This was originally part of the comment on The Dissolve’s  “6th July Essential Writings” column, and has been posted here for completionist’s sake…

I should say before beginning these entries that my knowledge of PJ Harvey boils down to practically zero. I knew that she was well respected, was the only British act to win the Mercury award twice and had comparisons made in David Bowie in terms of eclecticism. But the amount of songs I had listened to amounted to nothing. I had no idea what I was going to be listening to going in…

…and I came out loving it. Dry was released in 1992, putting its style in those awkwardly indefinable space between the already too vague genres of alternative and indie rock, and the glorified punk of Grunge (no disrespect meant). But that’s OK, because the title Dry is just as good of an explanation; there’s a mostly sparse instrumentation, and with exception of probably “Happy Bleeding” most of the riffs come from the low notes. It has extreme contrasts of loudness, not in the extremities of the Pixies but of a similar ilk (such as the final track Water), and even with PJ Harvey’s smoothest vocals clashes with the instrumentation in a dramatic and forceful way.

It is easy to give so much credit (deservedly) to the lead-woman of the trio, who shows great skill on the guitar despite lack of solos, with variations of tone such as the blues rock of “Hair”, the acoustic of “Plants and Rags” and those sliding guitar sounds in “Happy and Bleeding”. But props should also go to Steve Vaughan’s bass lines, which really help colour the dark sounds throughout the tracks of this record, and Rob Ellis’ pounding drums and varied percussion in even this sparse environment. Also credit should go to the musicians who help provide the low classical instrumentation on Plants and Rag and Dress; the latter I had no doubt why it was chosen as the lead single (and I love(d) John Peel, but it was both “admirable” and “enjoyable” throughout).

Unlike so many artists we’ve covered, PJ Harvey with her trio came out of the gate with an incredibly strong record that shows her rock and vocal talents. Can’t wait to see where it goes from here.

What do you think though?

“Oh My Lover”: A great introduction to the album, with one of Harvey’s smoothest vocals clashing marvellously with those introductory guitars. The thing that really makes this record for me is those low harmonium chords by Rob Ellis that smoothly fill out the sound of this track.

“O Stella”: My favourite part of this track is the rolling drums that pound throughout. It really pulses energy throughout this pretty short song (one of the two shortest on the track), with the exception of that effective feedback filled break. Though is it me or does the sound clip out to the next track on Spotify?

“Dress”: Probably the ‘catchiest’ track off the record (next to “Sheela-Na-Gig). The power chords and blasting percussion are perfectly accompanied by the clashing strings on the classical instruments like double basses and cellos. Also lyrically a clear and effective story of condemnation for wearing clothing exclusively for a man.

“Victory”: A song that is made by the propulsion of its bass, though those guitar licks before the outro are also damn effecting. Probably along with Joe my least favourite songs from the album, but that says nothing when of these tracks are still very good.

“Happy and Bleeding”: The aesthetic of this song, particularly at the beginning, with its light drums and repetitive guitar riffs seemed to be one that so many alternative acts would track to replicate in the late 90’s early 00’s. Longest song on the album, but never outstays its welcome

“Sheela-Na-Gig”: The greatest song ever named after a statue with an exaggerated vulva. With the exception of the bridge this is one of the greatest examples of what can be achieved with two chords.

“Hair”: The other 5/4 song on the album, and the closest the album ever gets to blues rock. The strength of Harvey’s screeching vocals with lyrics about the cutting of Samson’s hair is almost emasculating.

“Joe”: A little short and I wish its instrumentation was more varied, but those fast drums, shaking tambourines and power chord riffs that drift close to metal make this a nice shot of adrenaline before the ballad. Though those nice feedbacks from the guitars make a great outro, so most of my criticisms are extreme nitpicks.

“Plants And Rags”: These next three songs are my favourites of the album, thus making this one of the strongest endings I’ve heard. Starting off as a simple acoustic ballad manner accompanied with a rough violin riff, this then combines with the guitar to produce one the most unique sounds I’ve heard.

“Fountain”: Great tones from the light touch guitar playing at the beginning of the track. The guitar playing is great, but what makes it for me is the dual vocals from Ellis and Harvey; its dynamic is almost a reverse Sonic Youth.

“Water”: The album ends with my favourite track of the album. Pixie like dymnamic changes with Harvey’s most varied vocal performance, contrasting extended cries with staccato bellows and changes in voice as big as the guitars. It was only after listening to it a third time that I realised it was in a 5/4 time. Musically complicated without showing off about it; a beautiful representation of the whole album (Also makes me want to watch Hal Hartley’s Amateur if the music is as good as this throughout).

PJ Harvey Album Rankings.

1. Dry