{"id":9776,"date":"2021-02-13T19:00:00","date_gmt":"2021-02-13T18:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/pj-harvey-es\/"},"modified":"2026-11-09T07:12:31","modified_gmt":"2026-11-09T06:12:31","slug":"pj-harvey-es","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/es\/criticas\/artistas\/pj-harvey-es\/","title":{"rendered":"PJ Harvey &#8211; Barro, alambre y garganta cruda"},"content":{"rendered":"<section class=\"wpb-content-wrapper\"><p>[vc_row][vc_column][vc_column_text]<\/p>\n<h3 class=\"subtitle\">De Dry a Let England Shake<\/h3>\n<p>[\/vc_column_text][vc_empty_space][vc_column_text]<\/p>\n<p style=\"text-align: justify;\">Polly Jean Harvey lleg\u00f3 de Dorset con un tono de guitarra fino, raspado y sucio. Nacida el 9 de octubre de 1969 cerca de Yeovil, toc\u00f3 en Automatic Dlamini y luego lider\u00f3 un tr\u00edo que hizo Dry en 1992. Las canciones son \u00e1speras desde los primeros compases. Sheela-Na-Gig, Dress y Happy and Bleeding ponen el cuerpo en la letra sin cortes\u00eda pop. El indie rock de esos a\u00f1os se escond\u00eda tras el feedback. Ella us\u00f3 el feedback y aun as\u00ed hizo o\u00edr las palabras.<\/p>\n<p style=\"text-align: justify;\">Rid of Me en 1993, grabado con Steve Albini en Pachyderm Studio, sube el volumen hasta que el silencio parece amenaza. El tema susurra y luego embiste. Man-Size camina con ropa de hombre sin pedir que el disfraz sea broma. El sonido de sala de Albini, bater\u00edas grabadas secas, cerca y con rudeza, encaja con una cantante que quer\u00eda tomas a prop\u00f3sito inacabadas. To Bring You My Love en 1995 abre la paleta: \u00f3rgano, cuerdas, Flood y John Parish arreglando, vestido rojo en las fotos, y Down by the Water como balada de asesinato con la cantante claramente al mando del mito.<\/p>\n<p style=\"text-align: justify;\">Rechaz\u00f3 la versi\u00f3n asentada de ese \u00e9xito. Is This Desire? en 1998 es interior, electr\u00f3nico en los bordes, menos interesado en el personaje de escena. Stories from the City, Stories from the Sea en 2000 parte el t\u00edtulo entre Nueva York y Dorset y gana el Mercury Prize, con Good Fortune y This Is Love llevando un brillo que no se hab\u00eda permitido. White Chalk en 2007 deja la guitarra el\u00e9ctrica por piano, voz alta, tono p\u00e1lido y contenido. Quienes vinieron por el tr\u00edo encontraron otro instrumento. No pidi\u00f3 perd\u00f3n. El cambio era el m\u00e9todo.<\/p>\n<p style=\"text-align: justify;\">Let England Shake en 2011 es donde el m\u00e9todo encuentra la historia. Autoharpa, clarines muestreados, letras sobre Gallipoli y campos ingleses, cantadas con una voz que no hace hinchaz\u00f3n patri\u00f3tica. Gan\u00f3 un segundo Mercury Prize sin sonar a disco de premio. The Hope Six Demolition Project en 2016 llev\u00f3 el mismo impulso documental a Washington, Kosovo y Afganist\u00e1n, y dej\u00f3 planteado si una canci\u00f3n de visitante puede sostener esos lugares. I Inside the Old Year Dying en 2023, desde el libro Orlam, vuelve al dialecto de Dorset, p\u00e1jaros y un submundo infantil. Cambia el terreno de las canciones. La atenci\u00f3n al detalle no cambia.<\/p>\n<p style=\"text-align: justify;\">El tr\u00edo temprano hizo audible el m\u00e9todo antes que los premios. Rob Ellis en bater\u00eda y Steve Vaughan en bajo no eran banda de acompa\u00f1amiento esperando estrella. En Dry y Rid of Me los tres suenan a un argumento sobre cu\u00e1n cerca puede estar una voz de la caja. Ha dicho, con palabras distintas, que escribe desde el cuerpo y encuentra el disfraz despu\u00e9s. El vestido rojo de 1995, el blanco de los a\u00f1os de White Chalk, el negro de Let England Shake: cada uno sigue a las canciones, no a una marca renovada por ciclo.<\/p>\n<p>[\/vc_column_text][vc_single_image image=\u00bb8049&#8243; img_size=\u00bbfull\u00bb css=\u00bb.vc_custom_1790076052173{padding-top: 24px !important;padding-right: 48px !important;padding-bottom: 24px !important;}\u00bb][vc_column_text]<\/p>\n<p style=\"text-align: justify;\">Influencias: baladas folk brit\u00e1nicas, blues \u00e1spero, oscuridad narrativa de Nick Cave cuando aparece Parish, y el h\u00e1bito post-punk de tratar el estudio como personaje. Frente a contempor\u00e1neos que encontraron un tono de guitarra y lo vendieron una d\u00e9cada, Harvey trata cada \u00e1lbum como taller nuevo.<\/p>\n<p style=\"text-align: justify;\">Escucha proximidad vocal, saltos de susurro a grito, guitarra que raspa o suena limpia, y arreglos que cambian instrumento cada pocos a\u00f1os sin perder la misma garganta. Importan los productores: salas secas de Albini, color cinematogr\u00e1fico de Flood, la escritura de Parish en colaboraciones como Dance Hall at Louse Point.<\/p>\n<p style=\"text-align: justify;\">Las puertas dependen del apetito. Dry y Rid of Me para el tr\u00edo crudo. To Bring You My Love para el pico del vestido rojo. Let England Shake para la historia sin un gran estribillo patri\u00f3tico. A\u00f1ade Dress, Down by the Water y The Words That Maketh Murder y oyes tres caras del mismo rechazo a repetir.<\/p>\n<p style=\"text-align: justify;\">Junto a los cambios de disfraz electr\u00f3nico de Bjork o los confessionales de piano de Tori Amos, Harvey comparte ambici\u00f3n art-pop pero mantiene rudeza rock en el ataque. Frente a pares britpop, nunca persigui\u00f3 la sonrisa de los Brit Awards. Lo que la distingue es que los instrumentos cambian porque las canciones lo piden.<\/p>\n<p style=\"text-align: justify;\">El cat\u00e1logo est\u00e1 hecho para que el siguiente disco pueda contradecir al anterior. Pon Dress o The Words That Maketh Murder y el m\u00e9todo es audible: inventar el conjunto de instrumentos otra vez, luego cantar las palabras para que los hechos queden claros.<\/p>\n<p>[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n<\/section>","protected":false},"excerpt":{"rendered":"<p>Polly Jean Harvey no dej\u00f3 de cambiar de herramientas: guitarra, piano, autoharpa y una voz que rechazaba un personaje fijo.<\/p>\n","protected":false},"author":1,"featured_media":9771,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"video","meta":{"footnotes":""},"categories":[304,299],"tags":[313,1145],"class_list":["post-9776","post","type-post","status-publish","format-video","has-post-thumbnail","hentry","category-artistas","category-criticas","tag-alternative-indie-punk-es","tag-pj-harvey-es","post_format-post-format-video"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.8 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>PJ Harvey - Barro, alambre y garganta cruda - RIFFS AND BEATS<\/title>\n<meta name=\"description\" content=\"Polly Jean Harvey no dej\u00f3 de cambiar de herramientas: guitarra, piano, autoharpa y una voz que rechazaba un personaje fijo.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/riffsandbeats.com\/es\/criticas\/artistas\/pj-harvey-es\/\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"PJ Harvey - Barro, alambre y garganta cruda - RIFFS AND BEATS\" \/>\n<meta property=\"og:description\" content=\"Polly Jean Harvey no dej\u00f3 de cambiar de herramientas: guitarra, piano, autoharpa y una voz que rechazaba un personaje fijo.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/riffsandbeats.com\/es\/criticas\/artistas\/pj-harvey-es\/\" \/>\n<meta property=\"og:site_name\" content=\"RIFFS AND BEATS\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/profile.php?id=61576819018054\" \/>\n<meta property=\"article:published_time\" content=\"2021-02-13T18:00:00+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2026-11-09T06:12:31+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/riffsandbeats.com\/wp-content\/uploads\/2026\/09\/pj-harvey.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1200\" \/>\n\t<meta property=\"og:image:height\" content=\"700\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"pgorce\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Escrito por\" \/>\n\t<meta name=\"twitter:data1\" content=\"pgorce\" \/>\n\t<meta name=\"twitter:label2\" content=\"Tiempo de lectura\" \/>\n\t<meta name=\"twitter:data2\" content=\"4 minutos\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/riffsandbeats.com\\\/es\\\/criticas\\\/artistas\\\/pj-harvey-es\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/riffsandbeats.com\\\/es\\\/criticas\\\/artistas\\\/pj-harvey-es\\\/\"},\"author\":{\"name\":\"pgorce\",\"@id\":\"https:\\\/\\\/riffsandbeats.com\\\/es\\\/#\\\/schema\\\/person\\\/1f742458457cfc69e236f2bfdaad9599\"},\"headline\":\"PJ Harvey &#8211; 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