PJ Harvey
Rid Of Me

THE REVIEW

To analyze this album, it's necessary to understand the context in which it is set: it's 1993, grunge is in full swing, and the "underground" is surfacing, with Nirvana and Pearl Jam hits playing on mainstream radio. A period that many surely miss today, now forced to endure daily radio purges of Ferro and Pausini.

The artist in question, already on her second work (the more raw but no less appreciable "Dry") is undoubtedly influenced by the alternative environment of the '90s, yet she does not neglect her historical roots: it comes naturally to compare her to the legendary Patti Smith and many tracks resonate with explosive energy evidently derived from "Zeppelin-esque" influences. Moreover, our PJ isn't so far (despite using electronics sporadically) from the trend carried on by her near contemporary Bjork since the early '90s. In short, we have an artist with a broad vision, looking to the present while deeply rooted in a solid past. All this emerges in "Rid of Me."

The album begins with the title track, where a continuous and delicate guitar pluck introduces PJ's sensual and confident (almost raunchy at times) voice, which holds the listener's breath until the explosion, nearly two minutes of pure poetry in moans until the boom, which nonetheless is not too violent. It continues with Missed, a grunge ballad where everything is more tragic, harder, yet no less sensual. Legs hints at the strong influence Led Zeppelin undoubtedly had on our singer-songwriter, but it is always in that subtle mix of past and present (of then) that is truly ephemeral. Rub Til it Bleeds (a title with clear sexual indication) is perhaps the album's most sensual track, with PJ screaming and moaning, the music following her into an orgasm with its almost Sonic Youth-like distortions. The next track, Hook, is probably the one that looks most to the past, as one can easily imagine even the Doors in its distorted organ. Man-size sextet is a spectacular orchestral rearrangement experiment of the eponymous and subsequent track, truly well executed: the seductive and aggressive voice moves gracefully among strings almost "gone mad" in orchestrated "noise" schizophrenia, truly good. Highway 61 revisited, a cover of the great Dylan, is good but perhaps the least original track on the album, maybe due to the ambition of living up to the legend, but it doesn't amaze while remaining overall acceptable and moderately aggressive.

50th Queenie is a sketch of grunge with a vague country feel, spiced with falsetto choruses that only enhance the suffocating and "crazy" feeling of the artist's peculiar voice, the track ends leaving a taste of original punk. Yuri-G tries to combine nastiness with a frantic viola that sporadically appears in the arrangement but leaves a mark, "engraves," PJ's almost desperate screams well convey the spirit of the song. Man-size is probably the best track on the album, starting like the first track, subdued yet biting, but already hinting at the heart of the piece that explodes after just a minute; with truly fascinating lyrics, which leave a bitter taste, PJ wants to communicate, to become a sensual confidant of her thoughts. The track ends unexpectedly, remaining "suspended" and lingering in the mind until the end of the album, although it doesn't have a particularly catchy chorus. Dry is another grunge ballad that only breaks through to a certain point, adds nothing new. The song sounds like a Pearl Jam track sensually sung by a woman, surely impressive but perhaps of dubious sense, the pairing hardly stands and the monotonous solo doesn’t improve things, the worst track, even if it's not unlistenable. Me-Jane again tastes of country, sensual and scandalous PJ recounts, absorbed poetess, her most insidious thoughts.

Snake is short but captures in its undulating vein, speaking of a "snake"... (did she copy from our great Rettore's Kobra?!?), the metaphorical meaning of the lyrics is not difficult to interpret, aided by the screaming and presumptuous voice. Ecstasy is the most unnatural but also the most astonishing way to conclude the album. It almost seems like a ballad, but it's too desperate to be considered one. The title is definitely fitting for the song, PJ screams moaning "give me ecstasy," curses, prays submissively. But wasn't she the dominatrix, commander, and wicked until just now, what happened? PJ's been teasing us a little! It’s all a dream, a somewhat erotic, somewhat frightening fantasy she's openly shared with us, she's made us part of this wonderful nightmare, that's what she wants to tell us in the end.

Truly astonishing album, perhaps a bit harsh on first listen but should be listened to attentively and understood, it's really worth it.