Holy Matter: Leanna Kaiser Reflects on Time and Transformation in Debut Album “Beauty Looking Back”

Holy Matter, the musical and filmmaking alias of Leanna Kaiser, is set to captivate audiences with her debut album, “Beauty Looking Back.”Originally from St. Louis and now based in Los Angeles, Kaiser has spent years honing her craft as both a musician and an experimental filmmaker. After co-founding the ambient duo Frances With Wolves and collaborating on music videos with artists like Jessica Pratt and Dean Wareham, Kaiser’s solo project, Holy Matter, emerges as a deeply personal exploration of time, change, and nostalgia.

“Beauty Looking Back” is an album that delves into the cyclical nature of life, featuring a blend of psych-folk, tropicalia, and cinematic soundscapes that transport listeners through the seasons of existence. With contributions from longtime collaborators and new creative partners, the album is a testament to Kaiser’s journey of self-discovery and artistic growth. As she looks back on the experiences that shaped her, Kaiser invites listeners to reflect on their own journeys, finding comfort in the past while embracing the uncertainty of the future.

1. "Beauty Looking Back" is described as a collection of "backwards looks" and a survey of emotions and moments from 2020 to 2023. Can you share more about the inspiration behind the album's title and how it ties into the overall theme of the album?

The album takes its name from a 17th century Japanese painting by Hishikawa Moronobu which I stumbled upon in an art book. I've always been interested in historical artworks and especially those with female models who are unnamed or unknown. I am also very interested in "in between" moments, and this painting is a depiction of a woman looking over her shoulder, in the midst of an action. I think of songs often like this, they are things for me that come out in the midst of other thoughts and feelings. I liked how the phrase Beauty Looking Back could mean several things, and to me all those things are present in the album. The beauty in remembering, the rosy glow of memories with the bad parts forgotten, someone beautiful looking backwards. That last part may sound egotistical, but it's taken me a long time to have the self-confidence to see my own "beauty", and making this record was a big part of that because it felt like such a big accomplishment.

2. Your debut album features a mix of genres, from the autumnal psych-folk of “Autumn’s Envy” to the tropicalia of “Wishing Well” and the hypnagogic “Eve’s Hollywood.” How do you approach blending these diverse sounds, and what message or feeling do you hope listeners take away from this eclectic mix?

I play and write music in a lot of different styles, I'm a bit of a commitment-phobe in that regard, but I love so many types of music that I can't commit to one. I think the artist's voice is always present regardless of what style of art they're making, it's a common thread running through everything. I love blending elements of different genres, I don't do it intentionally but it just comes out that way. I hope listeners hear this album as a complete journey, like a film. 

3. "The Spirit of St Louis" features contributions from your past and present collaborators, creating a rich tapestry of your musical journey. Can you discuss the significance of this track and how it encapsulates your experiences and growth as an artist?

Yes, I wrote that song at kind of a low point but with an ability to be hopeful about the future and the changes I was trying to make in my life. It was important to me to incorporate my hometown of St. Louis and my collaborator there, Andy Kahn, as well as a little piece of my present home of LA and my partner who is also a musical collaborator of mine. It's basically a track featuring the two people I trust most in the world and who know me better than anyone, and have been with me on this artistic path. 

4. You've worked with various artists like Jessica Pratt, Allegra Krieger, and Dean Wareham in making music videos. How has your background in filmmaking influenced your music, particularly in the creation and storytelling of "Beauty Looking Back"?

Filmmaking and music to me are two sides of the same coin; they are both about rhythm and parts. I think knowing the stages of editing a film really helped me with the making of this record, for example, starting with a few songs as poles and then connecting those poles with other songs or interludes. This is how I treat editing a film, as well. I like to treat an album as a whole "film" and the songs are all scenes within that film.

5. The album was largely tracked in your home studio in Los Angeles, with some overdubs in Oakland and St Louis. How did the different recording environments and collaborations impact the final sound of "Beauty Looking Back"?

A huge part of what I love about making music is the recording process, and I worked managing a recording studio when I was in college so I'm luckily familiar with that process. I wrote a lot of these songs while I was recording them, so it was just a necessity that I recorded my own parts. I didn't have any money so I just recorded as much as possible myself. I am also a highly perfectionist type that wants to do everything myself and I have a hard time letting go of that control. But, I can admit that I don't know how to do everything and often others' energy and ideas are very important to make good art. Recording at the Sinkhole in St. Louis was amazing.

It was a carefree and exploratory experience, we had two different sessions over the course of a few months, and having access to all the instruments there definitely influenced the sound of the album and added a really cool feeling. I was sadly only in Oakland for a short time; I got very sick during that session and had to go home. But thankfully, we were able to track some drums and they were perfect! David Glasebrook, who mixed the album, did a fantastic job of blending all the recordings together so they sounded seamless, despite being recorded in very different environments.