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Post by AlienSexFiend on Jan 22, 2009 0:42:38 GMT -5
That's a tough call. With PJ Harvey, you never know what you're going to get.
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Post by Modern Method. on Jan 22, 2009 5:07:50 GMT -5
Yeah, hopefully she will slip in a few. I'd say a few from 'White Chalk' might get in. When you think about Harvey and Parish work on every album together so there's no reason why not.
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Post by MelancholyEcho on Jan 22, 2009 5:36:00 GMT -5
Can't wait for the new album. White Chalk is one of my favourite of hers, just because its so different to everything else she had done. But i love the simplicity of the ancient piano. Plus Grow, Grow, Grow, White Chalk, When Under Ether, Silence and The Mountain are amazing songs.
I was lucky enough to see her on her White Chalk tour; one of the best gigs I've been to (plus Mick Harvey opened for her, and he was great too).
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Post by Modern Method. on Jan 23, 2009 17:47:07 GMT -5
Rock star P.J. Harvey and dramatic character Hedda Gabler share a keen interest in shaking things up, even if the former does so in an infinitely more appealing way than the latter. “The character of Hedda is fascinating and horrifying at the same time,” Harvey says. “As an artist, I’ve always been drawn to what human beings are capable of, in how far you can push things. And Hedda pushes things to the limit.” Small wonder, then, that Harvey leapt at the chance to provide the disruptive music that adds spookiness to the new production of Henrik Ibsen’s classic ode to the ultimate psycho bitch from hell. Starring the ideally “off” Mary-Louise Parker, this production of “Hedda Gabler” opens Sunday at the American Airlines Theater. For fans of Harvey’s restless muse, the play provides an ideal extension of her brand. Though her eight albums show a flair for setting scenes evocative enough for theater or movie scores, Harvey had never worked in either medium. “I’ve wanted to do theater or film music since I first began writing music,” the artist says. “I’ve just never been approached before.” Her break came from director Ian Rick-son. Harvey met him five years ago when he was running London’s Royal Court Theater. “He gave me pointers of the kind of music he was looking for,” Harvey says. “I did whatever I felt I needed to do for his vision.” The score — which takes up the first two minutes of the play, then creepy-crawls around the starts and finishes of all four acts — centers on a hiss, a compressed signal of menace and torment. It’s the sound of seething. “I just kept coming back to that sound,” Harvey says. To achieve it, she “mashed up guitar feedback and played it at the wrong speed.” The music also features melodic piano interludes, though Harvey says she “under-cut that with something wrong in the lower end, something destabilizing. It sounds like radio static, or like things breaking down.” It’s the perfect tone for a play centered on a character whose hatred of marital conventions, and fear of her own feelings, has made her quickly run off the rails. If the result reads as extreme now, imagine how it went down when Ibsen first presented it in 1889. “In the context of the time, this was utter-ly unheard of,” Harvey says. That, of course, turned her on. The chill of the music bears a relation to Harvey’s last CD, 2007’s “White Chalk,” which presented a kind of psychosexual dreamscape. Harvey’s next album, arriving in spring, will pair her again with old collaborator John Parish. She’ll tour in May. In the meantime, Harvey has lots of other ambitions. The woman who previously wrote music for dance also paints, sculpts and writes poetry. She has been drawing so much of late that she hopes to have an exhibition of her work. And that’s not all. “I’d like to do some comedy work,” says Harvey, who rarely cracks a smile in public. “I’d love to do a show with a standup comic and music.” “I’m not sure how that would work,” she admits. “But there must be a way.” Don’t bet against her. www.nydailynews.com/entertainment/music/2009/01/23/2009-01-23_pj_harvey_hits_broadway_with_hedda_gable.html
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Post by Garbage Addict on Jan 27, 2009 6:58:08 GMT -5
I'ma have ta call her ass up and tell her the U.S. needs her over here. Hey, have you guys ever heard the Dry demos? I really like some of these tracks, especially the demos for Joe and Plants & Rags. NOOOOOOO - I only have the ROM me ones. Silly question guys, I live in the Uk desperate to see PJ live but not heard the previous Parish record, dunno if I'll like it...
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Post by Modern Method. on Jan 27, 2009 7:06:40 GMT -5
I'ma have ta call her ass up and tell her the U.S. needs her over here. Hey, have you guys ever heard the Dry demos? I really like some of these tracks, especially the demos for Joe and Plants & Rags. NOOOOOOO - I only have the ROM me ones. Silly question guys, I live in the Uk desperate to see PJ live but not heard the previous Parish record, dunno if I'll like it... You will like it! lol Go listen to 'Taut' pronto!
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Post by Modern Method. on Jan 27, 2009 7:07:29 GMT -5
Broadway's been in a whole lot of financial trouble lately. Apparently, with a recession on, nobody wants to pay triple-digits to watch Brian McKnight in Chicago, which is ridiculous. But there's a new bright, shining star in town, and she just might save Broadway. Or at least bum it out completely. PJ Harvey might not exactly be Gilbert and Sullivan, but she's still about to make an impact on Broadway, as the New York Daily News reports (via The Playlist). Harvey wrote the score for a new production of Hedda Gabler, Henrik Ibsen's ridiculously depressing 1890 repressed-rage romp. "I've wanted to do theater or film music since I first began writing music," she tells the Daily News' Jim Farber. "I've just never been approached before." According to Farber's report, Harvey's score is based on a hissing noise that Harvey made by playing guitar feedback at the wrong speed. There's also some piano in there, but Harvey says she took that piano and "under-cut that with something wrong in the lower end, something destabilizing. It sounds like radio static, or like things breaking down." Why didn't Andrew Lloyd Webber think of that? Director Ian Rickson's production of Hedda Gabler opened yesterday at the American Airlines Theater, and runs through March 29. Weeds star Mary-Louise Parker plays the title character. In the Daily News interview, Harvey revealed that she's been doing a lot of painting, sculpting, and writing poetry, and has worked up enough artwork for her own exhibit. She also dropped this bomb: "I'd like to do some comedy work. "I'd love to do a show with a standup comic and music." What! Meanwhile, Harvey and longtime collaborator John Parish will release A Woman a Man Walked By, their second equal-billing album, on March 30 via Island Records. Harvey will also tour behind it. www.pitchforkmedia.com/article/news/148736-pj-harvey-scores-broadway-play-wants-to-do-comedy
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Post by Garbage Addict on Jan 27, 2009 7:13:10 GMT -5
NOOOOOOO - I only have the ROM me ones. Silly question guys, I live in the Uk desperate to see PJ live but not heard the previous Parish record, dunno if I'll like it... You will like it! lol Go listen to 'Taut' pronto! I shall enquire about tickets - if there are any left!!!
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Post by Garbage Addict on Jan 27, 2009 7:13:52 GMT -5
Actually - question: Where are the Dry Demos located? They on a CD? I thought she only did the ROM ones on CD?
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Post by Modern Method. on Jan 28, 2009 11:50:16 GMT -5
She released the Dry demos on the record 'Dry Demonstration'. It's quite hard to get a copy of.
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Post by Modern Method. on Feb 7, 2009 14:40:36 GMT -5
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Post by Modern Method. on Feb 7, 2009 14:43:01 GMT -5
Just peeked at atforumz: www.atforumz.com/showthread.php?t=305039&page=7 "According to the release schedule posted by this guy ManicKangaroo in all the UK Music Sites (Havenforum.co.uk, UKMix.org,...) the single is out on April 6!!! PJ Harvey & John Parrish – Black Hearted Love [6th Apr]"
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Post by Modern Method. on Feb 7, 2009 14:49:42 GMT -5
New Picture!
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Post by Modern Method. on Feb 7, 2009 14:50:16 GMT -5
Another New Picture:
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Post by Modern Method. on Feb 8, 2009 16:14:47 GMT -5
Tuesday, July 1, 2008 Pj Harvey In Berlin Photo and Review Published In The Stool Pigeon
PJ Harvey / Friedrichstadtpalast, Berlin Berlin heads for the Big Exit as a coy PJ founders
Words Mark Fernyhough / Image(s) Heike Schneider-Matzigkeit
Tonight is a sophisticated all-seated affair held at one of Berlin’s plushest venues, more used to elaborate theatrical performances than howling rock’n’roll. But then this evening no rock’n’roll is witnessed. Instead Dracula’s most celebrated daughter treats us to a solo performance of subtlety and restraint.
Once hailed as the new Patti Smith, and always the shape-shifting actress, tonight PJ takes on the role of a bashful Victorian puritan, complete with archaic dress and windblown raven hair. It’s almost as if she feels that alone, minus any musical back-up, she needs to win tonight’s audience over with a show of feminine vulnerability. She giggles. She apologies. She even laughs at herself and her pre-Commodore 64 drum machine.
It’s apparent that for all her admirable flair and determination, Polly Harvey is a nagging contradiction. This is a woman who sings starkly about heartache, death and trauma, and yet with a new carefully contrived haircut to suit the mood of every album, you somehow can’t invest too much belief in any of it. Where does the biography end and the performance begin? With stars such as Bowie and Madonna, artifice is accepted, but PJ clearly strives for a higher level of authenticity. To add to the confusion, much of her allure lies in enigma. Whenever her music or lyrics get too literal or slightly less vague, the spell is broken in a jolting instant. When she bellows, “He told me straight, ‘You gotta leave, it’s getting late’ / Too many cops, too many guns, all trying to do something no one else has done,” during ‘Big Exit’, it sounds about as harrowing as a well-to-do Prada-clad English woman surveying Union Square from her hotel room. It also sees her crediting guns, which most sane people view as non-living objects, with too much artistic ambition.
Played acoustically, without the ‘avant-garde’ production techniques that killed albums such as Is This Desire?, all of PJ’s songs sound remarkably similar. Furthermore, it’s obvious that her strength lies in striking imagery and theatrical yearning, rather than stirring or memorable melodies.
On a performance level for a seasoned ‘artiste’, she seems remarkably awkward. During too much of the night, she sits playing guitar with her legs unnaturally wide open as if she’s about to give birth. A trivial complaint, perhaps, but this is PJ Harvey - a self-proclaimed take-no-prisoners-man-eating legend in her own lifetime.
During the finale, she treats us to wild-woman-of-the-Dorset-forest classic ‘C’mon Billy’. Played sparsely on a diminutive Spanish guitar, it is effortlessly wonderful. For this evening at least, though, it’s too little too late. Come on Polly, give us some true grit.
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Post by Garbage Addict on Feb 9, 2009 11:34:35 GMT -5
oh - didn't seem to like her that night.. much
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Post by Modern Method. on Feb 9, 2009 14:54:02 GMT -5
Seems like it!
Ignore this, it was an epic tour.
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Post by Garbage Addict on Feb 10, 2009 9:02:20 GMT -5
SSssh!.. some people have yet to witness the wonder on stage lol
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Post by Modern Method. on Feb 11, 2009 8:16:05 GMT -5
P J Harvey & John Parish Confirm US Live Shows We are happy to announce that Polly & John will make a whirlwind visit to the States in March ahead of their album release. They will perform at SXSW in Austin, Texas on Saturday, March 21st. Next stop will be an intimate show at LA’s El Rey Theatre on Monday March 23rd before heading to New York for a show at The Fillmore @ Irving Plaza on Thursday March 26th. Polly and John will perform songs from their forthcoming album as well as their first collaboration, 1996’s Dance Hall At Louse Point. They will be backed by a band that comprises of Eric Drew Feldman, Jean Marc Butty and Giovanni Ferrario. Tickets for the LA & New York shows go on-sale this Saturday, February 14th and are available from the following outlets: El Rey – LA, March 23rd Tickets available on-line at www.ticketmaster.com or by calling 213-480-3232. Tickets will also be available at The Henry Fonda box office which is open Monday – Friday, 10am – 6pm. The Fillmore At Irving Plaza- New York, March 26th Tickets available online at www.livenation.com or by calling 877.598.8694. Ticket will also be available at The Fillmore New York At Irving Plaza box office which is open Monday-Friday, 12pm-6:30pm and Saturday, 1pm-4pm. For information, call 212.777.6800
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Post by Modern Method. on Feb 17, 2009 7:52:34 GMT -5
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