Posts filed under ‘Julia Holter’
Julia Holter has a new video out for her song, “Our Sorrows”. In the video, directed by Naomi Yang of Galaxie 500, Holter threads a miles-long maze with ribbon, which seems to suggest a shared kind of loss. But then again, it may simply be a concept without a message, meant to keep your attention throughout the length of the video. Either way, the song is a pretty one — and Holter is endlessly talented and immensely watchable. Click here for archived Their Bated Breath posts about Holter. — David D. Robbins Jr.
Here’s a new video for Julia Holter’s “Moni Mon Amie” from off her most recent record, “Ekstasis”, out now on RVNGIntl. It’s a dreamy song, with shimmering keyboard, and lush vocals. The video for “Moni Mon Amie” was created by Yelena Zhelezov, who describes it as interpreting “the song as a lyrical appeal to the unattainable other, and a conversation that’s being had with oneself. The longing transforms the perception of the everyday, turning each moment into a poetic landscape in which the miniature and the gigantic become interchangeable. Julia plays the subject and the object of desire in this video.” There are some low-budget surreal kind of moments in the video, including a close-up of a person using a typewriter to make a giraffe, with Holter herself as the head, sitting in the distance. She also disappears into a cup of coffee. There are Greek ornamental busts, Holter in triplicate, fish bowls, and slow motion. It’s a creative video that feels like a mix between “Mad Men” and dream states of random office work made artistic — like moving plants, and typing. Read archived Their Bated Breath posts about Holter here. — David D. Robbins Jr.
As readers of this blog know already, I’ve got a special love for Julia Holter’s music and what she’s trying to do. She’s an innovator of the first order. Watch and listen to the video below for her newest song, the magically renaissance “Marienbad”. The track is a peek into the world of her upcoming third release “Ekstasis”, which is coming out via RVNG INTL. This is one of her best songs yet with it’s trumpet calls, melodic vocals layers, and marching rhythm. The video is directed by Rick Bahto. — David D. Robbins Jr.
Julia Holter is one of the most intelligent musicians I listen to. She’s always trying new formats, and ways of musical expression. Sometimes it’s classically structured, or like this song, muffled and lo-fi. At other times she’s going for a sense of tonalism. Here’s a new video for her song, “Sea Called Me Home”, directed by José Wolff. The video is strangely beautiful, like some kind of mental time travel. The song is available now on Holter’s cassette “Live Recordings”, available on NNA Tapes. Also, you can purchase her latest release, “Tragedy” via the Leaving Records website — David D. Robbins Jr.
Julia Holter’s new track, “Marienbad”, follows behind her most recent LP release “Tragedy” (2011). It’s a song which will be featured on her upcoming LP, “Ekstasis”, due out on March 8, 2012 via RVNG Intl. It may or may not have something to do with the famed film “Last Year at Marienbad”, my only reference to song’s name. I really don’t know. But there is a sense of the baroque, much like the film, and a repetition of phrases. But the connection stops there. “Marienbad” is a mix of styles beyond the baroque. It’s also classical, avant garde, pop influenced, and at times reaches a solemnity akin to a church service. I’ve been writing about Holter for awhile now, and never grow tired of trying to explain her music as best I can. Every time I hear her, it calls to mind the phrase, “the sky’s the limit”. The song’s rhythm and pace change at a whim, waltzing along at a slow gait before pulsating into a building frenzy of overlapping vocal tracks, thumping drums, loops, and strings — ultimately wrenching out a darkness in the song before the clank of metal signals the softening return to her purely melodic clarion call. “Marienbad” is beautiful, frightening, cold, glittering, strange and alluring. It’s otherworldly, and you won’t hear many other artists make music like this. Holter’s creativity is astounding. Read an archived Their Bated Breath post about Holter here. — David D. Robbins Jr.
THE FALLING AGE: I love Julia Holter’s mind. How it must see sound. Filter it. Mold it. And allow it to find its own spaces. I was listening to her nine-minute apocalyptic track, “The Falling Age”, late at night, turned up loudly — the sound big in my giant old 1970s headphones, stolen from my father (the same pair I use to listen to all music I write about). At one point, I took them off, thinking I heard a jet flying over my apartment. I live near an airfield, where National Guard pilots are frequently practicing at all hours. But when I took the headphones off, there was nothing but the stone-cold silence of 5 a.m. Why do I tell you this? Well, Holter’s music makes you re-think exactly what music is, and how it interacts with the listener. Does music require recognizable structures and parameters? Are all of Holter’s works really songs, or are they compositions in the classical sense? Or does it even matter? Is the sound of a jet-engine, music? “The Falling Age” begins with one note wavering, Holter’s reverb-laden vocals echoing over with consonant-heavy, treble-dipped phrases like, “Was here I had a friend, / Washing ‘cross the purple and trickling stream / And she was laying them out to dry / On the face of a warm and sunny rock.” What she’s doing is far more interesting than a traditional verse, chorus, bridge, musical-climax routine. She’s painting doomed frescoes with words, textured by walls of sound, cool waves of droning organ synth, and a searing noise like a building subsonic thrust. Without the nudge of the song title, it would be difficult in the first few seconds of the song to determine if this mood was heading toward an ascension or fall. But eventually, it’s clear that everything about this song is paradoxically building to disintegration. The orchestral arrangement begins to truly deconstruct halfway into the song, with off-key strings falling away into an abyss, tremolo organ-synth shuddering with enough rapidity to be almost imperceptible, like a hummingbird flapping its wings. It’s quite masterful. This L.A.-based composer has 10 tracks you can hear at her MySpace page. Listen to the stunning “try to make yourselves a work of art” (at her official website), which begins with what sounds like an angelic air-leak, rising with the clank of metal on metal and the percussive thump of a gallows march. Like much of her work, it’s both scary and sublimely beautiful. — David D. Robbins Jr.