Fans of Hole might be keen on these three albums, especially from the bands that were contemporaries of Courtney Love & Co. For those who are new to Hole’s brand of alt-rock female rage, the following albums should definitely be next on your list.
‘Eleventeen’ by Daisy Chainsaw
Daisy Chainsaw’s debut album Eleventeen was released in 1992 and is the only album to feature Katie Jane Garside on vocals. Garside went on to release music with several other bands, so there’s more of her dynamic vocals out there to enjoy. But Eleventeen is a great album for fans who like Hole’s Live Through This, or really any of their expressive work.
Daisy Chainsaw’s guitar sound on Eleventeen was ragged, raw, and pushed to its limit in the best way possible. Garside’s vocals were similar, swinging wildly between hysterical cackling, conspiratorial whispers, and explosive screaming. As contemporaries of Hole, Daisy Chainsaw albums are a great find for fans who may have overlooked them at first but still like that particular style.
‘Spanking Machine’ by Babes in Toyland
Longtime fans of Hole probably already know Babes In Toyland, considering Courtney Love and Kat Bjelland formed the short-lived band Pagan Babies together. Love and Bjelland eventually had a bit of a falling out. But Babes In Toyland is a great band beyond their associations with Hole.
Their debut album, Spanking Machine, came out in 1990. The album opens with a satisfyingly solid guitar sound, a hallmark of early-90s alternative. Meanwhile, Bjelland comes in with wild vocals, wailing like a cat on some tracks, screaming like a banshee on others. She has no concern for sounding pretty or nice, which was the truly great thing about the women of 90s alt-rock. If you thought Courtney Love had nasty vocals, Kat Bjelland takes it a step further.
‘Something To Consume’ by Die Spitz
Die Spitz released their debut album, Something To Consume, in 2025. Comparable to Hole’s moodier work, this album also takes several stylistic twists and turns. It has a solid alt-rock foundation with pop-punk and hardcore embellishments, an interesting mix of familiar elements and surprising experiments.
It all comes together well, however, blending beautifully into an unexpectedly cohesive album. Die Spitz also seems to tap into their Austin, Texas roots on tracks like “Voir Dire”, banging out a southern-psych-rock rhythm. That could just be speculation, but Die Spitz is great at never letting you know their next move. For example, the next track, “Throw Yourself to the Sword”, is a headbanging metal-influenced track complete with guttural exclamations.
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