August 18, 2017

TFS: “Chameleon Paint” b/w “Mansion Family”

Tropical Fuck Storm (l-r: Fiona Kitschin, Gareth Liddiard, Erica Dunn and Lauren Hammel) photographed at Nagambie Victoria, on 5 August 2017 by Bleddyn Butcher

Tropical Fuck Storm (TFS for short) is a newborn band formed by Gareth Liddiard and Fiona Kitschin (The Drones). Liddiard and Kitschin are joined by maniacs Lauren Hammel (High Tension) on drums and Erica Dunn (Harmony, Palm Springs) on guitars, keys and other gadgets. Not since John Lydon changed it up from the Sex Pistols to PiL has a curveball felt so bracingly exhilarating.

Pre-order the limited edition debut TFS 7″ single ‘Chameleon Paint’ b/w ‘Mansion Family’ here.

Pre-orders will ship on or before September 22.

Pre-order all four 7″s and received limited edition coloured vinyl, while stocks last! the first 7″ is on white vinyl (white vinyl for those ordering 4 packs only. Single orders will receive standard black vinyl.)

The debut TFS 7″ single, “Chameleon Paint” b/w “Mansion Family”, will be released on September 22 as a label collab between TFS Records and Mistletone Records. This limited edition 7” is the first of a series; each 7” featuring an original Liddiard A-side and a B-side cover of “songs we love and wish we had written”. The “Mansion Family” B-side is lifted from Melbourne band The Nation Blue, who released the original less than a year ago. Each 7” will feature phantasmagoric cover art by Montréal artist Joe Becker.

The band has already announced a North American tour in September/October with compadres Band of Horses and King Gizzard, with Australian dates to follow.

“Chameleon Paint” and “Mansion Family” were both recorded in Liddiard and Kitschin’s home studio, Liddiard having practised the dark arts of recording on previous Drones outings and recent/forthcoming releases by Gold Class, Batpiss and Palm Springs. (Liddiard prefers the term “knob twiddler” to “producer”; “I just like fucked up, do it yourself recordings,” he explains.)

“Chameleon Paint” captures the sense of foreboding that we’re all feeling at this time in history in exquisite detail. “You phone it in / All shame and sin”, Liddiard snarls, as a female Greek chorus howls in collective outrage. Liddiard explains that the song was inspired by the “stacks on” phenomenon of online shaming and trolling, the all-too-familiar cycles of internet outrage and sanctimoniousness.

“It feels like a turning point in history”, Liddiard comments, “as technology speeds up. The internet distorts reality and dehumanises relationships, and makes everyone crazy. It’s a bullshit, out of focus place where everyone is the worst version of themselves. Facebook and Instagram keep you glued to the screen, melt your brain and turn you into an idiot so they can sell shit to you. That’s the climate in my head; that’s why I write all this doom and gloom.”

“Mansion Family”, written by The Nation Blue’s Tom Lyngcoln, shudders with a kindred malaise. “I can feel a cold change is coming,” Liddiard intones, and as the tension mounts, the new day dawning foreshadowed in the lyrics feels like cause for dread.

August 14, 2017

The Orbweavers: Deep Leads

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The Orbweavers photograph by Daniel Aulsebrook 

Beloved Melbourne band The Orbweavers return with Deep Leads, the eagerly awaited new album by following 2011’s Loom, out September 15 on Mistletone Records via Inertia on vinyl, CD and digital. Pre-orders for Deep Leads are now open; every vinyl or CD pre-order will receive a beautiful limited edition postcard size print (below) and a tea towel, while stocks last. Pre-orders will ship before September 15; more details here.

THE ORBWEAVERS ALBUM LAUNCH:

  • Sunday October 22Northcote Social Club. Matinee show with special guests Biddy Connor + Dave Williams. Doors open 1:30pm. Tickets on sale now; book now to avoid disappointment!

Limited edition postcard print & album artwork by Marita Dyson, below:

print

Deep Leads

“Deep Leads is about buried and hidden things. Mining the land, the body and mind. Old rivers of feeling. Poison/panacea. Extraction/preservation. Escapism/courage. Deep sleep. Cycles of decay and return.

“Geologically, deep leads are buried ancient river beds which sometimes contain alluvial gold. In Victoria, they usually lie beneath basalt lava flows which hold younger waterways on the surface above. Deep lead gold mining required cutting deep, dangerous shafts through hardened volcanic rock. The shafts were at risk of cave ins and flooding from aquifers, and often did not contain the gold hoped for.

“To use this geology as a metaphor, Deep Leads is the underlying layer to our previous album Loom. Where Loom explored the basalt bed and surrounds of the younger Merri Creek waterway, Deep Leads heads underground and within, exploring industrial, agricultural and personal histories (Blue Lake, The Dry, A Very Long Time), heavy and precious metals (Radium Girls, Mine), internal realms of escape and quest (Poison Garden, Cyclamen, Nitrates). We recorded and produced Deep Leads at home in the Merri Creek water catchment area. There are many accretions of history along this waterway, and it always seems to find a way in to our work and life. The street we live in is a storm water course to the Merri. The album was mixed by the banks of the Merri in East Brunswick by James Cecil at Super Melody World, and mastered just uphill to the west, on Brunswick high ground, by Adam Dempsey at Deluxe Mastering Melbourne.”– THE ORBWEAVERS

Listen to “Cyclamen”, the first single from Deep Leads, below:

Cyclamen Artist Statement

Subjects: plants, soil types, seasons, cycles, sleep, photosynthesis, classical mythology, quest

An evening invocation for protection through winter, and deep sleep. Cyclamen are associated with the Ancient Greek goddess Hecate, who is often depicted holding torches. Hecate in turn, is associated with knowledge of poisonous and medicinal plants, a mediator between mortal and divine realms, a goddess of the crossroads.

“We love bossa nova, and the cyclamen flower”, explain Marita Dyson and Stuart Flanagan (The Orbweavers). “Last winter we had a row of coloured cyclamen across the backsteps. They glowed like little torches against the grey weather of decay and transition. We listened to a lot of Stan Getz, Joao and Astrud Gilberto that winter, and looked out at the scarlet, purple, crimson and white cyclamen torches as night approached.”

“Cyclamen” springs from Deep Leads, the eagerly awaited new album by The Orbweavers following 2011’s Loom.

“Deep Leads is about buried and hidden things. Mining the land, the body and mind. Old rivers of feeling. Poison/panacea. Extraction/preservation. Escapism/courage. Deep sleep. Cycles of decay and return.

“Geologically, deep leads are buried ancient river beds which sometimes contain alluvial gold. In Victoria, they usually lie beneath basalt lava flows which hold younger waterways on the surface above. Deep lead gold mining required cutting deep, dangerous shafts through hardened volcanic rock. The shafts were at risk of cave ins and flooding from aquifers, and often did not contain the gold hoped for.

“To use this geology as a metaphor, Deep Leads is the underlying layer to our previous album Loom. Where Loom explored the basalt bed and surrounds of the younger Merri Creek waterway, Deep Leads heads underground and within, exploring industrial, agricultural and personal histories (Blue Lake, The Dry, A Very Long Time), heavy and precious metals (Radium Girls, Mine), internal realms of escape and quest (Poison Garden, Cyclamen, Nitrates). We recorded and produced Deep Leads at home in the Merri Creek water catchment area. There are many accretions of history along this waterway, and it always seems to find a way in to our work and life. The street we live in is a storm water course to the Merri. The album was mixed by the banks of the Merri in East Brunswick by James Cecil at Super Melody World, and mastered just uphill to the west, on Brunswick high ground, by Adam Dempsey at Deluxe Mastering Melbourne.”

Cyclamen Lyrics

I will stay these winter days,
With cyclamen as torches,
Beacons against the grey weathering in my head.
Clay feet,
Sink close,
Sleep deeply.

Evening falls,
Unfamiliar ways;
With cyclamen as torches,
Lead me back to where it was I first heard your name.
Clay feet Proceed,
Fearlessly.

Scarlet, purple, crimson and white,
Give me a vision to take through the night,
Where you return is where we are heading,
Earth is a bed,
And sleep is remembering.

Scarlet, purple, crimson and white,
Dormant receiver storing the light,
Who is a thief and who’s a collector?
I invoke you:
Be my protector.
Remembering.

Deep Leads – Liner Notes

All songs written and performed by Marita Dyson & Stuart Flanagan
Produced by Marita Dyson & Stuart Flanagan
Mixed by James Cecil at Super Melody World, next to the Merri Creek
Mastered by Adam Dempsey at Deluxe Mastering Melbourne
Art & Design by Marita Dyson & Stuart Flanagan
Original Illustrations by Marita Dyson
C & P 2017 Mistletone Records

Thank you

Sophie, Ash and Wayne. Thank you James, Adam, Paddy, Dan A., Stuart, Jen and Dan N., Bek, Sean, Grant, Lucy, Glen. Thank you Flanagans & Dysons. Thank you friends. Thank you listeners. Thank you Fern.

August 11, 2017

Touring: Ariel Pink

Ariel-Aus-final

ARIEL PINK TOUR DATES:

  • Tue Nov 21: Melbourne @ Melbourne Recital Hall (co-presented with Melbourne Music Week). Presale commences 9am Tuesday 15 August and general on sale at 9am Friday 18 August; tickets & info here.
  • Fri Nov 24: Brisbane @ The Zoo. Tickets on sale now.
  • Sat Nov 25: Perth @ Rosemount Hotel. Co-presented with Cool Perth Nights. Tickets on sale now.
  • Mon Nov 27: Sydney @ Oxford Arts Factory. Tickets on sale now.

Mistletone is massively proud to announce the return of LA’s prodigal son Ariel Pink, returning to Australia with his band to perform songs from his forthcoming album, Dedicated to Bobby Jameson (out September 15 on Mexican Summer via Rocket) and the singular body of work Pink has created over the first two decades of his career.

Listen to “Feels Like Heaven,” a lovelorn insta-classic playing tribute to the promise of romance:

Ariel Pink’s new album Dedicated to Bobby Jameson makes a direct and heartfelt reference to a real-life Los Angeles musician, long presumed dead, who resurfaced online in 2007 after 35 reclusive years to pen his autobiography and tragic life story in a series of blogs and YouTube tirades. “His book and life resonated with me to such a degree that I felt a need to dedicate my latest record to him,” Pink states.

Dedicated to Bobby Jameson begins at the end and ends at the beginning. “We follow the protagonist through a battery of tests and milestones, the first of which sees him reborn into life out of death,” Pink explains, referencing the opening track, “Time to Meet Your God.” “From there, he seesaws his way between the innocent love and the rock-solid edifice of childhood-worn trauma that together constitute his lifelong initiation into the realm of artifice and theatrical disposability.”

Ariel Pink’s previous solo release, pom pom, received a Best New Music designation from Pitchfork; The New York Times described it as “a delightful, typically schizophrenic collection: wickedly dark and funny one moment, sweet and sentimental the next, and at other times as gleefully unhinged as Pink has ever been.” SPIN noted that it’s a record “full of unforgettably kaleidoscopic melodies.” Pink has prolifically written, recorded and released his singular brand of pop music for well over two decades. Dedicated to Bobby Jameson sees Ariel Pink returning to the setting of his first recordings: his bedroom.

Raised in Beverly Hills, Ariel Pink started out as a visual artist before becoming a recording artist in the late ‘90s while attending Cal Arts. Though critically misunderstood at the time, Pink’s early, lo-fi recordings wielded an enormous influence with insiders and outsiders, including Animal Collective who signed him to their Paw Tracks imprint in 2003. In the late 2000s, Pink’s fortunes with critics began to reverse, and his resulting single, “Round and Round” (off Before Today), was named the #1 Record of 2010 by Pitchfork.

Watch the Grant Singer-directed video for “Another Weekend”:

August 10, 2017

Touring: Pissed Jeans

Artwork by Carl Breitkreuz

PISSED JEANS TOUR DATES:

  • SYDNEY: Wednesday December 6 @ Oxford Art Factory with Batpiss + Low Life. Tickets on sale now.
  • MELBOURNE: Thursday December 7 @ The Corner with Batpiss + Blank Statements. Presented by Triple R. Tickets on sale now.
  • MEREDITH: Friday December 8 @ Meredith Music Festival. Ticket ballot open now.
  • BRISBANE: Saturday December 9 @ The Foundry with Batpiss + Kitchen’s Floor. Tickets on sale Friday.

Mistletone + Noisey present the first EVER! Australian tour by Allentown sludgemasters, Pissed Jeans.

Aunty Meredith waxes lyrical…

“Pissed Jeans are a band we always get asked for. Been holding on so long. Straight up hi-energy rock from Allentown, Pennsylvania. They have been asked to tour Australia so many times and it hasn’t happened until now. They are five albums in and haven’t made it here yet. We are so stoked to be able to present them.

They are cult. They are amazing live. A great singer. Electric. Inclusive. Funny (how good is their photo?). People love ‘em.

Latest Sub-Pop album, ‘Why Love Now’, co-produced by Lydia Lunch, is perhaps their most polished and hi-fidelity recording to date. But don’t be mistaken … one listen to tracks like ‘Ignorecam’, ‘Love Without Emotion’ and ‘The Bar Is Low’ and you’ll understand that they’ve hardly got designs on some kind of surprise crossover move any time soon.

Influences to the fore include early 80’s hardcore (Black Flag, Flipper) and 90s noise rock (The Jesus Lizard) but dynamic frontman, Matt Korvette, claims he had a moment of realisation many years ago when he came across a YouTube clip of The Birthday Party on a German TV show.

“I saw that video and I’m like, I’m just gonna steal everything in this … and I’m gonna do it bad enough that it’ll become my own thing, you know … and people won’t just say ‘oh, you stole that’ because I’ll just do such a poor rendering of it.”  Just one of many contradictions at play within this band: success as failure … failure as success … with thrilling results!”

Pissed Jeans have been making a racket for 13 years, and on their fifth album, Why Love Now (out now on Sub Pop via Inertia), the male-fronted quartet is taking aim at the mundane discomforts of modern life—from fetish webcams to office-supply deliveries.

“Rock bands can retreat to the safety of what rock bands usually sing about. So 60 years from now, when no one has a telephone, bands will be writing songs like, ‘I’m waiting for her to call me on my telephone.’ Kids are going to be like, ‘Grandpa, tell me, what was that?’ I’d rather not shy away from talking about the internet or interactions in 2016,” says Pissed Jeans frontman Matt Korvette.

Pissed Jeans’ gutter-scraped amalgamation of sludge, punk, noise, and bracing wit make the band—Korvette, Brad Fry (guitar), Randy Huth (bass) and Sean McGuinness (drums)—a release valve for a world where absurdity seems in a constant battle trying to outdo itself. Why Love Now picks at the bursting seams that are barely holding 21st-century life together. Take the grinding rave-up “The Bar Is Low,” which, according to Korvette, is “about how every guy seems to be revealing themselves as a shithead.

“It seems like every guy is getting outed,” Korvette continues, “across every board of entertainment and politics and music. There’s no guy that isn’t a total creep. You’re like, ‘No, he’s just a dude that hits on drunk girls and has sex with them when they’re asleep.’ Cool, he’s just an average shithead.”

The lyrics on Why Love Now are particularly pointed about gender relations and the minefield they present in 2016. “‘It’s Your Knees’ is about the endless, unrequested, commenting on if you’d fuck a girl. You know what I mean? ‘My great aunt won a cooking contest.’ ‘Oh, that’s pretty hot. I’d hit that,’” says Korvette. “It’s bizarre how guys will willingly share this stuff as if it’s always in their brains, and now it gets to come out because you’re on the internet. There’s a boldness to it now that was not maybe there before. So the premise is like, ‘Yeah, she’s hot, but her knees are weird looking. Not for me, man.’”

Pissed Jeans

On “Love Without Emotion” Korvette channels Nick Cave’s more guttural side while bemoaning his detachment over cavernous guitars. The crushing “Ignorecam” twists the idea of fetish cam shows—”where the woman just ignores you and watches TV or eats macaroni and cheese or talks on the phone”—into a showcase for Korvette’s rancid yelp and his bandmates’ pummeling rock. “I love that idea of guys paying to be ignored,” says Korvette. “It seems so weird.”

As they did on their last album, 2013’s Honeys, Pissed Jeans offer a couple of “fuck that shit type songs” about the working world, with the blistering “Worldwide Marine Asset Financial Analyst” turning unwieldy job titles into sneering punk choruses and “Have You Ever Been Furniture” waving a flag for those whose job descriptions might as well be summed up by “professionally underappreciated.” And the startling “I’m A Man,” which comes at the album’s midpoint, finds author Lindsay Hunter (Ugly Girls) taking center stage, delivering a self-penned monologue of W.B. Mason-inspired erotica—office small talk about pens and coffee given just enough of a twist to expose its filthy underside, with Hunter adopting a grimacing menace that makes its depiction of curdled masculinity even more harrowing.

“Lindsay Hunter is what I would aspire for Pissed Jeans to be—just a real, ugly realness that’s shocking,” says Korvette. “Not in a, ‘I had sex with a corpse on top of a pile…’ nonsense way—actually real, shocking stuff. And she has young kids, like Pissed Jeans do. I feel a bond with her in that regard. We’re in the same camp.”

No Wave legend Lydia Lunch shacked up in Philadelphia to produce “Why Love Now” alongside local metal legend Arthur Rizk (Eternal Champion, Goat Semen). “I knew she wasn’t a traditional producer,” Korvette says of Lunch. “We wanted to mix it up a little bit. I like how she’s so cool and really intimidating. I didn’t know how it was going to work out. She ended up being so fucking awesome and crazy. She was super into it, constantly threatening to bend us over the bathtub. I’m not really sure what that entails, but I know she probably wasn’t joking.

“Arthur Rizk was the technical guru. It was a perfect combination of a technical wizard and a psychic mentor who guided the ship.”

The combination of Lunch’s spiritual guidance and Rizk’s technical prowess supercharged Pissed Jeans, and the bracing Why Love Now documents them at their grimy, grinning best. While its references may be very early-21st-century, its willingness to state its case cements it as an album in line with punk’s tradition of turning norms on their heads and shaking them loose.

“A crucial thing, I think, for being a Pissed Jeans fan is just stemming from what I would take away from punk, which is, ‘Question things and think about things,’” says Korvette. “Don’t just go to the office and get the same coffee. Don’t just wear a leather jacket and get a 40 oz. Just question yourself a little bit if you can.”

PissedJeans_WhyLoveNow_R7

August 10, 2017

Touring: !!!

!!!

!!! TOUR DATES:

MEREDITH: Friday December 8 @ Meredith Music Festival. Ticket ballot open now.

!!! are one of Earth’s great live bands; something you have to experience in the flesh to truly comprehend.  To quote Aunty Meredith in her !!! wisdom:

“Designed for celebration. Built for energy generation. Engineered for euphoric elevation. Tested in all atmospheric conditions. Certified to issue failsafe moodproof bigband surefunk dancepunk. In poolboy shorts.

Any beat that moves you is fuel for their six cylinders: twitchy R&B, queasy dub-disco, discotheque disco, romantic house, any quality propulsive groove. They turn any space into a dance club, as anyone who witnessed their legendary set at the very first Golden Plains way back in 2007 will attest.

If you aren’t familiar with their vibe, check out One Girl/One Boy, Slyd, Must Be The Moon, Freedom ‘15 or Dancing Is The Best Revenge.

If you aren’t familiar with their name, it was inspired by the subtitles of the movie The Gods Must Be Crazy, in which the clicking sounds of the Bushmens’ Khoisan language were represented as “!”. The band says !!! is pronounced by repeating thrice any monosyllabic sound.

Friday Night peak hour. Yes. Yes. Yes.”

While  !!!’s  live  shows  are  something  to  behold,  they  underscore  the  sheer musicianship and songwriting that goes into recording their albums. It is a lot of hard work made to  look  easy.  “Most  of  the  songs  on Shake the Shudder  are  based  off  of  jams”, says frontman Nic Offer, “and  since  we  record  every  jam,  most  of  the  tracks  here  feature moments we  actually  recorded  from those  jams. Most  artists have  to dig  through  the  crates  to find  that one  sample  nobody has used  but  we  can  sample  ourselves,  having  been playing  this style of music for awhile now. As a band we try to play it the way the JBs would, as producers we try to mix it the way a DJ would.”

Shake the Shudder are words to live by and ones that !!! fully embrace. There are always fears to  be  faced  and  new  paths  to  forge,  and  those  uncertainties  never  hold  them  back.  They  just propel  them  to  jump  in  head  first.  For  years,  !!!  have  run  the  dance  band  gambit  and  become New  York  City  legends.  From  their  start  in  Sacramento,  to  Brooklyn  house  party  staples  and Union  Pool  residencies,  and  now  delighting  festival  stages  from  Primavera  to  FYF,  they’ve cemented their place as part of New York’s live dance scene — while others have drifted into the history  books.

Shake The Shudder is a product of !!!’s DIY punk roots presenting a harder edge lyrically and sonically,  while  incorporating  trans-Atlantic  electronic  music  influences.  Regularly  enlisting  the aid of talented female vocalists to elevate to their sound, this new album is no exception with the inclusion  of  up  and  coming  talents  Lea  Lea  and  Meah  Pace  showcasing energetic  breakout performances that only hints at what they do live. And Nic Offer is no easy frontman to keep up with on stage.

The  new  record  opens  with “The  One  2”,  diving  right  into  this  experimentation, “we’ve  always admired this style of dance music from afar and were curious if we could add our twist to it, our twist being a plotline and some attitude.” Immediately segueing into the soon-to-be live favorite “Dancing  Is  The  Best  Revenge” (below),  which  premiered  on  Last  Call  With  Carson  Daly,  the  record starts off with a bang and doesn’t let up till the closing groove “R Rated Pictures.”

Screen Shot 2017-08-10 at 9.39.25 am

July 25, 2017

Touring: Nite Jewel

170721 Nite Jewel poster-01
Artwork by Alex Fregon

Mistletone is rapt to announce that Nite Jewel is in orbit to return to Australia this October.

NITE JEWEL TOUR DATES:

  • MELBOURNE: Fri Oct 20 @ NGV Friday Nights. Tickets on sale now from NGV.
  • SYDNEY: Sat Oct 21 @ Cake Wines Cellar Door. Tickets on sale now from Eventbrite.
  • BRISBANE: Sun Oct 22 @ The Junk Bar. Tickets on sale now from Oztix.
  • FREMANTLE: Sat Oct 28 @ St John’s Anglican Church. Tickets on sale now from City of Fremantle.

Los Angeles electro-R&B luminary Ramona Gonzalez — aka Nite Jewel — returns to Australia as a duo, hot on the heels of her critically acclaimed new album Real High. Nite Jewel has been prolific as ever, also sharing a B-sides collection Real Low, last year’s album Liquid Cool, a limited edition 12” for Italians Do It Better, and two collaborative EPs (one with Bay Area rapper/producer Droop-E as AMTHST).

Nite Jewel has also had memorable collaborations with Dam-Funk, Omar-S, Julia Holter, Sean Nicholas Savage, Samantha Urbani, Zoë Kravitz and many others — transforming foggy, fading memories into crystal clear lucid dreams. Her latest collab with Dam-Funk (as Nite Funk) was named Best New Music on Pitchfork.

With Real High, Ramona Gonzalez updates her feminine inner dialogue to reflect the increasing challenges of hyper-modern society, in particular with respect to selfhood. Recorded over the course of four years in Los Angeles with the help of Grammy-winning producer Cole M.G.N. (Ariel Pink, Beck, The Samps), these songs of transformational love and relentless nostalgia range from expansive, futuristic balladry (“Real High,” “Part Of Me”) to gauzy dance-floor hits (“2 Good 2 Be True,” “The Answer”); the most focused and bold Nite Jewel effort yet. The timeless production, unique voice, and pristine song-craft of Real High create an irresistible combination that is only better on the live stage.

  • Real High is the album fans have been waiting for… Her whole attitude reeks simultaneously of someone not giving a fuck while also brainstorming meticulously, and her music has never sounded richer on so many levels. The album borrows heavily from the old-school R&B feel of pastime pop greats like Janet Jackson and Aaliyah while mostly marrying this visage to contemporary dancehall rhythms” – DROWNED IN SOUND

“HOW IT WAS” video:

nite

July 20, 2017

The Orbweavers: Cyclamen

Cyclamen

Mistletone is ecstatic to share “Cyclamen” from The Orbweavers’ new album Deep Leads, out September 15 on Mistletone Records via Inertia. Listen below:

Cyclamen Artist Statement

Subjects: plants, soil types, seasons, cycles, sleep, photosynthesis, classical mythology, quest

An evening invocation for protection through winter, and deep sleep. Cyclamen are associated with the Ancient Greek goddess Hecate, who is often depicted holding torches. Hecate in turn, is associated with knowledge of poisonous and medicinal plants, a mediator between mortal and divine realms, a goddess of the crossroads.

“We love bossa nova, and the cyclamen flower”, explain Marita Dyson and Stuart Flanagan (The Orbweavers). “Last winter we had a row of coloured cyclamen across the backsteps. They glowed like little torches against the grey weather of decay and transition. We listened to a lot of Stan Getz, Joao and Astrud Gilberto that winter, and looked out at the scarlet, purple, crimson and white cyclamen torches as night approached.”

“Cyclamen” springs from Deep Leads, the eagerly awaited new album by The Orbweavers following 2011’s Loom.

“Deep Leads is about buried and hidden things. Mining the land, the body and mind. Old rivers of feeling. Poison/panacea. Extraction/preservation. Escapism/courage. Deep sleep. Cycles of decay and return.

“Geologically, deep leads are buried ancient river beds which sometimes contain alluvial gold. In Victoria, they usually lie beneath basalt lava flows which hold younger waterways on the surface above. Deep lead gold mining required cutting deep, dangerous shafts through hardened volcanic rock. The shafts were at risk of cave ins and flooding from aquifers, and often did not contain the gold hoped for.

“To use this geology as a metaphor, Deep Leads is the underlying layer to our previous album Loom. Where Loom explored the basalt bed and surrounds of the younger Merri Creek waterway, Deep Leads heads underground and within, exploring industrial, agricultural and personal histories (Blue Lake, The Dry, A Very Long Time), heavy and precious metals (Radium Girls, Mine), internal realms of escape and quest (Poison Garden, Cyclamen, Nitrates). We recorded and produced Deep Leads at home in the Merri Creek water catchment area. There are many accretions of history along this waterway, and it always seems to find a way in to our work and life. The street we live in is a storm water course to the Merri. The album was mixed by the banks of the Merri in East Brunswick by James Cecil at Super Melody World, and mastered just uphill to the west, on Brunswick high ground, by Adam Dempsey at Deluxe Mastering Melbourne.” 

Cyclamen Lyrics

I will stay these winter days,
With cyclamen as torches,
Beacons against the grey weathering in my head.
Clay feet,
Sink close,
Sleep deeply.

Evening falls,
Unfamiliar ways;
With cyclamen as torches,
Lead me back to where it was I first heard your name.
Clay feet Proceed,
Fearlessly.

Scarlet, purple, crimson and white,
Give me a vision to take through the night,
Where you return is where we are heading,
Earth is a bed,
And sleep is remembering.

Scarlet, purple, crimson and white,
Dormant receiver storing the light,
Who is a thief and who’s a collector?
I invoke you:
Be my protector.
Remembering.

July 14, 2017

Ross McLennan: All the colours print can manage

Screen Shot 2017-07-14 at 9.03.57 am

Mistletone Records is proud to share “Selling Good News” by Ross McLennan, the first single from his forthcoming album All the colours print can manage, out October 6 on Mistletone / Inertia.

Ross McLennan and his 10 piece band The New World will preview the new album in a rare live performance at Melbourne’s Post Office Hotel on Sunday September 24 at 4:30pm.

  • “McLennan puts a lot of himself into what he writes, each record is a reasonably accurate snapshot of his mental health; (and) his fourth solo record sees him balance his love of pop with some of the darker themes that naturally find their way into his songs. Anyone who has followed McLennan’s post-Snout work knows that the quality of his output hasn’t deteriorated in the slightest. Perhaps that’s because McLennan knows he must remain true to himself. It’s what McLennan has done throughout his entire career, and we’re all the richer for it” – DOUBLE J

A singular and illuminating songwriter, Ross McLennan dives deep into the collective subconscious whilst touching raw nerves which reverberate the anxieties of our times, giving his songs a revelatory and prophetic aura. The Ross McLennan hit factory has been open for business since 1991, when he formed Melbourne indie trio Snout and made an indelible impression on the Australian musical landscape throughout the 1990s. As Double J recently commented in their retrospective of Snout’s career: “Their shrewd handle on pop in all its forms meant that they could employ diverse influences into their sound – sometimes heavy, sometimes groovy, sometimes jangly – yet emerge sounding completely cohesive”. Since disbanding Snout, McLennan has made three unfailingly excellent solo albums and been shortlisted for the Amp (Australian Music Prize). Accompanied by his ensemble of strings, woodwind and a choir, Ross McLennan has manifested magical performances at Melbourne Festival, Brisbane Festival, Queenscliff Music Festival, Brisbane Powerhouse and the Famous Spiegeltent, and supported artists such as Cass McCombs and Matthew E. White.

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All the colours print can manage is the title of the forthcoming Ross McLennan album and a phrase from the song “Selling Good News”. As McLennan explains, “it refers to very human visions of paradise: pictures fleshed out in hues from a colour matching booklet. The colours have corresponding numbers. The colours might look different depending on the paper stock they are printed on, and the light in which they are viewed. The people in the pictures are wearing clothes in a modern neat casual style. Complete families have died and are strolling peacefully through paradise with all their limbs intact. This is not so different to how the narrator views the world.

“Some of the songs on this record are hopeful, some not”, McLennan reflects. “This album took five or so years to make, and there Is a whole other album on the cutting room floor. But I needed to get the balance between light and shade right.

“I wanted to make a charitable album. To have some things that you could dance to and smile about, but not sell out sadness and despair. Across the record, there is a corresponding tension between physical reality and the mental drift to abstraction/distortion, the connected and the dissociative. There are the iron clad rules of the rotating earth and then there is a banana peel. The narrator has foot in each camp.”

 

June 10, 2017

Toro y Moi: Boo Boo

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So delighted to announce that Toro y Moi is back with his fifth studio album Boo Boo, out July 7 on Mistletone Records via Inertia. Boo Boo finds Chaz Bear (formerly Bundick) exploring the dance-pop sound that his fans first fell in love with, with an added layer of deep, and at times dark, emotion.

Along with the news, Toro y Moi has released a vignette for the magnetic first single “Girl Like You”; watch it below.

Head over to Mistletone mail order to pre-order limited edition LPs, pressed on blue and white marble-colored vinyl while stocks last.

boo­-boo [ˈbo͞obo͞o/]

noun (pl. boo­boos) informal
1. a mistake. “you could make a big boo­boo if you leap to any drastic conclusions.”
2. a minor injury, such as a deadly car crash.

boo1 [bo͞o/]

exclamation
1. said suddenly to surprise someone. “‘Boo!’ she cried, jumping up to frighten him.”
2. said to show disapproval or contempt, especially at an athletic contest or musical performance.

noun
1. an utterance of “boo” to show disapproval or contempt. “the audience re­tweeted his comment with boos and hisses.”

verb
1. say “boo” to show disapproval or contempt. “they booed and hissed when he stepped on stage.”

boo2 [bo͞o/]

noun (pl. boos) informal
1. a person’s boyfriend or girlfriend.

ToroYMoi_BooBoo_Lead

“After 7 years of touring and recording, I found myself becoming self conscious about my position in life as a ‘famous’ person, or at least my version of whatever that is. My dreams had become my reality, yet I was somehow unable to accept this new environment. I couldn’t help but fall into what might be described as an identity crisis. A feedback loop of fearful thoughts left me feeling confused. I felt as though I no longer knew what it was that I actually wanted and needed in and out of life, and at times I felt unable to even tell what was real.

“During this time of personal turmoil, I turned to music as a form of therapy, and it helped me cope with the pain that I was feeling. I’d listen to the same ambient song over and over again, trying to insulate myself from reality. I fell in love with space again.

“By the time I felt ready to begin working on a new record, I knew that this idea of space within music would be something that propelled my new work forward. The artists that were influencing what I was making included everyone from Travis Scott to Daft Punk, Frank Ocean to Oneohtrix Point Never, Kashif and Gigi Masin. I recognised that the common thread between these artists was their attention to a feeling of space, or lack thereof. I decided that I wanted to make a Pop record with these ideas in mind. That idea for a record is what eventually became Boo Boo.” – Chaz B.

Boo Boo
1. Mirage
2. No Show
3. Mona Lisa
4. Pavement
5. Don’t Try
6. Windows
7. Embarcadero
8. Girl Like You
9. You and I
10. Labyrinth
11. Inside My Head
12. W.I.W.W.T.W.

 

 

May 18, 2017

Beach House: B-Sides and Rarities 

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Photo by Shawn Brackbill

On Friday, June 30, Beach House will release the B-Sides and Rarities album — a 14-track compilation of songs from throughout their career so far — on Mistletone Records, via Inertia. The album features two previously unreleased tracks, “Chariot” [listen below] and “Baseball Diamond,” which were recorded during the Depression Cherry and Thank Your Lucky Stars sessions (both Depression Cherry and Thank Your Lucky Stars were released, two months apart, in 2015). Beach House’s B-Sides and Rarities will be released on CD / LP / DL and is available on digital pre-order now. Pre-orders are now open for Loser edition limited clear vinyl and CDs; while stocks last — pre-order LPs and CDs here.

B-Sides and Rarities contains every song Beach House – aka Alex Scally and Victoria Legrand – has made that does not exist on one of their albums. Beach House says of the release:

WHEN WE ANNOUNCED that we were releasing a B-sides and rarities album, someone on Twitter asked, “B-sides record? Why would Beach House put out a B-sides record? Their A-sides are like B-sides.” This random person has a point. Our goal has never been to make music that is explicitly commercial. Over the years, as we have worked on our 6 LPs, it wasn’t the “best” or most catchy songs that made the records, just the ones that fit together to make a cohesive work. Accordingly, our B-sides are not songs that we didn’t like as much, just ones that didn’t have a place on the records we were making.

The idea for a B-sides record came when we realised just how many non-album songs had been made over the years, and how hard it was to find and hear many of them. This compilation contains every song we have ever made that does not exist on one of our records. There are 14 songs in total.

The oldest song is “Rain in Numbers” and was recorded in 2005, during the summer we formed the band. We didn’t have a piano, so we asked our friend if we could use his, which was pretty out of tune. We used the mic that was on the four-track machine to record the piano and vocals. It was originally the secret song on our self-titled debut.

Sequentially, the next couple of songs are from late 2008. We were so excited about “Used to Be,” that we recorded it right after writing it so that we could have it as a 7” single for our fall tour with the Baltimore Round Robin. We recorded our cover of Queen’s “Play the Game” in the same session. It was for a charity compilation benefiting AIDS research and we will continue to donate all profits from the song to that charity. As fans of Queen, we thought it would be fun and ridiculous to try to adapt their high-powered pop song into our realm. These songs were recorded at the same studio where we made Devotion.

There are a bunch of songs written and recorded in the 2009-2010 window. This period of time, as well as 2014, was our most prolific to date. “Baby” was written and recorded in October 2009 with our friend Jason Quever. “10 Mile Stereo” was recorded during the Teen Dream session in July 2009. Since we used tape, we often slowed the tape way down to create effects while recording. When we were doing that for “10 Mile Stereo” we decided we wanted to make an alternate version where the whole song was slowed down, hence the “10 Mile Stereo (Cough Syrup Remix).”

“White Moon” and “The Arrangement” were both songs that we didn’t believe fit on Teen Dream. “White Moon” originally appeared on our iTunes live session. Since that was recorded and mixed very hastily, we have remixed it to better match our current aesthetics. We have also remixed and included the version of “Norway” we did at that same session. The main reason we wanted to include “Norway” is that it features a very different bridge from the original version.

After the insane year of touring we had in 2010, we felt incredibly grateful to our fans for all that had happened. We wrote and recorded “I Do Not Care for the Winter Sun” during a break between tours and released it on the internet for free, unmastered. Well, it’s finally been mastered…

“Wherever You Go” Is another song from that era.  We always loved this song but thought it sounded too much like our old music. We paused writing it and didn’t finish it until 2011 during the Bloom recording session. It appeared originally as a secret song on Bloom.

“Equal Mind” was also recorded during the Bloom session. We really like this song, but pulled it from the record when we realized it had the exact same tempo as “Other People.” They are like twins.

The Bloom sessions led to “Saturn Song” as well. This song is built on a piano loop we wrote while recording Bloom. It also contains sounds recorded in deep space. It originally appeared on a compilation of songs incorporating space sounds that was released in 2014.

Finally, there are two previously unreleased songs from the Depression Cherry / Thank Your Lucky Stars sessions. They are called “Chariot” and “Baseball Diamond.”

B-Sides and Rarities (out June 30 on Mistletone / Inertia):

01 Chariot
02 Baby
03 Equal Mind
04 Used to Be (2008 Single Version)
05 White Moon (iTunes Session Remix)
06 Baseball Diamond
07 Norway (iTunes Session Remix)
08 Play the Game (Queen Cover)
09 The Arrangement
10 Saturn Song
11 Rain in Numbers
12 I Do Not Care For The Winter Sun
13 10 Mile Stereo (Cough Syrup Remix)
14 Wherever You Go

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