Corroded chimes, bagpipes, synth sounds, flutes and skittering drums form a lush, romantic backdrop for Julia Holter's fairytale chants on 'Sun Girl', the first solo material we've heard from her in five years.
It's hard to believe just how long it's been since 'Aviary', Holter's last full-length. 'Sun Girl' doesn't exactly pick up where that album left off, it launches the Los Angeles composer's ideas into a newly lysergic panorama, somewhere between a Magic Eye and an Alice in Wonderland illustration. Holter's instrumentation is instantly striking, a precarious assembly of vintage gear (Yamaha CS-60, Mellotron), maligned folk staples (bagpipes, flutes) and field recordings that extends the stage for her breathy vocals. Curling her phrases into seductive chants, Holter creates a contemporary nursery rhyme, poking at the territory of artists like Björk and Mia Doi Todd, while opening herself up to the surrealist indulgence of the Czech New Wave.
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Corroded chimes, bagpipes, synth sounds, flutes and skittering drums form a lush, romantic backdrop for Julia Holter's fairytale chants on 'Sun Girl', the first solo material we've heard from her in five years.
It's hard to believe just how long it's been since 'Aviary', Holter's last full-length. 'Sun Girl' doesn't exactly pick up where that album left off, it launches the Los Angeles composer's ideas into a newly lysergic panorama, somewhere between a Magic Eye and an Alice in Wonderland illustration. Holter's instrumentation is instantly striking, a precarious assembly of vintage gear (Yamaha CS-60, Mellotron), maligned folk staples (bagpipes, flutes) and field recordings that extends the stage for her breathy vocals. Curling her phrases into seductive chants, Holter creates a contemporary nursery rhyme, poking at the territory of artists like Björk and Mia Doi Todd, while opening herself up to the surrealist indulgence of the Czech New Wave.
Corroded chimes, bagpipes, synth sounds, flutes and skittering drums form a lush, romantic backdrop for Julia Holter's fairytale chants on 'Sun Girl', the first solo material we've heard from her in five years.
It's hard to believe just how long it's been since 'Aviary', Holter's last full-length. 'Sun Girl' doesn't exactly pick up where that album left off, it launches the Los Angeles composer's ideas into a newly lysergic panorama, somewhere between a Magic Eye and an Alice in Wonderland illustration. Holter's instrumentation is instantly striking, a precarious assembly of vintage gear (Yamaha CS-60, Mellotron), maligned folk staples (bagpipes, flutes) and field recordings that extends the stage for her breathy vocals. Curling her phrases into seductive chants, Holter creates a contemporary nursery rhyme, poking at the territory of artists like Björk and Mia Doi Todd, while opening herself up to the surrealist indulgence of the Czech New Wave.
Corroded chimes, bagpipes, synth sounds, flutes and skittering drums form a lush, romantic backdrop for Julia Holter's fairytale chants on 'Sun Girl', the first solo material we've heard from her in five years.
It's hard to believe just how long it's been since 'Aviary', Holter's last full-length. 'Sun Girl' doesn't exactly pick up where that album left off, it launches the Los Angeles composer's ideas into a newly lysergic panorama, somewhere between a Magic Eye and an Alice in Wonderland illustration. Holter's instrumentation is instantly striking, a precarious assembly of vintage gear (Yamaha CS-60, Mellotron), maligned folk staples (bagpipes, flutes) and field recordings that extends the stage for her breathy vocals. Curling her phrases into seductive chants, Holter creates a contemporary nursery rhyme, poking at the territory of artists like Björk and Mia Doi Todd, while opening herself up to the surrealist indulgence of the Czech New Wave.