Courtney Love Digs Herself Into a Hole

 

She’s baaaackkk… on
Twitter, too. New album getting the thumbs down from critics, however. And what’s
up with the pink Mickey Mouse ears?

 

By Fred Mills

 

She should, and probably did, see it coming: the new album
from Courtney Love’s reconstituted Hole, titled Nobody’s Daughter and issued this week on Mercury, ain’t getting
much respect from the critics. It’s hard to say just yet whether writers have
been sharpening their knives or not; Love’s been their whipping boy, er, girl,
for more than a decade now, so it’s not as if we needed a new excuse to pile
on. She squandered her stock of rock capital ages ago and has been racking up
credibility deficits for so long she’s already a punchline. That means, given
some of the more pointed commentary that’s surfaced thus far, there’s a good
chance that the record is, in fact, objectively bad.

 

[Aside: must insert obligatory Nirvana and Kurt Cobain meta-tags here to maximize web traffic.]

 

USA Today‘s Edna
Gundersen, for example, in a departure from her and her paper’s typical
mainstream-cheerleader stance, calls Love, in her 2-out-of-5 stars capsule
review, “a prepackaged folk-rocker with tonsillitis. Her formidable persona
gets lost in the mediocre tunes.” Pitchfork‘s
Amanda Petrusich
, delivering a blistering 2.9-out-of-10 stars extended review, describes
the record as “heartbreakingly banal,” whatever that means (as in, she feels
bad for Love, or for fans who pay for the record?), calling Love’s vocals “garbled
and withering,” her lyrics “plastic and artless” and the whole comeback project
“a badly missed opportunity.” MEOW!

 

Leaving estrogen alley for testosterone boulevard, we find the Washington Post‘s Joe Heim stating the
painfully obvious (though it had to be said): “It’s petty and pretentious. It’s
self-absorbed and self-pitying. It rocks in only the most generic way
imaginable. Although its failings were entirely predictable, given who Love has
become, it’s still a disappointment… [Love is] still howling, only now it
sounds so empty… [and] a bigger problem is the shabby songwriting.” Even BLURT’s
own A.D. Amorosi
, a chipper fellow who generally looks to find the good
qualities in an artist, was compelled to give the album a middling 5-out-of-10
stars, writing, “The vulnerable wild child that exists on Nobody’s Daughter is but a mask of the one that existed on Hole’s mega-mess (and classic) Live
Through This
… The majority of the songs here are blithely overproduced
with most of its melodies un-memorable as if it (and Love) are caught in the
headlights of the ‘90s end with doe-eyed fear rather than ferocity.”

 

These are not isolated slams. The current tally over at Metacritic.com list
a score of 58 (out of 100), which pretty much jibes with Amorosi’s assessment.
It’s interesting to check out the reviews at Metacritic, by the way, given the
presence of several outright Courtney Love apologists such as BBC Music (who
gave the album an 80), Billboard.com (77) and Spin (70); you can read
whatever you like into those reviews and ratings, including speculation as to
whether or not certain publications are loathe to wax too negatively for fear
that they’ll have artist access summarily removed. (Spin put Courtney on the cover of a recent issue, incidentally, in
one of their typically generic let’s-hang-out-with-the-musician-at-home puff
pieces that allowed Love to serve up mock penance for her sins under the veneer
of a so-called candid, no-holds-barred profile. Bah.)

 

But the most interesting Nobody’s
Daughter
coverage comes not from any rock critics or celebrity journalism
hacks, but from an old collaborator (and presumed paramour) of Love – namely, Billy Corgan. Check out what Corgan has
been saying and Twittering about our gal. “I have no interest in supporting her
in any way, shape or form. You can’t throw enough things down the abyss with a
person like that,” he told Rolling Stone, recently. He then followed that up with a series of snarky tweets on April
26, just before release day:

 

Thought #1:
my face is my face, my heart is my heart, my money is my money. Oh, and my
songs are MY songs+If you can’t write your own songs?

 

Thought #2:
if you can’t write your own songs maybe you should just be happy that you
fooled someone into doing your work for you…

 

Or, thought
#3:maybe you should go someone nice+live off your husband’s money, u know the
money he made for writing all those great songs.

 

Thought #4:
when you issue someone an apology on YOUR facebook page you might actually mean
it and take responsibility for it. But…

 

Thought #5:
the world is aware of your lack of responsibility, as seen in the gov’t taking
away your parental right. Only you could abandon!

 

Thought #6:
so have your moment, burn up in the sun that laughs at u as equally as it
appears to celebrate u+sleep knowing u have no honor.

 

Dang. Harshness, dude. Thought #7: Twitter really has a dark side to it that
makes it the posterchild for UNsocialnetworking. Wouldn’t it be great if every time
someone had a nasty tweet ready to send, he or she was magically transported
into the physical presence of the recipient and forced to say it directly to
their face?

 

Anyhow, Courtney’s back on Twitter, in case you missed her during her layoff
– check out @CourtneyLoveUK since there’s
some brunette bimbo from Texas currently claiming the @CourtneyLove address. With
Love’s track record, you know there’s always going to be some kind of sideshow (check out the BLURT coverage
of Hole’s gig in Austin
at SXSW back in March here) worth
sticking around for, and you can also bet that the forthcoming tour to promote
the album will have its share of fireworks, too.

 

 

 

 

 

 

 

Leave a Reply