L.A. native Julia Holter didn’t leave anything to chance when it came to Ekstasis, her second LP. Writing and production for the album spanned some three years, and the level of focus and dedication she brought to this project are apparent almost immediately. Everything from the intricate vocal lines she uses to the variety of traditional instruments that make an appearance seem to be chosen with the utmost care. The result of her patience and hard work is nothing short of stunning. It’s pop music for the thinking man and it’s a bit of the avant-garde for the casual listener all at the same time. Ekstasis has led some to compare Holter to Laurie Anderson, and certainly during her weirder moments (the droning vocoder on "Goddess Eyes I" and "Goddess Eyes II"), this rings true, but some contemporary reference points for her work might be Joanna Newsom and Julianna Barwick.
Holter is a stickler for atmosphere on this record, with much of it sounding like it was recorded under the vast empty arches of a medieval cathedral. Each track is laden with reverb, but unlike many contemporary bedroom composers who are happy to hide behind the effects, she allows her voice to gracefully wash over everything providing the driving force for the album, "Boy in the Moon" and "Moni Mon Amie" are two of her more successful vocal deliveries and exhibit how she weaves a rich tapestry with her voice.
"Our Sorrows" with its combination of gentle synth lines, the simple plodding of a drum machine and Holter’s pillow-soft voice is the perfect distillation of her aesthetic through a pop lens. "In the Same Room" follows a similar formula, and the playful Rhodes that provides the song’s backbone sounds like it came from Beach House’s most recent recording venture.
For much of the rest of the record though she’s focused on ambiance. Opening track "Marienbad" was inspired by an imagined stroll through a topiary garden, while "Four Gardens" and closing track "This is Ekstasis" are reflections of the time Holter spent in India studying the harmonium.
Perhaps the most amazing thing about Ekstasis is its approachability. Even with Holter sprinkling in some highbrow literary allusions throughout, the church approved acoustics, her adventurous leaps into world music and a generally chilling vibe it remains a pop record, and a rather uplifting one at that.
Grade: B+
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