In Utero: 20Th Anniversary Edition
Total Page：16
File Type：pdf, Size：1020Kb
ISSUE #30 MMUSICMAG.COM REVIEWS REISSUEHOLE NNobody’sIRVANA Daughter [Universal] In Utero: 20th Anniversary Edition [Geffen] The first album released under the Hole moniker since 1998’s Celebrity Skin is really frontwoman Courtney Love’sThe fi nal chapter of the thrillingly messy and complex story that was Nirvana is second solo album—co-founder,thrilling, messy and complex. Following up their 1991 breakout Nevermind—the songwriter and lead guitaristrecord history tells us revived punk, killed hair metal, and marked a return of Eric Erlandson isn’t involved, nor is any other previoushonest Hole guitar music to the airwaves—the Seattle trio made an ugly and diffi cult member. So it’s Love andalbum three indicative of singer Kurt Cobain’s struggles with drugs and stardom. Or ringers on 11 new songs—10did they? As this retrospective suggests, In Utero isn’t so easy to peg. of which Love wrote with The 20th Anniversary Edition comes in numerous formats, all of which include collaborators like Billy Corgan, Linda Perry and new guitarist Micko Larkin. (Perrya remastered gets full credit version on one tune, of the original 1993 album. Fancier packages add demos, “Letter to God.”) B-sides, a newly remixed version by producer Steve Albini, and two unheard Much of the riveting intensity of the group’s 1990s nuggets: “Jam,” a snip of inspiredDaniel Jackson studio noodling cut the same day as the heyday appears to have left along with her former bandmates, but there areother fl ashes included here of thedemos, snarling and “ForgottenToo often, Tune,” though, a recently the slower discovered, songs trip her reasonably up. While once fury Love deployed to suchintriguing devastating rehearsal effect back blueprint in the day. for whatthey were likely showcases would have for harrowing been a displaysmemorable of naked album emotion, She spits out her vocals track.with vengeful Alibini’s disdain punchier on “Skinny and Little more Love abrasive sounds new more mix dispassionate highlights these the popdays. appealThe production of 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 theraces original, toward a and climatic for pile-upevery atscraping the doesn’t “Scentless fi t with her Apprentice” visceral persona. or Courtney “Milk It,” Love’s there’s tumultuous a end. She shifts tempos andhooky attitude “Pennyroyal on the more Tea”contemplative or “Frances history Farmer suggests Will that Have she Herhas aRevenge compelling on story Seattle.” to tell, and “Pacifi c Coast Highway,”If taking Nirvana stock set as layers out toof acousticsabotage and theirperhaps career, she does. they It’s only just sortnot the of one followed she’s telling through. on Nobody’s electric guitars chug along behind her. Daughter. –Eric R. Danton Versions including Live and Loud, a concert fi lmed by MTV in 1993, only muddy the waters further, as even a quick glance reveals Cobain—months away from COURT YARD HOUNDS A side project of new offering suggested that its creator was a few strides closer to committing suicide—toDixie Chicks’ be Martie fully engagedcrafting something and trulyfar monumentalfrom despondent. in both musical Inand Uterosocial terms. Court Yard Hounds Maguire and Emily This cold and private set isn’t it, although that’s probably due more to [Columbia] raises many questions,Robison, Court and Yard in itspersonal most circumstancesbrilliant moments—presented than anything related to talent. here Wainwright in a manner that hardlyHounds smacks delivers of cash-in—it’swrote All Days a Are sad Nights reminder while his mother,this vital Kate bandMcGarrigle, still was much-anticipated dying of cancer, and there is a quiet, complex sadness even in its insight—both musical andhad personal—into places to the go. sisters –Kenneth who have Partridge 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 ‘Albini’sseamless punchierharmonies are andwelcome more as always, abrasive and her onenew turn mixon highlights the pileup of genres. It’s also some of the most lead vocals (“Gracefully”) is so warmly affecting that listeners may 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 popdemonstrates appeal that, of whether the original. with their fellow 20th Dixie AnniversaryChick or without, Edition raises blend of salsa, ska, samba, funk, and hip-hop these ladies’ talent runs deep. –Katie Dodd in ways few groups could conceive. Imagine many questions, and in its most brilliant moments—presentedFire Away tossing the English Beat, Herb Alpert and the For a dozen years, the [Mercer Street/Downtown] Tijuana Brass, Caetano Veloso, and Sly and here in a mannerRUFUS that hardlyarrangements smacks onof Rufus cash-in—it’s a sad the Family Stone into a magical blender and Wainwright’s albums got you get some sense of Ozomatli’s eclectic approach. High points reminderWAINWRIGHT this vital bandbusier still and his had sometimes places on to their go.’ 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.