JULESY - FLIP THE BED - STRONG PLACE

JULESY is a Brooklyn-based singer/songwriter whose debut album, Flip the Bed, captures the unraveling and aftermath of a six-year relationship with melodic clarity and emotional precision.

Written during the final two years of that relationship — and in the uncertain space that followed — the album traces a mid-twenties life in flux, where heartbreak, identity, and creative renewal bleed together. Influenced by Imogen Heap, They Might Be Giants, and Japanese House, JULESY writes melody-first songs that blur genre boundaries while staying emotionally direct. Her voice slips easily between pop gloss and lo-fi intimacy — drawing you in, then breaking something open.

She describes her songwriting as “candid and right on the nose,” often realizing what a lyric really means long after it’s written. “It’s how I process things I don’t fully understand yet,” she says. “I’ll write something and think it’s just a song — then months later, I realize it’s exactly what I was going through at that moment.”

Music runs deep in her DNA: her dad is a film composer, her mom a voice teacher. Growing up, JULESY took marimba classes instead of dance, surrounded by instruments in a house where creativity and critique flowed freely. Flip the Bed was co-produced by Sahil Ansari and performed by her band, which includes her twin brother Cal on keys and vocals. “Some things, he just gets — more than any collaborator could,” she says. “We can read each other’s minds a little bit.” The album’s title comes from a ritual she still finds herself repeating — moving her bed around the room to try and shift something inside. “I was either trying to change my perspective, understand someone else’s, or being forced into a new one,” she says. The songs were written from that place: not quite heartbreak, not quite healing, but something messier in between.

Across Flip the Bed, JULESY threads sharp introspection through deceptively catchy, sometimes whimsical forms. The opener, “Heart on the Line,” sets the tone — a propulsive, harmony-rich anthem about emotional overexposure and the futility of trying to be “chill” when you're anything but. On “Blue Lie,” she reflects on staying in a relationship even as she and her partner began to grow in different directions. “I wasn’t happy and didn’t realize it,” she says. “I didn’t know how to pursue my life without him.”

“Wendy,” one of the oldest songs on the record, shifts focus from romance to family. It reflects the complex dynamics of a post-divorce household where boundaries blur and roles invert. “It’s about being kind of parentified as a kid,” she says, “and having to form individual relationships with your parents while they’re kind of in opposition to each other.”

Elsewhere, “Water” explores self-erasure in relationships, and “Never Never” flips the album’s central breakup on its head — trading grief for something closer to sardonic defiance. On “Amber,” one of the album’s most delicate tracks, she folds in a note of queer longing, drawing inspiration from Amber Bain of Japanese House. “It’s that feeling of wanting to be someone and be with them at the same time,” she reflects. The final track, “Missing Muses,” zooms out entirely — a meta-ballad about creative paralysis and the slow, private work of finding your voice again.

Throughout, Flip the Bed lives in contradiction: heartbreak and humor, structure and blur, sharp truths and unresolved questions. “I’m not really trying to write about my life,” JULESY says. “I’m writing through it — as a way to make sense of what I can’t say any other way.”