Eve Libertine's latest album Live at the Horse Hospital is a scathing critique of the world we live in today, with tracks from her time with 1970s anarcho-punk pioneers Crass remaining as relevant as ever. The album, produced by Crass founder Penny Rimbaud, showcases Libertine's signature operatic tones and confrontational style, which have always been at the forefront of her work.
For Libertine, creating art has never been about having fun – it's about provoking a reaction and sparking change. "We never had much fun, to be honest," she admits, reflecting on her time with Crass. The band was formed in the 70s as an agit-punk outfit, with Rimbaud on drums and Steve Ignorant on vocals, and Libertine joining later on. Her scorching vocal cadence added a new dimension to their music, which veered from punk thrashers to experimental sonic collages.
Crass was never just about the music – they were also a politicized outfit, tackling topics like anti-nuclear activism and obscenity charges that landed them in court. In 1981, Libertine found herself at the center of a high-profile obscenity trial for her song Bata Motel, which was deemed "sexually provocative and obscene" by the judge. The track's depiction of living as a woman under the male gaze has become a powerful statement on women's empowerment.
Despite facing heavy fines, Libertine argues that Bata Motel is now more relevant than ever, with its lyrics resonating with a younger generation of women. "I study myself in your reflection, and put it to rights with savage correction," she quotes from the song. Her own views on feminism have also shifted over time – she no longer identifies as a feminist due to what she sees as the potential for ideological rigidity.
So what drives Libertine's art today? Anger, compassion, rage – and love, she says. In an era where polarization seems to be winning out, her music is a call to arms – or rather, a call to vulnerability. "Our ideologies can hold us back," she warns. "I don't see the armour, I see underneath: we're human beings under everything."
For Libertine, creating art has never been about having fun – it's about provoking a reaction and sparking change. "We never had much fun, to be honest," she admits, reflecting on her time with Crass. The band was formed in the 70s as an agit-punk outfit, with Rimbaud on drums and Steve Ignorant on vocals, and Libertine joining later on. Her scorching vocal cadence added a new dimension to their music, which veered from punk thrashers to experimental sonic collages.
Crass was never just about the music – they were also a politicized outfit, tackling topics like anti-nuclear activism and obscenity charges that landed them in court. In 1981, Libertine found herself at the center of a high-profile obscenity trial for her song Bata Motel, which was deemed "sexually provocative and obscene" by the judge. The track's depiction of living as a woman under the male gaze has become a powerful statement on women's empowerment.
Despite facing heavy fines, Libertine argues that Bata Motel is now more relevant than ever, with its lyrics resonating with a younger generation of women. "I study myself in your reflection, and put it to rights with savage correction," she quotes from the song. Her own views on feminism have also shifted over time – she no longer identifies as a feminist due to what she sees as the potential for ideological rigidity.
So what drives Libertine's art today? Anger, compassion, rage – and love, she says. In an era where polarization seems to be winning out, her music is a call to arms – or rather, a call to vulnerability. "Our ideologies can hold us back," she warns. "I don't see the armour, I see underneath: we're human beings under everything."
she's like a voice of reason in this crazy world we live in... her music is like a wake-up call for all these young ladies out there to stand up for themselves & not be afraid of expressing their feelings. and i love how she's evolved as an artist, not sticking to just one vibe but instead embracing the messy-ness of human emotions 
it's so refreshing to see someone who isn't afraid to get real & raw with their art...
sounds like Eve Libertine's new album is super intense and stuff... i mean, it's not all about having fun making music, it's about really pushing boundaries and sparking change, you know? 
makes sense, i guess? 
IT'S LIKE SHE'S TAKING ON THE WORLD AND WE'RE ALL JUST ALONG FOR THE RIDE! 
her music is like a punch in the face - it's raw, it's real, and it's so necessary right now. i love how she's not afraid to tackle tough topics like feminism and identity and all that jazz 
the whole "living under the male gaze" vibe is still SO real and it's amazing that she's using her platform to speak truth to power 
it's always been about making a statement, but is it really that deep? The 70s anarcho-punk scene was all about causing a ruckus, not necessarily creating art. And let's be real, some of the stuff she's saying now is pretty muddled... like how feminism just became less important because people are more nuanced in their views 
... I mean, her band Crass was literally ahead of their time with that whole anarcho-punk thing 
. I think that's what we need more of in our world right now - less polarization and more empathy 
...
those operatic tones just give me chills every time. i love how she says she didn't have fun making music back then lol thats so true. its all about provoking a reaction and sparking change, you know? anyway, bata motel is still super powerful today it feels like eve's finally found a way to express herself without getting too caught up in ideologies 
. I'm loving how her music still tackles the tough issues today, from patriarchy to social inequality, and even the absurdity of our modern world. Her operatic voice is insane, and that Crass connection is still going strong 
. It's no wonder she's been compared to a prophetic preacher - Libertine's got this crazy ability to speak truth to power without being preachy at all 
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