the corresponding maturity, can make 2016 even ridiculous. And who the impotence not with maps that inevitably sets in view of Polly's look at the world in continuous state of war and injustice, too. That Polly Jean such political song just like a dipped in ink Waldwesen from the "Midsummer Night's Dream" points out, makes things even more exciting: fractures burn on. However, one should be able turn reflect the light in such a performance.
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