![]() “Wake Me When it’s Over”, the third track on In the End, could be “Zombie”’s twin. She was deeply affected by the deaths, and would no doubt have been devastated by recent events in Northern Ireland as well. “Zombie” was a protest song written by the band’s late frontwoman Dolores O’Riordan after two children were killed by IRA bombs – was released. There’s a cruel irony that the release of The Cranberries’ final album should come just a week after journalist Lyra McKee was shot dead by the New IRA during a riot in Londonderry. On her new album, Crushing – a mix of delicate folk and garage rock that pitches and sways, written in the aftermath of a breakup she instigated – Jacklin thrashes out the path towards reframing and reclaiming herself. The Australian musician, who grew up in the Blue Mountains in New South Wales, is as frank and forthright in conversation as she is in her music, which is by turns gentle, harsh, empathic and angry. “I’ve had quite a few pretty traumatic instances in my life,” she continues, “where I’ve recognised some sexist, problematic behaviour, but I’m surrounded by other men, who’ve rebuffed me when I point it out: ‘No, no, you’re an intense person if you think that’s what this is.’ Now I don’t give one s**t.” ![]() It’s so boring.” Julia Jacklin, sitting on the sofa of a Brighton hotel, is talking about a particular type of sexist manipulation. ![]() Oh man, this industry’s so full of gaslighting. ![]()
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