November 17, 2017

Summer Tones: Mistletone’s 11th birthday party

Artwork by Carl Breitkreuz

Mistletone, Triple R and Shadow Electric present SUMMER TONES!

SUNDAY DECEMBER 17 @ Coopers Malthouse courtyard (outdoor show). Starring !!! (chk chk chk)Tropical F*ck Storm + Cash Savage and the Last DrinksSpike F*ck + DJs POCOCK + Post Percy. Early bird tickets on sale now.

‘Tis the season to celebrate 11 years of Mistletone, with one of the world’s greatest party bands, !!! (chk chk chk) in a super rad outdoor performance in the Malthouse Theatre courtyard, with an exceptional local lineup featuring Tropical F*ck Storm, Cash Savage and the Last Drinks, Spike F*ck, + DJs POCOCK + Post Percy.

Revel in the golden blessings of summer in a stunning pop-up outdoor venue produced by team at Shadow Electric with a high-vibrational lineup of live bands and DJs curated by Mistletone in collaboration with Shadow Electric.

Legends from the NYC underground, !!! are one of Earth’s great live bands; something you have to experience in the flesh to truly comprehend. Designed for celebration and built for energy generation, !!! left their contemporaries in the dust to sound more vital and irresistibly danceable than ever. (Fun !!! fact: frontman Nic Offer is his real name, and he was born on New Year’s Eve.)

TFS (Tropical F*ck Storm) is Gareth Liddiard and Fiona Kitschin (The Drones), Lauren Hammel (High Tension) and Erica Dunn (Harmony, Mod Cons). One of the most thrilling new bands of our times, articulating the dread of this historical moment with delirious swagger and aplomb. Having sold out two maniacal Melbourne shows last week, following a US tour to packed theatres opening for Band of Horses and King Gizzard, Tropical F*ck Storm’s two raved-about, limited edition 7″s to date promise a forthcoming debut album for the ages.

Cash Savage and the Last Drinks have had a colossal year. Having delivered one of the most overwhelmingly powerful and euphoric performances of Golden Plains, on the back of their breakthrough album One Of Us, and toured to ever-increasing audiences at festival and club shows across Europe, Cash and her incendiary band bring it all home to Summer Tones for a show that promises nothing short of utter exaltation.

Inspired by love, obsession, addiction, transness and washed up 60s musicians who make overproduced comeback albums in the 80s, Spike Fuck describes her current sound as “smackwave”: a blend of late 80s new wave and late 70s post-punk, a dash of country music/singer-songwriter sensibilities delivered in Las Vegas Ballroom karaoke vocal style.

Summer Tones disc jockeys POCOCK — dearly beloved broadcaster, promoter, astronomer and party boy — and Post Percy, powerhouse one man party and creator of the iconic weekly party “dance technique” — will take us to the outer-realms of the Pocosmos and Post Percy-verse between bands.

Food will be available all day from the kitchens of Melbourne’s finest Japanese restaurants including: Wabi Sabi, Neko Neko, Yoko Ono Ramen and Bosozoku Burgers.

Cash Savage and the Last Drinks, last night at the Forum (photo by Jess Lilley):

!!! (chk chk chk):


Spike F*ck:

November 1, 2017

TFS: “Soft Power” b/w “Lose The Baby”

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

Mistletone is proud to release Soft Power b/w Lose The Baby, the second in a series of limited edition 7″ singles by Tropical Fuck Storm (TFS) featuring Gareth Liddiard and Fiona Kitschin (The Drones), Lauren Hammel (High Tension) and Erica Dunn (Harmony, Palm Springs).

It follows the debut 7″ release, Chameleon Paint b/w Mansion Family, which is available on Mistletone mail order. “Soft Power” / “Lose The Baby” is out November 17 via Inertia as a label collab between Mistletone and TFS Records. Pre-order “Soft Power” / “Lose The Baby” here; limited edition colour vinyl available when you pre-order all four 7″s in the series.

Click on any of the song titles above to listen, and watch the beserk film clip for “Soft Power”, filmed by Adam Donovan in the Terrorplex (Little Rock, Arkansas) and edited by Defero Productions, below:

soft power
noun •
a persuasive approach to international relations, typically involving the use of economic or cultural influence.

Tropical Fu*k Storm ride in from their Homeric American adventure touring with mates King Gizzard and Band Of Horses, to articulate with devastating accuracy the collective dread and repugnance of this moment in history.

Swaggering in with two of the most ominous opening lines of recent times…“Hey hold your fire man don’t shoot / Here comes the umpa lumpa with the nukes”, ‘Soft Power’ is a breakup song. The accusers, The People of Earth, are finally kicking their abusive ex-lover (the USA) to the curb: “Everyone here gets the joke / Everybody except you”.

Brilliantly paired with B-side ‘Lose The Baby’, a cover of the iconic Lost Animal classic penned by Jarrod Quarrell, the new single by Tropical Fu*k Storm is a collectible insta-classic and a glimpse at the band’s forthcoming debut album, that is being recorded with Aaron Cupples this month, and due 2018.

As with all of the 7 inches, Montréal artist Joe Becker has provided the original cover art.


October 25, 2017

Touring: Julie Byrne


  • SYDNEY: Tuesday January 23 @ City Recital Hall, Sydney Festival with Mount Eerie. Tickets and info here.
  • MELBOURNE: Wednesday January 24 @ Melbourne Recital Centre with Mount Eerie. Tickets on sale here.
  • MELBOURNE: Saturday January 27 @ Northcote Social Club. Presented by Triple R. Tickets on sale now.
  • CASTLEMAINE: Thursday January 25 @ Theatre Royal with Mount Eerie and June Jones Tickets on sale here.

Mistletone is proud to present the debut Australian tour by Julie Byrne, touring in duo formation.

  • Here is something special” – THE TIMES ★★★★★
  • “Byrne paints sublime, awestruck moments when simple things become overwhelming” – PITCHFORK BEST NEW MUSIC 8.3
  • “There’s so much to love about Not Even Happiness: the lightness of the finger-picked acoustic guitar patterns, the flute and string interludes, the plaintive timbre in Byrne’s voice recalling fellow outsider folk figures Anne Briggs and Karen Dalton” – MOJO ★★★★
  • “The voice is a balm” – THE GUARDIAN ★★★★
  • “Otherworldy and other-timely…  it never seems fey or contrived… stunning” – THE OBSERVER
  • “One of the albums of the year” – NME

Sometimes it can take years to find your calling. Not for Julie Byrne; whose power of lyrical expression and musical nous seems inborn. Often what comes naturally cannot be driven by speed and time. Julie’s second album, Not Even Happiness (out now on Spunk Records), has evolved at its own pace. It spans recollections of bustling roadside diners, the stars over the high desert, the aching weariness of change, the wildflowers of the California coast, and the irresolvable mysteries of love. Her new album vividly archives what would have otherwise been lost to the road, and in doing so, Byrne exhibits her extraordinarily innate musicality. Some of the songs on Not Even Happiness took years of fine tuning to reach their fruition. If you asked her why the follow up to 2014’s Rooms With Walls and Windows has taken so long, you’d be greeted with a bewildered expression melted into a smile – as though the strangest question had just been asked. “Writing comes from a natural process of change and growth. It took me up to this point to have the capacity to express my experience of the time in my life that these songs came from.”

Julie Byrne has counted Buffalo, Pittsburgh, Chicago, Seattle, New Orleans and Northampton, Massachusetts as her transient homes in recent years. For now, she’s settled in New York City, moonlighting as a seasonal urban park ranger in Central Park. Whether witnessing the Pacific Northwest for the first time (‘Melting Grid’), the morning sky in the mountains of Boulder (‘Natural Blue’), or a journey fragrant with rose water; reading Frank O’Hara aloud from the passengers seat during a drive through the Utah desert into the rainforest of Washington State (‘The Sea As It Glides’), Not Even Happiness is Julie’s beguilingly ode to the fringes of life.

“The title of the album comes from a letter I wrote to a friend after a trip to Riis Park’s ‘The People’s Beach’,,,it was the first warm afternoon of the year. I walked alongside the Atlantic as the Earth came alive for the sun. There was a palpable sense of emergence to everything. I felt it in myself too, and remember thinking I would trade that feeling for nothing…not even happiness.”

Julie taught herself guitar, picking it up when her father became ill and could no longer play. She readily admits she can’t read music and doesn’t even listen to it all that much – her own vinyl was the first in her possession. Back to her childhood home in western New York state to record the album with producer Eric Littmann (Phantom Posse), friend Jake Falby contributed strings at a cabin in Holderness, New Hampshire. “Without possessing the right words, I’d describe to Eric and Jake the feeling I wanted a song to evoke, or I would take a shot at singing what was in my head. Though over all, their contributions to the record are entirely their own vision and their own power. I trusted each of them and we chose each other; our songs came from that place.”

Not Even Happiness offers a bigger picture to its predecessor through a wider exploration of instruments and atmospherics, revealing an artist who has grown in confidence over time. This form of self-evolution permeates through the track titles, as the album opens with, ‘Follow My Voice’ and ends with, ‘I Live Now as a Singer’.” “Those two songs are the nearest to my heart, without hesitation. This is an album with a far stronger sense of self, and fidelity to self than the last,” she says.

Her last album was released in January 2014, on Chicago based DIY label Orindal after first existing as two separate cassette releases. Rooms With Walls and Windows went on to become a true modern-day word of mouth success story (it would have to be for an artist who shuns all forms of social media). By the end of the year, it was voted number 7 in Mojo Magazine’s Best Albums, with the Huffington Post calling it, “2014’s Great American Album.” A collection of hushed intimate front porch psych-folk songs, recalling the greats, but strongly emanating the essence of timeliness. Her journey to follow was captured in two summers through Europe, playing the Green Man Festival and End of the Road, as well as lesser trodden tour paths around Italy.

In the live arena she enchants, leaving rooms and festival crowds mesmerized by her voice and warm presence, where many find a real connection with Byrne’s intimate songs. This feeling is often shared: “The most magical thing about performing these songs is that afterwards, so many of the conversations I have escape all small talk,” tells Julie. “Shows don’t always have this spirit, but when they do, every person has contributed, even unknowingly, to creating a space of responsiveness to each other through vulnerability, through our unified experience and honesty about our sorrow and our emergence.”

October 25, 2017

Touring: Mount Eerie

Artwork by Carl Breitkreuz


  • FREMANTLE: Sunday January 21 @ Mojos. Tickets on sale now.
  • SYDNEY: Tuesday January 23 @ City Recital Hall, Sydney Festival with special guest Julie Byrne. Tickets and info here.
  • MELBOURNE: Wednesday January 24 @ Melbourne Recital Centre with special guest Julie Byrne. Tickets on sale here.
  • CASTLEMAINE: Thursday January 25 @ Theatre Royal with special guests Julie Byrne and June Jones Tickets on sale here.

Mistletone is proud to present a solo tour by great American singer-songwriter  Phil Elverum, aka Mount Eerie.

“I felt no doubt, watching Elverum wrestle the contradictions of his present life into song, that I was witnessing true live-wire artistry from an American original, and, with my wife standing next to me, I felt absurdly happy to be alive

    • ” – NEW YORKER

Mount Eerie is a experimental electronic/indie project started in 2003 by Phil Elverum, formerly of The Microphones, based in Anacortes, Washington. Mount Eerie’s albums have always aimed to push into new territory, both in sound and idea, but the thread of Elverum’s voice has remained constant throughout, soft and human amid the wide range of textures and worlds. Often the lyrics have attempted to grapple with big questions, the briefness and the smallness of human life being a running theme. On occasion the music has been called “black metal” (“Wind’s Poem,” 2009), “dream landscape” (“Clear Moon,” 2012), and “raw and direct” (“Lost Wisdom,” 2008).

The new Mount Eerie album, “A Crow Looked At Me”, sounds closer to the latter; minimal instrumentation, no production, clear and heavy words right up front. The difference here is the subject matter. In 2015 Elverum’s wife, the French Canadian cartoonist and musician Geneviève Castrée, was diagnosed with a bad cancer just after giving birth to their first child. She died a year later. Elverum wrote and recored the album throughout the fall of 2016 in the same room where Geneviève died, using mostly her instruments; her guitar, her bass, her pick, her amp, her old family accordion, writing the words on her paper. The songs are about the brutal details of that experience, from the hospitalizations to the grieving, the specific domestic banalities that become existential in the context of such huge and abrupt loss. These songs are not fun. They are pretty and they are deep, and they find a love that prevails beneath the overwhelming and real sorrow. It is unlike anything else in the Mount Eerie catalog in its unvarnished expressions of personal grief, metaphor-free. The writing draws inspiration from Karl Ove Knausgaard, Julie Doiron, Gary Snyder, Sun Kil Moon, and Joanne Kyger (whose poem “Night Palace” is on the album’s cover). The sound was influenced by the spare production of the 1996 Will Oldham album “Arise Therefore”.

In high school in Anacortes Washington in 1996 Phil Elverum started calling his tapes of self-recorded noise and songs “The Microphones”. Since then he’s produced two decades worth of records that span a wide spectrum from studio heavy atmospheric landscaping to simple raw songs.

The Microphones project was nourished by and located within the community of artists around K Records in Olympia in the late 90s/early 2000s, and Phil Elverum’s musical ideas were clearly the product of the flood of independent music in the NW during those years.

After five albums the project was renamed Mount Eerie just as the Microphones were getting some unexpected attention from the widespread acclaim of “the Glow pt. 2” (2001). The Mount Eerie recordings got weirder and broader, and Elverum left K Records and began releasing everything himself, ultimately building a self-contained small town operation in Anacortes called P.W. Elverum & Sun. Radical self- sufficiency has been a theme and obsession; all all ages shows and never though a manager or booking agent, always self-recorded, hands on in all details.


October 24, 2017

Touring: Perfume Genius

Artwork by Carl Breitkreuz


  • Sydney: FRIDAY MARCH 2 @ Factory Theatre with Totally Mild + Lonelyspeck. Tickets on sale now from Ticketek.
  • Brisbane:  TUESDAY MARCH 6 @ The Zoo with The Goon Sax. Tickets on sale now from Oztix.
  • Adelaide: THURSDAY MARCH 8 @ Adelaide Festival. Tickets and info here.
  • Melbourne: FRIDAY MARCH 9 @ Melbourne Recital Centre with Totally Mild. Tickets on sale now.
  • Meredith: SATURDAY MARCH 10 @ Golden Plains. Tickets and info here.
  • Tasmania: SUNDAY MARCH 11 @ PANAMA Festival. Tickets and info here.
Mistletone very proudly summons Perfume Genius back to illuminate Australia.
  • “If you listen to the four Perfume Genius albums in chronological order, you can hear Hadreas healing himself in real time, moving toward an emancipation that seems, suddenly, to have come to pass. The center of his music has always been a defiant delicacy—a ragged, affirmative understanding of despair. No Shape finds him unexpectedly victorious” – NEW YORKER
  • “The stunning No Shape unfurls as if it were a stage show, at once incredibly grand and intimate” – THE QUIETUS
  • “Considering Perfume Genius’s first two albums catalogue a lifestyle of excess, abuse and its repercussion with tremulous intimacy, Hadreas now finds himself the missing link between Rufus Wainwright and Arca. He is a fearless and literate storyteller at home on a piano stool (like Wainwright), and a sensual artist striving to transcend the body, to be fluid and unanchored… When he is in full-frontal mode, Hadreas postures like a rock star, having what looks like a blast” – THE GUARDIAN

Known early as a poster-wraith for notorious, joyous, tortured and free boys, girls and their fellow travelers, the first two albums by Perfume Genius consisted largely of exquisite and cruelly abbreviated songs seemingly sung in the dark at a piano with all the silences left in. 2014’s Too Bright stepped out saucily onto a bigger stage, expressing, with the production help of Adrian Utley, emotions arranged all along the slippery continuum from rage to irony to love. Now with No Shape (out now via Remote Control) we have seized the vocabulary of the full expression of all music.

Here in 13 ferocious and sophisticated tracks, Mike Hadreas and his collaborators blow through church music, makeout music, an array of the gothier radio popular formats, rhythm and blues, art pop, krautrock, queer soul, the RCA Studio B sound, and then also collect some of the sounds that only exist inside Freddy Krueger. Tremolo on the electric keys. Nightclubbing. Daywalking. Peter Greenawaying, Springsteening, Syreetaing.

Luridness was a quality of music in the 1960s that is mostly since shunned. The big male crooners were all fiercely lurid as an expression of passion or lustiness or general dickability. That’s something perfect to take back. You took us to church and told us to believe in ghosts. You took us to school and told us to believe in the great American project of inclusion. Instead we started fucking to the great American project of rock and roll. There’s more than one sexy soul song here. Seduction is also spellcraft. Rock and roll was an incantation, a beg to give it up baby. It’s not that different from begging Some Thing to not let you die when you are alone and afraid.


Blake Mills – the one who produced the Alabama Shakes record and who performs with John Legend – produced the record with precision and expansion. Some things are pretty and some are blasted beyond recognition. In the studio with Shawn the engineer, Mike and Blake would hear quite different voices as they worked and they built this together.


God is all around actually and some of these songs are about being equal and some are about the witchcraft of believing. This is church music the same way Prince’s Black Album is – too dirty. It’s femme art pop the way Kate Bush’s The Dreaming is – too scary. Prayer is indistinguishable from OCD but feels a lot cleaner.


1.”I felt like when I made these other albums, people were like why are you talking about these things, and now people are going to be like, why aren’t you talking about these things, because everything’s so terrible. I’m never not talking about it. My life is existing in the fucking face of it. My music will always be in protest.”

2.”I pay my rent. I’m approaching health. The things that are bothering me personally now are less clear, are more confusing. I don’t think I really figured them out with these songs. There’s something freeing about how I don’t have it figured out. Unpacking little morsels, magnifying my discomfort, wading through buried harm, laughing at or digging in to the embarrassing drama of it all. I may never come out the other side but it’s invigorating to try and hopefully, ultimately helpful. I think a lot of them are about trying to be happy in the face of whatever bullshit I created for myself or how horrible everything and everyone is.”

3.”I can steal from people that are on the inside and act as if. I created my whole identity around never being on the inside.”


Who gets to live now? That’s a question up for active international debate. Lots of folks are getting a clear view into what they all think of us. When we can, we should not have to care. You should feel great listening here, even when you’re sad. Our job is to find love and connection and goodness. Records like this, records that make you feel like you’re 15 and just seeing the truth for the first time, are excessively rare. They’re here to remind you that you’re divine.


October 5, 2017

Touring: HTRK

HTRK photo by Jeremy Yang


  • SYDNEY: Wednesday November 15 @ Red Rattler Theatre with special guest Julianna Barwick (USA). Tickets on sale now.
  • SYDNEY: Thursday November 16 @ Cake Wines Cellar Door with special guest Julianna Barwick (USA). SOLD OUT! 
  • MELBOURNE: Sunday November 19 @ Melbourne Town Hall, headlining Melbourne Music Week. Tickets on sale now.

HTRK have announced three Australian shows in which they will be performing a mix of old and new material.

One of Australia’s most esteemed bands, HTRK is the duo of Jonnine Standish and Nigel Yang. Owing as much to the unsettling qualities of (David) Lynch and (Lydia) Lunch, mixed with industrial imagery and the surface aesthetics of synth pop, HTRK have struck a chord with fans and critics the world over.

HTRK’s 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 soundsystem. 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. It’s a potent concoction.

HTRK formed in Melbourne in 2003 as the trio of vocalist Jonnine Standish, bassist Sean Stewart (d.2010) and guitarist Nigel Yang. After six years in London, Standish and Yang returned to Australia in 2012. They have produced three critically-acclaimed studio albums for electronic labels Ghostly International and Blastfirstpetite, released locally via Mistletone. Collaborators include musician Rowland S. Howard (Marry Me Tonight LP, 2006), artists Pussykrew (Live tour visuals, 2012), artist Laure Prouvost (Poison video, 2013), designers PAGEANT (Capsule collection, 2014) and dance company Chunky Move (Supersense Festival, 2015).

• “HTRK possess an originality and mystery worthy of obsession and scrutiny, for their beautiful and damaged sound is truly, and thankfully, their own” — Nick Zinner (Yeah Yeah Yeahs)
HTRK will be joined by very special guest, the alchemical Julianna Barwick (USA), whose immersive, ethereal multi-tracked harmonies take listeners to a psychedelic other-world, creating an epic auditory landscape of huge majesty. 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”. Since her third full-length album, Will, came out on Dead Oceans Records, 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.

October 3, 2017

Touring: Julianna Barwick


  • SYDNEY: Wednesday November 15 @ Red Rattler Theatre with HTRK. Tickets on sale now.
  • SYDNEY: Thursday November 16 @ Cake Wines Cellar Door with HTRK.  * SOLD OUT!
  • MELBOURNE: Friday November 17 @ St Paul’s Cathedral (MMW Hub). With Kath Bloom (US) + Divide and Dissolve + Wilson Tanner + Kirkis (ft. Melbourne Mass Gospel Choir) + Two Steps on the Water + James Tom & Jack Doepel (Krakatau) and the T.C Lewis Pipe Organ. Tickets on sale now.

Mistletone proudly presents Julianna Barwick, returning to Australia to headline Melbourne Music Week’s opening night at St Paul’s Cathedral, curated by Smooch Records. Julianna will also play two intimate Sydney shows with renowned Australian band HTRK.

Julianna Barwick’s revelatory third full-length, Will, was a surprising left turn for the California-based experimental artist. If 2013’s Alex Somers-produced Nepenthe conjured images of gentle, thick fog rolling over desolate mountains, the self-produced Will was a late afternoon thunderstorm, a cathartic collision of sharp and soft textures that sounds looming and restorative all at once.

Barwick’s busiest period in her career to date has seen her playing piano for Yoko Ono, performing at Carnegie Hall at the annual Tibet House concert with the Flaming Lips and Philip Glass, the Rosabi EP and beer created in conjunction with brewing company Dogfish Head, and a re-imagining of Bach’s “Adagio” from Concerto In D Minor.

Barwick’s life over the past several years has largely been lived in transit, and as such the genesis of Will was not beholden to location; Barwick worked on the album in a variety of locales, from a desolate house in upstate New York to the Moog Factory in Asheville, North Carolina, to Lisbon, Portugal, the first European city to embrace Julianna’s music in 2007.

“I love touring, but it can be a wild ride,” Barwick reflects on this cycle of constant motion. “You’re constantly adjusting, assimilating, and finding yourself in life-changing situations.” Those experiences played into and helped shape Will‘s charged, unstable atmosphere: “I knew I’d be playing these songs live, so I wanted some movement,” she explains. “Something that had rhythm and low-end.”

That sense of forward propulsion is largely owed to Will‘s synth-heavy textures, an ingredient she was inspired to add to her vocal loop-heavy formula after demoing a new prototype analog sequencer for Moog during last year’s FORM Festival in Arcosanti, Arizona.

The electric current that runs through Will takes on various shapes of intoxicating instability: the orbiting chain of tones that wafts through “Nebula”, the frizzy sine waves lying under the firmament of “Same”, the haunting vocal echoes on opener “St. Apolonia” that were recorded late at night at a Lisbon train underpass, and the martial arpeggios that accompany Will‘s processional closer “See, Know”.

“While making this record, there were moments of isolation and dark currents,” Barwick admits. “I like exploring that, and I love when I come across songs that sound scary or ominous. I’ve always been curious about what goes into making a song that way.” The beguiling, beautifully complicated Will is the result of that curiosity, as well as the latest proof yet of Barwick’s irresistibly engaging talent as a composer and vocalist.

September 11, 2017

Touring: Moses Sumney

Mistletone is bowled over to present Moses Sumney‘s return to Australia as part of the Laneway Festival 2018 lineup, plus headline shows at Sydney Opera House and Melbourne Recital Centre.


  • Melbourne: Thursday 1 February @ Melbourne Recital Centre. Tickets & info here.
  • Sydney: Thursday 8 February @ Sydney Opera House. Tickets & info here.

Also playing Laneway Festival:

  • Singapore: Saturday 27 January @ Laneway Festival, Gardens by the Bay.
  • Auckland: Monday 29 January @ Laneway Festival, Albert Park Precinct
  • Adelaide: Friday 2 February @ Laneway Festival, Hart’s Mill, Port Adelaide (16+)
  • Melbourne: Saturday 3 February @ Laneway Festival, Footscray Community Arts Centre and the River’s Edge
  • Sydney: Sunday 4 February @ Laneway Festival, Sydney College of the Arts and Callan Park, Rozelle
  • Brisbane: Saturday 10 February @ Laneway Festival, Brisbane Showgrounds, Bowen Hills (16+)
  • Fremantle: Sunday 11 February @ Laneway Festival, Esplanade Reserve and West End

“Of the many striking aspects of Moses Sumney – his skyscraping height, his hallucinatory, Nina Simone-like dreamscapes, his Rolodex of starry musician friends – most intriguing of all is his voice. A feathery falsetto, often layered to celestial effect, it flutters daintily over lambent guitar and sweeping strings. It’s surely the reason that Sufjan Stevens and James Blake asked him to join them on tour. Or why Beck chose Sumney to appear on his covers compilation, Song Reader; ditto Solange Knowles, for last year’s epic A Seat at the Table. As he explains one evening in a restaurant in Echo Park, Los Angeles, sometimes singing to him “feels like dancing” – THE GUARDIAN

Since emerging onto the scene in 2014, Moses Sumney has ridden a wave of word-of-mouth praise, hushed recordings, and dynamic live performances. It’s an organic, patient ascent all too rare in today’s musical climate. In a voice both mellifluous and haunting, Sumney makes future music that transmogrifies classic tropes, like moon-colony choir reinterpretations of old jazz gems. His vocals narrate a personal journey through universal loneliness atop otherworldly compositional backdrops.

Following the self-release of his debut cassette EP, Mid-City Island, and 2015’s 7″, Seeds/Pleas, Moses Sumney has performed around the world alongside forebears like David Byrne, Karen O, Sufjan Stevens, Solange, James Blake and more. With his 2016 Lamentations EP, the California and Ghana-raised troubadour widened the spectrum of his heretofore “bedroom” music, incorporating songs that feature more elaborate production and evocative songwriting. Now his inspired ascent continues.

His proper debut album, Aromanticism is a concept album about lovelessness as a sonic dreamscape. It seeks to interrogate the social constructions around romance. The debut will include the devastating, billowing synths of “Doomed,” which in a way serves as the album’s thesis statement, as well as new versions of standouts “Lonely World” and “Plastic.” It’s a deliberate, jaw-dropping statement that can leave you both enlightened and empty.

Watch Moses Sumney perform “Doomed” live at St Stephen’s Church, Sydney:

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

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.


  • 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:


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,

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.

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.