Kristin Hersh in New Orleans, 2010
August 7, 1966 |
Atlanta, Georgia, United States
|Genres||Alternative rock, folk, pop|
|Occupation(s)||Musician, songwriter, author|
Sire/Reprise/Warner Bros. Records
|Associated acts||Throwing Muses, 50FootWave|
Kristin Hersh (born August 7, 1966) is an American singer, songwriter and author, known for her confessional songwriting style in her solo work and with her rock bands Throwing Muses and 50FootWave. Her guitar work and composition style ranges from jaggedly dissonant to traditional folk. Hersh's lyrics have a stream-of-consciousness style, reflecting her personal experiences. As an advocate of independent collaboration, much of her music has been released on independent labels and online.
- 1 Early life
- 2 Musical career
- 3 Themes and style
- 4 Author
- 5 Personal life
- 6 Solo works discography
- 7 Publications
- 8 References
- 9 Sources
- 10 External links
Hersh was born in Atlanta, GA and moved to Newport, RI when she was six. Her father was a professor at Salve Regina College and her mother a special educational needs teacher. She was interested in music at an early age and wanted to learn guitar chords so her father gave her a guitar when she was nine. Her parents separated when Hersh was 11 and her mother married the father of her best friend Tanya Donnelly. Hersh talked Donnelly into starting a band, then called The Muses when they were 14.
Throwing Muses and early solo work
Throwing Muses was formed in 1983 when Hersh and Donelly were freshmen in high school. Friends from school, including Elaine Adamedes, Becca Blumen, Leslie Langston and David Narcizo, were part of the group with Narcizo becoming a long-term member. Hersh initially wrote and sang most of Throwing Muses' songs, often in changing tempos. Donelly also contributed songs and lead vocals.
Hersh attended Salve Regina University, majoring in archetypal psychology and philosophy, and the Rhode Island School of Design, but dropped out shortly before graduating to establish the band in Boston, MA, where they had been playing on weekends. They were signed to 4AD, the first American group to be signed on the British label, and released their first EP Chains Changed in 1986. Two releases followed, The Fat Skier and the album House Tornado. The 4AD Throwing Muses biography describes its sound at the time as "... joining the dots between elliptical post-punk, harmonious folk jangle and rockabilly thunder without ever settling into standard genre patterns." For the Muses 1986 UK tour, the Boston-based Pixies, embarking on their first European tour, was the opening band.
The band signed a U.S. deal with Sire/Reprise Records in 1987 and began touring the U.S. and Europe while recording albums, with Hersh writing most of the songs. The band became a trio when Donelly left the group after 1991's The Real Ramona.
In 1994, Hersh began an additional career on Sire/Reprise and 4AD as an acoustic solo performer, beginning with Hips and Makers, an album sparsely arranged around her vocals, guitar, and a cellist, in contrast to the volatile, electric sound of her band work. Michael Stipe of R.E.M. made an appearance on this first solo album. After receiving some airplay and major media coverage for the Muses album University in 1995, Hersh moved to Rykodisc for the band's 1996 album, Limbo, and released her solo album, Strange Angels in 1998.
To better control her career and the distribution of her recorded material, she created the ThrowingMusic label with then-husband and manager Billy O'Connell in 1996. This enabled her to co-release some of her projects, including an ongoing download-subscription service called Works in Progress (WIP) for releases available through the label's website. Hersh continued to offer her solo releases online, releasing "Sky Motel" in 1999.
By the mid-90s, David Narcizo became Throwing Muses' permanent drummer, still playing in the band whenever they tour. Throwing Muses functions as a noncommercial musical enterprise, focusing on touring over record sales and airplay. In a 2014 interview, Hersh stated, “As far as I’m concerned, music is not a commodity. It’s something that people have earned by being human. They have a right to hear it, and a right to share it, as they always have in churches and parties. That’s how music happens.”
2000 to present
In 2001, Hersh released the Sunny Border Blue solo album, on which she again played nearly all instruments. She described the album as having even more intensity than her previous works, as she continued her pursuit of songwriting as being in part a way to transform "ugly feelings" into art. She also collaborated further with like-minded alternative artists like Vic Chesnutt, Willard Grant Conspiracy, Grant Lee Phillips, and John Doe.
In 2003, she released The Grotto, an acoustic solo album of song sketches with personal lyrics set in Providence, RI, with Andrew Bird on violin and Howe Gelb on piano. On the same date a self-titled album by Throwing Muses was also released, the first since Limbo. Both were recorded at Steve Rizzo's studio in Rhode Island. When Narcizo was unable to tour on a full-time basis due to other commitments, Hersh formed her power rock trio 50FootWave. Her touring appearances and recording efforts in 2004 and 2005 centered around both 50FootWave and her solo career.
In 2007, Hersh released her first solo album in four years, entitled Learn to Sing Like a Star and launched CASH Music, a subscription-based, direct-to-consumer website. Subscribers support Hersh's output and receive albums and print releases, downloadable content, and guest spots for live shows. 50FootWave's EP Power+Light was released on the site in 2009.
From 2009 on, Hersh was involved in several projects—a second collection of Appalachian folk songs, The Shady Circle and a series of new free tracks, released on CASH Music. The album Crooked was released as a downloadable album and hardback book containing essays about each track.
Throwing Muses reformed in 2013 and released Purgatory/Paradise, a 32-track album accompanied by a book designed by Narcizo, who works as a graphic designer. The book features photos, artwork and lyrics by Hersh. It was the band's first release in ten years.
At this point in her career, Hersh's output was independently released online. She expressed that she wanted a complete break with the music industry, stating, "Because we differ from the recording industry ethically, we had been asked to dumb down our product so many times. I have been asked to act and look like a bimbo so many times and I just decided, 'I’m not going to turn my back on my music. I’m not going to turn my back on women.' We’re morally bound to not participate in the traditional recording industry because we disagree with it. So we continue to play music, which has nothing to do with the music business."
Themes and style
Hersh's vocal style ranges from softly melodic to impassioned screaming. A few of her songwriting subjects have included childbirth ("Hysterical Bending"), love ("Tar Kissers", "Lavender"), surreal vignettes ("Delicate Cutters", "Fish"), death ("Limbo"), emotional anguish ("The Letter"), loss of custody of her first son ("Candyland"), and the shedding of a relationship's anxiety ("Snake Oil").
Simon Reynolds in The New York Times pointed to Hersh's "mesmerizing" explorations of "rage, aggression and mental chaos" as evidence of female rock artists of the early 1990s pushing against gender role boundaries to express "more than simply vulnerability or defiance" in their work.
Ann Powers, also in the Times, wrote of Hersh's musical style: "Her plastic, sometimes obsessively circular song structures emphasize staggered rhythms and extreme dynamic shifts, and her voice, a carnal cry that pushes through her body gathering up air, lends her often oblique lyrics an oracular veneer."
Hersh has said her parents' album collections, featuring Patti Smith, the Carter Family, Stevie Wonder, Robert Johnson, Talking Heads, The Clash, Steve Miller, The Beatles, Philip Glass, and traditional music all influenced her when she was growing up. Among her early contemporary musical influences are The Raincoats, Talking Heads, Violent Femmes, Meat Puppets, Dead Kennedys, Hüsker Dü, Velvet Underground, R.E.M., and X.
Hersh's illustrated children's book Toby Snax was published in 2007 and further developed in 2011 as an interactive app for children. The app allows children to hear her read the story out loud and features her recordings of lullabies that she learned as a girl in Tennessee.
Her 2010 memoir Rat Girl (published in the UK as Paradoxical Undressing) is based on a diary she wrote when she was 18, touring with Throwing Muses, diagnosed with bipolar disorder and pregnant with her first child. Rob Sheffield in The New York Times called it an "uncommonly touching punk memoir," and named it #8 in Rolling Stone's "25 Greatest Rock Memoirs of All Time."
Hirsh's 2015 memoir, Don’t Suck, Don’t Die: Giving Up Vic Chesnutt, is a rumination on her friendship with the late singer-songwriter Vic Chesnutt. She cites him as one of her songwriting influences with his "fluid timing and the grace of a melody that breaks the rules of meter."
Hersh was married to her former manager Billy O'Connell for 25 years until they divorced in 2013. She has four sons.
Hersh has talked openly about her bouts with mental illness and its role in her musical process. A car accident at age 16 while she was riding her bicycle gave her with a double concussion that affected the way she heard sounds. She described it as hearing ambient sounds continuously and "...the sounds would alter their sonic vocabulary until I was hearing syllables, and drums. And then all these words would come.” She's stated that hearing "pieces of songs" in her mind compelled her to take the pieces apart and craft songs from them. She also claims that she doesn't remember writing her early songs—that "they wrote her."
She's had more than one diagnosis (and misdiagnoses) for her condition, including schizophrenic disorder, bipolar disorder, and most recently post-traumatic and dissociative disorders, which she says have been successfully treated with Eye Movement Desensitization and Reprocessing (EMDR) therapy.
Solo works discography
- Hips and Makers – 1994
- Strange Angels – 1998
- Murder, Misery and Then Goodnight – 1998
- Sky Motel – 1999
- Sunny Border Blue – 2001
- The Grotto – 2003
- Learn to Sing Like a Star – 2007
- Speedbath – 2008 under Creative Commons License
- Crooked – 2010
With Throwing Muses
- "Wave of Mutilation" (Pixies) - American Laundromat Records, High School Reunion: a tribute to those great 80's films!, 2005
- "Like a Hurricane" (Neil Young) - American Laundromat Records, Cinnamon Girl: Women Artists Cover Neil Young for Charity, 2008
- Hersh, Kristin (2007). Toby Snax. Delicate Press. ISBN 978-1934703014.
- Hersh, Kristin (2010). Rat Girl. New York: Penguin Books. ISBN 978-0143117391.
- Hersh, Kristin (2015). Don't Suck, Don't Die: Giving Up Vic Chesnutt. Austin: University of Texas Press. ISBN 978-0292759473.
- Strauss, Neil. (March 9, 1995). "My So-Called Double Life: Kristin Hersh of Throwing Muses Finds the Common Ground Between Motherhood and Rock & Roll," Rolling Stone. Retrieved on July 5, 2016.
- Lewis, Judith. (March 11, 2004) "Faster, Louder, Harder," LAWeekly, Los Angeles. Retrieved on July 1, 2016.
- Throwing Muses Biography 4AD Artists. Retrieved on October 20, 2015
- Appearances Archive 1985-1989. KristinHersh.com. Retrieved on July 6, 2016.
- Erlewine, Stephen Thomas (2003). "Kristin Hersh," AllMusic Artist Biography. Retrieved June 27, 2016.
- Freydkin, Donna (August 19, 1999) "Kristin Hersh checks into her Sky Motel," CNN Interactive. Retrieved on June 27, 2016.
- London, Larry (26 February 2007). "Kristin Hersh Releases New CD". VOA News. Voice of America. Retrieved 1 January 2009.
- CASH Music
- Pan, Arnold. "'A Keyhole View of Our Goofy World' - Kristin Hersh on Purgatory / Paradise," PopMatters, 21 November 2013. Retrieved on October 20, 2015.
- LWhitmore (December 4, 2013) "Guitar Girl’d: Interview with Kristin Hersh of Throwing Muses on New Release, 'Purgatory/Paradise'," Guitar World. Retrieved on July 6, 2016.
- Reynolds, Simon. (February 9, 1992) "Belting Out That Most Unfeminine Emotion," New York Times. Retrieved on July 5, 2016.
- Powers, Ann (August 31, 1999) "Surreal Visions From a Poet of Terror and Revelation," The New York Times. Retrieved on July 5, 2016.
- Becker, Emily. "Kristin Hersh Brings Talent To iPad Book For Kids," AppAdvice, June 29, 2011. Retrieved September 30, 2015.
- Pollock, David. (14 November 2011) "Throwing Muses, Oran Mor, Glasgow," The Independent. London, UK. Retrieved on July 1, 2016.
- Sheffield, Rob. (October 8, 2010). "Punk Days," "The New York Times Sunday Book Review." Retrieved on July 12, 2016.
- Sheffield, Rob. (August 13, 2012) "The 25 Greatest Rock Memoirs of All Time," Rolling Stone. Retrieved on July 12, 2016.
- Mistich, Dan. "Kristin Hersh Remembers Vic Chesnutt in Story and Song," Flagpole, Athens, GA, September 30, 2015. Retrieved September 30, 2015.
- Duerden, Nick. (October 19, 2013) "How Throwing Muses' Kristin Hersh found her own muse of peace," The Independent. London, UK. Retrieved on July 5, 2016.
- Vincent, Peter. (May 30, 2014) "Ex Throwing Muses alt-rock icon Kristin Hersh says her multiple personality wrote her music," The Sydney Morning Herald. Sydney, Australia. Retrieved on July 5, 2016.
- "Kristin Hersh Discography". Soundbug. Retrieved Dec. 2, 2004.
- American Laundromat Records. Retrieved on June 27, 2016.
- Evans, Liz (1994). Women, Sex and Rock 'N' Roll: In Their Own Words. Pandora. ISBN 0-04-440900-1.
- Post, Laura (1997). Backstage Pass: Interviews With Women in Music. New Victoria Publishers. ISBN 0-934678-84-7.
- Shirley, David (November/December 1991). "Cracking Up Is Hard to Do: The Break-ups (and Breakdowns) of Throwing Muses". Option.