Regret is channelled into reinvention and resilience, reweaving music and creativity back into the fabric of her life, relearning guitar and releasing a solo album, insightfully discussing the challenge of balancing motherhood and music. The memoir, threaded with passion and compassion, is split into Side One and Side Two, the second part movingly chronicling her film career as well as IVF, miscarriage, illness, divorce, depression and “unbearable loneliness” – and how such experiences ultimately strengthened her. She explores not only the sartorial but the skin beneath, telling how as children she and her sister would draw biro lines round the bruises left by their father’s belt.Īfter the Slits split, the seams of Albertine’s life began to tear and fray the split is so painful that she couldn’t even bear to listen to music. With gut-wrenching honesty, Albertine documents experiences that “left an indelible emotional imprint”. It’s a philosophy reflected in this magnificent memoir, which wears its heart on its sleeve. “It’s OK not to be perfect, to show the workings of your life and your mind in your songs and your clothes,” writes Albertine. The idiosyncratic Slits wore clothes inside-out, seams and labels showing, inspired by Vivienne Westwood. It’s fuelled a lot of my work.” Sitting on her childhood bed in her mother’s council flat she dreamed of escape and there wrote the Slits song Typical Girls. Told in a present-tense that endows a raw immediacy, Albertine’s story is bruised by breakages, from broken homes to broken bands, but she spins pain into creativity: “A burning ball of anger and rebelliousness started to grow within me.
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