#throwing muses

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Serene, Throwing Muses

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what is this my music taste is all over the place.... lowkey very inspired by this

more of my music graphics: 1 2 3

[garadinervi]

Various Artists, Lonely Is An Eyesore, (Vinyl/LP Deluxe Edition, Digital album), CAD D 703, 4AD, 1987 [Covet The Cover]

Feat.: Colourbox, This Mortal Coil, The Wolfgang Press, Throwing Muses, Dead Can Dance, Cocteau Twins, Dif Juz, Clan of Xymox

Design: Vaughan Oliver / 23 Envelope Videos: directed by Nigel Grierson / 23 Envelope

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[dustedmagazine]

Tanya Donnelly & Chris Brokaw  —The Undone Is Done Again (Fire)

Photo by Ben Stas

Two mainstays of Boston’s independent music scene join forces, just not in the way you probably expected. Tanya Donnelly (who doesn’t live in Boston any more) is best known for the yowling, uninhibited punk rock of Belly and the Throwing Muses, as well as her more recent guitar-driven work with 50 Foot Wave. Brokaw has done a million things, including genre-establishing bands like Come and Codeine, but he’s never done anything like this. The “this” in this case is a quartet of medieval choral songs, arranged for Brokaw’s moody, atmospheric guitar and Donnelly’s airiest, purest vocal stylings.

The project began as a one-off when the pair played a benefit in late 2004. Brokaw had been exploring early music influences, finding unexpected resonances between pre-Renaissance chants and his own minor key guitar improvisations. How about we play a medieval Christmas carol, Brokaw suggested to Donnelly. It was way outside her comfort zone — for one thing, the lyrics were in Latin — but Donnelly immediately jumped in. “In Hoc Anni Circulo,” combining Donnelly’s ghostly, spiritually searching vocals and the tidal surge of Brokaw’s guitar work, was the starting point. Four other pieces, equally archaic and equally freely interpreted, followed.

“Sainte Nicholaes” is a traditional Christmas carol, a feature at costumed revels celebrating the season. Donnelly and Brokaw strip it down to its core, slow splayed chords framing the melody. The cut has a trembling, dark-before-dawn energy, the long night of the solstice birthing hope and light.

“Novus Annus Adiit” is maybe the best of these haunting cuts, Brokaw’s guitar taking musing, shadowy flight, as Donnelly floats keening, almost inhuman tones over him. The piece is a Hungarian carol heralding the new year, a cold, unforgiving time for medieval peasants, but one freighted with longing for better days ahead. But really, not much has changed over a millennium, and the song cuts through the murk and uncertainty of the present towards tentative hope and beauty. Who knew we needed a brace of medieval Christmas carols to get through our current morass? Not me, but Brokaw and Donnelly did somehow.

Jennifer Kelly

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Throwing Muses in NME (September 5, 1987)

[ronald45inchina]

Throwing Muses live at "Effenaar" on 9-4-2025.

Please do not delete the captions if you want to reblog this post.

9/11/2025