![]() ![]() “When you come out of a relationship, there’s so much pressure to act a certain way,” says Jacklin. ![]() On the full-tilt, harmony-spiked “Pressure to Party,” she pushes toward another form of emotional freedom. “As a woman, in my case as a touring musician, the way you’re touched is different from your male bandmates-by strangers and by those close to you,” notes Jacklin. And as “Body” wanders and drifts, Jacklin establishes Crushing as an album that exists entirely on its own time, a work that’s willfully unhurried.įrom there, Crushing shifts into the slow-building urgency of “Head Alone,” a pointed and electrifying anthem of refusal (sample lyric: “I don’t want to be touched all the time/I raised my body up to be mine”). A starkly composed portrait of a breakup, the song bears an often-bracing intimacy, a sense that you’re right in the room with Jacklin as she lays her heart out. On the album-opening lead single “Body,” Jacklin proves the power of that approach, turning out a mesmerizing vocal performance even as she slips into the slightest murmur. “It was really important to me that you can hear everything for the whole record, without any studio tricks getting in the way.” “In all the songs, you can hear every sound from every instrument you can hear my throat and hear me breathing,” she says. Produced by Burke Reid (Courtney Barnett, The Drones) and recorded at The Grove Studios (a bushland hideaway built by INXS’ Garry Gary Beers), Crushing sets Jacklin’s understated defiance against a raw yet luminous sonic backdrop. I’ve realized that in order to keep the peace, you have to speak up for yourself and say what you really want.” “Now I’ve gotten used to calling out things I’m not okay with, instead of just burying my feelings to make it easier on everyone. “I used to be so worried about seeming demanding that I’d put up with anything, which I think is common-you want to be chill and cool, but it ends up taking so much of your emotional energy,” says Jacklin. ![]() As a result, the album invites self-examination and a possible shift in the listener’s way of getting around the world-an effect that has everything to do with Jacklin’s openness about her own experience. The follow-up to her 2016 debut Don’t Let the Kids Win, Crushing finds Jacklin continually acknowledging what’s expected of her, then gracefully rejecting those expectations. “For a long time I felt like my head was full of fear and my body was just this functional thing that carried me from point A to B, and writing these songs was like rejoining the two.” “This album came from spending two years touring and being in a relationship, and feeling like I never had any space of my own,” says the Melbourne-based artist. And with her storytelling centered on bodies and crossed boundaries and smothering closeness, Crushing reveals how our physical experience of the world shapes and sometimes distorts our inner lives. It’s an album formed from sheer intensity of feeling, an in-the-moment narrative of heartbreak and infatuation. The second full-length album from Australian singer/songwriter Julia Jacklin, Crushing embodies every possible meaning of its title word. Godsmack, Seether, Skillet, Buckcherry, Pop Evil, Suicide Girls, Escape The Fate, Redlight King, 3 Years Hollow, Within Reason, New Medicine, Sons of Revelry, These Raven Skies, and Tattered.New album 'Crushing' out now. The lineup has just been announced for the 2014 Rockstar Energy Drink Uproar Festival.
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