Posts Tagged ‘Crushing’

Julia Jacklin follow up to her 2016 debut, Don’t Let The Kids Win, with this assured second effort. “Crushing” untangles the feelings of a young woman adrift after the end of a relationship – a break-up she herself instigated – with truth and levity. Her sound is marked by dynamism: after moments of quiet yearning, the tempo builds on tracks like You Were Right and Pressure To Party, moving from alt-country to almost-garage and back again. Whether bringing up the possibility of revenge porn or how tiresome mansplaining is, her songs are intimate and revealing, carried by Jacklin’s unique folk voice.

Here is the acoustic version of her song “Comfort.”

The video features a stripped-down performance of Jacklin crooning the 10th track from her highly acclaimed 2019 album, Crushing, in her dressing room while on tour with First Aid Kit last fall. Draped in modest pastels, Jacklin (and her poignant songwriting) reels in all those who will listen with a voice that, while delicate, is a deceptively potent vessel for emotional intensity. Watch the video for “Comfort” below,

The most brutal (and best) song is the opener, ‘Body’. The scary dickhead ex-boyfriend – proud of being kicked off a plane for smoking, now in possession of nude photos of her – is perfectly drawn and unfortunately recognisable.

‘I guess it’s just my life, and it’s just my body’ she observes painfully.

These lyrics linger in your mind as Jacklin moves through emotionally potent singles ‘Pressure to Party’ and ‘Head Alone’, exploring cleverly the rocky path of self-realisation. ‘Hurts for a while, cured with time’ she sings hopefully on gentle closer ‘Comfort’. Like the worst break-ups you might find yourself flicking back to track one to do it all over again.

New album Crushing out now.

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Autonomy can be damn frightening. The realization that arrivies after a breakup, before a solo move, following a graduation, etc.—that you’re actually in this thing alone and it’s only you in the driver’s seat can leave you feeling scared silly. Or it can leave you feeling high on independence and excitement. Julia Jacklin’s “Crushing” is a striking search for self, a call to upend that which tethers you down. But it’s also rooted, deeply, in a sense of calm.

The Aussie songwriter’s ability to process emotion is out-of-this-world sharp, and this album is her best, most piercing work to date. This album “Crushing” can change from melodic balladry to anthemic rock at the drop of a hat. And for its entirety, Jacklin, slowly gaining cred as one of the most underrated singer/songwriters working, basks in a newfound clarity. Crushing is the brave story of a woman, and an artist coming into her own. Securing that agency, however, was no walk in the park. Jacklin clearly had to sort through mountains of wreckage to arrive here, but the album’s autobiographical nature is what makes it so affecting. Jacklin has said, and in writing it, she realized “how not very special” she is (evident in “Body” as she sings, “It’s just my body / I guess it’s just my life”). But in recognizing the non-exclusivity of her experiences, she made something singular.

This video for “Pressure To Party” (directed by Julia and Nick Mckk) features Julia and her siblings, plus a guest appearance from Body Type.

Julia Jacklin performs “Don’t Know How to Keep Loving You” for a World Cafe Session with contributing host, Kallao. Recorded live at WXPN Studios in Philadelphia on 1/23/2019.

New album ‘Crushing’ out February 22nd 2019

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Crushing   album artwork

Julia Jacklin followed up her strong and promising 2016 debut, Don’t Let The Kids Winwith something decidedly different: A chill, laidback indie rock trio album with some buddies under the name Phantastic Ferniture. The album was unfairly overlooked by most folks, but had a shaggy, loose vibe that, when paired with Jacklin’s songwriting wit and floating voice, made it impossible to ignore once you heard it.Jacklin’s solo again with “Crushing” her sophomore LP as a solo act, and neither of her previous albums could have prepared anyone for this: Crushing is an organs-on-the-table dissection of a breakup, absolutely harrowing and wrenching in its lyrical specificity and its openness. Crushing’s 10 songs examine the tumultuous waves present in each breakup. Separating in a relationship is not linear; it comes in wave after crushing wave. The anger gives way to sadness gives way to regret gives way to trying to forget them gives way to grim acceptance. Jacklin captures it all in Crushing.

Crushing opens with “Body,” a song recounting an apparently real fight with her boyfriend over him getting kicked off a flight for smoking in the bathroom, culminating in her wondering if he’ll use the nude photos he took of her to hurt her in the future. “I’m gonna leave you / I’m not a good woman when you’re around” Jacklin sings solemnly over the trace drumbeat and a strummed guitar, capturing so much with so little, the hallmark of Jacklin’s songwriting.

The album rolls like the cover of Unknown Pleasures through the feelings post-breakup, often accompanied by instrumentation that matches the ups and downs. “When the Family Flies In,” which ends with a pained ponderance over the music video she sent her ex the last time they talked, is all piano, and dulcet tones, while “Pressure to Party,” a song about wanting to force yourself out into society after the breakup, but taking the time before trying to love again soon, is upbeat, shredding and shouty. Crushing, as much as it is a breakup album, is also a showcase for how varied Jacklin’s songwriting has become in the last three years; she can do loosely tied indie rock and piano ballads and acoustic campfire songs and gruff tell offs effortlessly in a row here.

Crushing’s arc is one of reclamation; through these songs, Jacklin is able to regain some control over her body, how she wants to be loved, and her own headspace.

The album closes with a personal affirmation and a confirmation that she’s ready to let go. “I’ll be OK / I’ll be alright / I’ll get well soon / sleep through the night / don’t know how you’re doing, but that’s what I get / I can’t be the one to hold you, when I was the one who left,” she sings quietly over a Chemtrail guitar line. Crushing might be the story of Jacklin’s personal breakup, but it’s also her most universal record; it’s a salve for when you’re in the pit of a breakup and eventually you’ll get a hold of yourself, try the restaurant your ex always wanted to go to, say “fuck them,” and move on.

Produced by Burke Reid (Courtney Barnett, Liam Finn) and recorded at The Grove Studios, Crushing sets Jacklin’s understated defiance against a raw yet luminous sonic backdrop. New album ‘Crushing’ will be out February 22nd

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Crushing is exactly that: crushing. It’s an understatement to call Australian indie rocker Julia Jacklin’s 2016 debut Don’t Let the Kids Win impossibly impressive. But she still managed to deliver on exceed, even — the mountain of promised potential with her follow-up. Harnessing her uncanny penchant for the spacious, the haunting, the chilling, Jacklin spins fragility and crushing tenderness into the pointed emotional nuance and strength we all desperately long for.

Second single from my new album ‘Crushing’ which is out February 22nd