There's a sexual act known as "edging" in which one is repeatedly stimulated almost to the point of orgasm, and then left alone for a moment. For many people this can result in an extended state of heightened arousal, but it takes patience and practice and gentleness. PJ Harvey's 2004 album, "Uh Huh Her" is the musical equivalent thereof.
This record is expertly executed and entirely empty of the usual tricks rock records use to grab us emotionally: there are no big opening hooks, no loud/quiet/loud dynamic, no 12 bar blues. Instead, we have understated instruments often bordering on lo-fi or the folk-singer-slob style of Sebadoh or early Beck. We have Harvey herself teasing and howling. Mouthy but not throaty, she's clearly holding back and exploring more subtle vocal textures. I confess I find this both appealing and at times off-putting, because I want to hear her wail.
"No Child of Mine" is my favorite on on this album. Barely over a minute long, Harvey harmonizes with herself and plays a chord progression so simple it's hypnotic. I keep waiting for the drums and the bass to come in, but like a proper punk, she gets in, says what she needs to say, and gets out. This band has soul to spare, and for better or for worse it leaves me wanting more.
"Cat on the Wall" follows, a rich chocolate truffle of a song, full of fuzzed out layers of bass and voice. Harvey growls at us and hints at letting go, but never does. Amazingly enough, we can hear what sounds like her ghost singing beautifully in the background, but it blends in with the keyboard, and hides behind the drums.
I can't say that this record ever really lets go, and there the metaphor breaks down, as I also can't say it's unsatisfying. It's not: it's as provocative and thoughtful as everything in this band's catalog so far. Taken as an exploration of musical textures as opposed to a collection of songs, it's very satisfying. However, overall, depending on set and setting, this can be either quite a sensual album, or quite a frustrating one.
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