Turns out Hanna has more than enough enthusiasm to power sophomore album Hit Reset, an unconstrained, confident collection of dance-punk cuts that bubbles with exuberance even as it digs deeper into her favorite melancholy themes. Sure, the basics are all here: a lot of brash noise mixed with sarcastic observations and moody ruminations (perhaps her most personal and self-exposing to date) about child abuse, feminism (“Mr. So And So” and “Hello Trust No One” provide particularly sharp commentary to this end), sexual assault (on the snarling, aggressive “Be Nice”), and health problems. Hit Reset also contains some conspicuous risks—for her, at least—with delicate, often heartening, moments. The record even closes with an honest-to-god ballad, the soft and relatively optimistic “Calverton.”
For the most part, however, the name of this game is crisp, animated melodies and an eclectic array of styles (including glam rock, hardcore, and electronica) that’s sampled with lively bluster. True, this blueprint partially duplicates that of Hanna’s modern-day disciples, some of which, such as labelmate Tacocat, have done a more impressive job of executing it. (With the bouncy pop groove of “I’m Done,” The Julie Ruin duplicates Tacocat’s catchy, angry attacks on internet trolls.) But no matter. It’s not a competition—and, in any case, Hit Reset is commendable not because Hanna is a pioneer in the punk world, but because, after all she’s been through, she still has the vigor and passion to be a worthwhile participant.
Also: Read today’s HateSong for why Hanna can’t stand “deadbeat-dad anthem” “Cat’s In The Cradle.”
