Julia Holter always knew that there was more to the song “Materia” than what she included on her wondrous 2024 album, Something in the Room She Moves. She had written the tune not long after the tours for 2018’s Aviary concluded, and it worked well for solo shows—her voice and piano, lyrics still morphing as she played with the meaning.
But on the new Materia, a kind of companion LP to Something, Holter has realized not one but two distinct versions of the song. “Materia 2” is a hallucinatory dream of drum machines, fretless bass, and clarinet, Holter’s voice spiralling through ether alongside that of Jessika Kenney. And on “Materia 3,” intended as a hidden bonus track in an homage to the CD era of her youth, Holter literally slows down the take from Something. The change not only emphasizes the unpredictable glory of the harmonies within but also reiterates the song’s emotional sophistication, the sense that it’s about learning how to live.
“Materia” is only seven tracks long, but Holter works in nearly that many modes here. There are two astounding improvisations, one where she builds a one-person ensemble of drum machines and synth lines and another where she manipulates her voice until each word seems to contain another symphony. And yet another is built from a riff that came from a demo for “Something”, a demo that itself is one of “Materia’s” most spellbinding and emotional pieces, “My Twin.” These seven songs show that Holter is among her generation’s most fluid writers of art-pop, moving among ideas and idioms with true exploratory aplomb. “Materia” is a kind of playground for Holter, where each distinct scene steadily coheres into a moving whole.
I made it inspired by the musicians that made up “Something In the Room She Moves” and its tour. I wanted to continue building songs in this realm & it became a sister album that wandered off to its own world.
The fretless bass writing & performance of Devra Hoff are central to this record; I have been turning her bass up high in the mix since “Loud City Song”. Beth Goodfellow‘s percussion is mesmerizing & her creative spirit contagious; studio recordings of her, Devra and me playing at once, vibing off each other, were the foundation for a lot of these songs.
Chris Speed’s kaleidoscopic winds form another main vocal in a way & he has generously contributed wild and visionary melodies to my songs since 2013. Maia’s transcendent flute is also like a voice—she sometimes is in fact singing into the flute, forming a pivotal moment in the record during “My Lost One”.
One of my favorite voices ever is that of Jessika Kenney, so I was delighted for her to bring her magic to “Materia 2”. It was a joy to record again 64 Sound w the assistance of Tyler Karmen and also record overdubs Stones Throw Studios. Importantly, enormous thanks to talented Kenny Gilmore, who co-produced, engineered & mixed the record; I am fortunate to work w a longtime friend w a great ear who always gets it. And the great Heba Kadry did a beautiful job mastering.
Thank you so much to Chantal Anderson for bringing her vision over to my house to shoot this special & unearthly photo that has become the cover. And as always, very appreciative of the great Matthew Cooper for his gorgeous art design.
Loving appreciation overall for my dear partner Tashi Wada’s wide array of offerings throughout the making of “Materia” from his dreamy analogue synth work to tape engineering to art direction to photos to his overall kindness & support.
Thankful for Domino Recording Co making this record happen so thoughtfully.
The Fat Angel Sings 