‘Flesh’: Revisiting the solo work of The Slits’ Viv Albertine
A big deal is made out of the first wave of punk rock in the UK, but it is difficult to say just how much of its reputation is the result of rose-tinted spectacles. It is true that, of those early groups like The Damned, the Sex Pistols or The Adverts, not much of their material has stood the test of time. Nevermind the Bollocks might have been groundbreaking upon its release, but it hardly has the same impact in the 21st century. Of the early punk scene, few groups have experienced the same lasting power and influence as The Slits, owing largely to the artistry of guitarist and songwriter Viv Albertine.
In opposition to many of their contemporaries, the unique stylings of The Slits still sound as innovative and infectious today as they were back in the 1970s. The debut album Cut, for instance, remains essential listening for any and every alternative musician, inspiring countless future artists including the likes of The Raincoats, Bratmobile and Gang of Four. Of course, The Slits were not going to last forever, and the band eventually broke up in 1982, leaving Viv Albertine at something of a loose end.
Albertine spent the next few decades moving from one artistic endeavour to another, playing with the dub collective New Age Steppers before moving away from music to focus on film studies and, briefly, sculpture. For a while, the guitarist was living somewhat under the radar, residing in Hastings with her family, worlds away from the sticky floors of the Roxy Club. Nevertheless, musical energy like Albertine’s cannot be destroyed; it merely bides its time.
By the time the early 2000s rolled around, much of the punk generation had turned grey and been served with hefty tax bills, and so the age of reunion tours began. It was only a matter of time before The Slits got back together, which they did in 2005, though – to give them their due – they spent that reunion writing and recording new material. Nonetheless, Albertine was not convinced by the idea of the reunion, and so she refused to take part. It would take a few more years for the songwriter to pick up a guitar again but thank god she did.
In 2009, Albertine began performing once again, playing open-mic acoustic sets with a range of brand new material and a handful of covers. Sure, she could have found more success by producing a sound akin to the post-punk of The Slits, but Albertine was always driven more by art and integrity than success or commercial gain. So, in 2010, she released Flesh, her first solo release and the first music she had produced since Return of the Giant Slits in 1982.
Although Flesh was wildly different in sound from the punk style that Albertine was known for, the lineage of The Slits was clearly present. Awash with witty lyricism, detailed imagery and innovative composition, the EP could only have ever been made by Albertine. What is so appealing about her solo work, in particular, is its unending sense of honesty. There are not many releases out there which reflect the inner-mind of a middle-aged woman from Hastings, and so it is quite refreshing to hear.
Albertine would follow-up Flesh with a full-length album, The Vermilion Border, in 2012, which seemed the natural development of the material recorded on Flesh. Neither of these releases had a huge impact on the musical mainstream, but they remain some of the most heartfelt and gut-wrenchingly honest works of recent years. Since these releases, Albertine has reportedly retired from music, going so far as to say “I don’t miss it” during a 2018 interview. If the last music Albertine ever releases is The Vermillion Border, then she can certainly rest easy knowing that everything she released was groundbreaking and accomplished, in stark contrast to many of her punk contemporaries.
