Isobel Campbell & Mark Lanegan

SEPT/OCT 2010 ISSUE MMUSICMAG.COM REVIEWS HOLE ISOBELNobody’s CAMPBELL Daughter & MARK LANEGAN [Universal] Hawk [Vanguard] The first album released under the Hole moniker since 1998’s Celebrity Skin is Thereally third album from ex-Belle & Sebastian chamber folk-popper Isobel frontwoman Courtney Love’s second solo album—co-founder,Campbell and former Screaming Trees grunge growler Mark Lanegan songwriter and lead guitarist Eric Erlandson isn’t involved,offers something old and something new. “We Die and See Beauty nor is any other previous Hole member. So it’s Love andReign” three and “Time of the Season” definitely maintain the duo’s prior modus ringers on 11 new songs—10 of which Love wroteoperandi–dark, with languid duets that balance Lanegan’s whiskey-and-gravel collaborators like Billy Corgan,vocals Linda with Perry Campbell’s and new more gossamer tones. But they also explore guitarist Micko Larkin. (Perry gets full credit on one tune, “Letter to God.”) other directions on Hawk. The bluesy “You Won’t Let Me Down Again” Much of the riveting intensity of the group’s 1990s heyday appears to haveand left the along roadhouse with her former stomp Daniel Jackson of “Get Behind Me” bring on welcome boosts 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 suchin thedevastating energy effect level. back Ain thesoulful day. vibethey were warms showcases “Come for harrowing Undone” displays and of naked“Lately,” emotion, She spits out her vocals with vengeful disdain on “Skinny Little Love sounds more dispassionate these days. The production Bitch,” overdriven guitarswhile roiling theatop Celtic-flavoredan elastic bassline that “Eyes doesn’t of help—the Green” songs helps have anto airless, lighten sanded-down the mood. feel that speeds up as the song races toward a climatic pile-up at the doesn’t fi t with her visceral persona. Courtney Love’s tumultuous end. She shifts tempos andWilly attitude Mason on the handlesmore contemplative vocals onhistory a pair suggests of tunes, that she including has a compelling a nice, story spare to tell, and “Pacifi c Coast Highway,”rendition taking stock ofas layers“No ofPlace acoustic to and Fall” perhaps (one sheof does.two It’sTownes just not the Van one she’sZandt telling covers). on Nobody’s electric guitars chug along behind her. Daughter. –Eric R. Danton While less cohesive than their earlier efforts, the latest from Campbell COURT YARD HOUNDS A side project of new offering suggested that its creator was a few strides closer to and LaneganDixie signals Chicks’ Martieinteresting crafting somethingfuture trulydirections. monumental in–Michael both musical and Berick 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 lead vocals (“Gracefully”) is so warmly affecting that listeners may joyfully energetic music you’ll ever hear. On ‘Thewish shelatest stepped to thefrom mic more often.Campbell Court Yard Hounds and ably Lanegan 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 these ladies’ talent runs deep. –Katie Dodd in ways few groups could conceive. Imagine Fire Away tossing the English Beat, Herb Alpert and the signals interestingFor futurea dozen years, directions.’the [Mercer Street/Downtown] Tijuana Brass, Caetano Veloso, and Sly and RUFUS arrangements on Rufus the Family Stone into a magical blender and Wainwright’s albums got 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 AS SEEN IN: SEPT/OCT 2010 M MUSIC & MUSICIANS MAGAZINE M3_v10.indd 70 5/14/10 3:37 AM.

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