The Singles Jukebox

We appear to have a bit less to say about her than we did about her old band…

[Video][Website]
[4.29]

Katherine St Asaph: Nobody can fault Melissa Auf der Maur for lack of ambition. In addition to recording a Viking-themed concept album, she’s created a graphic novel, a short film and thickets of backstory. In this song’s video, she wails into a vacant-lot forest like she’s trying to summon wraiths. Fortunately, the song’s join-us Romanticism more than lives up to her aims while magicking up enough hooks to stand on its own (such a huge bridge!). May Melissa find legions to sit by her fire.
[9]

Chuck Eddy: Her Uriah Heep-ancestored druid vowel intonations give this a kind of Gothic forest ritual air, which I like. The song itself could use more shape, and probably more crunch, but isn’t bad.
[6]

Martin Skidmore: Some may regard a solo single from the former bassist out of Hole with more enthusiasm than I do. It’s tedious indie rock, with no fire or significant melodic sense or musical invention or character, and it occasionally lumbers as if it wants to be ’70s heavy rock but lacks the muscle or fuel. Terrible.
[1]

John Seroff: Once I heard the unholy “fire/desire/higher” rhyme scheme invoked in the first verse, I pretty much knew this was going to be one of those Jukebox Singles where I torture myself listening over and over trying to find something cunning or constructive or, at the very least, not baldly meta to say when all I really have to say is that this kind of sucks.
[2]

Michaelangelo Matos: Bill Wyman wishes he had her hair.
[3]

Alfred Soto: The only part of this slab of epic Gothic hooklessness engraving itself in my mind (and out of my heart) was when the guitar played the bass riff of Joy Division’s “Isolation” at the halfway mark.
[4]

Anthony Easton: PJ Harvey losing her shit means autoharps, Courtney Love losing her shit means domestic melodramas about the moral decadence of Los Angeles. What does this mean?
[5]