Eve Libertine's New Album is as Relevant as Ever - a Protest That Never Lost Its Edge
Eve Libertine sits in front of me, her eyes twinkling with mischief, a hint of a smile playing on her lips. Her voice takes on a stern tone, but she laughs soon after, revealing the irreverent humor that has defined her life and music.
"The truth is, we never had much fun," she says, her words dripping with sarcasm. "We were angry, trying to say things in a way that would shock people into listening." This sentiment echoes the essence of Crass, the anarcho-punk pioneers that Libertine sang with in the 1970s.
For those unfamiliar, Crass was born out of the Dial House farm commune in Essex, where its core members - Penny Rimbaud on drums and Steve Ignorant on vocals - clashed with the establishment. Eve joined the band later, bringing a scorching vocal cadence that propelled them into more experimental territory. Her time with Crass was marked by confrontational performances, biting lyrics, and unapologetic activism.
One track from this era, "Bata Motel," has been revisited on Libertine's new album, Live at the Horse Hospital. The song's depiction of living as a woman under male gaze was deemed "sexually provocative and obscene" by Manchester police, who charged her with obscenity in 1981.
The case was later dropped, but not before the band faced ridicule in court. A defence lawyer attempted to justify the album's alleged immorality by citing Peter Cook and Dudley Moore's Jesus Wanking Album, which sparked laughter in the courtroom. In hindsight, Libertine recalls it as "all a bit of a joke."
However, for her, Bata Motel remains an anthem that speaks to women's struggles with body image and self-objectification today. The lyrics have become more relevant, rather than less so.
Libertine's music has long been characterized by its provocative nature. Her new album treads the line between performance art, experimental music, and earthy ritual, reflecting her continued commitment to challenging social norms.
But beneath the bravado lies a complex individual grappling with her own fears and vulnerabilities. She questions the limitations of ideologies that can isolate individuals - something she's experienced firsthand in the punk scene. "Our ideologies can hold us back," she says. "I don't call myself anything with an -ist on the end, because it can be co-opted."
So what drives her art? Anger, compassion, rage - and love. This multifaceted mix fuels her creative expression, pushing boundaries that never lost their edge.
As I conclude this conversation, Eve's words linger in my mind: "If anyone else laughs you'll be in the cells!"
Eve Libertine sits in front of me, her eyes twinkling with mischief, a hint of a smile playing on her lips. Her voice takes on a stern tone, but she laughs soon after, revealing the irreverent humor that has defined her life and music.
"The truth is, we never had much fun," she says, her words dripping with sarcasm. "We were angry, trying to say things in a way that would shock people into listening." This sentiment echoes the essence of Crass, the anarcho-punk pioneers that Libertine sang with in the 1970s.
For those unfamiliar, Crass was born out of the Dial House farm commune in Essex, where its core members - Penny Rimbaud on drums and Steve Ignorant on vocals - clashed with the establishment. Eve joined the band later, bringing a scorching vocal cadence that propelled them into more experimental territory. Her time with Crass was marked by confrontational performances, biting lyrics, and unapologetic activism.
One track from this era, "Bata Motel," has been revisited on Libertine's new album, Live at the Horse Hospital. The song's depiction of living as a woman under male gaze was deemed "sexually provocative and obscene" by Manchester police, who charged her with obscenity in 1981.
The case was later dropped, but not before the band faced ridicule in court. A defence lawyer attempted to justify the album's alleged immorality by citing Peter Cook and Dudley Moore's Jesus Wanking Album, which sparked laughter in the courtroom. In hindsight, Libertine recalls it as "all a bit of a joke."
However, for her, Bata Motel remains an anthem that speaks to women's struggles with body image and self-objectification today. The lyrics have become more relevant, rather than less so.
Libertine's music has long been characterized by its provocative nature. Her new album treads the line between performance art, experimental music, and earthy ritual, reflecting her continued commitment to challenging social norms.
But beneath the bravado lies a complex individual grappling with her own fears and vulnerabilities. She questions the limitations of ideologies that can isolate individuals - something she's experienced firsthand in the punk scene. "Our ideologies can hold us back," she says. "I don't call myself anything with an -ist on the end, because it can be co-opted."
So what drives her art? Anger, compassion, rage - and love. This multifaceted mix fuels her creative expression, pushing boundaries that never lost their edge.
As I conclude this conversation, Eve's words linger in my mind: "If anyone else laughs you'll be in the cells!"
did u no dat eve libertine's new album Live at the Horse Hospital is a protest 2nite?? 
her music still got that edge & relevancy 
she talks abt body image, self-objectification & social norms, making it super relatable 2 today's youth 
her music history is so interesting - think back 2 the dial house farm commune days & crass's pioneering anarcho-punk scene 
. i love how eve is saying that our ideologies can be both powerful tools and limitations, and that's something we should all be thinking about when it comes to creating change in the world 
.
and btw, bata motel is STILL SO Relevant today lol police were probs just butt hurt 'cause they didnt know how to deal w/ a woman who wasnt afraid 2 speak her mind 
i mean eve libertine is like the original rebel girl - her music is still raw and unapologetic, tackling themes that are just as relevant today 
. i love how she talks about the importance of challenging social norms and pushing boundaries, we could all learn from her example 
.
she's still as fiery 
that's like, a whole different level of crazy 
and tackles issues that are just as relevant today 
like what she said about ideologies holdin back individuals... u feel? 
. i love how she's exploring themes of self-empowerment and female rage 
. the fact that "bata motel" is still relevant today just shows how timeless libertine's message is 
. and can we talk about her vocals? 
she's still got it 
!
. but its also wild to think about how her art has always been at the forefront of challenging social norms and pushing boundaries. it's not just music, its performance art, activism - she's like a modern day provocateur 
. I mean, we can laugh at some of the absurdity now - like that court case with Peter Cook and Dudley Moore 
. So yeah, I think that's the real power of Eve Libertine's music - it's a call to action, not just a laugh 
.