Ekstasis Julia Holter Rar Files
'I hear a lot of music that's just lazy- you know, people in their bedrooms singing some shit into the microphone.' That's California singer and songwriter,. This passage from the interview leapt out at me because it gets at what makes her second full-length album special.
Like a lot of home-recorded music in the indie sphere in the last few years, Ekstasis makes heavy use of atmosphere. There's plenty of reverb and vocal tracks are braided together into drones; it's the kind of swirly production that's good for hiding mistakes. But nothing Holter does feels random. This album is above all careful, and its deliberate construction allows it to work on a different plane from most music that scans as 'ethereal.' Ekstasis is not the sort of oceanic wash you lose yourself in; instead, Holter's music has a way of snapping tiny moments and small sonic gestures into focus. Ekstasis is above all smart, and it makes no apologies for it.Holter's work exists at the intersection between pop and 'serious' music.
The mayor of that particular corner is, and there are obvious parallels between the two. You can hear Anderson in Holter's flat, chant-like inflection, which allows her music and lyrics to do the emotional work. You can also hear it in her love of simplicity and approach to mixing traditional instrumentation and electronics. Another touchstone is the dark magic of. It's not just that the tracks like 'Fur Felix' bear a similarity to Nomi tracks like, there's also an undercurrent of ritualism and theatricality in Holter's music. Ekstasis is certainly mysterious, but not because meaning is hard to pin down; it's more that there are so many possible meanings, so many places to focus your attention.Listening to Ekstasis, I keep thinking about how it differs from music that feels superficially similar.
The music of, for example, has liturgical overtones, bringing to mind stone and glass and voices rising in cathedrals. Barwick wants to tap into something beyond words. But Holter's music sounds like it was assembled in a dusty library a floor or two below the sanctuary. It's a few shades darker, but it's also based on ideas first and intuition second. Despite using vocoders, drum machines, and electronics, it feels 'old' in part because Holter so deliberately connects her music to the distant past.
On her, she did so by basing her songs on a play from ancient Greece by Euripides; here, she pulls words and scenarios from literature and mixes them with her own idiosyncratic approach to words. The songs include quotes from the likes of Virginia Woolf and Frank O'Hara. A line from O'Hara's poem 'Having a Coke With You'- 'I look at you and I would rather look at you than all the portraits in the world'- animates 'Moni Mon Ami', nestled amid the twinkling synths, strings, and keyboards that sound like harpsichord are original lines like 'Hours become years when you're gone!' Where Holter's Tragedy felt more like a tapestry, with vocal tracks mixed in with instrumental bits and interludes, Ekstasis leans toward proper songs, and it palette is more uniform., despite its chintzy drum machine and mechanized hand-claps, is actually a drama unfolding in close quarters. 'In this very room, we spent the day and looked over antiquities. Don't you remember?' To which the other character replies, 'Do I know you?
I can't recall this face but I want to.' You see it play out on paper on the lyric sheet and it feels like a linear exchange, but Holter twists the voices together and the narrative folds in on itself.
It's there as pure, gorgeous sound if you want it- you don't need to know what the songs are about to immerse yourself in this record- but the deeper you go, the more the songs open up.' I can see you but my eyes are not allowed to cry.'
Is a lyric from 'Goddess Eyes', a new version of a song that appeared on Tragedy. It's a line from the Euripides play that inspired her first album, and it's delivered in processed voice reminiscent of a vocoder. So we have a 2,000-year old phrase run through a device that makes a human sound like a 1970s version of the robots of the future.
And at the center of all this time travel stands Julia Holter, pulling in references and sounds from everywhere and shaping them into a music that's both haunting and life-affirming, something to make you dream and think.
. Leaving.WebsiteJulia Shammas Holter (born December 18, 1984) is an American singer-songwriter, record producer, composer and artist, based in Los Angeles. A graduate, following three independent album productions, Holter released as her first official studio album in 2011., followed in 2012. After signing with in 2013, she released the albums (2013), (2015) and the live-in-the-studio album (2017). Most recently, her double album was released in 2018.Holter has also collaborated with other musicians, including,. Contents.Biography Holter was born in,.
At age six her family moved to Los Angeles, where she later attended the. She studied music at for four years, graduating with a degree in composition.
After seeing perform an composition in Michigan, she was inspired to study with him at, where she graduated from another composition program.Holter contributed songs to multiple in 2008. In 2010, she began playing with ' band and released a titled Celebration and a collection of live recordings.Following three independently produced albums – Phaedra Runs to Russia (2007), Cookbook (2008) and Celebration (2010), Holter's official debut album, Tragedy, was released in August 2011 on Leaving Records. Inspired by ' Greek play,the album received generally favorable reviews and was named one of 's 'Best Outer Sound Albums of 2011'.Holter released a second album, Ekstasis, in March 2012 on the label.
The album drew comparisons to works by such artists as, and, and received many positive reviews.Holter spent three years making the album, whose title comes from the meaning 'outside of oneself.' The music video for album track 'Moni Mon Amie', directed by Yelena Zhelezov, was also released in March.In addition to collaborating with other California-based musicians like (Ramona Gonzalez), Holter released her third album, Loud City Song, in August 2013 on. Unlike her preceding albums, which were recorded mostly alone in her bedroom, Holter recorded Loud City Song with an ensemble of musicians.In 2015, Holter released the album, which became her most successful charting release to date. She also contributed to ' fifth studio album, with her bandmates Chris Votek and Andrew Tholl.Holter collaborated with on a song for the second part of the double album, released on July 18, 2016.In November 2016, she curated her own program during the tenth anniversary edition of Festival in. This program included performances by, and other artists.In September 2017, she performed a world premier of her scoring of the 1928 silent French film on September 29 at the in downtown Los Angeles.In September 2018, Holter announced her sixth commercially released album, and released the lead single 'I Shall Love 2'. She followed it with another single, 'Words I Heard', before the album's release on October 26.
Personal life Holter was previously in a relationship with former guitarist and frontman. ^ Nite Jewel. Issue Magazine. Retrieved 10 March 2017. Ratliff, Ben (2012-03-04).
Ekstasis Julia Holter Rar Files Free
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Ekstasis Julia Holter Rar Files 2017
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on. Julia Holter (in English).