ISSUE #25 MMUSICMAG.COM REVIEWS HOLE BNobody’sUCKCHERRY Daughter [Universal] Confessions [Century Media] The first album released under the Hole moniker since 1998’s Celebrity Skin is really frontwoman Courtney Love’sOn Buckcherry’s sixth album, frontman Josh Todd reveals—but doesn’t second solo album—co-founder,necessarily repent for—his forays into the seven deadly sins. The tattoo- songwriter and lead guitarist Eric Erlandson isn’t involved,laden rocker is well qualified for such narratives. Through hard-hitting guitar, nor is any other previous Hole member. So it’s Love andtrenchant three vocals and sleazy lyrics, he gives depravity a sonic correlative, ringers on 11 new songs—10 of which Love wrotepresenting with various forms of vice as a kind of musical slideshow. Opener collaborators like Billy Corgan,“Gluttony” Linda setsPerry andthe newtemplate, prefacing an album of gritty and engaging guitarist Micko Larkin. (Perry gets full credit on one tune, “Letter to God.”) anthems to excess, and as Todd sings of a “desire that will never change,” Much of the riveting intensity of the group’s 1990s heyday appears to haveit’s left clear along he with won’t her formergo square Daniel Jackson anytime soon. Though Buckcherry epitomizes 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 suchthrill-seeking devastating effect hard back rock, in thethere’s day. athey hint were of tragedyshowcases in for Todd’s harrowing infectiously displays of naked rugged emotion, She spits out her vocals voice.with vengeful On suchdisdain tracks on “Skinny as Little“Wrath,” Love the sounds vocals more convey dispassionate a mood these more days. Theheartfelt 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 thanraces towardhedonistic. a climatic The pile-up tempo at the slowsdoesn’t down fi t with forher visceral“The persona.Truth” Courtneyand “Dreamin’ Love’s tumultuous of 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,”You,” taking which stock as feature layers of acousticmelodies and reminiscentperhaps she does.of the It’s best just not ’90s the one alt-rock. she’s telling Now on Nobody’sthat electric guitars chug along behind her. Daughter. –Eric R. Danton Todd has confessed, one hopes he plunges back into debauchery—then

COURT YARDheads HOUNDS for the studio.A side project–Ray Cavanaugh 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 ‘Throughlead vocals (“Gracefully”)hard-hitting is so warmly guitar, affecting that trenchantlisteners may vocals andjoyfully 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 sleazythese ladies’ lyrics, talent runs frontman deep. –Katie Dodd Josh Todd gives depravity in ways few groups could conceive. Imagine Fire Away tossing the English Beat, Herb Alpert and the For a dozen years, the [Mercer Street/Downtown] Tijuana Brass, Caetano Veloso, and Sly and RUFUS arrangements on Rufus the Family Stone into a magical blender and a sonic correlative, presentingWainwright’s albums various got you getforms some sense of of Ozomatli’s eclectic approach. High points WAINWRIGHT busier and his sometimes on their latest, Fire Away, include “Are You Ready?,” a horn-and- viceAll Daysas Are a Nights: kind Songs of naughty,musical occasionally slideshow.’ 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

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