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▄▄░▀████████▄▄▄║D e B T i s S l a V 3 r Y S T u P i D║░▄▄▄████████▀░ ▀
░▓█████▓░░░ ░ ╚═════╗ ╔════════╝▀ ░ ░░░▓█████▓░
▄▄███░▓████▓░░▀▀ ▀ ║DuBi0uSlY EnDoWs YoU WiTh║ ▀ ▀▀░░▓████▓░███▄▄
▄▀░████▓╔═══════════════════════╩═════════════════════════╩══════════════════════════╗▓████░▀▄
▐░ ▀▓████║ PJ_Harvey-Let_England_Shake-2011-DeBT_iNT ║████▓▀ ░▌
▀ ░████╚════════════════════════════════════════════════════════════════════════════╝████░ ▀
▀ ▀▀█████▀░████ ▄ ▄ ░▓████░▀ ████▀▀ ▀
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▄▄▀▀███████████▀▀▀ ▀▀████████████▀▀ ░
▄░▓███████▄▄▄░ ARTiST.... PJ Harvey ░▄▄▄███████▓░▀
░▓█████▄░░ ▄ ▀ TiTLE..... Let England Shake █████▓░
▀░████▓░░▀ ░ ▀ LABEL..... Vagrant ▀ ░ ▀░░▓████░▀
░▓███▓▓░ ▀ ▄▓▄ GENRE..... Alternative ▄▓▄ ▀ ░▓▓███▓░
▀▀░███▓░▄▄░ RiP.DATE.. 2011-04-29 ░▄▄░▓███░▀▀
▀ ▄███▀░░ STOREDATE. 2011-02-15 ░░▀███▄ ▀
░░▄▄██▀▀▀ SOURCE.... CD ▀▀▀██▄▄░░
░░▄▄██▀▀▀ QUALiTY... 239 kbps / 4410kHz / Joint Stereo ▀▀▀██▄▄░░
▄ ▄███▀░░ TRACKS.... 12 / 40:08 ░░▀███▄ ▄
▄▄░███▓░▄ ░ SIZE...... 72.25 MB ░ ▄░▓███░▄▄
░▓███▓▓░ ▄ ▄▓▄ RIPPER.... EAC Secure with LAME 3.98.4 ▄▓▄ ▄ ░▓▓███▓░
▄░████▓░░▄ ░ ▀ URL....... ░▓████░▄
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▀ ▄ ░░▓█▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀████▓░░ ▄
▄░███ NR. TRACKNAME TiME ████░▄
▄ ░████ ████░ ▄
░ ▄▓████ 1 Let England Shake 3:09 ████▓▄ ░
░ ▄▓████ 2 The Last Living Rose 2:21 ████▓▄ ░
░ ▄▓████ 3 The Glorious Land 3:34 ████▓▄ ░
░ ▄▓████ 4 The Words That Maketh Murder 3:45 ████▓▄ ░
░ ▄▓████ 5 All and Everyone 5:39 ████▓▄ ░
░ ▄▓████ 6 On Battleship Hill 4:07 ████▓▄ ░
░ ▄▓████ 7 England 3:11 ████▓▄ ░
░ ▄▓████ 8 In the Dark Places 2:59 ████▓▄ ░
░ ▄▓████ 9 Bitter Branches 2:29 ████▓▄ ░
░ ▄▓████ 10 Hanging in the Wire 2:42 ████▓▄ ░
░ ▄▓████ 11 Written on the Forehead 3:39 ████▓▄ ░
░ ▄▓████ 12 The Colour of the Earth 2:33 ████▓▄ ░
░ ▄▓████ ---------------------------------------------------------████▓▄ ░
▀▄░████▓ ████░▄▀
░▓████▓▄ TOTAL TiME: 40:08 MIN ████▓░
░▓███████▄ TOTAL SIZE: 72.25 MB▄█████▓░
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░▓█████▓░╟─────────────────────────────────────◄RELEASE NOTES►╢░▓█████▓░
░▓████▓░░║ ║░░▓████▓░
▄▀░████▓░▀║ PJ Harvey followed her ghostly collection of ║▀░▓████░▀▄
▄▀░████▓░▀║ ballads, White Chalk, with Let England Shake, a ║▀░▓████░▀▄
▄▀░████▓░▀║ set of songs strikingly different from what came ║▀░▓████░▀▄
▄▀░████▓░▀║ before it except in its Englishness. White ║▀░▓████░▀▄
▄▀░████▓░▀║ Chalk's haunted piano ballads seemed to emanate ║▀░▓████░▀▄
▄▀░████▓░▀║ from an isolated manse on a moor, but here Harvey ║▀░▓████░▀▄
▄▀░████▓░▀║ chronicles her relationship with her homeland ║▀░▓████░▀▄
▄▀░████▓░▀║ through songs revolving around war. Throughout ║▀░▓████░▀▄
▄▀░████▓░▀║ the album, she subverts the concept of the anthem ║▀░▓████░▀▄
▄▀░████▓░▀║ -- a love song to oneí»s country -- exploring the ║▀░▓████░▀▄
▄▀░████▓░▀║ forces that shape nations and people. This isní»t ║▀░▓████░▀▄
▄▀░████▓░▀║ the first time Harvey has been inspired by a ║▀░▓████░▀▄
▄▀░████▓░▀║ place, or even by England: she sang the praises ║▀░▓████░▀▄
▄▀░████▓░▀║ of New York City and her home county of Dorset on ║▀░▓████░▀▄
▄▀░████▓░▀║ Stories from the City, Stories from the Sea. ║▀░▓████░▀▄
▄▀░████▓░▀║ Harvey recorded this album in Dorset, so the ║▀░▓████░▀▄
▄▀░████▓░▀║ setting couldní»t be more personal, or more ║▀░▓████░▀▄
▄▀░████▓░▀║ English. Yet she and her longtime collaborators ║▀░▓████░▀▄
▄▀░████▓░▀║ John Parish, Mick Harvey, and Flood travel to the ║▀░▓████░▀▄
▄▀░████▓░▀║ Turkish battleground of Gallipoli for several of ║▀░▓████░▀▄
▄▀░████▓░▀║ Let England Shake's songs, touching on the ║▀░▓████░▀▄
▄▀░████▓░▀║ disastrous World War I naval strike that left ║▀░▓████░▀▄
▄▀░████▓░▀║ more than 30,000 English soldiers dead. Her ║▀░▓████░▀▄
▄▀░████▓░▀║ musical allusions are just as fascinating and ║▀░▓████░▀▄
▄▀░████▓░▀║ pointed: the title track sets seemingly cavalier ║▀░▓████░▀▄
▄▀░████▓░▀║ lyrics like í░Letí»s head out to the fountain of ║▀░▓████░▀▄
▄▀░████▓░▀║ death and splash aboutí▒ to a xylophone melody ║▀░▓████░▀▄
▄▀░████▓░▀║ borrowed from the Four Ladsí» í░Istanbul (Not ║▀░▓████░▀▄
▄▀░████▓░▀║ Constantinople),í▒ a mischievous echo of the ║▀░▓████░▀▄
▄▀░████▓░▀║ questions of national identity Harvey sets forth ║▀░▓████░▀▄
▄▀░████▓░▀║ in the rest of the album (that she debuted the ║▀░▓████░▀▄
▄▀░████▓░▀║ song by performing it on the BBCí»s The Andrew ║▀░▓████░▀▄
▄▀░████▓░▀║ Marr Show for then-Prime Minster Gordon Brown ║▀░▓████░▀▄
▄▀░████▓░▀║ just adds to its mischief). í░The Words That ║▀░▓████░▀▄
▄▀░████▓░▀║ Maketh Murderí▒ culminates its grisly ║▀░▓████░▀▄
▄▀░████▓░▀║ playground/battleground chant with a nod to Eddie ║▀░▓████░▀▄
▄▀░████▓░▀║ Cochran's anthem for disenfranchised í«50s teens ║▀░▓████░▀▄
▄▀░████▓░▀║ í░Summertime Blues,í▒ while í░Written on the ║▀░▓████░▀▄
▄▀░████▓░▀║ Foreheadí▒ samples Niney's í░Blood and Fireí▒ to ║▀░▓████░▀▄
▄▀░████▓░▀║ equally sorrowful and joyful effect. As ║▀░▓████░▀▄
▄▀░████▓░▀║ conceptually and contextually bold as Let England ║▀░▓████░▀▄
▄▀░████▓░▀║ Shake is, it features some of Harvey's ║▀░▓████░▀▄
▄▀░████▓░▀║ softest-sounding music. She continues to sing in ║▀░▓████░▀▄
▄▀░████▓░▀║ the upper register that made White Chalk so ║▀░▓████░▀▄
▄▀░████▓░▀║ divisive for her fans, but ití»s tempered by airy ║▀░▓████░▀▄
▄▀░████▓░▀║ production and eclectic arrangements -- fittingly ║▀░▓████░▀▄
▄▀░████▓░▀║ for such a martial album, brass is a major motif ║▀░▓████░▀▄
▄▀░████▓░▀║ -- that sometimes disguise how angry and mournful ║▀░▓████░▀▄
▄▀░████▓░▀║ many of these songs are. í░The Last Living Roseí▒ ║▀░▓████░▀▄
▄▀░████▓░▀║ recalls Harvey's Dry-era sound in its simplicity ║▀░▓████░▀▄
▄▀░████▓░▀║ and finds weary beauty even in her homelandí»s ║▀░▓████░▀▄
▄▀░████▓░▀║ í░grey, damp filthiness of ages,í▒ but on ║▀░▓████░▀▄
▄▀░████▓░▀║ í░England,í▒ she wails, í░You leave a taste/A ║▀░▓████░▀▄
▄▀░████▓░▀║ bitter one.í▒ In its own way, Let England Shake ║▀░▓████░▀▄
▄▀░████▓░▀║ may be even more singular and unsettling than ║▀░▓████░▀▄
▄▀░████▓░▀║ White Chalk was, and its complexities make it one ║▀░▓████░▀▄
▄▀░████▓░▀║ of Harveyí»s most cleverly crafted works. ║▀░▓████░▀▄
░ ▀▓████▀ ║ ║▄░████▓▀ ░
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ÜÜ°ßÛÛÛÛÛÉÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ»ÛÛÛÛÛÛß°Üß
°²ÛÛÛÛÛ²°ÇÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄRELEASE NOTES¶°²ÛÛÛÛÛ²°
°²ÛÛÛÛ²°°º º°°²ÛÛÛÛ²°
Üß°ÛÛÛÛ²°ßº PJ Harvey followed her ghostly collection of ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº ballads, White Chalk, with Let England Shake, a ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº set of songs strikingly different from what came ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº before it except in its Englishness. White ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº Chalk's haunted piano ballads seemed to emanate ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº from an isolated manse on a moor, but here Harvey ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº chronicles her relationship with her homeland ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº through songs revolving around war. Throughout ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº the album, she subverts the concept of the anthem ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº -- a love song to one¡¯s country -- exploring the ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº forces that shape nations and people. This isn¡¯t ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº the first time Harvey has been inspired by a ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº place, or even by England: she sang the praises ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº of New York City and her home county of Dorset on ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº Stories from the City, Stories from the Sea. ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº Harvey recorded this album in Dorset, so the ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº setting couldn¡¯t be more personal, or more ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº English. Yet she and her longtime collaborators ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº John Parish, Mick Harvey, and Flood travel to the ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº Turkish battleground of Gallipoli for several of ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº Let England Shake's songs, touching on the ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº disastrous World War I naval strike that left ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº more than 30,000 English soldiers dead. Her ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº musical allusions are just as fascinating and ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº pointed: the title track sets seemingly cavalier ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº lyrics like ¡°Let¡¯s head out to the fountain of ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº death and splash about¡± to a xylophone melody ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº borrowed from the Four Lads¡¯ ¡°Istanbul (Not ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº Constantinople),¡± a mischievous echo of the ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº questions of national identity Harvey sets forth ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº in the rest of the album (that she debuted the ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº song by performing it on the BBC¡¯s The Andrew ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº Marr Show for then-Prime Minster Gordon Brown ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº just adds to its mischief). ¡°The Words That ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº Maketh Murder¡± culminates its grisly ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº playground/battleground chant with a nod to Eddie ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº Cochran's anthem for disenfranchised ¡®50s teens ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº ¡°Summertime Blues,¡± while ¡°Written on the ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº Forehead¡± samples Niney's ¡°Blood and Fire¡± to ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº equally sorrowful and joyful effect. As ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº conceptually and contextually bold as Let England ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº Shake is, it features some of Harvey's ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº softest-sounding music. She continues to sing in ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº the upper register that made White Chalk so ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº divisive for her fans, but it¡¯s tempered by airy ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº production and eclectic arrangements -- fittingly ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº for such a martial album, brass is a major motif ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº -- that sometimes disguise how angry and mournful ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº many of these songs are. ¡°The Last Living Rose¡± ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº recalls Harvey's Dry-era sound in its simplicity ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº and finds weary beauty even in her homeland¡¯s ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº ¡°grey, damp filthiness of ages,¡± but on ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº ¡°England,¡± she wails, ¡°You leave a taste/A ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº bitter one.¡± In its own way, Let England Shake ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº may be even more singular and unsettling than ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº White Chalk was, and its complexities make it one ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº of Harvey¡¯s most cleverly crafted works. ºß°²ÛÛÛÛ°ßÜ
° ß²ÛÛÛÛß º ºÜ°ÛÛÛÛ²ß °
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