|Julia Holter — Have You In My Wilderness (September 25, 2015)|
Julia Holter — Have You In My Wilderness (September 25, 2015) Ξ Bez zábran, soustředěná a řemeslně elegantní, yes yes..., to je majestátní provedení díla! Julia nikdy předtím nezněla vitálněji. Julia Holter patří do TOP 20 v hledáčku Tais Awards pro jubilejní 10. ročník Tais Awards 2017. Kromě UK ji čeká 20–ti koncertní turné po Evropě na podporu alba. Její styl práce připomíná moderní symfonii, která kombinuje videa, hudbu a literaturu, zájem o starověkou řeckou filozofii a filmy od Alaina Resnaise. Hudba nás pozve do jedinečné poetické atmosféry s razítkem melodických zvláštnůstek Laurie Anderson. Po studiu na CalArts po boku Ariela Pinka a Nite Jewel dělala terénní nahrávky a mixtapes všeho druhu. Skládá hudbu s reflexí DIY, její éterické melodie přesto odhalí klasické vzdělání. It co–stars Holter and a dog and was directed by Jose Wolff; watch it below.
Ξ The album was recorded with Cole M. Greif–Neill, who previously worked with Holter on Loud City Song.
Ξ Holter is also heading out on a world tour later this year.
Ξ “I'm not a project, I’m a person. I can do whatever I want.” — Julia Holter
Ξ The singer–composer stages a suite of songs about Los Angeles that range from spartan to chaotic... Location: Los Angeles, California
Album release: September 25, 2015
Record Label: Domino
01. Feel You 4:08
02. Silhouette 3:53
03. How Long? 3:58
04. Lucette Stranded On the Island 6:46
05. Sea Calls Me Home 3:07
06. Night Song 4:12
07. Everytime Boots 3:28
08. Betsy On the Roof 6:15
09. Vasquez 6:37
10. Have You In My Wilderness 3:36
Ξ Have You In My Wilderness is Julia Holter’s most intimate album yet, a collection of radiant ballads. Her follow–up to 2013’s widely celebrated Loud City Song explores love, trust, and power in human relationships. While love songs are familiar fodder in pop music, Holter manages to stay fascinatingly oblique and enigmatic on her new album.
Ξ Have You in My Wilderness is also Holter’s most sonically intimate album. Here, she and producer Cole Marsden Greif–Neill lift her voice out of the layers of smeared, hazy effects, putting her vocals front and center in the mix. The result is striking — it sounds as if Holter is singing right in your ear. It sounds clear and vivid, but also disarmingly personal. The focused warm sound and instrumentation — dense strings, subtle synth pads — adds to the effect.
Ξ Like Holter’s previous albums, Have You in My Wilderness is multi–layered and texturally rich, featuring an array of electronic and acoustic instruments played by an ensemble of gifted Los Angeles musicians.
Ξ Have You In My Wilderness deals with dark themes, but it also features some of the most sublime and transcendent music Holter has ever written. The ten songs on the album are shimmering and dreamlike, wandering the liminal space between the conscious and the subconscious. Review
Tom Johnson | 03 Sep 2015 | Score: *****
Ξ It’s a pertinent circumstance that Julia Holter’s plush new album arrives just in time for the passing of summer and the slow–crawl in to the darker months, for it’s filled with such shaded natural wonder that it could only really find its true form in the more secluded days of autumn.
Ξ Her fourth full–length release, Have You In My Wilderness is the moment that Holter adds sparkling clarity to her work, which has often treaded more knowingly ambiguous paths. Lead single Feel You is testament to this; a beautifully understated meeting of voice and sentiment filled with the kind of subtle magic that simply can’t be faked.
Ξ While it’s the album’s faint elegance that makes the most abiding impression, Holter still fills Wilderness with wonderfully plush arrangements. Lucette Stranded on the Island casts an icy glow, as dramatic as it is expansive, while Vasquez blossoms with anomalous instrumental meanderings, a wholly cinematic diversion from the principle tone.
Ξ If all that came before was Julia steadily journeying somewhat under the radar, then Have You In My Wilderness is the moment she steps out of the shrouded realms and in to the bright light of the day. Uninhibited, focused and majestically crafted, she’s simply never sounded more vital. Ξ http://www.theskinny.co.uk/
New Morning Club: http://www.newmorning.com/
Ξ Aux commandes d’un projet qui mêle vidéo, musique, et littérature, férue de philosophie grecque ancienne, ou du cinéma d’Alain Resnais, la Musique de Julia Holter nous plonge dans une atmosphère poétique unique, un voyage des sens qu’elle s'amuse à troubler, brouillant les repères de ses auditeurs.
Ξ Julia Holter est l’auteur de trois albums fascinants... Pièces musicales à part entière, une pop mutante, sublimée par une voix haut perchée, rappelant la beauté du timbre de Kate bush ou les étrangetés mélodiques de Laurie Anderson. Après avoir étudié à la CalArts aux côtés d’Ariel Pink et Nite Jewel, elle fait ses premières armes musicales autour du field recording et mixtape en tout genre. Elle compose une musique aux reflets DIY dont les mélodies éthérées révèlent néanmoins une éducation classique. INTERVIEW
T. Cole Rachel | August 18, 2015 – 4:52 pm
Ξ One of the hardest things involved with writing about L.A.–based musician Julia Holter is trying to figure out exactly how to describe what she does. More often than not, Holter is described with terms like “avant–pop” and/or something involving the word “art,” which are hardly misnomers, but somehow fail to take into account the warmth and humanity of Holter’s wonderfully off–kilter songs. Packed with gauzy layers of sounds (both organic and synthetic) in which her voice vacillates between clear falsetto and plaintive whisper, her music is both intimate and sprawling, often moving in a million directions at once: jazzy, orchestral, and spilling over with ideas. Her last album, 2013’s Loud City Song, was a kind of song cycle inspired by the 1958 musical Gigi (as well as the 1944 French novella that inspired it), and the subject matter proved to be fertile ground for Holter’s densely layered and often very idiosyncratic pop songs. On her forthcoming album, Have You In My Wilderness, Holter abandons overarching concepts in favor of a record that is essentially a collection of ballads, albeit sometimes very sunny ones. The album’s first single, “Feel You,” with its adorably dog–filled video, is arguably the most overtly pop thing Holter has ever done, and while the rest of the record swims in somewhat heavier waters, it’s still a wonderfully airy affair in which Holter’s remarkable voice stands front and center. STEREOGUM: The last time I interviewed you for Stereogum was back in 2013, just around the time Loud City Song was released. That album had this very loose conceptual framework involving Gigi. Did you have something similar — some guiding concept — that shaped this record?
HOLTER: It was weird because the process for recording it was exactly the same, but the process for conceiving of it — sort of poetically or whatever — was very different, because it was a bunch of different songs that aren’t really related. It’s more like Ekstasis than the last record. Most records are usually not united by one specific story, but that seems to be something that I like and that I find easy to do. For me it’s easier to come up with this single story that ties everything together, so it was harder to do this record: to do something where I have to make up stories for every song. In a way, I think I’m always kind of telling a story, so I have to come up with some kind of framework that makes sense for that. These songs were not hard to make initially, because the songs would just come out of me a certain way … but then I had to develop them, and that was really the hard part, because it’s hard to see something raw, in its raw form, and then try to develop it and build it up into something that still maintains the same raw energy. It took a really long time. We had to record many times. It was frustrating. The last one was so easy to make, in a way, and this record was this troubled child. It was so hard.
STEREOGUM: Was it just hard to get a handle on it?
HOLTER: I always thought I knew what I wanted to do with the songs, and yet I would always be like Why am I doing this to this song? I should just leave it as it was with piano and singing. Why does it need all these instruments? It sounds bad, or it sounds not as passionate. Stuff like that. Finally it worked out after a lot of recording and trial and error. And then I wrote some new songs. It was hard, but I’m really happy now. I’m glad it worked out, but it was … I mean, it didn’t take years, but it took a little while.
STEREOGUM: I always wonder if the experience of playing a ton of shows or playing those songs from the previous record a lot has an effect on the next thing that you make. If this record was, in some way, a reaction against the previous one…
HOLTER: I don’t think of it in that way, but it probably is in some way — like you want to try something new. I don’t think of my records as trajectories in one direction, like now I’m going in this direction. It’s like they are all just different projects and I don’t have a path that I’m heading toward. They probably are all reactions to each other, but I’m not aware of that. All I ever know is what I want to do next.
STEREOGUM: The production of this record is really beautiful. You mentioned it was kind of a problem to figure out, but I love the balance between your voice and the instruments. It feels like there’s a kind of clarity in this record in terms of the vocals that is really striking. Was that a conscious thing?
HOLTER: Yeah. I think it was definitely Cole M. Greif–Neill, the producer, who really pushed me to let the vocals be in the forefront. He pushed me to really bring out the vocals because I tend to not do that. I usually like to hide my vocals behind the music. I don’t like to hide them consciously, but I have a tendency to prefer the vocal at the same level as everything else and put lots of reverb on it. For whatever reason, I tend to want to do that, and he pushed me to really let it come out. He was right. I think it needs to be sonically direct with the vocal in the front.
STEREOGUM: Is it usually the text or the narratives of the songs that comes first and then the music is built around that?
HOLTER: No, actually it comes at the same time. That’s the confusing thing, but I guess I’d say, I have written things this way where I write text first, all first, but usually not. It is just about what’s going on in my mind. I don’t usually write like, I want to make a song that sounds like this song. It’s more like I want to make a song about this.
STEREOGUM: You were just in Europe doing press and you played a lot of shows over there last year. Do you find that audiences tend to “get” you in the UK in a way that maybe they don’t here in the States?
HOLTER: I don’t necessarily notice it in the people themselves, in the audiences. I guess what I notice is that it’s hard to play shows here. It’s hard for me to get shows in the US. It’s that simple. I don’t know what that means. I think it means there’s not as much support here for my music? [But] this is just a big country. It’s different than Europe in so many ways. It’s fine. I’m not really taking it personally. I live in the States. I’m staying here. Ξ http://www.stereogum.com/
|Julia Holter — Have You In My Wilderness (September 25, 2015)|