We're so lucky to have her gift of music. They make the perfect team. Joining her in the studio were longtime friends and collaborators Mick Harvey (no relation) and John Parish and producer Flood. They account for about 50% of the attraction for me. Reviewed in the United States on March 2, 2011.

With Let England Shake, PJ Harvey has issued a deeply patriotic yet not jingoistic paean to an England that is seemingly fast dissolving as a power into a multicultural mediocrity. It has been very interesting to digest all of her music, chronologically, and in this short period of time. Addressing the tragedy of the Iraq conquest through an English prism, these songs gives parallax views of both America and the middle east. After all, Harvey did premiere the title track on The Andrew Marr Show in front of Gordon Brown – lest we forget, the bankroller of the Iraq war and the man accused of ill-equipping British forces in Afghanistan. Reviewed in the United States on June 14, 2014. There seems to be some disagreement about whether PJ Harvey lost her touch by the mid-90s (after an album or two) or whether she is actually getting better with age. Of course, Harvey offers no solution. Harvey's music started out as a kind of spiky, post-Beefheart blues, but this song finds her taking firm root in the English folk tradition. Also, the video is not anamorphic. The songs are sparse but rich, with powerful lyrics describing the horrors of war from the perspective of the young soldiers who are slaughtered in them. Several of the songs are about the bloody 1915 battle of Gallipoli, based on the book "Voices of Gallipoli." Rarely, indeed, does pop music manage subtlety, beauty, and delicate irony in the service of commentary on world affairs. This is music for the soul! Music and short films in a perfect combination. Reviewed in the United Kingdom on April 18, 2014.

Reviewed in the United States on October 14, 2014. What other rock artist of our time has devoted an entire album to the condemnation of war with such emotion? To me, nothing will rival TBYML, but this is an amazing disc in theme and production. I listened to this album/disc when it first came out and read all the raves about how brilliant it was IF you are English. As befits its title, there is a whole lotta shaking going on on PJ Harvey's eighth album.

Strangely it being a little more "produced" I could see this being a little difficult for a long time PJ fan to accept after the first listen but it is all her. Odd but true. It also analyzes reviews to verify trustworthiness. The odd thing here is that, regardless of what this page claims, the sound is not 5.1. After viewing product detail pages, look here to find an easy way to navigate back to pages you are interested in. Reviewed in the United Kingdom on August 2, 2018, I have the record and really enjoy it. i had read about her somewhere, i'm sure, and my first cd was "uh huh her." She notes the arms and legs in the trees, the colour of blood on sand and the scent of thyme on the wind all commingling. The subject matter of the album, makes this different than other PJ Harvey albums. First to quake is the assumption that Polly Harvey is foremost an artist of the interior, mapping the jagged peaks of desire and the boggy ground of memory.

The sound is resonant, and features Harvey, Jon Parish, Mick Harvey, and Jean-Marc Butty. This page works best with JavaScript. But the payload of grief on Let England Shake is made infinitely more bearable by music that really shakes, too. To calculate the overall star rating and percentage breakdown by star, we don’t use a simple average. Let England Shake leaves behind the haunted psycho-geography of Harvey's native Dorset, rendered so exquisitely on her last album, White Chalk, and deploys her to an entirely new arena.

But the album's one questionable move is the skank of "Written on the Forehead" – it interpolates "Blood and Fire", a roots reggae tune by Niney the Observer, in a way that feels a touch tokenistic.


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