Date: Sat, 20 Jul 1996 18:49:00 EDT From: Dez (100702.123@COMPUSERVE.COM) Subject: Limbo Review So, a few impressions of 'Limbo'. Like most veteran Muse-heads I found 'University' a fairly major disappointment. There were classic songs there, but too many that weren't, and it sounded all too - I dunno - uninvolving. It's best moments were wonderful, of course. 'Shimmer' and 'Hazing' - absolute classics. So was it an aberration, or the sign of a decline setting in? 1 - Buzz. Crunchy Muses, great song, with a nice violin coda. Possibly the closest thing on the record to 'House Tornado'-era stuff. 2 - Ruthie's Knocking. A wonderful piece of Kristin-pop. A kind of spiritual sister to 'Bright Yellow Gun', though not as manic. 3 - Freeloader. Another great song, with a couple of acoustic-ish guitar breaks, like it's almost going to break into 'Two Step' in the middle. 4 - The Field. Hammond organ alert. Well, it's kind of buried in the background, really. A fourth brisk-tempo song in a row, but probably the least memorable thus far. 5 - Limbo. Fuck, this is a brilliant track. It's got that sexy gyrating rhythm that epitomises the best Muses tracks, and some shit-hot guitar. It fades about six minutes too soon though. Loping - nobody else can do this stuff like this lot can (am I babbling?) 6 - Tar Kissers. I haven't really said anything about the lyrics yet. 'Kissing you's just like kissing gravel.... You look so much better upside down'. Those lyrics that have sunk in so far are possibly less obtuse, but still recognisably Kristin - and still ace. I like Tar Kissers a lot too. 7 - Tango. The first average song so far. 8 - Serene. "Why do I like you, 'cause I do ....why do I like you, 'cause I'd kill to be you". A kind of fast ballad, if that makes sense, with cello accompaniment. It wouldn't sound out of place on 'Hips And Makers'. It's a superb song. 9 - Mr Bones. There's a bit of guitar near the beginning that sounds for a second like the heavenly guitar on Pixies' 'Bird Dream Of The Olympus Mons'. A mid-tempo song. 10. Night Driving. The longest song on the album, with cello. I don't know who plays the cello on this album - I would guess it's either Martin McCarrick or Jane Scarpatoni (not that I can tell that from their playing - I'm no musicologist). I reckon that this could well have been written for either Hips And Makers, or the next solo album. It kind of has the same feel as her solo stuff. 11. Cowbirds. As you've probably noticed, I find describing Kristin's songs near impossible. There's something about her best ones that sounds completely different to anything by anybody else. Cowbirds is an average Muses song. 12. Shark. Won't get playlisted on the radio. Won't sell to anybody but the converted. But this is an immense single. It's a brilliant way to close the album... only it doesn't. 13. Uncredited track. Presumably this isn't just on the French promo, but will be on all copies. 'Come clean on the white bikini sand. Hold me on the white bikini sand'. It's a short acoustic track - stand-up bass, cello and hand percussion - with a very minimal guitar solo to close. A nice way to end. In conclusion, Limbo is the best Throwing Muses album since the first one. It's a really heartening return to form - much better than I'd dared hope it would be. Album of the year? Ask me in December, but possibly, yeah. - Dez Date: Sun, 21 Jul 1996 23:13:03 +0200 From: Frank Brinkhuis (frankbri@PI.NET) Subject: Re: Limbo Review The 13th track is called 'White Bikini Sand' (that's what the insert of the advance tape says). Frank +++++++++++++++++++ Frank Brinkhuis frankbri@pi.net +++++++++++++++++++ Date: Tue, 20 Aug 1996 09:55:09 +0100 From: Andrew Norman (nja@LEICESTER.AC.UK) Subject: Hot Burrito, Muses, Germano and other stuff Limbo - Listened to it once, seems pretty good though there are occasional moments when it could be by any alternative rock group. There was something special about the interplay between Hersh, Narcizo, Donelly and Langston, and that has all but gone now that they are a three-piece. Hidden track - WHY???? This "hidden track" thing was interesting for about thirty seconds when I first came across it, but it's just stupid these days. Does the thirteenth track not merit a name? Are they so ashamed of it they don't want it listed on the CD cover? Are they superstitious about the number 13? It's one of the better songs on the album to my ears, so why try to hide it? Date: Wed, 21 Aug 1996 10:22:45 +0100 From: Andrew Norman (nja@LEICESTER.AC.UK) Subject: Re: Babies make yer dumb Simon Hughes wrote on Wed, 21 Aug 1996 (Subject: Babies make yer dumb) > Rob wrote: > > > I agree with you about throwing muses. I like them so much > > better with langston and donelly. Throwing muses has gotten > > horribly boring. (it must be all those babies she keeps > > having).. "motherhood means Mental freeze!" > > Ooh ooh, I object to that. I think the change in the Muses can't be simply blamed on Kristin's fecundity. The "mark 1" Muses had an interesting blend of talents - Kristin was a lot wilder (and I can't say I'd want her to go back to having severe mental problems just to make her song composition more interesting), Tanya gave a sweeter, more conventional angle, Leslie's bass playing was far more interesting than either of the subsequent bass players, and David's drumming was more rigid - which made it better in the context of the other musicians. He is probably a "better" drummer these days, but less individual. Also, much of the recent stuff is predictable - verse, chorus, verse, none of those sudden moments when the songs would collapse and hurtle off in another direction. Early TM records seemed to be much more a collaboration between four individuals, whereas the new stuff is a saner, more mainstream Kristin with two backing musicians. -- Andrew Norman, Leicester, England 21/08/96 nja@le.ac.uk, http://www.engg.le.ac.uk/staff/Andrew.Norman/ Pulp - His 'n' Hers Date: Wed, 21 Aug 1996 12:32:20 -0400 From: Rich Holtzman (Richieis1@AOL.COM) Subject: Muses Bad? Wow, if there was one band that had integrity far above anyone else's I thought it was the Muses. Bernie is a much more dynamic and technical bassist and for christ's sake he can groove like nobody's business. David is still the best drummer in rock music. Though sometimes I do miss the cymbal-less drumming of the early days. And Kristin? I think she should be beyond criticsim. You are talking about one of the most credible and dedicated artists around. She makes music and that is all. She won't sell out her art. If there is anyone who could write a hit single, it is Kristin. One song is all it would take , but she refuses to do it. She does not play "Dizzzy" anymore because it is probably the only formula song she ever wrote. Finally, to say that babies and her "mental state" have "ruined" her music is not only wrong, it is also downright cold and heartless. I am sure having a baby would be the most profound moment in life, I would think it would only stimulate thought and introspection. Until that day happens to me I don't think I can really comment on the effect it would have, except that I am sure it would be enlightening Date: Sat, 21 Sep 1996 14:33:02 -0500 From: Lysa Bellott (dijit@NS.ACADIACOM.NET) Subject: Re: review purgatory - 'Limbo' On 20 Sep 1996, einexile wrote, >Could someone please review or forward me reviews for the new >Einsturzende Neubauten and Throwing Muses albums? OK. Don't know much about Einsturzende Neubauten, but the new Throwing Muses album 'Limbo' is FANTABULOUS! Where 'University' was in your face, 'Limbo' is in your head. Its edge is that it has no edges, no bold, stark lines, quite seamless really. Maybe that's why it's called 'Limbo'--it's neither here nor there. It's got a more relaxed, cooler feel to it. Many of rocking-est songs on 'Limbo' are going at it full speed and then they suddenly break down for a few measures to just Kristin and guitar, like a cool-down session, and then it winds up again. It works! There are big fuzzy guitar sounds on this album that are used more for texture than effect. The guitars are obviously less twangy, hence darker sounds. Kristin's voice is a bit subdued too. It's airy and not as harsh. There is also some experimenting with her voice; it sounds slightly treated on "Tar Kissers" and "Tango" (in spots). I love Kristin's voice for letting frailty and strength to coexist in one breath. There are only two ballad-like songs on the album, the quite beautiful "Serene" and the hushed "Night Driving". The others either rock or fall in the middle-ground of Kristin's psyche somewhere. Speaking of which, the lyrics are still as eccentric as ever with lines such "Thank you for chaining me to the bed. That was sweet." (Tango) "I never asked you to pay my rent. Jee-Zus Christ, my lips are red." (Cowbirds) The lyrics aren't printed on the sleeve which is an annoyance for some. I don't mind, though. This album also has a hidden track (White Bikini Sand) 30 seconds or so after the last track (Shark). The song is minimal Kristin, minimal strings, and minimal percussion. Very compelling. Not only do you get great sounds with 'Limbo', but visuals as well; it's an enhanced CD. Pop it into your CD-ROM and you've got a video-taped performance of "Ruthie's Knocking". 'Limbo' still has the familiar hooks, strange lyrics, and western sounds that I've come to love and expect from the Throwing Muses, but it presents these in a not-so-obvious, almost impressionistic way. If you are a TM fan in any way you have to have 'Limbo', if you are curious about TM 'Limbo' is a definite RECOMMEND. Lysa