The Life and Death of Mister Badmouth is perhaps the yardstick by which those who can listen to the rest of the album will be measured.
If you can listen to this track in its entirety and like it, then there is hope that you can like the rest of the album. It is perhaps the most difficult track for newcomers to get into, and avid PJ Harvey fans may find this track a little too dark for their liking. It is, however, a very strong opening track, with the sound of the drums being beaten the most prominent. It immediately reminds you that the slightly more melodic sounds of Stories from the City, Stories from the Sea (one of my favourite albums) are not present here. It’s a warning, and an insight into the dejected melancholy world that Polly Jean will bring us into, as she has done previously with Bring You My Love and Dry.
The second track, Shame, does pick up the pace in terms of the music tempo, but lyrically, is still miserable in its presentation. The depression and sadness emitted from the lyrics are only accentuated by the quickened and shorter track of Shame. I guess some could read this as a metaphor, that it needs to be got over with quickly. But I doubt it’s anything like that, other than a short, punchy track.
It immediately reminds you that the slightly more melodic sounds of Stories from the City, Stories from the Sea are not present here
Who The Fuck is one of the more angsty tracks on the album. I can’t quite remember how many times the word fuck is used, but it seems to fill the majority of the 2.05 minutes of the track. Lacking ideas, or a way to express anger? Self-reflective, or accusing? It’s hard to say, but this is by no means a bad track, it’s PJ screeching as in her earlier years. It’s great to hear her change the pace and try something more akin to the raw Harvey we have heard previously.
The Pocket Knife is perhaps fits into To Bring You My Love, fitting in with that slightly C’mon Billy feel of slow, but deathly sounds of anger and pain. It’s mellow. but lyrically, it continues the angst from the first track which is carried out through the rest of the album.
The Letter seems to, strangely, not seem too out of place on the last album. It’s an upbeat track, with a start stop sort of mentality. PJ Harvey adds more melody to this, than perhaps most of the other tracks, and is less dedicated to the minimalist approach to the album thus far. It’s loud, brash and energetic.
One of my favourite tracks is the sublime, melancholy, and slow paced The Slow Drug. It’s Harvey whispering the words, reciting poetic lyrics and the kind of track that would just drift you into a nightmarish hell, with a hint of hope. It’s wonderfully subdued and doesn’t quite start or stop, instead of drifting in and out unoticed, as perhaps the end of one track and the beginning of another.
No Child of Mine is an acoustic track that lasts just over one minute, again expressive the diversity of PJ Harvey’s ability to mix variations in style, tone, and sound and her own flexability in voice.
This is made apparent, when the following track, Cat on the Wall, plays with a harsh opening of bass, guitar and drums. It seems purposely overpowering, the bass is quite strong and blasting over the vocals. The guitars are dirty, and played with a bombing sensation, adding to the dark undertones of this track. The lyrics are both metaphorical in their expression, as well as obvious, and is another delicious track.
it’s PJ screeching as in her earlier years. It’s great to hear her change the pace and try something more akin to the raw Harvey we have heard previously
It could perhaps be myself getting older, but You Come Through is another favourite of mine, with it’s pan pipe chill out style of melody. It’s the sort of track that woudl accompany a visit to a white sandy beach, clear blue oceans, and the closest company you would want. It’s the most positive track on the album, which is saying a lot, but it is Harvey’s more gentle and beautiful tracks on the album, which in some ways provides a relief from all the harshness listened to thus far.
But don’t be mistaken, as we are taken from the heights of cloud nine, and taken back down to Earth, perhaps taking a stroll to hell with It’s You. Rumbling my speakers with an over compensation of bass, Harvey’s voice is barely audible as she breathes the words out of her mouth. Although misery continues its theme here, it is a taste of a sexier Harvey as she casually recites the lyrics, without a care in the world. It’s a reminder that at a deeper level, most of her tracks are dark, but equally sexy and alluring. The voice of a Siren, death and pleasure in the same instance. It made my spine shiver, and had me mesmerised.
A track like The End seems appropriate for the end of the album, but there are still three tracks remaining with this providing another intermission and a break from everything. Following this is The Desperate of Kingdom of Love, a three minute track, and another acoustic piece. I would love to hear her do a complete acoustic album, as I think it would be quite something with her melancholy, seductive voice playing over the strum of an acoustic guitar. If people thought only Damien Rice was able to convey emotion through his voice and guitar, they should listen to PJ Harvey – she was probably first.
Seagulls is an odd track, as it just contains the sounds of seagulls on a beach or pier, or somewhere for about one minute and tweleve seconds. I guess it adds another break, as it prepares you for the next and final track. Still, seagulls? Anyway…
The Darker Days of Me & Him is beautiful, and an apt ending to a very good return to form for PJ Harvey. It’s a story telling of sorts about the past and the present, interjected with Harvey’s voice changing halfway through to provide a more angelic flavour to the tale. It’s one of those tracks that, based on time, seem as though they should last a little while, but as you listen, it’s over. The sort of track that makes time disappear, for the better.
Although misery continues its theme here, it is a taste of a sexier Harvey as she casually recites the lyrics, without a care in the world
Uh Huh Her is a fantasic, if relatively short album. It’s hard to argue as to whether I should have paid full price for the album. On the one hand, it is short, clocking in at bearly 40 minutes. The balance is, however, fantastic. Whereas I have listened to many albums over the month that are longer in length, they have also been a touch too long, or padded with fillers, ending up poorer than they might have been. With Uh Huh Her, PJ Harvey has managed to provide the right dosage of music, with breaking tracks and the perfect album to listen to for those 38 minutes that you need to fill.
I absolutely LOVE Stories from the City, Stories from the Sea as it easliy ranks as one of my favourite albums ever. It is hard to describe the difference between that album and Uh Huh Her. The best way I can describe is, if Stories from the City… is The Bends of PJ Harvey’s career, then this album is her OK Computer. For that, there is no question as to whether I would buy this. Raw, unfiltered PJ at her most honest.
Some may be disappointed with the lack of innovation and familiarity, and perhaps the strength of the pain of this album as it seems to go one way: down into the depths of depression. That’s fair comment, and fair opinion, but although not as enjoyable as Stories from the City…, and a touch disappointing at points, it is PJ Harvey, and it is her way. You either like her, or you don’t. For those who find this album too difficult, I would listen to some of her back catalogue (Dry, Rid of Me, Is this Desire). Stories from the City… was her most alive, most polished and accessible album to date. Uh Huh Her is raw, untreated PJ Harvey.
Of course there is no bias in this review, even though I lurrrrrrrrve PJ Harvey and her melancholy ways.
Verdict: Short, punchy, full of Polly Jean angst and beautiful songs.
Tracklisting
1. The Life And Death Of Mr. Badmouth
2. Shame
3. Who The Fuck?
4. The Pocket Knife
5. The Letter
6. The Slow Drug
7. No Child Of Mine
8. Cat On The Wall
9. You Come Through
10. It’s You
11. The End
12. The Desperate Kingdom Of Love
13. Seagulls
14. The Darker Days Of Me & Him