Julien Baker: “Nothing about it is really haphazard – even the stuff that sounds intentionally lo-fi, or minimalist, is actually very calculated”

Julien Baker
(Image credit: Kyle Reinford)

With her road-worn, off-white Tele in hand and her scratchy, sugar-sweetened ruminations on millennial angst, broken love and stormy inner crises, Julien Baker makes a theatre full of twenty-somethings feel like one incredibly gigantic, overly sweaty family reunion. It beggars belief how such simple indie-rock songs can burst through the barriers of emotional reclusivity; no matter how deep your feelings are buried, Julien wields the power to unearth them with no more than three chords and a sharp hook. And – like she does her own over three earnest and urgent studio albums – she encourages you to embrace those feelings.

The latest of her studio output is Little Oblivions: an album that builds on Baker’s typically sparse and subdued soundscapes with a headphone-filling avalanche of luscious full-band instrumentation, daring thematic bombshells, and stylistic detours that show just how strong Baker’s creative palate has grown in the five years since releasing 2017’s Turn Out The Lights. It’s an album as powerful as it is personal, and one certainly poised to launch Baker to enormous new heights. 

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Ellie Robinson
Editor-at-Large, Australian Guitar Magazine

Ellie Robinson is an Australian writer, editor and dog enthusiast with a keen ear for pop-rock and a keen tongue for actual Pop Rocks. Her bylines include music rag staples like NME, BLUNT, Mixdown and, of course, Australian Guitar (where she also serves as Editor-at-Large), but also less expected fare like TV Soap and Snowboarding Australia. Her go-to guitar is a Fender Player Tele, which, controversially, she only picked up after she'd joined the team at Australian Guitar. Before then, Ellie was a keyboardist – thankfully, the AG crew helped her see the light…