REVIEWS HOLE Snobody’Superchunk Daughter [Universal] I Hate Music

ISSUE #30 MMUSICMAG.COM REVIEWS HOLE SNobody’sUPERCHUNK Daughter [Universal] I Hate Music [Merge] The first album released under the Hole moniker since 1998’s Celebrity Skin is really frontwoman Courtney Love’sFor a band that supposedly hates music, Superchunk seems pretty second solo album—co-founder,determined to resurrect the ’90s Chapel Hill sound. Ironically—as the title of songwriter and lead guitarist Eric Erlandson isn’t involved,Superchunk’s 10th album is surely meant to be taken—I Hate Music ranks nor is any other previous Hole member. So it’s Love andamong three this North Carolina quartet’s most listenable material. The album ringers on 11 new songs—10 of which Love wrotefeatures with 11 songs—just like 2010’s Majesty Shredding, Superchunk’s fi rst collaborators like Billy Corgan,studio albumLinda Perry in 10 and years—and new while it lacks the frenzy of the band’s younger guitarist Micko Larkin. (Perry gets full credit on one tune, “Letter to God.”) days, the recording quality is infi nitely better. Singer Mac McCaughan hasn’t Much of the riveting intensity of the group’s 1990s heyday appears to havelost left his along distinctive with her former falsetto, Daniel Jackson and happily, his guitar riffs still go from slightly bandmates, but there are fl ashes here of the snarling Too often, though, the slower songs trip her up. While once fury Love deployed to suchdiscordant devastating to effect all overback inthe the place. day. theyThe were stark, showcases high-pitch for harrowing guitar displaysis most of powerfulnaked emotion, She spits out her vocals onwith “Breaking vengeful disdain Down,” on “Skinny and “Me Little & YouLove &sounds Jackie more Mittoo,” dispassionate the disc’s these catchiest days. The track,production Bitch,” overdriven guitars roiling atop an elastic bassline that doesn’t help—the songs have an airless, sanded-down feel that speeds up as the song couldraces toward easily a beclimatic mistaken pile-up atfor the something doesn’t fi t withfrom her the visceral early persona. ’90s. Courtney “Overfl Love’s ows” tumultuous and end. She shifts tempos and attitude on the more contemplative history suggests that she has a compelling story to tell, and “Pacifi c Coast Highway,”“What taking stock Can as Welayers Do,” of acoustic which and open perhaps and sheclose does. the It’s justalbum, not the are one softershe’s telling numbers, on Nobody’s electric guitars chug along behind her. Daughter. –Eric R. Danton but the delightful nerd-punk edginess remains ever-present. –Shauna Farnell COURT YARD HOUNDS A side project of new offering suggested that its creator was a few strides closer to Dixie Chicks’ Martie crafting something truly monumental in both musical and social terms. Court Yard Hounds Maguire and Emily This cold and private set isn’t it, although that’s probably due more to [Columbia] Robison, Court Yard personal circumstances than anything related to talent. Wainwright Hounds delivers wrote All Days Are Nights while his mother, Kate McGarrigle, was much-anticipated dying of cancer, and there is a quiet, complex sadness even in its insight—both musical and personal—into the sisters who have less autobiographical material. There’s nothing here except piano for so long ceded center stage to Chicks singer Natalie Maines. and vocal, and Wainwright doesn’t project his words in the way Though steeped in familiar instrumentation, the album offers little we’ve come to expect from him. Instead of serenading the person of the barn-burning brashness that made the Chicks famous (save in the farthest corner of a packed theater, he’s singing to himself in perhaps the gutsy “Ain’t No Son”). Instead, its delicate folk-pop an otherwise empty room. –David Styburski prettiness perfectly suits Robison’s more-than-capable voice and the jumble of emotions, sunny and melancholy, that emerge in a song Ozomatli’s music has been called a collision cycle inspired by her 2008 divorce. Maguire’s weeping fi ddle and OZOMATLI of styles, a cultural mash-up, and a 20-car seamless harmonies are welcome as always, and her one turn on pileup of genres. It’s also some of the most ‘Singerlead vocals Mac (“Gracefully”) McCaughan is so warmly hasn’t affecting lostthat listene hisrs distinctive may falsetto, joyfully energetic music you’ll ever hear. On wish she stepped to the mic more often. Court Yard Hounds ably its fi fth album, the L.A.-based band stirs its demonstrates that, whether with their fellow Dixie Chick or without, blend of salsa, ska, samba, funk, and hip-hop andthese happily, ladies’ talent his runs guitar deep. –Katie riffs Dodd still go from slightly discordant in ways few groups could conceive. Imagine Fire Away tossing the English Beat, Herb Alpert and the to all over the place. I Hate MusicFor a dozen ranks years, theamong [Mercer this Street/Downtown] North Tijuana Brass, Caetano Veloso, and Sly and RUFUS arrangements on Rufus the Family Stone into a magical blender and Carolina quartet’s mostWainwright’s listenable albums got material.’ you get some sense of Ozomatli’s eclectic approach. High points WAINWRIGHT busier and his sometimes on their latest, Fire Away, include “Are You Ready?,” a horn-and- All Days Are Nights: Songs naughty, occasionally percussion-driven blast of salsa-fl avored ska; “Yeah Yeah Yeah Yeah,” for Lulu angry declarations of gay an exultant Latin pop anthem fi tted with shrieking sax; and “Gay Vatos [Decca] pride got louder. Each in Love,” a rockabilly-tinged tune with a soaring chorus. Even when 70 MAY 2010 ISSUE #30 M MUSIC & MUSICIANS MAGAZINE M3_v10.indd 70 5/14/10 3:37 AM.

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