If you’ve been following along with the career of Julia Jacklin, you’ve seen a young, hopeful songwriter blossom into a full-blown rock star. Her 2016 debut introduces us to the Australian’s alt-folk, minimalist sound that can switch from hushed melodies and lone guitar plucking to more full-sounding rock anthems. She continued to expand her sound on the follow-up, 2019’s Crusher, dawning the now iconic green crewneck pictured on the cover, Jacklin began to spin tales of heartbreak over the stadium-style rock compositions we heard her toy with on her debut. In 2022 we have Pre Pleasure, Jacklin’s third full-length LP where she continues her streak of vivid and vulnerable songwriting while diving into more orchestral and nuanced arrangements.
Pre Pleasure is a departure from the sound we’ve come to associate with its creator. Jacklin gets even more vulnerable and direct with her songwriting, touching on topics so intimate it sounds like we’re sitting in on a therapy session. A song like “Less of A Stranger” deals with the difficult subject of a broken relationship between a child and their parent, over weeping guitar plucking, Jacklin tackles her difficult relationship with her mother, such a concept would be expected to be deep and personal but Jacklin’s masterful approach to songwriting gives the listener a chance to relate to a topic so close to the heart. All over the album, Jacklin is able to detail her inner struggles in a way that makes the listener feel connected to her, the piano ballad, “Lydia Wears A Cross”, touches on the songwriter’s relationship with religion, another sensitive subject but in the hands of Jacklin, this touchy topic is ripped wide open as we see her question her upbringing.
While you’re trying to keep up with Jacklin’s detailed songwriting, you may miss what is going on behind her well-crafted melodies. On Pre Pleasure, her typical acoustic rock sound is intertwined with lush string sections and hints of experimentation. “End Of A Friendship” is a highlight for many reasons but none more than the whirling string section that ties the song together. A full orchestra bleeds into a harsh, distorted guitar solo which on paper sounds almost impossible to pull off but with the help of co-producer Marcus Paquin, these otherwise polar opposite sonics live in harmony. Pay close attention to the ensembles which Jacklin chooses to croon over, you might miss a whimsical wind chime that rears its head for an extra dash of magic.
