Mistletone proudly presents the return of the mighty Cass McCombs, performing at the 26th annual Meredith Music Festival from December 9-11. The Meredith ticket ballot is open now.
Over the past decade, Cass McCombs has established himself as one of our premier songwriters. It’s a career that has twisted and turned, from style to subject, both between records and within them. Diverse, cryptic, vital and refreshingly rebellious — just when you think you have him pinned down, you find you’re on the wrong track.
However, Mangy Love, his Anti Records debut (out locally via Anti Australia on August 26), is Cass McCombs at his most blunt: tackling sociopolitical issues through his uniquely cracked lens of lyrical wit and singular insight.
Cass uses himself as a mirror to misguided and confounding realities, confronting them head-on: “Rancid Girl” reads like a ZZ Top study in Kardashian politics, “Run Sister Run” a mantra for a misogynistic justice system, “Bum Bum Bum” displays a racist, elitist government through the allegory of sadistic dog breeding; the album is sewn together by a common thread of ‘opposition,’ most directly articulated in “Opposite House,” with allusions to mental illness. ‘Laughter Is The Best Medicine’ provides a possible recipe for healing, with the help of an authentic medicine man, the legendary Rev. Goat Carson. The severity of his lyrics is contrasted by the music, which ventures into groovy realms of Philly soul, Northern California psychedelia and New York paranoia punk, articulating the spontaneity and joy of his live show better than ever before.
The record is unquestionably a work of great studio aptitude: a carefully arranged, high-fidelity production by veteran Rob Schnapf and Dan Horne. And as usual, Cass is joined by many notable members of his eclectic musical tribe, whose names are proudly displayed on the back cover.
Mostly written during a bitter New York City winter and while traveling in Ireland, Mangy Love is Cass at the top of his game, reaching new sonic heights, creatively evolving lyrically, and resulting in his most provocative and complete record yet.
Click below to watch the video for “Medusa’s Outhouse”, an intimate short film by filmmaker Aaron Brown who shares Cass’s love for the American mythologies of Hollywood and the archetypal West:
FAIRBRIDGE, WA: Saturday December 3 @ Disconnect Festival. Tickets and info here.
SYDNEY: Wednesday December 7 @ Oxford Art Factory with The Laurels. Tickets on sale now from Moshtix.
MELBOURNE: Thursday December 8 @ The Corner with ORB + Krakatau + Psychedelic Coven DJs. Tickets on sale now from Ticketscout.
MEREDITH: Friday December 9 @ Meredith Music Festival. The Meredith ticket ballot is open now.
Mistletone proudly presents Swedish psych rock legends Dungen, touring Australia for the first time since 2006 to perform at the 26th annual Meredith Music Festival from December 9-11 plus headline shows in Sydney & Melbourne.
“I love Dungen” – Kevin Parker, Tame Impala
Dungen‘s mastermind and main songwriter. Gustav Ejstes, has been making music—at first for himself, then eventually and inevitably for all of us—for nearly twenty years. Growing up in rural Sweden, he became obsessed with hip-hop and sampling. Digging through crates and searching for obscure source material provided him with an informal education in ‘60s pop and psychedelia, and soon he learned to play the bits and pieces he was sampling. He took up guitar and bass, drums and keyboard and even flute, then took to his grandmother’s basement to put it all on tape.
When Ejstes recorded his first album, he released it in 2001 under the name Dungen, which means “The Grove”— a nod to his village upbringing or perhaps a deeper reference to American folk songs like “Shady Grove.” While his music has routinely garnered comparisons to acts like Love, Pink Floyd, the Electric Prunes, and Os Mutantes, he has always emphasized a strong sense of songcraft. The music has deep roots in history, but it blooms in the present.
With 2004’s breakout Ta Det Lugnt, Dungen garnered an avid fanbase outside of Scandinavia. Pitchfork lauded the album with a 9.3 and asserted that Ejstes’s “songs are painstakingly arranged with a sense of depth, gradations, and tonal three-dimensionality redolent of something as off the charts as Pet Sounds.” Only on the road did Dungen blossom into a full band, with a rotation of musicians joining Ejstes onstage and eventually coalescing into a fully democratic band that includes Reine Fiske on guitar, Mattias Gustavsson on bass, and Johan Holmegard on drums. Starting with 2007’s Tio Bitar and 2009’s 4, the band members helped Ejstes realize his own vision while adding flourishes of their own. As a result, Dungen grew into something bigger and more formidable: one of the best and most consistently inventive psych rock bands in the world.
At the height of their powers, however, the band took a step back.
It’s been five years since the last Dungen album, 2010’s Skit I Allt, which is by far the longest interval between releases for a band that proved especially prolific and inspired during the 2000s. “We have all been away during this period for different reasons, playing music in different projects,” says Ejstes. “I have been writing songs in the meantime, so the actual recording process has been pretty short.” During the interim, several members of the band released albums as the Amazing, including 2012’s Gentle Stream and 2015’s Picture You. Ejstes himself co-founded the Swedish supergroup Amason, which includes members of Idiot Wind, Little Majorette, and Miike Snow. They released their debut, Sky City, earlier this year.
Allas Sak. It’s a short phrase with enormous implications.
Those two Swedish words translate loosely into English as “everyone’s thing” or maybe “anyone’s thing.” They not only provide the title for Dungen’s latest collection of sophisticated psychedelic rock, but explains how the band works creatively and collaboratively.
“I was told by a friend once that as a songwriter and as a musical artist, you have to understand that as soon as the music leaves your body, it is no longer strictly yours,” explains Gustav. “The listener also owns it and filters it through their personality, their thoughts and feelings.”
In other words, the music is everyone’s thing. It belongs to the band and to whoever hears it, which means that everyone is empowered to decipher the Swedish-language lyrics for themselves, to locate their own stories in the magisterial instrumental jams, to make all of this mean whatever they need it to mean. For Dungen, this communion between artist and audience is a beautiful and necessary process that makes the music mean more, not less. It becomes, in a sense, infinite. “These songs are my everyday experiences, my thoughts and stories from the life I live,” says Gustav. “I hope people can create their own stories around the music and maybe we can make music together, the listener and I.”
Allas Sak picks up where Dungen’s previous album left off, but somehow it sounds bolder and livelier, feistier yet more focused. The four of them jam with greater purpose and principle on songs like the otherworldly instrumental “Franks Kaktus” and the stately “En Gång Om Året,” while the prismatic “Flickor Och Pojkar” and closer “Sova” reveal subtle nuances in the band’s arrangements. Listening becomes an especially galvanizing experience, heady and enlightening. If psychedelic music has often been associated with drug use, for Dungen music itself is the drug: the most effective vehicle for transcendence.
The band brought in good friend Mattias Glavå to produce the record. In addition to helming records for the Soundtrack of Our Lives, Sambassadeur, and the Amazing, Glavå worked with Dungen on 2005’s Stadsvandringar, which made these sessions a reunion of sorts. “Mattias is a true wizard of analog sound engineering, but he’s more than a technique nerd,” says Gustav. “He’s the ultimate hand between my vision of a sound and reality.”
Glavå suggested the band work out songs before they entered the studio, rather than writing during the sessions. It was a different way of working, but one that Gustav found invigorating. “He suggested we come to his studio with finished songs, and we did live takes directly to tape—the old-school way. It has truly been a quite different experience from the earlier records.”
Allas Sak is about everyday matters: family, friends, the fine texture of life. Common but never mundane, these subjects anchor the music in the here and now, while the music lends a certain grandeur to ordinary moments. “Lyrics are very important to me,” says Gustav. “We know a lot of people who don’t speak Swedish who love the music anyway. Music comes first every time. I think it could be wordless if the moods in the music take you somewhere, but often the melodies are attached to words that came up the first time they were played.”
Again, it comes back to the listener. Even as the band continues to grow, the listener remains a constant collaborator, not only inspiring new songs but rejuvenating old ones. “I can definitely feel a new significance in some of our older songs, mainly because of the people we’ve met and the stories about their own experiences with the music.”
Fun Tame Impala fact: In 2007, a young Kevin Parker got in touch with Dungen and sent them through his latest recording, asking them to mix it. The band’s response? “No, we don’t have to mix it! Just put it out! It’s amazing as it is!” Prescient.
Mistletone proudly presents the return of the mighty Cass McCombs, performing at the 26th annual Meredith Music Festival from December 9-11 plus headline shows in Sydney, Melbourne and Brisbane.
CASS MCCOMBS TOUR DATES:
SYDNEY: Tue Dec 6 @ Newtown Social Club. Tickets on sale now from Ticketscout.
MELBOURNE: Thu Dec 8 @ Melbourne Recital Centre with Twerps. Tickets on sale now from MRC.
MEREDITH: Fri Dec 9 @ Meredith Music Festival. Meredith ticket ballot is open now.
BRISBANE: Sat Dec 10 @ The Zoo. Tickets on sale now from Oztix.
Over the past decade, Cass McCombs has established himself as one of our premier songwriters. It’s a career that has twisted and turned, from style to subject, both between records and within them. Diverse, cryptic, vital and refreshingly rebellious — just when you think you have him pinned down, you find you’re on the wrong track.
However, Mangy Love, his Anti Records debut (out locally via Anti Australia on August 26), is Cass McCombs at his most blunt: tackling sociopolitical issues through his uniquely cracked lens of lyrical wit and singular insight.
Click below to stream Mangy Love in its entirety:
Cass uses himself as a mirror to misguided and confounding realities, confronting them head-on: “Rancid Girl” reads like a ZZ Top study in Kardashian politics, “Run Sister Run” a mantra for a misogynistic justice system, “Bum Bum Bum” displays a racist, elitist government through the allegory of sadistic dog breeding; the album is sewn together by a common thread of ‘opposition,’ most directly articulated in “Opposite House,” with allusions to mental illness. ‘Laughter Is The Best Medicine’ provides a possible recipe for healing, with the help of an authentic medicine man, the legendary Rev. Goat Carson. The severity of his lyrics is contrasted by the music, which ventures into groovy realms of Philly soul, Northern California psychedelia and New York paranoia punk, articulating the spontaneity and joy of his live show better than ever before.
The record is unquestionably a work of great studio aptitude: a carefully arranged, high-fidelity production by veteran Rob Schnapf and Dan Horne. And as usual, Cass is joined by many notable members of his eclectic musical tribe, whose names are proudly displayed on the back cover.
Mostly written during a bitter New York City winter and while traveling in Ireland, Mangy Love is Cass at the top of his game, reaching new sonic heights, creatively evolving lyrically, and resulting in his most provocative and complete record yet.
Click below to watch the video for “Medusa’s Outhouse”, an intimate short film by filmmaker Aaron Brown who shares Cass’s love for the American mythologies of Hollywood and the archetypal West:
FAIRBRIDGE, WA: Saturday December 3 @ Disconnect Festival. Tickets and info here.
SYDNEY: Wednesday December 7 @ Oxford Art Factory with The Laurels. Tickets on sale now from Moshtix.
MELBOURNE: Thursday December 8 @ The Corner with Orb + Krakatau. Tickets on sale now from Ticketscout.
MEREDITH: Friday December 9 @ Meredith Music Festival. The Meredith ticket ballot is open now.
Mistletone proudly presents Swedish psych rock legends Dungen, touring Australia for the first time since 2006 to perform at the 26th annual Meredith Music Festival from December 9-11 plus headline shows in Sydney & Melbourne.
“I love Dungen” – Kevin Parker, Tame Impala
Dungen‘s mastermind and main songwriter. Gustav Ejstes, has been making music—at first for himself, then eventually and inevitably for all of us—for nearly twenty years. Growing up in rural Sweden, he became obsessed with hip-hop and sampling. Digging through crates and searching for obscure source material provided him with an informal education in ‘60s pop and psychedelia, and soon he learned to play the bits and pieces he was sampling. He took up guitar and bass, drums and keyboard and even flute, then took to his grandmother’s basement to put it all on tape.
When Ejstes recorded his first album, he released it in 2001 under the name Dungen, which means “The Grove”— a nod to his village upbringing or perhaps a deeper reference to American folk songs like “Shady Grove.” While his music has routinely garnered comparisons to acts like Love, Pink Floyd, the Electric Prunes, and Os Mutantes, he has always emphasized a strong sense of songcraft. The music has deep roots in history, but it blooms in the present.
With 2004’s breakout Ta Det Lugnt, Dungen garnered an avid fanbase outside of Scandinavia. Pitchfork lauded the album with a 9.3 and asserted that Ejstes’s “songs are painstakingly arranged with a sense of depth, gradations, and tonal three-dimensionality redolent of something as off the charts as Pet Sounds.” Only on the road did Dungen blossom into a full band, with a rotation of musicians joining Ejstes onstage and eventually coalescing into a fully democratic band that includes Reine Fiske on guitar, Mattias Gustavsson on bass, and Johan Holmegard on drums. Starting with 2007’s Tio Bitar and 2009’s 4, the band members helped Ejstes realize his own vision while adding flourishes of their own. As a result, Dungen grew into something bigger and more formidable: one of the best and most consistently inventive psych rock bands in the world.
At the height of their powers, however, the band took a step back.
It’s been five years since the last Dungen album, 2010’s Skit I Allt, which is by far the longest interval between releases for a band that proved especially prolific and inspired during the 2000s. “We have all been away during this period for different reasons, playing music in different projects,” says Ejstes. “I have been writing songs in the meantime, so the actual recording process has been pretty short.” During the interim, several members of the band released albums as the Amazing, including 2012’s Gentle Stream and 2015’s Picture You. Ejstes himself co-founded the Swedish supergroup Amason, which includes members of Idiot Wind, Little Majorette, and Miike Snow. They released their debut, Sky City, earlier this year.
Allas Sak. It’s a short phrase with enormous implications.
Those two Swedish words translate loosely into English as “everyone’s thing” or maybe “anyone’s thing.” They not only provide the title for Dungen’s latest collection of sophisticated psychedelic rock, but explains how the band works creatively and collaboratively.
“I was told by a friend once that as a songwriter and as a musical artist, you have to understand that as soon as the music leaves your body, it is no longer strictly yours,” explains Gustav. “The listener also owns it and filters it through their personality, their thoughts and feelings.”
In other words, the music is everyone’s thing. It belongs to the band and to whoever hears it, which means that everyone is empowered to decipher the Swedish-language lyrics for themselves, to locate their own stories in the magisterial instrumental jams, to make all of this mean whatever they need it to mean. For Dungen, this communion between artist and audience is a beautiful and necessary process that makes the music mean more, not less. It becomes, in a sense, infinite. “These songs are my everyday experiences, my thoughts and stories from the life I live,” says Gustav. “I hope people can create their own stories around the music and maybe we can make music together, the listener and I.”
Allas Sak picks up where Dungen’s previous album left off, but somehow it sounds bolder and livelier, feistier yet more focused. The four of them jam with greater purpose and principle on songs like the otherworldly instrumental “Franks Kaktus” and the stately “En Gång Om Året,” while the prismatic “Flickor Och Pojkar” and closer “Sova” reveal subtle nuances in the band’s arrangements. Listening becomes an especially galvanizing experience, heady and enlightening. If psychedelic music has often been associated with drug use, for Dungen music itself is the drug: the most effective vehicle for transcendence.
The band brought in good friend Mattias Glavå to produce the record. In addition to helming records for the Soundtrack of Our Lives, Sambassadeur, and the Amazing, Glavå worked with Dungen on 2005’s Stadsvandringar, which made these sessions a reunion of sorts. “Mattias is a true wizard of analog sound engineering, but he’s more than a technique nerd,” says Gustav. “He’s the ultimate hand between my vision of a sound and reality.”
Glavå suggested the band work out songs before they entered the studio, rather than writing during the sessions. It was a different way of working, but one that Gustav found invigorating. “He suggested we come to his studio with finished songs, and we did live takes directly to tape—the old-school way. It has truly been a quite different experience from the earlier records.”
Allas Sak is about everyday matters: family, friends, the fine texture of life. Common but never mundane, these subjects anchor the music in the here and now, while the music lends a certain grandeur to ordinary moments. “Lyrics are very important to me,” says Gustav. “We know a lot of people who don’t speak Swedish who love the music anyway. Music comes first every time. I think it could be wordless if the moods in the music take you somewhere, but often the melodies are attached to words that came up the first time they were played.”
Again, it comes back to the listener. Even as the band continues to grow, the listener remains a constant collaborator, not only inspiring new songs but rejuvenating old ones. “I can definitely feel a new significance in some of our older songs, mainly because of the people we’ve met and the stories about their own experiences with the music.”
Fun Tame Impala fact: In 2007, a young Kevin Parker got in touch with Dungen and sent them through his latest recording, asking them to mix it. The band’s response? “No, we don’t have to mix it! Just put it out! It’s amazing as it is!” Prescient.
FAIRBRIDGE, WA: Saturday December 3 @ Disconnect Festival. Tickets and info here.
BRISBANE: Monday, December 5 @ The Zoo with special guests. Tickets on sale now from Oztix.
SYDNEY: Wednesday December 7 @ Oxford Art Factory with The Laurels. Tickets on sale now from Moshtix.
MELBOURNE: Thursday December 8 @ The Corner with ORB + Krakatau + Psychedelic Coven DJs. Tickets on sale now from Ticketscout.
MEREDITH: Friday December 9 @ Meredith Music Festival. The Meredith ticket ballot is open now.
Mistletone proudly presents Swedish psych rock legends Dungen, touring Australia for the first time since 2006 to perform at the 26th annual Meredith Music Festival and Disconnect Festival (WA), plus headline shows in Sydney, Brisbane & Melbourne.
“I love Dungen” – Kevin Parker, Tame Impala
Dungen‘s mastermind and main songwriter. Gustav Ejstes, has been making music—at first for himself, then eventually and inevitably for all of us—for nearly twenty years. Growing up in rural Sweden, he became obsessed with hip-hop and sampling. Digging through crates and searching for obscure source material provided him with an informal education in ‘60s pop and psychedelia, and soon he learned to play the bits and pieces he was sampling. He took up guitar and bass, drums and keyboard and even flute, then took to his grandmother’s basement to put it all on tape.
When Ejstes recorded his first album, he released it in 2001 under the name Dungen, which means “The Grove”— a nod to his village upbringing or perhaps a deeper reference to American folk songs like “Shady Grove.” While his music has routinely garnered comparisons to acts like Love, Pink Floyd, the Electric Prunes, and Os Mutantes, he has always emphasized a strong sense of songcraft. The music has deep roots in history, but it blooms in the present.
With 2004’s breakout Ta Det Lugnt, Dungen garnered an avid fanbase outside of Scandinavia. Pitchfork lauded the album with a 9.3 and asserted that Ejstes’s “songs are painstakingly arranged with a sense of depth, gradations, and tonal three-dimensionality redolent of something as off the charts as Pet Sounds.” Only on the road did Dungen blossom into a full band, with a rotation of musicians joining Ejstes onstage and eventually coalescing into a fully democratic band that includes Reine Fiske on guitar, Mattias Gustavsson on bass, and Johan Holmegard on drums. Starting with 2007’s Tio Bitar and 2009’s 4, the band members helped Ejstes realize his own vision while adding flourishes of their own. As a result, Dungen grew into something bigger and more formidable: one of the best and most consistently inventive psych rock bands in the world.
At the height of their powers, however, the band took a step back.
It’s been five years since the last Dungen album, 2010’s Skit I Allt, which is by far the longest interval between releases for a band that proved especially prolific and inspired during the 2000s. “We have all been away during this period for different reasons, playing music in different projects,” says Ejstes. “I have been writing songs in the meantime, so the actual recording process has been pretty short.” During the interim, several members of the band released albums as the Amazing, including 2012’s Gentle Stream and 2015’s Picture You. Ejstes himself co-founded the Swedish supergroup Amason, which includes members of Idiot Wind, Little Majorette, and Miike Snow. They released their debut, Sky City, earlier this year.
Allas Sak. It’s a short phrase with enormous implications.
Those two Swedish words translate loosely into English as “everyone’s thing” or maybe “anyone’s thing.” They not only provide the title for Dungen’s latest collection of sophisticated psychedelic rock, but explains how the band works creatively and collaboratively.
“I was told by a friend once that as a songwriter and as a musical artist, you have to understand that as soon as the music leaves your body, it is no longer strictly yours,” explains Gustav. “The listener also owns it and filters it through their personality, their thoughts and feelings.”
In other words, the music is everyone’s thing. It belongs to the band and to whoever hears it, which means that everyone is empowered to decipher the Swedish-language lyrics for themselves, to locate their own stories in the magisterial instrumental jams, to make all of this mean whatever they need it to mean. For Dungen, this communion between artist and audience is a beautiful and necessary process that makes the music mean more, not less. It becomes, in a sense, infinite. “These songs are my everyday experiences, my thoughts and stories from the life I live,” says Gustav. “I hope people can create their own stories around the music and maybe we can make music together, the listener and I.”
Allas Sak picks up where Dungen’s previous album left off, but somehow it sounds bolder and livelier, feistier yet more focused. The four of them jam with greater purpose and principle on songs like the otherworldly instrumental “Franks Kaktus” and the stately “En Gång Om Året,” while the prismatic “Flickor Och Pojkar” and closer “Sova” reveal subtle nuances in the band’s arrangements. Listening becomes an especially galvanizing experience, heady and enlightening. If psychedelic music has often been associated with drug use, for Dungen music itself is the drug: the most effective vehicle for transcendence.
The band brought in good friend Mattias Glavå to produce the record. In addition to helming records for the Soundtrack of Our Lives, Sambassadeur, and the Amazing, Glavå worked with Dungen on 2005’s Stadsvandringar, which made these sessions a reunion of sorts. “Mattias is a true wizard of analog sound engineering, but he’s more than a technique nerd,” says Gustav. “He’s the ultimate hand between my vision of a sound and reality.”
Glavå suggested the band work out songs before they entered the studio, rather than writing during the sessions. It was a different way of working, but one that Gustav found invigorating. “He suggested we come to his studio with finished songs, and we did live takes directly to tape—the old-school way. It has truly been a quite different experience from the earlier records.”
Allas Sak is about everyday matters: family, friends, the fine texture of life. Common but never mundane, these subjects anchor the music in the here and now, while the music lends a certain grandeur to ordinary moments. “Lyrics are very important to me,” says Gustav. “We know a lot of people who don’t speak Swedish who love the music anyway. Music comes first every time. I think it could be wordless if the moods in the music take you somewhere, but often the melodies are attached to words that came up the first time they were played.”
Again, it comes back to the listener. Even as the band continues to grow, the listener remains a constant collaborator, not only inspiring new songs but rejuvenating old ones. “I can definitely feel a new significance in some of our older songs, mainly because of the people we’ve met and the stories about their own experiences with the music.”
Fun Tame Impala fact: In 2007, a young Kevin Parker got in touch with Dungen and sent them through his latest recording, asking them to mix it. The band’s response? “No, we don’t have to mix it! Just put it out! It’s amazing as it is!” Prescient.
Mistletone proudly presents the return of the mighty Cass McCombs, performing at the 26th annual Meredith Music Festival plus headline shows in Perth, Sydney, Melbourne and Brisbane.
CASS MCCOMBS TOUR DATES:
PERTH: Sun Dec 4 @ Rosemount Hotel with Akioka. Presented by Cool Perth Nights. Tickets on sale now from Oztix.
MELBOURNE FESTIVAL: Wednesday October 12 + Friday October 14. Tickets on sale now.
BRISBANE: Saturday October 15 @ The Junk Bar. Tickets on sale now from Oztix.
SYDNEY: Sunday October 16 @ Newtown Social Club with special guest Marcus Whale. Tickets on sale now from Ticketscout.
Mistletone proudly presents the return of the incomparable, alchemical, JULIANNA BARWICK. Once memorably described by Diplo as the sound of “Care Bears making love”, Julianna Barwick’s cleansing frequencies have also been praised by Pitchfork as “among the best and most artful ambient music being made today”. Her live shows take listeners to a psychedelic other-world, creating an epic auditory landscape of huge majesty.
Since her third full-length album, Will, came out in May on Dead Oceans Records, Brooklyn experimental artist Julianna Barwick has toured with Sigur Rós, sung with children’s choirs around the world, recorded and performed with the Flaming Lips, recorded Bach’s “Adagio from Concerto In D Minor” on Sony Masterworks, played piano and sang with Yoko Ono and brewed a wasabi beer, Rosabi, with Dogfish Head. Julianna Barwick’s diverse past has also included collaborative albums with Ikue Mori and Helado Negro, a remix commission from Radiohead and her song “Vow” remixed by Diplo. Upcoming Barwick projects include a film score and a music box.
Julianna’s latest, revelatory album Will was a surprising left turn. Ominous and compelling, Will is a departure from 2013’s Alex Somers-produced Nepenthe. If that last record conjured images of gentle, thick fog rolling over desolate mountains, then the self-produced Will is a late afternoon thunderstorm, a cathartic collision of sharp and soft textures that sounds looming and restorative all at once.
“Downright medicinal, altering the listener’s surroundings in ways that make them uncomfortable, yet still wondrously inviting” – NPR
“Her ethereal multi-tracked harmonies have the devotional quality of gospel choirs, and the oddball allure of Bjork or Yoko Ono” – NEW YORK TIMES
Watch Julianna Barwick’s video for “Same”, directed by Zia Anger, below:
MELBOURNE FESTIVAL: Wednesday October 12 + Friday October 14. Tickets on sale now.
BRISBANE: Saturday October 15 @ The Junk Bar. Tickets on sale now from Oztix.
SYDNEY: Sunday October 16 @ Newtown Social Club. Tickets on sale now from Ticketscout.
Mistletone proudly presents the return of the incomparable, alchemical, JULIANNA BARWICK. Once memorably described by Diplo as the sound of “Care Bears making love”, Julianna Barwick’s cleansing frequencies have also been praised by Pitchfork as “among the best and most artful ambient music being made today”. Her live shows take listeners to a psychedelic other-world, creating an epic auditory landscape of huge majesty.
Since her third full-length album, Will, came out in May on Dead Oceans Records, Brooklyn experimental artist Julianna Barwick has toured with Sigur Rós, sung with children’s choirs around the world, recorded and performed with the Flaming Lips, recorded Bach’s “Adagio from Concerto In D Minor” on Sony Masterworks, played piano and sang with Yoko Ono and brewed a wasabi beer, Rosabi, with Dogfish Head. Julianna Barwick’s diverse past has also included collaborative albums with Ikue Mori and Helado Negro, a remix commission from Radiohead and her song “Vow” remixed by Diplo. Upcoming Barwick projects include a film score and a music box.
Julianna’s latest, revelatory album Will was a surprising left turn. Ominous and compelling, Will is a departure from 2013’s Alex Somers-produced Nepenthe. If that last record conjured images of gentle, thick fog rolling over desolate mountains, then the self-produced Will is a late afternoon thunderstorm, a cathartic collision of sharp and soft textures that sounds looming and restorative all at once.
“Downright medicinal, altering the listener’s surroundings in ways that make them uncomfortable, yet still wondrously inviting” – NPR
“Her ethereal multi-tracked harmonies have the devotional quality of gospel choirs, and the oddball allure of Bjork or Yoko Ono” – NEW YORK TIMES
Watch Julianna Barwick’s video for “Same”, directed by Zia Anger, below:
MELBOURNE FESTIVAL: Wednesday October 12 + Friday October 14. Tickets on sale now.
BRISBANE: Saturday October 15 @ The Junk Bar. Tickets on sale now from Oztix.
SYDNEY: Sunday October 16 @ Newtown Social Club. Tickets on sale now from Ticketscout.
Mistletone proudly presents the return of the incomparable, alchemical, JULIANNA BARWICK. Once memorably described by Diplo as the sound of “Care Bears making love”, Julianna Barwick’s cleansing frequencies have also been praised by Pitchfork as “among the best and most artful ambient music being made today”. Her live shows take listeners to a psychedelic other-world, creating an epic auditory landscape of huge majesty.
Since her third full-length album, Will, came out in May on Dead Oceans Records, Brooklyn experimental artist Julianna Barwick has toured with Sigur Rós, sung with children’s choirs around the world, recorded and performed with the Flaming Lips, recorded Bach’s “Adagio from Concerto In D Minor” on Sony Masterworks, played piano and sang with Yoko Ono and brewed a wasabi beer, Rosabi, with Dogfish Head. Julianna Barwick’s diverse past has also included collaborative albums with Ikue Mori and Helado Negro, a remix commission from Radiohead and her song “Vow” remixed by Diplo. Upcoming Barwick projects include a film score and a music box.
Julianna’s latest, revelatory album Will was a surprising left turn. Ominous and compelling, Will is a departure from 2013’s Alex Somers-produced Nepenthe. If that last record conjured images of gentle, thick fog rolling over desolate mountains, then the self-produced Will is a late afternoon thunderstorm, a cathartic collision of sharp and soft textures that sounds looming and restorative all at once.
“Downright medicinal, altering the listener’s surroundings in ways that make them uncomfortable, yet still wondrously inviting” – NPR
“Her ethereal multi-tracked harmonies have the devotional quality of gospel choirs, and the oddball allure of Bjork or Yoko Ono” – NEW YORK TIMES
Watch Julianna Barwick’s video for “Same”, directed by Zia Anger, below:
