by Olivia Michalczuk
Julien’s Daughter burst onto the local music scene with unfortunate timing. In the absence of playing local stages, and surely a slew of festival gigs, they took the time to release their debut album The Static That Carries Over. The album captures the effortlessness of their collaboration and the dynamism of their live performances.
Signed to local label House of Wonders barely a year into the bands inception, their first releases have quickly garnered accolades by filling a genre gap in the Winnipeg music landscape that was once occupied by earlier music of bands of yesteryear. Their playful alternative rock tracks have the benefits of fearless and uninhibited experimentation, coupled with the skill to actually pull it off. Most evidently brave in things like guitar solos, and vocal percussion, backed by a quick and tight driving rhythm section.
Though all the performances on the album have their own flare, Singer Emma Murphy really performs in a unique way. She often plays with vowels, breath, and the irregular hit or glide of her consonants, occasionally using her voice as additional percussion, most evidently peppered throughout their single “Barb 217.”
Murphy’s charismatic performance is similar to Julien’s Daughter’s live performances, vocals often playing back and forth with the bass (also great in “Foxy Roxy”.) This is the only track on the album that was produced by Adam Fuhr and it really showcases a je ne sais quoi. There is care and attention in unidentifiable areas that encapsulates who the band is when watched live, which is most likely why it was chosen as a single. That being said, the album is produced with a little grit, which is exactly what it needs.
The Static That Carries Over really does beckon the desire to see them on stage again. The bravery in “Kitty Oxford” to just let instrumentals take over into nostalgic classic rock vibes where everyone is just in the pocket so hard. I want a voice crack, I want a slip up, I want the charm of a band formed on Kijiji and thrown together in chaotic perfection.
Guitarist Ian Tata captures this well through different elements, mostly through the guitar screeching, messing around with harmonics, diving into a solo or focal point riff. My hope for the band is to keep honing their skills, reaching back to their inspiring roots, and to keep their personalities the driving force of their music. House of Wonders has been a guiding light for local projects and Julien’s Daughter is currently in the right hands as this album really captures what the band is about, rather than molding or modifying it.