Something in the Room She Moves
Julia Holter
Something in the Room She Moves
Boomkat Product Review:
Building on the promise of last year's charming 'Sun Girl', Julia Holter moves towards the corporeal world on 'Something in the Room She Moves', singing lucidly over jazzy, exotica-tinged arrangements and giving nods to Trish Keenan, Vangelis, Luboš Fišer, Joni Mitchell and Kate Bush in the process. Always more to Holter's albums than immediately meets the eye, immersive, repeated listens recommended.
Holter's vision of pop has always veered confidently off-track. Tangibly a singer-songwriter, she imagines her songs as ornate labyrinths, filled with dead-ends and confusing musical puzzles - she's as likely to reference 20th century minimalism or cosmic jazz as she is to pay her respects to pop's avant heroes. 'Something in the Room...' is her first proper solo full-length since 2018's 'Aviary', and is an attempt to create a "fluid-sounding, waterlike" world that's inspired by "the complexity and transformability" of the body. Opening with 'Sun Girl', it's a chewable record that's never weighed down by its bookish sophistication. There's a discernible air of eccentricity that dances around the track; Holter's vocals wisp around woozy flutes and bagpipes, with electronic elements provided by a Yamaha CS-60 and a Mellotron, just to poke it firmly into the library music realm. But it only scratches the surface: the title track is an ambitious jazz-pop epic, led by padded drums and disarming fretless bass; Holter sounds focused and easy-going, annunciating her angular phrases as the instruments swirl into a euphoric crescendo. "When I'm in the furniture," she purrs. "I believe what I can. What I see could be nice, what I see could be so lifelike."
It's not all pop extravagance either. 'Meyou' is an eerie vocal experiment that sounds almost like Meredith Monk grappling with Ligeti in an empty cathedral, and 'Spinning', one of the album's clear highlights, turns a clunky stuck record into a limber electro-acoustic stomp, glossing its idiosyncrasies with celestial synths and swirling horns. The signature is so well formed and coherent that it drips off each track, sounding like it's been cleaved from no time in particular. Holter uses electronic elements liberally, but doesn't sound as if she's responding to electronic music, particularly. And while there's jazz in there too, and Laurel Canyon folk, she never comes across as if she's trying to fit into those niches, but rather use elements to elevate her narrative. 'Ocean', for example, is a well-placed breather that dispenses with vocals altogether, splaying luxurious organ drones over kosmiche synth squiggles, and rumbling, sub-aquatic tectonic shifts. It's a cinematic pause that's justified by the album's pace and scope, and while the structure is different, the components are all still there, just repurposed.
All this makes the lilting, romantic 'Evening Mood' hit that little bit harder, the bendable CS-60 chimes suddenly making more contextual sense. By edging away from dreams and nostalgia, Holter's discovered a human maze that's markedly more rewarding - more hypnotic too.
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Boomkat Product Review:
Building on the promise of last year's charming 'Sun Girl', Julia Holter moves towards the corporeal world on 'Something in the Room She Moves', singing lucidly over jazzy, exotica-tinged arrangements and giving nods to Trish Keenan, Vangelis, Luboš Fišer, Joni Mitchell and Kate Bush in the process. Always more to Holter's albums than immediately meets the eye, immersive, repeated listens recommended.
Holter's vision of pop has always veered confidently off-track. Tangibly a singer-songwriter, she imagines her songs as ornate labyrinths, filled with dead-ends and confusing musical puzzles - she's as likely to reference 20th century minimalism or cosmic jazz as she is to pay her respects to pop's avant heroes. 'Something in the Room...' is her first proper solo full-length since 2018's 'Aviary', and is an attempt to create a "fluid-sounding, waterlike" world that's inspired by "the complexity and transformability" of the body. Opening with 'Sun Girl', it's a chewable record that's never weighed down by its bookish sophistication. There's a discernible air of eccentricity that dances around the track; Holter's vocals wisp around woozy flutes and bagpipes, with electronic elements provided by a Yamaha CS-60 and a Mellotron, just to poke it firmly into the library music realm. But it only scratches the surface: the title track is an ambitious jazz-pop epic, led by padded drums and disarming fretless bass; Holter sounds focused and easy-going, annunciating her angular phrases as the instruments swirl into a euphoric crescendo. "When I'm in the furniture," she purrs. "I believe what I can. What I see could be nice, what I see could be so lifelike."
It's not all pop extravagance either. 'Meyou' is an eerie vocal experiment that sounds almost like Meredith Monk grappling with Ligeti in an empty cathedral, and 'Spinning', one of the album's clear highlights, turns a clunky stuck record into a limber electro-acoustic stomp, glossing its idiosyncrasies with celestial synths and swirling horns. The signature is so well formed and coherent that it drips off each track, sounding like it's been cleaved from no time in particular. Holter uses electronic elements liberally, but doesn't sound as if she's responding to electronic music, particularly. And while there's jazz in there too, and Laurel Canyon folk, she never comes across as if she's trying to fit into those niches, but rather use elements to elevate her narrative. 'Ocean', for example, is a well-placed breather that dispenses with vocals altogether, splaying luxurious organ drones over kosmiche synth squiggles, and rumbling, sub-aquatic tectonic shifts. It's a cinematic pause that's justified by the album's pace and scope, and while the structure is different, the components are all still there, just repurposed.
All this makes the lilting, romantic 'Evening Mood' hit that little bit harder, the bendable CS-60 chimes suddenly making more contextual sense. By edging away from dreams and nostalgia, Holter's discovered a human maze that's markedly more rewarding - more hypnotic too.
Boomkat Product Review:
Building on the promise of last year's charming 'Sun Girl', Julia Holter moves towards the corporeal world on 'Something in the Room She Moves', singing lucidly over jazzy, exotica-tinged arrangements and giving nods to Trish Keenan, Vangelis, Luboš Fišer, Joni Mitchell and Kate Bush in the process. Always more to Holter's albums than immediately meets the eye, immersive, repeated listens recommended.
Holter's vision of pop has always veered confidently off-track. Tangibly a singer-songwriter, she imagines her songs as ornate labyrinths, filled with dead-ends and confusing musical puzzles - she's as likely to reference 20th century minimalism or cosmic jazz as she is to pay her respects to pop's avant heroes. 'Something in the Room...' is her first proper solo full-length since 2018's 'Aviary', and is an attempt to create a "fluid-sounding, waterlike" world that's inspired by "the complexity and transformability" of the body. Opening with 'Sun Girl', it's a chewable record that's never weighed down by its bookish sophistication. There's a discernible air of eccentricity that dances around the track; Holter's vocals wisp around woozy flutes and bagpipes, with electronic elements provided by a Yamaha CS-60 and a Mellotron, just to poke it firmly into the library music realm. But it only scratches the surface: the title track is an ambitious jazz-pop epic, led by padded drums and disarming fretless bass; Holter sounds focused and easy-going, annunciating her angular phrases as the instruments swirl into a euphoric crescendo. "When I'm in the furniture," she purrs. "I believe what I can. What I see could be nice, what I see could be so lifelike."
It's not all pop extravagance either. 'Meyou' is an eerie vocal experiment that sounds almost like Meredith Monk grappling with Ligeti in an empty cathedral, and 'Spinning', one of the album's clear highlights, turns a clunky stuck record into a limber electro-acoustic stomp, glossing its idiosyncrasies with celestial synths and swirling horns. The signature is so well formed and coherent that it drips off each track, sounding like it's been cleaved from no time in particular. Holter uses electronic elements liberally, but doesn't sound as if she's responding to electronic music, particularly. And while there's jazz in there too, and Laurel Canyon folk, she never comes across as if she's trying to fit into those niches, but rather use elements to elevate her narrative. 'Ocean', for example, is a well-placed breather that dispenses with vocals altogether, splaying luxurious organ drones over kosmiche synth squiggles, and rumbling, sub-aquatic tectonic shifts. It's a cinematic pause that's justified by the album's pace and scope, and while the structure is different, the components are all still there, just repurposed.
All this makes the lilting, romantic 'Evening Mood' hit that little bit harder, the bendable CS-60 chimes suddenly making more contextual sense. By edging away from dreams and nostalgia, Holter's discovered a human maze that's markedly more rewarding - more hypnotic too.
Boomkat Product Review:
Building on the promise of last year's charming 'Sun Girl', Julia Holter moves towards the corporeal world on 'Something in the Room She Moves', singing lucidly over jazzy, exotica-tinged arrangements and giving nods to Trish Keenan, Vangelis, Luboš Fišer, Joni Mitchell and Kate Bush in the process. Always more to Holter's albums than immediately meets the eye, immersive, repeated listens recommended.
Holter's vision of pop has always veered confidently off-track. Tangibly a singer-songwriter, she imagines her songs as ornate labyrinths, filled with dead-ends and confusing musical puzzles - she's as likely to reference 20th century minimalism or cosmic jazz as she is to pay her respects to pop's avant heroes. 'Something in the Room...' is her first proper solo full-length since 2018's 'Aviary', and is an attempt to create a "fluid-sounding, waterlike" world that's inspired by "the complexity and transformability" of the body. Opening with 'Sun Girl', it's a chewable record that's never weighed down by its bookish sophistication. There's a discernible air of eccentricity that dances around the track; Holter's vocals wisp around woozy flutes and bagpipes, with electronic elements provided by a Yamaha CS-60 and a Mellotron, just to poke it firmly into the library music realm. But it only scratches the surface: the title track is an ambitious jazz-pop epic, led by padded drums and disarming fretless bass; Holter sounds focused and easy-going, annunciating her angular phrases as the instruments swirl into a euphoric crescendo. "When I'm in the furniture," she purrs. "I believe what I can. What I see could be nice, what I see could be so lifelike."
It's not all pop extravagance either. 'Meyou' is an eerie vocal experiment that sounds almost like Meredith Monk grappling with Ligeti in an empty cathedral, and 'Spinning', one of the album's clear highlights, turns a clunky stuck record into a limber electro-acoustic stomp, glossing its idiosyncrasies with celestial synths and swirling horns. The signature is so well formed and coherent that it drips off each track, sounding like it's been cleaved from no time in particular. Holter uses electronic elements liberally, but doesn't sound as if she's responding to electronic music, particularly. And while there's jazz in there too, and Laurel Canyon folk, she never comes across as if she's trying to fit into those niches, but rather use elements to elevate her narrative. 'Ocean', for example, is a well-placed breather that dispenses with vocals altogether, splaying luxurious organ drones over kosmiche synth squiggles, and rumbling, sub-aquatic tectonic shifts. It's a cinematic pause that's justified by the album's pace and scope, and while the structure is different, the components are all still there, just repurposed.
All this makes the lilting, romantic 'Evening Mood' hit that little bit harder, the bendable CS-60 chimes suddenly making more contextual sense. By edging away from dreams and nostalgia, Holter's discovered a human maze that's markedly more rewarding - more hypnotic too.
Back in stock. 2xLP transparent red vinyl in a gatefold sleeve, with 4 page insert and download card.
Available To Order (Estimated Shipping between 7-14 Working Days)
This item is to the best of our knowledge available to us from the supplier and should ship to you within the time-frame indicated. If there are any unforeseen issues with availability we will notify you immediately
Boomkat Product Review:
Building on the promise of last year's charming 'Sun Girl', Julia Holter moves towards the corporeal world on 'Something in the Room She Moves', singing lucidly over jazzy, exotica-tinged arrangements and giving nods to Trish Keenan, Vangelis, Luboš Fišer, Joni Mitchell and Kate Bush in the process. Always more to Holter's albums than immediately meets the eye, immersive, repeated listens recommended.
Holter's vision of pop has always veered confidently off-track. Tangibly a singer-songwriter, she imagines her songs as ornate labyrinths, filled with dead-ends and confusing musical puzzles - she's as likely to reference 20th century minimalism or cosmic jazz as she is to pay her respects to pop's avant heroes. 'Something in the Room...' is her first proper solo full-length since 2018's 'Aviary', and is an attempt to create a "fluid-sounding, waterlike" world that's inspired by "the complexity and transformability" of the body. Opening with 'Sun Girl', it's a chewable record that's never weighed down by its bookish sophistication. There's a discernible air of eccentricity that dances around the track; Holter's vocals wisp around woozy flutes and bagpipes, with electronic elements provided by a Yamaha CS-60 and a Mellotron, just to poke it firmly into the library music realm. But it only scratches the surface: the title track is an ambitious jazz-pop epic, led by padded drums and disarming fretless bass; Holter sounds focused and easy-going, annunciating her angular phrases as the instruments swirl into a euphoric crescendo. "When I'm in the furniture," she purrs. "I believe what I can. What I see could be nice, what I see could be so lifelike."
It's not all pop extravagance either. 'Meyou' is an eerie vocal experiment that sounds almost like Meredith Monk grappling with Ligeti in an empty cathedral, and 'Spinning', one of the album's clear highlights, turns a clunky stuck record into a limber electro-acoustic stomp, glossing its idiosyncrasies with celestial synths and swirling horns. The signature is so well formed and coherent that it drips off each track, sounding like it's been cleaved from no time in particular. Holter uses electronic elements liberally, but doesn't sound as if she's responding to electronic music, particularly. And while there's jazz in there too, and Laurel Canyon folk, she never comes across as if she's trying to fit into those niches, but rather use elements to elevate her narrative. 'Ocean', for example, is a well-placed breather that dispenses with vocals altogether, splaying luxurious organ drones over kosmiche synth squiggles, and rumbling, sub-aquatic tectonic shifts. It's a cinematic pause that's justified by the album's pace and scope, and while the structure is different, the components are all still there, just repurposed.
All this makes the lilting, romantic 'Evening Mood' hit that little bit harder, the bendable CS-60 chimes suddenly making more contextual sense. By edging away from dreams and nostalgia, Holter's discovered a human maze that's markedly more rewarding - more hypnotic too.
2xLP black vinyl in a gatefold sleeve, with 4 page insert and download card.
Available To Order (Estimated Shipping between 7-14 Working Days)
This item is to the best of our knowledge available to us from the supplier and should ship to you within the time-frame indicated. If there are any unforeseen issues with availability we will notify you immediately
Boomkat Product Review:
Building on the promise of last year's charming 'Sun Girl', Julia Holter moves towards the corporeal world on 'Something in the Room She Moves', singing lucidly over jazzy, exotica-tinged arrangements and giving nods to Trish Keenan, Vangelis, Luboš Fišer, Joni Mitchell and Kate Bush in the process. Always more to Holter's albums than immediately meets the eye, immersive, repeated listens recommended.
Holter's vision of pop has always veered confidently off-track. Tangibly a singer-songwriter, she imagines her songs as ornate labyrinths, filled with dead-ends and confusing musical puzzles - she's as likely to reference 20th century minimalism or cosmic jazz as she is to pay her respects to pop's avant heroes. 'Something in the Room...' is her first proper solo full-length since 2018's 'Aviary', and is an attempt to create a "fluid-sounding, waterlike" world that's inspired by "the complexity and transformability" of the body. Opening with 'Sun Girl', it's a chewable record that's never weighed down by its bookish sophistication. There's a discernible air of eccentricity that dances around the track; Holter's vocals wisp around woozy flutes and bagpipes, with electronic elements provided by a Yamaha CS-60 and a Mellotron, just to poke it firmly into the library music realm. But it only scratches the surface: the title track is an ambitious jazz-pop epic, led by padded drums and disarming fretless bass; Holter sounds focused and easy-going, annunciating her angular phrases as the instruments swirl into a euphoric crescendo. "When I'm in the furniture," she purrs. "I believe what I can. What I see could be nice, what I see could be so lifelike."
It's not all pop extravagance either. 'Meyou' is an eerie vocal experiment that sounds almost like Meredith Monk grappling with Ligeti in an empty cathedral, and 'Spinning', one of the album's clear highlights, turns a clunky stuck record into a limber electro-acoustic stomp, glossing its idiosyncrasies with celestial synths and swirling horns. The signature is so well formed and coherent that it drips off each track, sounding like it's been cleaved from no time in particular. Holter uses electronic elements liberally, but doesn't sound as if she's responding to electronic music, particularly. And while there's jazz in there too, and Laurel Canyon folk, she never comes across as if she's trying to fit into those niches, but rather use elements to elevate her narrative. 'Ocean', for example, is a well-placed breather that dispenses with vocals altogether, splaying luxurious organ drones over kosmiche synth squiggles, and rumbling, sub-aquatic tectonic shifts. It's a cinematic pause that's justified by the album's pace and scope, and while the structure is different, the components are all still there, just repurposed.
All this makes the lilting, romantic 'Evening Mood' hit that little bit harder, the bendable CS-60 chimes suddenly making more contextual sense. By edging away from dreams and nostalgia, Holter's discovered a human maze that's markedly more rewarding - more hypnotic too.
CD in gatefold wallet, with 12pg lyric booklet.
Available To Order (Estimated Shipping between 7-14 Working Days)
This item is to the best of our knowledge available to us from the supplier and should ship to you within the time-frame indicated. If there are any unforeseen issues with availability we will notify you immediately
Boomkat Product Review:
Building on the promise of last year's charming 'Sun Girl', Julia Holter moves towards the corporeal world on 'Something in the Room She Moves', singing lucidly over jazzy, exotica-tinged arrangements and giving nods to Trish Keenan, Vangelis, Luboš Fišer, Joni Mitchell and Kate Bush in the process. Always more to Holter's albums than immediately meets the eye, immersive, repeated listens recommended.
Holter's vision of pop has always veered confidently off-track. Tangibly a singer-songwriter, she imagines her songs as ornate labyrinths, filled with dead-ends and confusing musical puzzles - she's as likely to reference 20th century minimalism or cosmic jazz as she is to pay her respects to pop's avant heroes. 'Something in the Room...' is her first proper solo full-length since 2018's 'Aviary', and is an attempt to create a "fluid-sounding, waterlike" world that's inspired by "the complexity and transformability" of the body. Opening with 'Sun Girl', it's a chewable record that's never weighed down by its bookish sophistication. There's a discernible air of eccentricity that dances around the track; Holter's vocals wisp around woozy flutes and bagpipes, with electronic elements provided by a Yamaha CS-60 and a Mellotron, just to poke it firmly into the library music realm. But it only scratches the surface: the title track is an ambitious jazz-pop epic, led by padded drums and disarming fretless bass; Holter sounds focused and easy-going, annunciating her angular phrases as the instruments swirl into a euphoric crescendo. "When I'm in the furniture," she purrs. "I believe what I can. What I see could be nice, what I see could be so lifelike."
It's not all pop extravagance either. 'Meyou' is an eerie vocal experiment that sounds almost like Meredith Monk grappling with Ligeti in an empty cathedral, and 'Spinning', one of the album's clear highlights, turns a clunky stuck record into a limber electro-acoustic stomp, glossing its idiosyncrasies with celestial synths and swirling horns. The signature is so well formed and coherent that it drips off each track, sounding like it's been cleaved from no time in particular. Holter uses electronic elements liberally, but doesn't sound as if she's responding to electronic music, particularly. And while there's jazz in there too, and Laurel Canyon folk, she never comes across as if she's trying to fit into those niches, but rather use elements to elevate her narrative. 'Ocean', for example, is a well-placed breather that dispenses with vocals altogether, splaying luxurious organ drones over kosmiche synth squiggles, and rumbling, sub-aquatic tectonic shifts. It's a cinematic pause that's justified by the album's pace and scope, and while the structure is different, the components are all still there, just repurposed.
All this makes the lilting, romantic 'Evening Mood' hit that little bit harder, the bendable CS-60 chimes suddenly making more contextual sense. By edging away from dreams and nostalgia, Holter's discovered a human maze that's markedly more rewarding - more hypnotic too.
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