Posts Tagged ‘Julia Jacklin’

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

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The Australian singer-songwriter has a knack for packing an emotional punch with her deceptively fragile sound, exhibited on Jacklin’s 2016 debut Don’t Let the Kids Win. While a follow-up release has yet to be announced, it seems that something is on the horizon, as seen in the release of a new video, “Body”

The song’s visual treatment directed by Jacklin’s high school friend Nick McKinlay, who also shot the videos for “Don’t Let the Kids Win” and “Coming of Age” — places the viewer in the passenger seat of Jacklin’s scenic drive through the New South Wales countryside.

Julia Jacklin is the best artist in Australia right now. She is consistently brilliant in both her musical and visual output. Her voice is a rare gift, and her songwriting is magnificent. These are all facts that I state and therefore are total and irrefutable truths. I know the last time we had a woman named Julia leading the country it didn’t work out so well, but I think if Jacklin gave it a go, we’d be in good hands. Nothing she can’t do. Julia Jacklin 2019 (or whenever the government randomly decides to throw the next election). You heard it here first.

“Nick and I drove out to the Hay Plain, which is one of my favourite parts of Australia, and filmed this clip,” Jacklin says. “We spent about 14 hours in the car, jumping out when something looked beautiful. Whenever I listened to this song, I knew the clip had to be a driving one, destination unknown.”

“Body” is equal parts rugged and elegant, mirrored by Jacklin wearing a formal dress against the backdrop of the austere landscape in the video. The track evokes an overwhelming feeling of defeat, as Jacklin repeats the phrase, “Well I guess it’s just my life / And it’s just my body.”

“The song speaks for itself, but I’d say it’s just a very long and exaggerated sigh,” Jacklin says, “Born from feelings of powerlessness when it comes to the impossible task of representing yourself the way you think is right, personally and professionally; when you feel like everything is for the taking, no matter what you do.”

New single ‘Body’ out now

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Sydney rock trio Phantastic Ferniture released their self-titled debut album this summer via Polyvinyl Records and it’s so freaking good that you’ll be willing to forgive their crimes against the English language in their band name. Across the album’s nine tracks, the band excels with their danceable garage-pop and indie-rock, and frontwoman Julia Jacklin’s charismatic lead vocals will please fans of retro pop songs, modern rock and even the blues and folk crowds as the remnants of her past folk music endeavors still reverberate in her voice. On “Dark Corner Dance Floor,” Jacklin’s swaggering vocals call to mind a badass Western film, and her voice is hypnotizing enough to convince you to steal a muscle car for her and drive away victoriously into the desert sunset.

BOYDOS – ” Plans “

Posted: August 24, 2018 in MUSIC
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Boydos, the indie rock project of Eddie Boyd, has crafted a wonderfully chaotic visual in “Plans,” 

Eddie Boyd, is Julia Jacklin’s touring guitarist, and this is his new single “Plans”.

Growing up in the Blue Mountains, Eddie Boyd spent his youth busking before studying classical guitar and touring the world as guitarist for Julia Jacklin. Between tours, Boyd considers himself a “glorified kitchenhand, but I get to wear the chef shirt.” This sort of gallows humor resonates through his lyrics. Delivering the observations of Kurt Vile and Lou Reed with a dose of adrenalin, his music is beautifully gritty and contagiously agitated.

Boyd, who hails from Australia’s Blue Mountains, explains that he wrote the song after his car broke down on the way to his parents’ house because he “never looked after it properly.” Not wishing to take the train, he borrowed his mother’s car and used the hour drive to do a bit of misery-basking. “By the time I got home I had the first verse and the chorus,” he says. “The song then developed into a bit of a comment on my group of friends who all seemed to be stuck in a rut as well. It’s about telling yourself you’re going to get your shit together but not really going out of your way to do anything about it.”

Boyd deems the themes of procrastination and self-doubt “pretty common for people in their mid-twenties” and boldly confronts their frequenters, himself included: Friends who hope their girlfriend or parents will help cover the rent this month. Friends who use other friends as a yardstick for their own behavior, calculating that they’ve got a few fuck-ups left before reaching the grand total of someone else’s.

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“The mission is obvious: Don’t overthink it,” a press release notes. Jacklin elaborated, saying, “I’d gone straight into folk music, so every experience I’d had on stage was playing sad music with a guitar in my hand. I thought, I would love to know what it’s like to make people feel good and dance.”

Phantastic Ferniture, which is rounded by Elizabeth Hughes and Ryan K Brennan, successfully get their fans up and moving on “Gap Year”, the latest preview of their upcoming self-titled debut album. As its name suggests, the rollicking and sweeping number seems to inspires listeners to loosen up, leave their comfort zones, and venture off in pursuit of self-discovery — something Jacklin and company have done themselves with Phantastic Ferniture.

Take a listen below via the track’s beautiful music video, which sees the group singing in the great outdoors. Phantastic Ferniture is due out July 27th through Polyvinyl.

This is Gap Year. Filmed by the wonderful Nick Mckk at our favourite place in the world, Mt. Hay in the Blue Mountains x

debut album ‘Phantastic Ferniture’ now! Out July 27th 2018

Phantastic Ferniture Phantastic Ferniture

Julia Jacklin is back in the UK next month for a tour supported by Faye Webster, plus Nilüfer Yanya who has just been announced for the London show at Shepherd’s Bush Empire. Tickets are available .

2 – Wedgewood Rooms in Portsmouth (Tickets)
3 – Thekla in Bristol (Tickets)
4 – Belgrave Music Hall in Leeds (Tickets)
6 – Òran Mór in Glasgow (Tickets)
7 – Gorilla in Manchester (Tickets)
8 – Rescue Rooms in Nottinham (Tickets)
9 – O2 Shepherd’s Bush Empire in London (Tickets)

New single from 7″ Eastwick/Cold Caller Out NOW via Polyvinyl Records, Transgressive Records

She’s had a busy summer of festivals too, including Green Man at which she recorded a session for DistillerTV Julia Jacklin – Eastwick | Live From Green Man 2017

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The Australian-born Julia Jacklin released her debut full-length, “Don’t Let the Kids Win”, back in October and she’ll be playing selections from that album during the night’s set.

Julia Jacklin had the Lincoln Hall crowd wrapped around her finger by the end of her 8-song set this past Saturday night. Kicking off at 8:30PM, Jacklin immediately snagged the audience’s attention during the initial song, “Hay Plain.” The song starts off slow and creeping, adding vulnerability to Jacklin’s haunting vocals, but eventually builds up towards the later half of the song. The crowd began to sway along as the set moved right along into “Leadlight,” one of the singles from Jacklin’s 2016 debut album Don’t Let The Kids Win.  “Thank you for coming early. That’s really kind of you,” Jacklin humbly told the crowd before diving into the next song, “Motherland,” another one that begins more stripped back, eventually adding additional layers.

As the set reaches the halfway mark, Jacklin’s band leaves the stage for her to perform “LA Dream” solo, her candid lyrics, rich voice, and her guitar playing mesmerizing the audience. Jacklin introduced her band at this time, mentioning she’s played in Chicago once before, but there were “400 times more people” there than the last time. The mood remained mellow and slow for the next song, “Eastwick,” but the pace immediately picked up with the entirety of the band in full swing for Jacklin’s latest single, “Coming Of Age.”

Julia Jacklin performs “LA Dream” filmed live at Lincoln Hall in Chicago on May 13, 2017.

Jacklin thanked Andy Shauf before playing her debut single, “Pool Party,” one of her singles that she’s also directed the music video for (the other being “Leadlight”).  The beautiful performance closed out with the title track from Jacklin’s album. Live, Julia Jacklin executes her warm and full tone flawlessly.