Eve Libertine's latest album Live at the Horse Hospital is a scorching reimagining of Crass classics, with the pioneering anarcho-punk singer-songwriter channeling the same intensity that drove her to join the band in the 1970s. Recorded live in London with Chilean guitarist Eva Leblanc and produced by Crass founder Penny Rimbaud, it's a performance art-infused sonic assault that leaves no listener untouched.
"I never had much fun, to be honest," Libertine admits wryly, reflecting on her time with Crass, which was marked by anger, controversy, and a willingness to push boundaries. The band's anti-establishment ethos, combined with their experimental sound, made them a magnet for criticism – but also for devoted fans like Libertine, who would later join the ranks.
Live at the Horse Hospital is an invitation to experience Crass's most confrontational work in all its raw intensity. Tracks like "Rocky Eyes" and "Bata Motel" showcase Libertine's operatic vocals, conjuring images of desolate wasteland landscapes and a world ravaged by human greed and destruction. The album's sonic textures are just as unnerving – an unrelenting barrage of distorted guitars, pounding drums, and eerie soundscapes that leave the listener gasping for breath.
One track in particular has become notorious over the years: "Bata Motel," which was initially banned due to allegations of being obscene. The case was eventually dropped, but not before the band was fined for its perceived transgressions – a move that Libertine now sees as vindication rather than censure. She recalls the court hearing with amusement, citing the absurdity of the defense's argument (which involved comparing Crass's lyrics to a Peter Cook and Dudley Moore routine about Jesus wanking) and the judge's stern rebuke.
Despite her tough exterior, Libertine reveals a more nuanced side as she discusses her views on feminism and identity politics. While she rejects labels like "feminist" – seeing them as limiting and potentially alienating – she acknowledges that her experiences with Crass helped shape her own perspective on anger, compassion, rage, and love.
In a world where the ills of warmongering, environmental devastation, and patriarchal oppression remain all too familiar, Libertine's art serves as a reminder that change is possible only through unflinching honesty and a willingness to confront our own fears and pettiness. As she says, "Don't see the armour, see underneath: we're human beings under everything."
"I never had much fun, to be honest," Libertine admits wryly, reflecting on her time with Crass, which was marked by anger, controversy, and a willingness to push boundaries. The band's anti-establishment ethos, combined with their experimental sound, made them a magnet for criticism – but also for devoted fans like Libertine, who would later join the ranks.
Live at the Horse Hospital is an invitation to experience Crass's most confrontational work in all its raw intensity. Tracks like "Rocky Eyes" and "Bata Motel" showcase Libertine's operatic vocals, conjuring images of desolate wasteland landscapes and a world ravaged by human greed and destruction. The album's sonic textures are just as unnerving – an unrelenting barrage of distorted guitars, pounding drums, and eerie soundscapes that leave the listener gasping for breath.
One track in particular has become notorious over the years: "Bata Motel," which was initially banned due to allegations of being obscene. The case was eventually dropped, but not before the band was fined for its perceived transgressions – a move that Libertine now sees as vindication rather than censure. She recalls the court hearing with amusement, citing the absurdity of the defense's argument (which involved comparing Crass's lyrics to a Peter Cook and Dudley Moore routine about Jesus wanking) and the judge's stern rebuke.
Despite her tough exterior, Libertine reveals a more nuanced side as she discusses her views on feminism and identity politics. While she rejects labels like "feminist" – seeing them as limiting and potentially alienating – she acknowledges that her experiences with Crass helped shape her own perspective on anger, compassion, rage, and love.
In a world where the ills of warmongering, environmental devastation, and patriarchal oppression remain all too familiar, Libertine's art serves as a reminder that change is possible only through unflinching honesty and a willingness to confront our own fears and pettiness. As she says, "Don't see the armour, see underneath: we're human beings under everything."
just listened to Eve Libertine's new album Live at the Horse Hospital... it's like a punch in the face 
but also a wake-up call 
. Crass was all about challenging the status quo & pushing boundaries, and Libertine's energy is still so raw & intense 
. I love how she keeps it real about her experiences with the band & the politics of that time... it's like she's saying we need more people talking about this stuff in a more nuanced way 
.
! The way she reimagines Crass classics is like a sonic punch in the face – it's intense and raw, but also so beautiful. I love how she's unafraid to tackle tough subjects like anger, compassion, and feminism, even if that means going against mainstream norms. It's like she's saying, "Hey, we need to talk about this stuff, even if it's uncomfortable." And can we talk about Penny Rimbaud's production skills? 
i mean i can relate to the anger and frustration that goes into making music like this her story with Crass is so fascinating how she went from being part of that intense scene to creating this powerful album that still packs a punch even years later
I'm loving the raw intensity of the album, especially tracks like "Rocky Eyes" - it's like you can feel the anger and frustration pouring out of every note 
At the same time, there are these moments where Libertine talks about feminism and identity politics, and it's clear she's still growing and learning from her experiences 
- it's like eva libertine is channeling her inner punk rock spirit all over again 
i mean, you can feel the intensity and anger that drove her to join the band in the 70s it's like she's tapping into this raw energy that's still so relevant today. and yeah, tracks like rocky eyes and bata motel are just so hauntingly beautiful 
the way the distorted guitars and pounding drums create these sonic textures is just unnerving in a good way. i love how she talks about feminism and identity politics too – it's clear she's not afraid to confront her own perspectives and challenge the status quo 
