The night bus from Canberra to Melbourne, taken right before you leave your teens, is perhaps the best time to listen to Julia Jacklin’s debut album. The setting is ripe for reflection, nostalgia and longing – themes that Jacklin eloquently draws upon and packages up with poetry. However, if the night bus can’t be arranged, listeners can still find much to fall in love with here.
Conjuring comparisons to the likes of Jenny Lewis and Angel Olsen, Jacklin fits within a wave of Australian folk artists infiltrating the mainstream instead of solely flourishing in genre-specific record collections. Don’t Let The Kids Win is her first meaty release. This perhaps makes the pressure to get it even greater than for artists with numerous EPs behind them.
Buffered with the first three singles released from the singer/songwriter, Jacklin establishes rapport instantly with Pool Party followed by Leadlight and Coming of Age. The latter, which is louder and brasher, may perhaps be the weakest link. It differs starkly to what follows, with the album dipping into gentler, quieter sounds on Elizabeth. A spacious atmosphere continues throughout, with an uncomplicated selection of instruments highlighting Jacklin’s distinct voice. She does not hold back on the feelings. LA Dream is lonesome, the accompanying brushes of electric guitar evoking something comforting, while the satin melody of Small Talk blends with soft harmonies and an understated but alluring rhythm.
The crème da la crème is the heartbreaking finish and slow burning title track. Its simple arrangement of verses, direct address and honest delivery all combine to produce magic that is hard to pinpoint but impossible not to feel. It closes off a stunning debut, cohesively putting forward well-crafted and emotive beauties that shine with quiet confidence.
BY ANGELA CHRISTIAN-WILKES
