SYD­NEY ALT FOLK VOICE JU­LIA JACKLIN FINDS HER SPACE, TRANS­MITS ES­SEN­TIAL EMO­TIONS

Mojo (UK) - - Rising -

“I was ex­hausted and woozy… then all self­con­scious­ness melts away.” JU­LIA JACKLIN

“IT’S RE­ALLY in­ter­est­ing be­ing in­ter­viewed about this record,” notes in­die-Amer­i­cana tal­ent Ju­lia Jacklin. “It’s been five per cent talk­ing about mu­sic, and 95 per cent ther­apy ses­sion.” She’s laid her­self open on her new al­bum, Crush­ing, tap­ping the end of a long-term re­la­tion­ship and two years tour­ing LP de­but Don’t Let The Kids Win, which joined An­gel Olsen and Al­dous Hard­ing at the top ta­ble of trans­for­ma­tive alt folk. Some ride, she says, but it’s not just jour­nal­ists who’ve com­pro­mised her per­sonal space. “A lot of Crush­ing is about ask­ing for space, phys­i­cal and men­tal,” she ex­plains. “The world I’m in, it’s crazy-busy, I’m al­ways with peo­ple, ev­ery­one’s work­ing hard and stressed, and be­hav­iour can slip un­der the car­pet. You con­stantly ques­tion how you’re treated – are they crazy, are you? Should I pro­tect my­self, or just get the job done? Women of­ten go through it, as we can be the only one in the room or in the band.” From the Blue Moun­tains re­gion out­side Syd­ney, Jacklin started singing, aged six, after gorg­ing on Doris Day movies. Six years later, Fiona Ap­ple “barged through ev­ery­thing. I loved how she com­mu­ni­cated ba­sic hu­man emo­tion – love, heart­break, loss – with play­ful, sly hu­mour.” Rather than fol­low Ap­ple’s lead, Jacklin leant to­ward folk mu­sic. “Voice and words are the fron­trun­ner for me, and folk is an im­me­di­ate way to make mu­sic,” she says. “You don’t need heaps of stuff or tech­ni­cal skill.” The Ap­palachian over­tones to her voice and melodies have en­cour­aged too many An­gel Olsen com­par­isons for Jacklin’s lik­ing (“it’s when in­flu­ences are used as a weapon against you”), but Crush­ing, she hopes, will move the con­ver­sa­tion on. “Bill Cal­la­han and Nick Cave were my ref­er­ences for this one, in terms of sto­ry­telling and pro­duc­tion,” she says. “You can hear ev­ery in­stru­ment and when the voice comes in, it splits you down the mid­dle.” To this end, the al­bum was made, “from 5pm to 4am, and then we’d play cards for two hours, and sleep all day. I recorded all my vo­cals after 2am, un­der low lamp­light. I was ex­hausted and woozy, which was very im­por­tant be­cause self-con­scious­ness melts away. It’s im­por­tant you feel what I’m say­ing. “Part of my job is cre­at­ing in­trigue and mys­tery,” she con­cludes. “Oth­er­wise, you have noth­ing left.” Crush­ing is out on Fe­bru­ary 22 on Trans­gres­sive.

“It’s im­por­tant you feel what I’m say­ing”: Ju­lia Jacklin moves the con­ver­sa­tion on.

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