STAFF COMMENTS Emily says: Julia Bardo: Local talent alert!! Gorgeous, off kilter pop songs which have more bite to them than you might expect.
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Never losing her strong desire to have full creative control over her music, she returned to become a solo artist again.
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A free spirit craving new inspiration, she relocated to Manchester and it was here she developed her striking style as a solo musician before also meeting and joining post-punk band Working Men’s Club. Her musical journey began in Brescia in Northern Italy, where she sang and wrote lyrics for a local band between shifts at her father’s bar. Named after the apartment complex she lived in when demoing the album’s recordings, but with an Italian twist.įollows the release of two EPs, Phase and The Raw EP, which saw her experiment further with her wistful and mysterious sound to become the alternative pop artist she is today. “Family, emotional dependency, mental health issues, feelings of emptiness and numbness, feelings of not being enough, inability to be in control of my own emotions, self-doubt, self-reflection, past traumas and dealing with them.” The album is best summed up by the woman who wrote it all: “Bauhaus, L’Appartamento is about loneliness, solitude, separation.but also unconditional love,” Bardo reveals of the record’s overarching themes. Produced and mixed by Younghusband’s Euan Hinshelwood, the record firmly establishes Bardo’s musical adventurousness and prowess, and marks a cathartic and self-affirming moment for an artist who found her voice by realizing it's been there all along. That shouldn’t be the focus, but it’s crucial in understanding the complicated mind behind a small but wholly unique and inimitable body of work.Debut album from Manchester-via-Italy singer, songwriter and guitarist Julia Bardo.
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No longer touring, she became deeply frustrated with the industry, succumbed to her heroin addiction and just a few years later fatally overdosed in 1979. The record was released in ’73 and drew acclaim by critics, but it didn’t sell and Asylum stopped promoting the album. That’s especially illustrated in the two key and most tear-inducing tracks, “The Kiss” and the ambitious eight-minute hymnal closer “The Donor.” Religious or not, these two pieces cross the divide and it would take a person with a spirit of stone to not feel moved. Without any training, she composed all of the orchestral arrangements herself, spent much of her studio time endlessly overdubbing and multi-layering tracks (much to producer Henry Lewy’s dismay) and procured an album that is rich with breezy 70’s laurel canyon folk, echoes of Bach, contains latin Gregorian chants and has a plethora of awe-inspiring moments that can only be described as divine. However her follow up, Heart Food, is the one to be heard. The first artist to be signed to his new label Asylum, she released her more praised self title debut in 1971. After meeting Graham Nash and David Crosby, Judee became their opening act and was discovered by famed LA record exec David Geffen.
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She described them as “country-cult-baroque,” and began playing Hollywood nightclubs in the late ’60s. Judee was always a devout christian, but it was in this church where she developed her gospel style as a musician and led her down the road of including the spiritual overtones that permeated in her recordings. LSD, and eventually heroin, came shortly after and ultimately landed her in a reform school where she became the church organist. Her father died when she was a child her only brother did the same not too long after her mother was an abusive alcoholic and in her teenage years she began robbing liquor stores and gas stations. It’s hard to pin down where to start with an artist that suffered such an incredibly turbulent life and at the same time, composed – on par with Bach and Brian Wilson – brilliant, even genius level work.