Julia Kent has built a dedicated fan base over the course of five solo studio albums and extensive European and North American touring, after first coming to prominence with Rasputina and Antony and the Johnsons.
In demand as a musical collaborator and composer for film, theatre and dance, she has recently worked with Nadja, Markus Guentner, Western Skies Motel, Library Tapes, and Sophie Hutchings (for Gregory Euclide’s Thesis project). In the dance world she has collaborated with Ballett Mannheim in Germany, and Italian company Balletto Civile.
Much of the music that comprises Temporal was originally written to accompany theatre and dance productions. “The initial inspiration was more external than internal, in that many of these pieces began as a response to a text or a choreographic concept,” Julia explains, “but they all seemed to be coming from the same emotional world and it made sense to weave them together into a record.”
After the threat of violent release on Asperities, Temporal’s relationship to the physical world manifests itself in a more organic, human sound. The electronic manipulations are subtler, with Julia sampling voices from a theatre production and processing them into unrecognisable textures: ghosts of the source material. “I included the processed voices to acknowledge the genesis of the music and also because I wanted to incorporate vocals in a way that turned voice into texture, and blurred the lines between sonic elements.”