When it comes to romance, the 3⁄4 time signature takes the red velvet cake – it could be its connotations with the waltz or maybe something more mysteriously primal, but Julia Jacklin attributes her predilection for it with Leonard Cohen.
“I just love everything that he does,” she says. “I think it’s that song of his, Memories? I just wanted to get that feeling all the time, that I get when I hear that song.”
The folk-soaked tracks on Don’t Let The Kids Win certainly do give a similar feel, but instead of the gold lamé grandeur of Memories their warmth comes from a late summer, suburban sun. There are jangly gems like Coming Of Age, evocative Laura Marling-like tales as in Sweet Step, and the wonderfully atmospheric Same Airport features finger-picked electric guitar, with tiny creaks and echoed shrieks in the background. “We couldn’t figure out what to do with that song in the studio,” Jacklin explains. “I think it was the last night actually. Then we were like, ‘Let’s get a bit weird. We’ll turn all the lights off and just make some odd sounds.’ We were all giggling and sitting around in the dark, whacking things.”
The album’s title alludes to Jacklin’s comprehension of maturity, and how to get there without lamenting the loss of youth in too regretful a fashion. “You just have to be pretty strong; say to yourself ‘Hey, it doesn’t matter.’ I do feel like women kind of get shut out of things at a certain age, and I guess I feel that fear.” Expect to hear much more about this exceptional woman in the coming months.
Julia Jacklin is touring this November and playing Laneway – check her tour page for details
Don’t Let The Kids Win is available October 7 via Liberation