{"id":1934,"date":"2011-03-20T09:07:56","date_gmt":"2011-03-20T16:07:56","guid":{"rendered":"https:\/\/mmusicmag.com\/m\/?p=1934"},"modified":"2011-03-20T09:53:08","modified_gmt":"2011-03-20T16:53:08","slug":"pj-harvey","status":"publish","type":"post","link":"https:\/\/mmusicmag.com\/m\/2011\/03\/pj-harvey\/","title":{"rendered":"PJ HARVEY"},"content":{"rendered":"

\"\"<\/a><\/p>\n

PJ HARVEY<\/h2>\n

<\/strong><\/p>\n

Let England Shake<\/em><\/strong><\/p>\n

[Vagrant]<\/p>\n

After years of making love songs sound like declarations of war, PJ Harvey is flipping the script. Let England Shake<\/em> is a blunt indictment of her country\u2019s past and present militarism, and while the lyrics range from mournful to venomous, the music is steady and restrained. Part of that is due to instrumentation: Harvey wrote these songs on autoharp, an instrument that doesn\u2019t exactly lend itself to hardcore thrashing. But even when she picks up the guitar, as on \u201cThe Glorious Land,\u201d she avoids the snarling blues-punk of her early albums. Instead, she and co-producer John Parish opt for a hypnotic jangle\u2014augmented elsewhere by disquieting xylophone and funereal horns. Johnny Rotten once said he couldn\u2019t have written \u201cGod Save the Queen,\u201d the song that got him labeled a traitor, unless he loved his country and was saddened by what it had become. On the violin-tinged \u201cEngland,\u201d the album\u2019s chronological and thematic centerpiece, Harvey makes that same point. \u2013Kenneth Partridge<\/p>\n","protected":false},"excerpt":{"rendered":"

\u2018While the lyrics range from mournful to venomous, the music is steady and restrained.\u2019<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[17],"tags":[196,1059,1477,1476,1245],"_links":{"self":[{"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/posts\/1934"}],"collection":[{"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/comments?post=1934"}],"version-history":[{"count":3,"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/posts\/1934\/revisions"}],"predecessor-version":[{"id":1937,"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/posts\/1934\/revisions\/1937"}],"wp:attachment":[{"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/media?parent=1934"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/categories?post=1934"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/tags?post=1934"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}