In the late 80’s / early 90’s Throwing Muses were central to the American college-rock scene, which spawned the likes of The Pixies and Belly, signing with 4AD records and touring widely throughout the US and Europe. Since then, singer Kristen Hersh’s career has alternated between full band albums, this is their 11th, and multiple solo albums and side projects including a series of books such as the bravely confessional ‘Seeing Sideways’.
Moonlight Concessions is the bands first album since Sun Racket in 2020, and only their fourth this century. Produced by Kristin Hersh at Steve Rizzo’s Stable Sound Studio, it offers a more stripped back sound than many of their earlier albums, such as Real Ramona and University, in an attempt to get “back to basics”. Much of the album is built acoustically, underpinned with cello and violin as well as, regular drummer, David Narcizo’s subtle percussion and Bernard Georges subtle bass lines allowing Hersh’s guitar to lead the album.
However, whilst their star may have fallen, in terms of sales and influence, the quality of what they deliver remains high. At their peak they opened for REM at Wembley Arena whereas Kristen Hersh’s 2023 tour consisted of small tucked away venues, I had the pleasure of seeing her at a small community centre in Oxford and wouldn’t have wanted it any different
This esoteric nine-track album opens with the gorgeous ‘Summer of Love’, a slow brooding power-pop single with violins underneath Hersh’s razer-sharp confessional lyrics. Hersh describes the song as having “began as a bet with a guy for a dollar that revolved around the idea that the seasons don’t change us” – turns out he was right, and she still owes him the dollar!
‘Libretto’ offers more strings with the hot and cold of longing sitting at its heart whilst ‘Albatross’ looks at themes of mistaken identity, from a birds perspective. The hypnotic ‘Drugstore Drastic’, described by Kristin as being “a picture of how we all present: A little wasted, a little stone cold sober” feels like familiar territory for Throwing Muses and takes us towards the end of the album. Closing with the title track you’re left with the feeling that, once again, Throwing Muses have done their job, they’ve created an album of confessional beauty. However, although strong, the album lacks the killer college-rock intensity of the bands early singles, which whilst understandable leaves the album closer to Hersh’s solo material, particularly 1991’s ‘Strings’ EP’, than many of Throwing Muses earlier records. This is no bad thing and still leaves Moonlight Concessions as a great addition to the Muses back catalogue and their May tour dates will surely be a highlight of the year.
Moonlight Concessions is out now on Fire Records.
