Since the release of julie’s (stylized in all lowercase) first single “flutter” back in 2020, which garnered the band a fair amount of attention early on, they’ve been slowly growing their audience with each new addition to their discography. The most notable addition was their extended play released in 2021, “pushing daisies,” which exemplifies the aesthetic of the band, down to the cover. It juxtaposes an anime-looking alt-girl against a vaguely computer-vomit collage of torn notebook paper and photographs. The cover signals what attracts their audience; julie is an inbred of two trendy throwback aesthetics. They are, in essence, a 2000s interpretation of ’90s alternative rock-isms: ’90s aggression and noisiness filtered through the immediate-sounding production and compulsory catchiness of the 2000s.
If I were to personify this relationship in terms of bands, this is My Bloody Valentine and Sonic Youth with At the Drive-In or Death Cab for Cutie. Admittedly, this is an imprecise comparison, as their ’90s influences are clearer than their 2000s influences. So clear are they, however, that their style influence borderlines on style aping.
When comparing tracks from “pushing daisies” like “skipping tiles” or “lochness” to the title track of My Bloody Valentine’s “You Made Me Realise” EP or “Slow;” the resemblance is uncanny. Despite the undeniable catchiness of their songwriting, I was inclined to be suspicious of them from the get-go for this very reason. Is there more depth to julie beyond aesthetic imitation? Could the band produce something more substantial than just their hooks and goth whimsy? Getting an answer to that question is ultimately what kept me interested in julie.
So finally, after two years since their last release, they’ve come out with their debut LP: “my anti-aircraft friend.” Has the band managed to quell my suspicions? The answer is a flat no. At best, the album is more of what we’ve already seen from them,at worst, it’s slightly less than that. Take a track like “knob,” which attempts the tried-and-true structure of a mellow, tense build into a cathartic, loud release. This structure should really work for them. The contrast between the mellow and the loud would be much greater than other artists, as their louds tend to be more intense. It should be more striking; but unfortunately, it just isn’t. The mellow section fails to feel tense, the loud section features one of the band’s limpest hooks and it’s just not as overwhelming because of the drier production.
The mellow section in particular highlights the band’s limitations. Without the aggression backing them up, their songwriting is reduced to sullen chords plodding along and their vocals, instead of coolly distant, come off as though julie is simply bored with themselves. This goes back to how derivative their style is; this song is crafted with what it is expected to sound like in mind rather than from a genuine place. These problems plague even the stronger cuts on the album.
One of the better songs, “clairbourne practice” has a chorus that, while appealing, sounds pretty much like a rip of My Bloody Valentine’s “Sueisfine” off “Isn’t Anything.” And while “feminine adornments” is a better version of “knob” by virtue of it actually being catchy, doesn’t that statement reveal the monotony of the album? Most of the songs operate on the same level, playing on the tired cliches of alternative rock. Those who like julie because of their aesthetic are going to continue liking them,those who don’t are going to continue to be unimpressed.
2/5
BOOOO LOSERRRRRR🍅🍅🍅🍅