Eve Libertine's latest album, Live at the Horse Hospital, is a sonic representation of her unyielding anger and frustration with the world. Recorded live in April 2024, this collection of reimagined tracks showcases her collaboration with Chilean guitarist Eva Leblanc and Crass founder Penny Rimbaud. The result is an immersive experience that defies traditional notions of music, blending performance art, experimental soundscapes, and earthy ritual.
For Libertine, the creative process was a cathartic release of emotions born out of a lifetime of confronting societal injustices. "We never had much fun, to be honest," she admits with a chuckle. The anger that fueled Crass, one of punk's most influential anti-establishment figures, remains palpable in her music.
The album features reinterpretations of tracks from Libertine's back catalogue, including some of her time with Crass. One such song is Bata Motel, originally released in 1981 and later charged with obscenity due to its depiction of living as a woman under the male gaze. The original track was deemed "sexually provocative and obscene" by Manchester police, sparking heated debates about censorship and artistic expression.
Libertine disputes this classification, instead viewing Bata Motel as an empowering anthem that challenges societal norms. She recalls the court hearing where the defense cited Peter Cook and Dudley Moore's Jesus Wanking album – a joke played on the judge, which had everyone in stitches but ultimately failed to sway his decision.
The track has taken on new significance for younger generations of women who see themselves reflected in its lyrics, which speak of resistance and self-correction. Libertine argues that her art has evolved over time, shifting from dogmatic ideologies to a more nuanced understanding of human nature. "Our ideologies can hold us back," she warns, cautioning against the isolating effects of labels.
For Libertine, the driving forces behind her creative output remain anger, compassion, rage – and love. Her music serves as a testament to the power of art to transcend boundaries and provoke change.
For Libertine, the creative process was a cathartic release of emotions born out of a lifetime of confronting societal injustices. "We never had much fun, to be honest," she admits with a chuckle. The anger that fueled Crass, one of punk's most influential anti-establishment figures, remains palpable in her music.
The album features reinterpretations of tracks from Libertine's back catalogue, including some of her time with Crass. One such song is Bata Motel, originally released in 1981 and later charged with obscenity due to its depiction of living as a woman under the male gaze. The original track was deemed "sexually provocative and obscene" by Manchester police, sparking heated debates about censorship and artistic expression.
Libertine disputes this classification, instead viewing Bata Motel as an empowering anthem that challenges societal norms. She recalls the court hearing where the defense cited Peter Cook and Dudley Moore's Jesus Wanking album – a joke played on the judge, which had everyone in stitches but ultimately failed to sway his decision.
The track has taken on new significance for younger generations of women who see themselves reflected in its lyrics, which speak of resistance and self-correction. Libertine argues that her art has evolved over time, shifting from dogmatic ideologies to a more nuanced understanding of human nature. "Our ideologies can hold us back," she warns, cautioning against the isolating effects of labels.
For Libertine, the driving forces behind her creative output remain anger, compassion, rage – and love. Her music serves as a testament to the power of art to transcend boundaries and provoke change.
I mean, who doesn't love a good cathartic release of emotions born from societal injustices? It's not like she's still angry about everything or anything... The way the track Bata Motel has taken on a new significance for younger generations is actually kind of cool, though - it's like her art has evolved from "I hate everything" to "I'm still mad, but I'm also more complex". 
The way they portrayed Eve Libertine's album is kinda meh. I mean, it's all about the raw emotion and anger she's been pouring into her music for years, but it feels like they're trying to make her some kind of martyr. "Unyielding anger and frustration" sounds super dramatic, you know? 
It's just music, right? And yeah, I can see why they'd focus on the controversy surrounding Bata Motel, but there's so much more to it than that. It's like they're trying to make her a symbol of resistance or something... 
. I mean, it's clear that she's still super passionate about tackling tough issues with her music 
. I love how she's pushing the boundaries of what we consider "music" and incorporating performance art and ritualistic elements 
. It's like she's creating this immersive experience that's both cathartic for her and thought-provoking for us listeners 
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. It's not always easy to admit when we're wrong or our perspectives shift, but it takes a lot of courage to do so. And I think that's what makes her music so powerful – she's not afraid to challenge her own labels and be open about her growth 
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. It's an invitation to listen, to feel, and to connect with others on a deeper level 
. Eve Libertine might be angry, but she's also got this incredible capacity for love and compassion 
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I mean, who needs a filter when you can just be unapologetically angry and cathartic? 
the collab with Eva Leblanc and Penny Rimbaud sounds amazing btw... that Bata Motel track has been on my radar for ages and I'm obsessed with its raw energy 
. I love how she says that her art has evolved over time and that ideologies can hold us back - it's so true 
. Can't wait to hear more from Eve Libertine! 
The way she reimagines her old tracks with Eva Leblanc and Penny Rimbaud is pure genius. It's like a breath of fresh air after all those years of conforming to societal norms. And can we talk about how empowering "Bata Motel" is for young women everywhere? It's like, finally someone's singing our anthem 
! I love how Eve's art has evolved over time too, from dogmatic ideologies to a more nuanced understanding of human nature. She's always pushing boundaries and speaking truth to power 
- it's like she's tapping into the raw emotions of our generation and unleashing them on the world! I mean, can you imagine being part of a time when women were literally prosecuted for expressing themselves in art? The fact that Bata Motel is now seen as an empowering anthem is just mind-blowing 
And I love how she's evolving her message over time, moving from dogmatic ideologies to a more nuanced understanding of human nature. For me, this album is all about embracing our complexities and finding beauty in the messy bits 
she's still spittin truth 2 da system n her anger is real but its not just anger its like compassion 4 humanity too 
. I'm lowkey impressed by how much shes grown as an artist, it's like she's not stuck in da past no more 
. Bata Motel is such a powerful anthem 4 women empowerment n shes right, our labels rnt always right 
. Can't wait 2 c what she does nxt 
. It's just rehashed tracks with some fancy additions and a whole lot of hype 
. Eve Libertine's latest effort is more like a self-indulgent exercise in angst than actual innovation 
. The collaboration with Eva Leblanc and Penny Rimbaud sounds cool on paper, but it's hard to see how these reinterpretations add anything new to the table 
That was actually kinda funny back then, but now it just feels like a tired old anecdote 
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. But for me, it's just another example of the industry churning out stuff that's more about marketing than actual artistry 
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