Hurtling back after years out of the limelight and a devastating identity theft incident, Melora Creager, main creative force behind the cello-driven Rasputina, has bravely released what might be her most personal album yet. Short but sweet, Creager was kind enough to repond via email and share some insight into her ordeal and the impetus behind her art.
The new Rasputina album, “Unknown”,
was born out of a particularly traumatic time for you and is the first album of
new music in almost five years. Unlike
previous releases, this was recorded alone and quite literally “under the cover
of darkness”. First of all, thank you
for sharing something so personal – it’s a very beautiful and singular
work. How did the experience of having
your online presence hacked impact the writing and recording process?
I was
out-of-my-mind paranoid, but felt compelled to make this record. There are
parts of ourselves that are powerful, yet hidden. I got to know that part of me
as if she was a different person. I couldn’t have made this record without her.
You’ve welcomed Carpella Parvo back
to the group who departed after your debut to take care of medical issues. Given all that you have been through, it
seems like a nice way of “closing the circle” with your past. How did you and she reconnect? To a broader
point, do you find yourself pulled by nostalgia, or is the past usually best
left there?
Lately, I’ve been closing circles and opening
new ones. I’m not pulled by nostalgia. I’m into ‘the now’ and the future. We
reconnected through the internet of course. Had lost track of each other long
ago. I’m so glad she’s back.
Last year, you helped to curate an
art series on your website dedicated to memorializing the 20th
anniversary of Kurt Cobain’s death (and, by extension, all of those lost to
suicide). I was curious if you had watched
the recent “Montage of Heck” documentary and if so, what you thought of it?
I
haven’t seen it, but it sounds interesting.
It’s reductive (and probably not
terribly helpful) to point out that you are a strong female artist that is
working independently in tandem with but also outside a very male-dominated
system. You have, however, reclaimed strong female figures of the past through
your costuming and storytelling and it’s something that your audience seems to
connect with and expect from Rasputina.
Do you feel a responsibility to represent the feminine in your
work? Why do we have such a tough time
discussing gender in relation to female artists and their work?
I
don’t feel a responsibility to the feminine- I feel it’s my natural purpose—
put forth strongly without thought of doing it otherwise. It’s what interests
me, what I like, and what interests others, men and women alike.
Your songs cover quite
a wealth of ideas, from the historical to the fantastic. Having been at this the better part of 20
years now, what inspires you to continue to create art? And if you could
communicate with your younger self, what advice if any would you give her?
Art is all there is to do. I don’t watch tv or the internet.
There’s no shortage of ideas- just shortage of time.
I imagine your songs
are like children – it’s tough to choose one above the others. But let’s say
you are asked to make a “Sophie’s Choice”; is there one that you are particular
proud to have written or one that is particularly special to you?
Always the latest album’s material. Then soon after, I can’t
listen to it. No special favorites of my songs.
What’s on tap for you next?
Loads
of touring until November. I’m always making new releases on my website. Just
released an album of early cassette demos. Virtue video series to make. Fa La
La II. A covers collection. That’s about it.
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