That Hersh remains relatively obscure while fashionably neurotic waifs get airplay is one of pop’s most unfair slights. After dividing time between Throwing Muses’ electric fervor and her own acoustic, but no less unsettling, solo work, Hersh has come up with ”Sky Motel’s” extraordinary synthesis.
Nobody else can navigate so eerily between trancelike pull (”Clay Feet”), slinky dreaminess (”Echo”), and pure blinding intensity (take your pick). It’s high time this fascinating, idiosyncratic artist finally gets her due. A-