By Sophie Isbister (Opinion Editor) – Email
PJ Harvey dislikes repeating herself. That’s why her 8th studio release, Let England Shake, is best reviewed apart from her body of work. In fact, England stands apart from all other alternative rock; its aggressive beauty-in-the-face-of-darkness stance takes a refreshing look at concepts of war at home and afar.
Gentle and insistent, the beats and melodies on England have a timeless quality, as though Harvey’s new sound has been steeped in a maturity that comes from the time period she is referencing. The album is about war in general and World War I in most specific instances. Harvey evokes a dreamy 60’s sound, which is strongly evident on the first and title track that kicks the album off with an apocalyptic-sock-hop melody. The insistent and gently clanging beat, influenced by traditional folk, is the perfect backdrop for her airy and echoing vocals.
The album, written over the course of two and a half years and recorded in a 19th century church in Dorset (Harvey’s home county), is a personal album that reflects Harvey’s relationship with her home country – directly referenced in song titles such as “England,” “Let England Shake,” and “The Glorious Land.” At the same time, the album speaks about universal concepts; songs such as “The Colour of the Earth,” with lyrics like “Later in the dark / I thought I heard Louis’ voice / calling for his mother then me / but I couldn’t get to him” could apply to any wartime friendship.
It’s clear that Harvey’s intent on the album is to reference themes in a way that allows the listener to insert themselves into the songs; she wants the tone and feeling to wash over our bodies and the lyrics to inform our minds with vibrant concrete images to enforce her themes.
While some songs on the album reference specific battles and political decisions (including the Gallipoli campaign of World War 1 and England’s involvement in the Afghanistan war), the real emphasis should be placed on the feeling and atmosphere created by Harvey and her team. If Harvey’s goal was to have her subtle lyricism seep through tight instrumentals and sneak up on the listener, she has more than succeeded with Let England Shake.
The sixth track, “On Battleship Hill,” is so well masterminded that you al-most don’t notice Harvey’s voice, floating clearly through speakers, singing “Cruel nature has won again.” She croons the lyrics so sweetly and softly over a soothing autoharp that it’s a hard juxtaposition to think that such a beautiful and evocative song comes from a 1915 military campaign with over 43,000 allied troop casualties. Harvey’s spare lyrics say so much while saying so little, creating a musical atmosphere with simple lines, such as “the land returns to how it’s always been / thyme carried on the wind / jagged mountains jutting out / cracked like teeth in a rotten mouth.”
The vocalization on the track “England” demonstrates Harvey’s varied range of sound; her voice crackles as she practically moans the refrain: “England… you leave a taste. A bitter one. I have searched for your springs, but people they stagnate with time.” The sentiment of this song sums up the sentiment towards war and violence that comes through clear on the whole album; it leaves a bitter taste. The songs, however, leave anything but. Let England Shake listens like a slow war march – like a call to arms for pacifists everywhere, except Harvey’s weapons lay in her ability to create musical genius.
