The Julie Ruin
The Julie Ruin
Hardly Art, Sub Pop
The Julie Ruin est un groupe américain de rock indé formé par Kathleen Hanna en 2009 à New York. Alors que Kathleen n’a plus sorti d’album depuis « This Island », sorti en 2004 sous le pseudonyme Le Tigre, elle se dit prête pour un nouveau projet. C’est donc le 13 janvier 2010 que les 4 membres, Kathleen, Sara Landeau, Carmine Covelli (qui a participé aux tournées de Le Tigre) et Kenny Mellman, se réunissent pour la première fois. Rejoint plus tard par Kathi Wilcox (ancienne membre de Bikini Kill).
Ils reprennent d’abord des titres d’anciens groupes de Kathleen, puis commencent l’enregistrement de leur premier album Run Fast, sorti en 2013. Fin 2014, ils commencent à travailler sur leur second album, Hit Reset, dont la sortie est prévue pour Juillet 2016 sur Hardly Art Records. Cet album est beaucoup plus personnel, selon Kathleen Hanna, que le premier, comme le démontre ses paroles plus poignantes et touchantes. Une première dans sa longue carrière musicale.
Kathleen Hanna stealthily assembled the members of The Julie Ruin without any of them realizing exactly what was happening. It all began in late 2009. Kathleen had not released an album since Le Tigre’s This Island (2004), and she was ready to jump back into music again. She knew her onetime Bikini Kill bandmate Kathi Wilcox was going to be moving to New York in the near future, so she didn’t even bother with finding a bass player at first. Carmine Covelli, who had toured with Le Tigre as their video guru, was having a blast at Kathleen’s birthday party when she abruptly asked him to be the drummer. A longtime admirer of Kathleen’s work, Carmine couldn’t say no to her at her own party, so of course he joined the band. Sara Landeau and Kathleen both taught at Girls Rock Camp and Kathleen lured her into the band by trading Pro Tools lessons for guitar lessons. Sara’s surf-informed style gelled perfectly with Kathleen’s sonic vision for her new band. Kathleen approached Kenny Mellman last with the idea that they should write country songs together to sell to other artists. Within a week of their first meeting, Kathleen’s mysterious “manager” (whom Kenny maintains does not exist) told her that they would never break into the Nashville songwriting scene, so Kenny might as well join her new band on keyboards. Done.
The four of them first got together on January 13th, 2010, in a practice room in Manhattan and learned to play songs from Kathleen’s other projects: Bikini Kill, Le Tigre, and the first solo Julie Ruin record from 1997. This new iteration of The Julie Ruin practiced when they could until Kathi finally moved to New York, at which point they began to write the songs that eventually became their first album, 2013’s self-released Run Fast. Some songs would germinate from loops band members had made at home, which the group would then expand into fleshed-out compositions. Other songs were born from just playing around in the studio.
Over the next couple of years they toured the world, accompanied at times by a couple of creepy puppets found in a Mormon thrift-store in Portland, Oregon. Though they hadn’t played a live show together before the release of Run Fast, the band came out swinging and thrived on stage, as evidenced by the rapturous reviews of their performances.
In late 2014 they began work on their second album, Hit Reset, due out July 8th on Hardly Art Records. Mixed by Eli Crews (with whom the band worked on Run Fast), Hit Reset expands on the band’s established sound: dancier in spots and moodier in others, with girl group backing vocals and even a touching ballad closer. Hit Reset is the sound of a band who have found their sweet spot. Hanna’s vocals are empowered and her lyrics are as pointed and poignant as ever. From the chilling first lines of “Hit Reset” (“Deer hooves hanging on the wall, shell casings in the closet hall”) to the touching lines of “Calverton” (“Without you I might be numb, hiding in my apartment from everyone / Without you I’d take the fifth, or be on my death bed still full of wishes”), Hanna takes a leap into the personal not seen completely on the first album or possibly even in the rest of her work.