Saturday, 8 May 2010

Another record created with extreme Love...

Courtney Love has made a full, fledging comeback.

She rioted her way through the rest of the nineties as a widow and ultimately, a single mother, and didn't dampen down the way she was feeling at the time. She battled through grief, drug overdoses and the media displayed her who was spinning out of control wildly.

The only great point after 2004 for her came when Celebrity Skin received good reviews, with a new drummer, a new bassist and a different sound. Many cite this as the only shiny gem in Hole's back catalogue, and I agree, but not with the only bit. Sometimes these records made with pain, fury and complete anguish turn out to be the best of one's career. After all, they're true to the bone.
So she's returned and she's done exactly the same thing, hitting us with a record so powerful, even without Eric Erlandson and missing the rest of the original Hole line-up. (Which quite honestly, saddens me. They can't even get to grips with things and make the classic line-up Celebrity Skin era [...])

Nobody's Daughter was released last Bank Holiday Monday, to mixed reviews. Many said that with the works of Billy Corgan and a new vocal sound, now aged 45, the record is not only completely true and real, but a matured Love sound, something obviously her, but with something that not even Celebrity Skin had. It has experience.

It's a whooshing 11 tracks of pure Alternative American bliss, careful producing and help from the likes of Billy Corgan, and the brave and heroic approach of her favourite subjects, which even now after the nineties flourish and middle aged songwriting, are not stale yet, remarkably: "Someone Else's Bed"is a tall of well, waking up in someone else's bed; she revisits her scarred soul in Nobody's Daughter where she growls a epic Love line, crafted so obviously by her where she says exactly what we've all been trying to say for years that she sums up in one painful, reaching line: "Asphyxiate all your pain away..."

Obviously, the sensitive subject of nobody but her husband "I met a boy, he came from the sea, he was the only boy who ever knew the truth, about me" crops up in "Pacific Coast Highway" among others screeching revenge and on the other hand, gorgeous tributes. It is something she can only sing about, when in other songs she just feels she should just lament her anger with him for leaving her ('Someone Else's Bed': "Were you there when I'm ready to top myself? Were you there when I'm all alone? Do you even know why I am suffering? Are you down to your bones..." is quite a painful reminiscence with her) She also expresses her anger, jealousy or perhaps sarcasm in how people are portrayed in "Skinny Little Bitch", the press in 'Letter to God' : "I never wanted to be some kind of Comic Relief" and abandonment are all featured from a true life, first-person angle.

From the world's shattered whore, as she puts it so aptly herself, it's a great journey over great waves of a scarred and troubled soul.
"It's glorious, its terrible god I need it.
It’s beautiful, it’s ravenous..." as Miss Love puts it herself, soaring to a climax on and as Nobody's Daughter.

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