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White Chalk


Critics' Reviews


Harvey's mostly bare arrangements, stark vocal delivery and razor-sharp lyrics add up to a poignant, haunting rumination on what makes--and breaks--a life

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It's stronger and more assertive than 2004's "Uh Huh Her."

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The Guardian: 

The austerity of Harvey's self-imposed constraints is uncompromising but rewarding; she forces herself out of her comfort zone, and takes the listener with her.

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White Chalk is as penetrating as the loudest, fiercest moments on previous albums, but less from moments of aggression than from a chilling atmosphere of restrained frenzy.

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On the right day, at the right time, the album's powerfully claustrophobic intimacy is more palatable; on the wrong day, at the wrong time, in the wrong frame of mind, White Chalk may be the longest half-hour in the world.

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On the largely piano-based White Chalk, she retreats into an odd little-girl-lost persona, singing almost entirely in a tremulous higher key that strangles the most powerful instrument in her arsenal: that voice.

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