Out now! “Transition” EP. You can listen on Bandcamp, Sp*t*fy etc.
About this EP
The four tracks on this EP are:
These songs all relate to my personal journey over many years as a transgender woman. The title track, “Transition” is a celebration of that journey, and the title is also an acknowledgement of something new musically. “Electrolysis” is of course about that hair removal procedure – maybe that’s an unusual subject for a song, but it’s been part of my life for years. “Lipstick” is perhaps a message to my younger self, to be true to myself and to know that my life is my own. And finally, “Delphine” is a song about my own insecurity, asking what we can reveal about ourselves to other people.
Reviewed by Neil March in Trust The Doc blog, Edition 74.
Juliet Colman of Juliet & Nanette also has another project Juliet and Her Regrets. Now, after a bit of a sustained J & N period, the latter return with a new EP. And the title track Transitions immediately takes us into a fascinating world where Juliet’s trademark heartbreak pop gives way to a kind of minimalist Disco complete with claps and Chic-like strings. The chords she picks out on the electric piano are quite gorgeous and the contrasting sections work really well. But it’s that chorus of ‘Get your transition on, transition on, transition on’ replete with close harmonies and Juliet’s bluesy but, in this instance, poppier vocals that ensure this lodges itself in my brain. A great way to introduce a new work.
Electrolysis continues this Disco-infused style with strings, cool chord progressions, elaborate backing vocals and loud claps while Juliet’s distinctive bluesy voice navigates it all. References are hard but there are echoes of Bruno Mars in a mash with Scissor Sisters here and even a hint of Gabriels about the feel and the way Juliet’s instinctive ad libs are contrasted by the composed BVs. The production is unusual and quite compressed and really adds to the experience. Then we get Lipstick with Bee Gees-like strings in a mid-tempo groove but with a beat that lends it a lo-fi element. Falsetto backing vocals bring sweet harmonies to play off against Juliet’s gritty lead vocal. Again it has a distinctly Disco feel and the key changes are pure seventies.
The EP ends with Delphine. Since I know Delphine, I know what the inspiration is for this which makes it that little bit more special. The percussion and bassline have a touch of Terence Trent D’Arby while the strings continue the lushness that has been there throughout. This is more melancholy and minor key but still has that mid-tempo Disco feel and more of the spine-tingling BVs. It rounds off a really impressive EP and a 100% successful transformation of JAHRs’ style.