The record is the ultimate, all-encapsulating mood swing of its matriarch.
Keira Burgess 2009
Ladies and gentlemen, roll up, because the Brody Dalle show is back in town. Among the many dazzling attractions, a diva, a vamp, a harpy and a sideshow freak: one accomplished performer, a menagerie of personalities.
It has been three years since Dalle parted company with The Distillers and despite deciding immediately that the show would go on, its only now that Spinnerette (having married and given birth to a child) is ready to reintroduce herself to her public.
Along for the ride are fellow Distiller Tony Bevilacqua, serial collaborator Alain Johannes, and one-time Chili Pepper Jack Irons, although Spinnerette seems to have been conceived as a means of evolving Dalle's prolific songwriting skills. Readily admitting that the material is a cathartic exorcism of certain personal issues, the record is the ultimate, all-encapsulating mood swing of its matriarch.
Where The Distillers were bombardiers, Spinnerette like coaxing. Opening with EP track Ghetto Love, Dalle drawls her way in and makes herself at home.
There are undeniable moments of the expected dark intensity: Distorting A Code touches cacophony and brandishes unintelligible babbling, while Cupid is a venomous stab at old adversary love. But cheeky and geeky upstage mother menace here, the album is a successful foray into a broader range of rock.
Geeking is mathrock with a nod towards Weezer, touchingly based on Dalle's lullaby to daughter Camille. Sex Bomb is a girly, teasing yelp-along for knowing young ladies, with its repetitive refrain ''please me daddy''. And Impaler is a Slavic style thumper with ingenuous accents courtesy of a half-empty wine bottle and Johannes.
The cover rings of the sexual veracity of Peaches, and vocally there are shades of Shirley Manson before Garbage lost their edge, but one senses that when Dalle left The Distillers behind, she was bidding farewell to more than a name.