Archive for the ‘News’ Category

July 11, 2019

HTRK: Venus In Leo


HTRK photo by Kate Meakin

HTRK TOUR DATES:

  • SYDNEY: Friday August 16 at Red Rattler with Tralala Blip + DJ Nat James. Tickets on sale now from Eventbrite.
  • MELBOURNE: Saturday August 17 at Geddes Lane with James Rushford (also appearing at Supersense) + DJ Moopie. Tickets on sale now from Moshtix.
  • BRISBANE: Friday August 23 at The Foundry with Andrew Tuttle DJ Danny Venzin. Presented by Jet Black Cat Music. Tickets on sale now from Oztix.

Venus In Leo by HTRK is out on August 30 on Mistletone Records (Australia + New Zealand) via Inertia, and Ghostly International (rest of world). Pre-order Venus In Leo on limited edition clear vinyl, here.

“You Know How to Make Me Happy”, directed by Antuong Nguyen:

It’s been ten years since HTRK released their breakthrough first album, Marry Me Tonight. The band has undergone profound changes, with the first two albums released amid the deaths of close friend and collaborator Rowland S. Howard and HTRK co-founder Sean Stewart. Psychic 9-5 Club set them on a path of self-discovery, and Venus in Leo marks a spirited new chapter by one of the most distinctive bands of the past decade.

Over the soft strums of acoustic guitar, the album’s introduction,“Into the Drama,” posits a theory that “what was once considered self-sabotage could be revisited as being under the influence of Venus in Leo,” Standish explains. Fingerpicked guitar loops rise slowly and fall over a cold, brittle beat.

Previously released lovesong “Mentions” finds Standish exploring the lack of physical intimacy in the social media age. Elsewhere, there are emotional highs, like on the kaleidoscopic single “You Know How to Make Me Happy,” which details a suspended state of ecstasy, Standish commending her partner’s conscious efforts to prop her up with compliments.

“NewYear’s Day” traces a flimsy resolution to get healthier, instantly busted by an evening of debauchery, recalling “the worst possible start to the year with bad friends and bad behavior.” The silver lining is the sunrise: “pink, red, orange, white, peach” Standish repeats as the track laps with a velvety, hypnotic refrain.

Archetypal themes emerge as the band explore the makings of personality. Standish revisits her childhood home in a recurring dream (“Dream Symbol”), a doomed first kiss (“New Year’s Eve”) and high drama (“Venus in Leo”). Recorded more or less live in HTRK’s home studio in the Dandenong Ranges outside of Melbourne, the album’s simple production reveals gorgeous, toned-back arrangements and an evolving, idiosyncratic songcraft.

Venus In Leo Tracklist:
01. Into The Drama
02. Mentions
03.Venus In Leo
04.You Know How To Make Me Happy
05. Dream Symbol
06. Hit ‘Em Wit Da Hee
07. Dying Of Jealousy
08. New Year’s Day
09. New Year’s Eve

HTRK‘s music is not a quick-fix for restless, impatient minds; it needs to absorbed, contemplated and revisited. Listen to one of their records and you’ll find yourself slipping deep into their sound world, where the cavernous reverberations of dub techno are mixed with frosted post-punk motifs and the gravelly imperfections of industrial, reimagined in the setting of a dingy basement.

Their music is layered with enough subtle cultural reference points to attract critical dissection, raw enough to appeal to beer-swilling live crowds, and visceral enough to make sense throbbing out of a club sound system. Throw together the core influences of HTRK and you’ll find David Lynch’s unsettling surrealism next to Bill Henson’s industrial landscapes, with Mika Vainio’s minimal compositions alongside the malfunctioning synth-pop of Suicide. 

Formed in 2003 as the duo of Nigel Yang and Sean Stewart in Melbourne’s north-western suburbs, the band soon welcomed vocalist Jonnine Standish into the fold, before self-releasing their debut EP, Nostalgia, in 2005 (to be re-released on white vinyl by Fire Records on September 27, 2019). From the off their sound was raw and visceral, with distorted guitar pedals caking Standish’s vocals in sonic grit.

The band followed up Nostalgia with 2009s Marry Me Tonight, an LP co-produced by Rowland S. Howard, founding member of The Birthday Party and a towering figure in the Australian music scene. Marry Me Tonight was in many respects a neo-pop opus, with the bands homespun sound now developed into something more spacious and immersive; tracks like “Disco”, which sounded like a club anthem anaesthetised and played at 33rpm, and the narcotic, shamanistic rhythms of “HA” cemented the band as a formidable outfit. In 2009 Howard died of liver cancer, but not before he had left a deep and lasting impression on the band, as both a mentor and a friend.

It was around this time Sean met Mika Vainio: Stewart, along with Yang and Standish, greatly admired the revered Finnish producer, and the rugged electronics dabbled with on Marry Me Tonight seeped further into the bands sound as they continued to experiment with synthesizers and drum machines. Recording sessions at Netil House in London Fields led to the third HTRK album, Work (Work Work), released in 2011.

The band’s world was turned upside down when Stewart committed suicide halfway through the album’s recording. Standish and Yang finished the album as a duo, locking themselves away from the world and finding the ultimate catharsis in the studio. Intense and leaden with texture, Work (Work Work) is a sonic monument to Sean that explores the body’s reaction to personal loss, using humour and sex drive as lyrical themes, with pools of murky noise suffocating the guitar and bass, creating an overwhelming atmosphere that is at once malevolent yet seductive. 

Standish and Yang decamped to the Blazer Sound Studios in New Mexico to work on their next record Psychic 9-5 Club with Excepter’s Nathan Corbin called on to produce. Material dipped headlong into some of the things that make humans tick: love, loss, and desire. Released in April 2014, the collection presented a more tender and polished version of HTRK, the flesh stripped from their sound, the focus placed on naked arrangements and minimalist sound design.

HTRK re-emerged in 2018 with a set of singles exploring themes of power, mind games, and intimacy in the social media age. While not revealed at the time, these were the first suggestions of Venus in Leo, the fourth full-length and a spirited new chapter for the band. Recorded more or less live in their home studio in the Dandenong Ranges outside of Melbourne, the album features much-loved HTRK hallmarks — the combination of space and intimacy, the unmistakable interplay between Yang’s guitars and Standish’s vocals — while differing markedly in its energy, returning to the duo’s underground rock past with the stylistic playfulness and variety of a modern mixtape. It sees release on Mistletone / Inertia on August 30, 2019.





May 31, 2019

Touring: John Maus

Mistletone proudly presents John Maus, bringing his wide-screen alternate reality to Australia for an east coast tour.

JOHN MAUS TOUR DATES:

SYDNEY: Wednesday August 21 @ Factory Theatre w/- Purple Pilgrims. Tickets on sale here.
MELBOURNE: Friday August 23 @ Supersense, Arts Centre Melbourne. Tickets & info here.
BRISBANE: Saturday August 24 @ The Zoo w/- Purple Pilgrims. Tickets on sale here.

One of the most enigmatic figures in music today, John Maus is a man out of time. Cinematic in scope and underscored by a deadpan streak of absurdist humour, his five defining albums have quickly carved out a unique position at the intersection of power pop, punk rock and pure pathos. His driving synth pop conjures hazy anthems of the past while glimmering with hints of tomorrow. 

Maus’ propulsive bass-lines and cascading arpeggios create a constant sense of momentum but his careful mastery of production gives each of his original songs a frosted, nostalgic air – dreams of a hopeful future as found in a dusty thrift store. His signature style has seen him develop a cult following the world over, while leaving critics bewildered and grappling to comprehend where his sonic experiments might lead next. Perhaps that’s what you get when a former philosophy teacher at the University of Hawaii with a PhD in political science does a career U-turn and turns his hand to music. One thing is certain: there’s no one else like John Maus.

photo by Shawn Brackill

“John Maus is a maniac on a bloody crusade; a tortured evangelist on a mercenary quest to rid our world of villainous defilers of The Gospel of True Love. By turns shockingly infectious and disarmingly unpredictable, his music conflates a perplexing marriage of Moroder’s ‘Never Ending Story’ and classical 12-tone renegades of 20th century past, harking THE NEW path which resurrects romance from its post-modern shackles, and reignites the promise of a better world” – ARIEL PINK

“John Maus crafts brittle electro-pop with absurdly baroque keyboard flourishes, that sounds like the mid-point between a rave and a church organ recital. Althought it is musically very different from Ariel Pink’s songs, the “feel” of the two is very similar: like Ariel Pink, John Maus’ music comes across like a flickering, over-exposed home-video from the 1980s. It’s intensely personal and often beautiful music, the sound of memories and daydreams” – Simon Hampson

watch John Maus live at Sydney Festival, 2013 here.
May 6, 2019

Touring: Mary Lattimore + Julianna Barwick

artwork by Marita May Dyson

aJULIANNA BARWICK + MARY LATTIMORE TOUR DATES:

  • SUNDAY JUNE 23: Dark Mofo, Hobart * SOLD OUT
  • WEDNESDAY JUNE 26: Red Rattler Theatre, Sydney with special guests Ears Have Ears DJs. Tickets on sale now.
  • SATURDAY JUNE 29: Melbourne Recital Centre with Roger Eno. Tickets on sale now.

Mistletone proudly presents North American luminaries Mary Lattimore and Julianna Barwick, coming together for a never-before-seen collaboration during their forthcoming double headline Australian tour.

Over the past decade, each artist has created her own inimitable universe of light; Julianna Barwick building evocative choral symphonies, layering her own voice on top of itself to stunning effect; and Mary Lattimore conjuring expressive beauty on her forty-seven-string Lyon & Healy harp and synth effects. Both artists have released a series of fascinating records, with Mary Lattimore most recently collaborating with Superchunk’s Mac McCaughan and Heron Oblivion’s Meg Baird on two duet albums and topping year-end charts with her sublime solo album, Hundreds of Days, which New Yorker music critic, Amanda Petrusich described as “music to self-actualize by”. 

Julianna Barwick’s immersive debut The Magic Place (Mistletone, 2011) was named as one of the 50 Best Ambient Albums of All Time by Pitchfork, who noted: “The Magic Place conjures the reverie of childhood wonder, but rather than just merely recall it nostalgically, Barwick’s voice has the power to render such awe wholly in the present moment.” One of the most powerfully emotive voices in contemporary music, Julianna Barwick has collaborated with Sigur Rós producer Alex Somers in Iceland, Radiohead, Yoko Ono, Philip Glass, Steve Hauschildt and the Flaming Lips. 

A collaboration borne out of mutual admiration of each other’s music, and a fateful merging of two visionary musical worlds.


March 19, 2019

Touring: Lonnie Holley

LONNIE HOLLEY TOUR DATES:

  • SYDNEY: Friday May 31 at Vivid Live, Sydney Opera House. Tickets on sale Friday March 22, more info here.
  • MELBOURNE: Saturday June 1 at Melbourne International Jazz Festival, Melbourne Recital Centre. Tickets & info here.
  • HOBART: June 5-12 at Dark Mofo. Two performances, details here.

Mistletone is exhilarated to announce the first ever Australian tour by the great Lonnie Holley and his trio.

Lonnie Holley in his apartment in Atlanta. Pic by Gillian Laub for The New York Times

Lonnie Holley is an Alabama-born visual artist, musician, and filmmaker. His visual art is in the permanent collections of The Metropolitan Museum of Art, The Smithsonian American Art Museum, and many other museums. He has released three critically acclaimed studio albums, including MITH in 2018. His first film, I Snuck Off the Slave Ship, premiered at the 2019 Sundance Film Festival. Like the song that inspired it, the film is a metaphor for African American transcendence.

The expansive American experience Lonnie Holley quilts together is both infinite and finely detailed. Lonnie Holley’s landmark new album MITH (out now on Jagjaguwar via Inertia) is an epic and often arduous journey, one full of struggle, pain and disillusion.

Holley’s self-taught piano improvisations and stream-of-consciousness lyrical approach have only gained purpose and power since he introduced the musical side of his art in 2012 with Just Before Music, followed by 2013’s Keeping a Record of It. But whereas his previous material seemed to dwell in the Eternal-Internal, MITH lives very much in our world — the one of concrete and tears; of dirt and blood; of injustice and hope.

Across these songs, in an impressionistic poetry all his own, Holley touches on Black Lives Matter in “I’m a Suspect”, Standing Rock in “Copying the Rock” and contemporary American politics in “I Woke Up in a Fucked-Up America.” A storyteller of the highest order, he commands a personal and universal mythology in his songs of which few songwriters are capable — names like Bob Dylan, Joni Mitchell, Joanna Newsom and Gil Scott-Heron come to mind.

MITH was recorded over five years in locations such as Porto, Portugal; Cottage Grove, Oregon; New York City and Holley’s adopted hometown of Atlanta, Georgia. These 10 songs feature contributions from fellow cosmic musician Laraaji, jazz duo Nelson Patton, the late visionary producer Richard Swift, saxophonist Sam Gendel and producer/musician Shahzad Ismaily

MITH‘s grand finale is a moment of levity and hope. It’s a celebration of that purest expression of human joy — dancing. “Sometimes I Wanna Dance” features a jaunty piano riff courtesy of Lonnie’s fellow cosmic traveler Laraaji as Lonnie himself exalts bodily movement in all its forms: from a child’s instinct to move to a groove, to how simply dancing can help us get over our very worst days. In an age of bombastic dance-pop, this minimal groove with nary a drum (!!) is refreshing, buoyant and beaming.

For the accompanying video, Lonnie and a film crew created their own juke joint, Tonky’s Rocket Ship, in the middle of Atlanta and called up some of the city’s blues legends to play the band. The video nods to both the immersive documentaries of Les Blank and the in-the-mix feel of 70s Altman. But more than anything, the message is clear:  Free your ass and the mind will follow. 

Lonnie Holley’s life story as told by The New York Times:

One night in October, just a couple blocks from Harvard Square, a young crowd gathered at a music space called the Sinclair to catch a performance by Bill Callahan, the meticulous indie-rock lyricist who has been playing to bookish collegiate types since the early ‘90s. Callahan’s opening act, Lonnie Holley, had been playing to similar audiences for two years. A number of details about Holley made this fact surprising: He was decades older than just about everyone in the club and one of the few African-Americans. He says he grew up the seventh of 27 children in Jim Crow-era Alabama, where his schooling stopped around seventh grade. In his own, possibly unreliable telling, he says the woman who informally adopted him as an infant eventually traded him to another family for a pint of whiskey when he was 4. Holley also says he dug graves, picked trash at a drive-in, drank too much gin, was run over by a car and pronounced brain-dead, picked cotton, became a father at 15 (Holley now has 15 children), worked as a short-order cook at Disney World and did time at a notoriously brutal juvenile facility, the Alabama Industrial School for Negro Children in Mount Meigs.

Then he celebrated his 29th birthday. And shortly after that, for the first time in his life, Holley began making art: sandstone carvings, initially — Birmingham remained something of a steel town back then, and its foundries regularly discarded the stone linings used for industrial molds. Later, he began work on a wild, metastasizing yard-art environment sprawling over two acres of family property, with sculptures constructed nearly entirely from salvaged junkyard detritus like orphaned shoes, plastic flowers, tattered quilts, tires, animal bones, VCR remotes, wooden ladders, an old tailor’s dummy, a busted Minolta EP 510 copy machine, a pink scooter, oil drums rusted to a leafy autumnal delicateness, metal pipes, broken headstone fragments, a half-melted television set destroyed in a house fire that also took the life of one of Holley’s nieces, a syringe, a white cross.

His work was soon acquired by curators at the Birmingham Museum of Art and the Smithsonian. Bill Arnett, the foremost collector (and promoter) of self-taught African-American artists from the Deep South — the man who brought worldwide attention to Thornton Dial and the quilters of Gee’s Bend, Ala. — cites his first visit to Holley’s home in 1986 as a moment of epiphany. “He was actually the catalyst that started me on a much deeper search,” Arnett says, adding bluntly that “if Lonnie had been living in the East Village 30 years ago and been white, he’d be famous by now.”

Had Holley’s story climaxed right there, with his discovery and celebration — however unfairly limited it has been, if you accept Arnett’s view — you would still be left with an immensely satisfying dramatic arc. But in 2012, at age 62, Holley made his debut as a recording artist. He had been hoarding crude home recordings of himself since the mid-’80s, but never gave much thought to anything approaching a proper release. Then he met Lance Ledbetter, the 37-year-old founder of Dust-to-Digital, a boutique record label based in Atlanta. Ledbetter, who started Dust-to-Digital as a way of bringing rare gospel records — pressed between 1902 and 1960, most them never available before on compact disc — to a broader audience, had never attempted to record a living artist before he heard Holley. “I was hearing Krautrock, R.& B., all of these genres hitting each other and pouring out of this 60-year-old person who had never made a record before,” Ledbetter recalls. “I couldn’t digest it, it was so intense.”

In terms of genre, Holley’s music is largely unclassifiable: haunting vocals accompanied by rudimentary keyboard effects, progressing without any traditional song structure — no choruses, chord changes or consistent melody whatsoever. In many ways, Holley is the perfect embodiment of Dust-to-Digital’s overriding aesthetic: a raw voice plucked from a lost world, evoking the visceral authenticity of a crackling acetate disc. The title of his Dust-to-Digital debut, released in 2012, could double as its own category description: “Just Before Music.” That album and its follow-up, “Keeping a Record of It,” released in September and, for my money, one of the best records of 2013, introduced Holley to a new audience, including members of hip indie-rock bands like Dirty Projectors and Animal Collective, who have all played with him.

January 23, 2019

Touring: Lucy Dacus



Mistletone is thrilled to present the debut Australian tour for Lucy Dacus and her band.

SYDNEY: WED MAR 27 at OXFORD ART FACTORY with Grace Turner. Tickets on sale now.

BRISBANE: THU MAR 28 at BLACK BEAR LODGE with Asha Jefferies + Moreton. Tickets on sale now.

MELBOURNE: FRI MAR 29 at NORTHCOTE SOCIAL CLUB with Jess Ribeiro + Poppongene * SOLD OUT!

VICTORIA: SAT MAR 30 at BY THE MEADOW. Tickets on sale now.

MELBOURNE: SUN MAR 30 at NORTHCOTE SOCIAL CLUB with Jade Imagine. Tickets on sale now.

“You said don’t go changing

I’ll rearrange to let you in

And I’ll be your historian

And you’ll be mine

And I’ll fill pages of scribbled ink

Hoping the words carry meaning”

~ Lucy Dacus, “Historian”

Lucy Dacus is done thinking small. Two years after her 2016 debut, No Burden, won her unanimous acclaim as one of rock’s most promising new voices, Dacus returned with Historian, a remarkably assured 10-track statement of intent, out now on Remote Control.

Historian finds Dacus unafraid to take on the big questions —the life-or-death reckonings, and the ones that just feel that way. It’s a record full of bracing realisations, tearful declarations and moments of hard-won peace, expressed in lyrics that feel destined for countless yearbook quotes and first tattoos.

“This is the album I needed to make,” says Dacus, who views Historian as her definitive statement as a songwriter and musician. “Everything after this is a bonus.”

She emphasises that she does not take her newfound platform as a touring musician for granted. “I have this job where I get to talk to people I don’t know every night,” she remembers thinking on the long van rides across America to support No Burden.

Realising that she would have a dramatically expanded audience for her second album, she felt an urgent call to make something worthwhile: “The next record should be the thing that’s most important to say.”

The past year, with its electoral disasters and other assorted heartbreaks, has been a rough one for many of us, Dacus included. She found solace in crafting a thoughtful narrative arc for Historian, writing a concept album about cautious optimism in the face of adversity, with thematic links between songs that reveal themselves on repeat listens.

“It starts out dark and ends hopeful, but it gets darker in between; it goes to the deepest, darkest, place and then breaks,” she explains. “What I’m trying to say throughout the album is that hope survives, even in the face of the worst stuff.”

Dacus and her band recorded the album in Nashville last March, re-teaming with No Burden producer Collin Pastore, and mixed it a few months later with A-list studio wizard John Congleton. The sound they created, with substantial input from multi-instrumentalist and live guitarist Jacob Blizard, is far richer and fuller than the debut—an outward flowering of dynamic, living, breathing rock and roll.

Dacus’ remarkable sense of melody and composition are the driving force throughout, giving Historian the immersive feel of an album made by an artist in full command of her powers.

The album opens with a striking three-track run. First comes “Night Shift,” the only breakup song Dacus has ever written: “In five years I hope the songs feel like covers, dedicated to new lovers,” she memorably declares.

Next is the catchy, upbeat first single “Addictions,” inspired in part by the dislocated feeling of life on the road and the lure of familiarity (“I’m just calling cause I’m used to it/And you’ll pick up cause you’re not a quitter…”), followed by “The Shell,” a reflection on (and embrace of) creative burnout.

There’s nothing tentative about this opening sequence. Right away, it’s clear that Dacus is on a new level of truth-telling and melodic grace.

Another key highlight is track five, “Yours & Mine” —”the centerpiece where the whole album hinges in on itself,” Dacus says. Using a call-and-response format, she wrestles with the question of how best to participate in a community broken by injustice and fear while staying true to what one believes is right.

“It’s about realising your power as a person, and deciding to do the less safe but ultimately more powerful move, which is to move physically forward —show up and march —and move forward politically,” says Dacus, who began writing the song during the 2015 Baltimore Uprising against systemic racism.

Historian closes with two stunning songs: “Pillar of Truth,” a heartfelt tribute to Dacus’ late grandmother, and “Historians,” which sums up the album’s complex lessons about loss. “From the first song to ‘Pillar of Truth,’ the message is: You can’t avoid these things, so accept them. There’s ways to go about it with grace and gratefulness,” she says. “Then ‘Historians’ says that even if you can say that, there’s still fear, and loss is terrifying. You still love things, so it’s going to hurt. But dark isn’t bad. It’s good to know that.”

January 21, 2019

Touring: Sharon Van Etten

SHARON VAN ETTEN REMIND ME TOMORROW AUSTRALIAN TOUR:

  • SYDNEY: Saturday June 1 | Vivid LIVE, Sydney Opera House. Tickets on sale Friday March 22, more info here.
  • BRISBANE: Friday June 7 | Concert Hall, QPAC with BATTS. Tickets
  • HOBART: Sunday June 9 | Dark Mofo. Dark Mofo program and tickets released in April. Subscribe for updates
  • MELBOURNE: Tuesday June 11 | Hamer Hall, Arts Centre Melbourne with BATTS. Tickets on sale here.

Mistletone are thrilled to present Sharon Van Etten’s Remind Me Tomorrow Australian Tour 2019.

“It’s been so long since I’ve been on the road and I am so excited to say that I will be returning to Australia and New Zealand this year.  Always have such an amazing time and can’t wait to share these new songs with you all.  See you soon!  X” – Sharon Van Etten 

The Remind Me Tomorrow tour is Van Etten’s first Australian visit since 2015, in support of her brand new album of the same name — released last Friday January 18 on Jagjaguwar via Inertia Music to rapturous acclaim worldwide. The album is currently Feature Album at Double JTriple R and2SER, and has received glowing reviews in The Music, The Big IssueSTACK Magazine and The Sydney Morning Herald locally, as well as Stereogum (Album Of The Week)The Guardian, NME (“her most intoxicating and impressive work to date”)and Pitchfork (Best New Music) who said “[Remind Me Tomorrow] is the peak of Van Etten’s songwriting, her most atmospheric and emotionally piercing album to date”. 

Remind Me Tomorrow follows Are We There, her top 10 critically praised album of 2014, and reckons with the life that gets lived when you put off the small and inevitable maintenance in favour of something more present. Throughout, Van Etten veers towards the driving, dark glimmer moods that have illuminated the edges of her music and pursues them full force.

Written while pregnant, going to school for psychology, after taking The OA audition, Remind Me Tomorrow was written in stolen time: in scraps of hours wedged between a myriad of endeavours. Van Etten guest-starred in The OA, and brought her music onstage in David Lynch’s revival of Twin Peaks. Off-screen, she wrote her first score for Katherine Dieckmann’smovie Strange Weather and the closing title song for Tig Notaro’s show, Tig

December 10, 2018

Touring: Connan Mockasin

CONNAN MOCKASIN TOUR DATES:

  • BRISBANE – Wednesday March 20 @ The Tivoli. Tickets on sale here. Presented by Jet Black Cat Music.
  • MELBOURNE – Thursday March 21 @ Melbourne Recital Centre. Tickets on sale here.
  • SYDNEY – Friday March 22 @ The Enmore. Tickets on sale here.

Mistletone proudly presents Connan Mockasin bringing the premiere screening of Bostyn ‘n Dobsyn plus Jassbusters live in concert.

Witness the world’s first absurdist drama as Connan Mockasin premieres his film Bostyn ‘n Dobsyn, featuring material from his new concept album Jassbusters, the follow up to 2013’s critically acclaimed album Caramel.

Three fully seated shows on Australia’s east coast will see Connan unveil Jassbusters to the world, an idiosyncratic band of high school music teachers fronted by Mr. Bostyn – the ageing guitarist who plays the starring role in the accompanying film. Connan and his band will round off the night with a live performance.

Connan Mockasin released his first album Forever Dolphin Love in 2010, and has gone on to build a devoted worldwide fan base. He has toured with Radiohead, and has collaborated with the likes of Charlotte Gainsbourg, James Blake and MGMT.

PRAISE FOR JASSBUSTERS:

  • “Career-best” – Uncut (album of the month) 8/10 stars
  •  “Sublime” – Mojo (4/5 stars)
  • It reaffirms Mockasin’s status as the maddest biscuit in the box” – Q Magazine (4/5 stars)
  • “If 2013’s Caramel was a B-, then Jassbusters deserves a big fat red marker pen A”  The Quietus

Jassbusters out now on Mexican Summer via Rocket — http://mexsum.com/Jassbusters

More about Bostyn ‘n Dobsyn and Jassbusters below:

Bostyn ’n Dobsyn

– Bostyn ’n Dobsyn is a five-part melodrama film created by Connan Mockasin.

– Bostyn ’n Dobsyn is about a fictional music teacher, Bostyn, and his student, Dobsyn.

– Mockasin plays Bostyn, while Dobsyn is played by Mockasin’s childhood next door neighbour Blake Pryor.

– Bostyn ’n Dobsyn was filmed inside a disused hair salon in Los Angeles, July 2016.

– Bostyn ’n Dobsyn took 20 years to develop, and 10 days to film.

– Bostyn ’n Dobsyn features Gabriel Diggs from Celebrity Family Feud.

– Bostyn ’n Dobsyn is Connan Mockasin’s first publicly released film.

Jassbusters

– Jassbusters is the third record by Connan Mockasin.

– Jassbusters is the concept of a record made by a band of music teachers, fronted by Bostyn.

– Jassbusters was recorded live in Paris at Studios Ferber, August 2016.

– Jassbusters was recorded less than one month after the filming of Bostyn ’n Dobsyn.

– It was then recorded live again and filmed for the end scenes of Bostyn ’n Dobsyn.

– Jassbusters took one week to record.

– Jassbusters is the first record by Connan Mockasin that was recorded with a band.

– Jassbusters is designed to be listened to after watching Bostyn ’n Dobsyn.

November 12, 2018

Touring: Mary Lattimore


Artwork by Marita May Dyson

MARY LATTIMORE TOUR DATES:

  • MELBOURNE: Wednesday January 9 @ Eastmint (25 Eastment St, Northcote) w/- The Orbweavers. Tickets on sale now.
  • SYDNEY: January 11-13 at Ian Thorpe Aquatic Centre as part of Sydney Festival’s Seidler Salon Series. Bring your swimwear to the Ian Thorpe Aquatic Centre for an underwater music experience unlike anything you’ve heard before! Tickets on sale now.

Mistletone proudly presents the first ever Australian shows by Los Angeles harpist Mary Lattimore in the dreamy venues of Melbourne artist run studio Eastmint and the Seidler-designed Ian Thorpe Aquatic Centre in Sydney.

In the hands of Mary Lattimore, the ‘heavenly’ harp becomes something else entirely – edgy, elemental, grounded on Earth instead of floating in space. Instead of the familiar shimmering glissandos, Lattimore plays her instrument more like a guitar, pointedly plucking individual strings to create sunlight-filled arpeggios and otherworldly loops.
Her stunning new album Hundreds of Days (out now on Ghostly International) generates glittering ambience with electronica, as Moog synthesisers, theremin and loop pedals create atmospheres to suit track titles like It Feels Like Floating, Hello from the Edge of the Earth and On the Day You Saw the Dead Whale.
To quote Amanda Petrusich in The New Yorker, Mary “makes complex and expansive songs that evoke, for me, seismic emotional shifts—it’s not so much music to zone out to (though you can use it for that, too) as music to self-actualize by“.
Mary has collaborated and recorded with Kurt Vile, Thurston Moore, Sharon Van Etten, Parquet Courts, Meg Baird, Steve Gunn, the Clientele, Hop Along, Jarvis Cocker, Karen Elson, Ed Askew and Quilt.
She has recently released Ghost Forests, a majestic duo album with Meg Baird, on Three Lobed Records.

October 17, 2018

Touring: Beach House

Mistletone very proudly presents Beach House‘s Australian tour 2019.

BEACH HOUSE TOUR DATES:

  • BRISBANE: Tue February 26 @ The Tivoli * venue upgrade! all tickets purchased for The Triffid are valid.  The Tivoli tickets here.
  • PERTH: Thu February 28 @ Perth Festival. Tickets on sale here.
  • SYDNEY: Mon March 4 @ Enmore Theatre. Tickets on sale here.
  • ADELAIDE: Wed March 6 @ RCC Fringe, University of Adelaide. Tickets on sale here.
  • MELBOURNE: Fri March 8 @ Forum Melbourne. Tickets on sale here.
  • MEREDITH: Sat March 9 @ Golden Plains Festival. Tickets & info here.

To quote Aunty Meredith’s Golden Plains announcement;

“Time and Place.

Saturday night, just on dark, GP Thirteen, as an expectant Sup’ swells in eucalyptic, festooned anticipation.

It was late at night
You held on tight
From an empty seat
A flash of light

Perfect Time and Place. And Space.

Beach House have entered the pantheon of great dream pop acts. More recently, that dream has woken into epic soundscapes: cinematic, shoegazey, loud and dramatic. They’ve represented a high water mark for so many music-lovers for a long time now (77 songs to be exact) and recent albums, 7 and Depression Cherry, have lifted us higher still.

Fall… back… in… to… place

Perfect.”

  •  “Beach House are special, maybe even one of a kind – undeniably, consistently brilliant” – Noisey
  • “A radical blast of psychedelic pop bliss” – Rolling Stone

Beach House (Victoria Legrand and Alex Scally, with drummer James Barone) bring their overwhelming, cinematic live show back to Australia next summer.

Beach House last toured Australia in 2016, with a Sydney Opera House show described by The Music as “testament to the band’s enduring commitment to creating unforgettable sonic experiences”. At once intimate and cosmic, Beach House explode onto the stage with glorious finesse and grandeur, bringing their adored songbook to kaleidoscopic life.

Beach House released 7 (their 7th full-length record) on Mistletone (Australia) and Sub Pop (worldwide). They have been a band for over 13 years and have written and released a total of 77 songs together. Mail order 7 and other Beach House goodies here.

The creation of 7 involved rebirth and rejuvenation; Scally and Legrand used to limit themselves to what they thought they could perform live, but this time that limitation was ignored. Unlike the last four albums, 7 didn’t have a producer in the traditional sense. Spacemen 3’s Sonic Boom (Peter Kember) became a significant force on this record by shedding conventions and helping to keep the songs alive and fresh. The band’s trusted live drummer from 2016 to the present, James Barone, played on the entire record, helping to keep rhythm at the centre of a lot of these songs.

In the band’s own words, “we are interested by the human mind’s (and nature’s) tendency to create forces equal and opposite to those present. Thematically, this record often deals with the beauty that arises in dealing with darkness; the empathy and love that grows from collective trauma; the place one reaches when they accept rather than deny. The twisted double edge of glamour, with its perils and perfect moments, was an endless source.

The number 7 does represent some interesting connections in numerology. 1 and 7 have always shared a common look, so 7 feels like the perfect step in the sequence to act as a restart. Most early religions also had a fascination with 7 as being the highest level of spirituality, as in ‘Seventh Heaven.’ At our best creative moments, we felt we were channeling some kind of heavy truth, and we sincerely hope the listeners will feel that.”


photo: Shawn Brackbill

October 12, 2018

Touring: Julia Holter


Julia Holter (photo: Dicky Bahto)

JULIA HOLTER TOUR DATES:

  • PERTH: Wednesday January 16 @ The Rosemount. Presented by Cool Perth Nights. Tickets on sale now.
  • LAUNCESTON: Friday January 18 @ MONA FOMA. Tickets & info here.
  • SYDNEY: Sunday January 20 @ Sydney Festival. Tickets & info here.
  • MELBOURNE: Monday January 21 @ Melbourne Recital Centre with special guest Grand Salvo. Tickets & info here.
  • BRISBANE: Tuesday January 22 @ The Tivoli. Tickets on sale now.

Mistletone proudly presents the return of Julia Holter with her stunning ensemble, hot on the heels of her incredible new album, Aviary (out Friday October 26 on Domino).

Aviary is an epic journey through what Los Angeles composer Julia Holter describes as “the cacophony of the mind in a melting world.” It’s her most breathtakingly expansive album yet, full of startling turns and dazzling instrumental arrangements.

The follow-up to her critically acclaimed 2015 record, Have You in My Wilderness, it takes as its starting point a line from a 2009 short story by writer Etel Adnan: “I found myself in an aviary full of shrieking birds.” It’s a scenario that sounds straight out of a horror movie, but it’s also a pretty good metaphor for life in 2018, with its endless onslaught of political scandals, freakish natural disasters, and voices shouting their desires and resentments into the void.

“Amidst all the internal and external babble we experience daily, it’s hard to find one’s foundation,” says Holter. “I think this album is reflecting that feeling of cacophony and how one responds to it as a person – how one behaves, how one looks for love, for solace. Maybe it’s a matter of listening to and gathering the seeming madness, of forming something out of it and envisioning a future.”

The first song to be shared from Aviary, ‘I Shall Love 2’ echoes that hope: “I am in love… There is nothing else“.

Watch the video directed by Dicky Bahto below:

“In a lot of the songs, when I mention love, it’s about a seeking for compassion and humility in a world where it feels like empathy is always being tested,” Holter says. In Aviary’s case, that search for sweetness – that bridging of the gulf – becomes a metaphor for the creative process itself, cutting through the hierarchies of history, language, and musical form to offer something more fluid, more inclusive, more idiosyncratic.

Aviary, executive produced by Cole MGN and produced by Holter and Kenny Gilmore, combines Holter’s slyly theatrical vocals and Blade Runner-inspired synth work with an enveloping palette of strings and percussion that reveals itself, and the boundless scope of her vision, over the course of fifteen songs. Holter was joined by Corey Fogel (percussion), Devin Hoff (bass), Dina Maccabee (violin, viola, vocals), Sarah Belle Reid (trumpet), Andrew Tholl (violin), and Tashi Wada (synth, bagpipes).