Mistletone

HOLY FUCK HOBART SHOW:

• Thu May 1 – Brisbane Hotel with Tiger Choir, Kowl and Corney. Tickets on sale now from Moshtix.

HOLY FUCK planned to take a break.  They needed it, having toured steady from 2006 to 2011.  Instead they had babies, adopted pets, and produced records for other artists (such as METZ and Lights, earning their first gold record); they stole away to play international festivals whilst writing new material and playing small venues under secret names; they even started new bands that also went out and toured the world.

So much for the break. Now they are ready to come out of this pseudo-retirement, playing their first actual tour since 2011, in Australia.

The back story of this enigmatic Canadian band, who prefer to be called Holy Fuck but often get censored in the weirdest and most convoluted way, goes sort of like this:

In a time of polished indie-dance Holy Fuck emerged with broken casios and piles of noise-making ‘stuff’ to play sweaty frenetic shows that followed less a set-list than a spontaneous energy.  They caught the attention of Brooklyn dance punks !!! (chk chk chk) and former Antipop Consortium MC, Beans, as well as Montreal’s burgeoning buzz band Wolf Parade.  After touring with the aforementioned acts they signed with the then-brand-new XL offshoot, Young Turks.

From there it turns into a smeared blur: Coachella, Glastonbury, Lollapalooza, plane tickets and endless summers playing European festivals, a tour with MIA, shout-outs from Lou Reed, Radiohead, Michael Stipe, shows in Japan, China, Australia & New Zealand (touring for Meredith Music Festival, Laneway Festival and Harvest), a stage-invasion by hundreds of fans at Barcelona’s Primavera (destroying everything in their path), more plane tickets, more endless summers, Coachella and Glastonbury again, and another shout out from Lou Reed (RIP).

Somewhere in there is a hit-and-run on a Ohio highway, whiplash, a destroyed van, an ousting from the Canadian government surrounding the controversy of their name (saying they aren’t Canadian enough for arts funding), and swine flu.  They were voted Canada’s best live band by the CBC and were nominated for both a Polaris prize and a Juno (which we know may not mean anything to anyone not living in Canada… but all in all, not too shabby).

HOLY FUCK:

• Wed 30 April – Northcote Social Club, Melbourne with Parking Lot Experiments + DJ Ash Buscombe. This show has now SOLD OUT. Tickets on sale now for the extra show on Tuesday 29 April, added by popular demand! Get your tickets for the Tuesday night show pronto, from Corner Presents.

HOLY FUCK: extra Melbourne show by popular demand!

• Tuesday April 29 – Northcote Social Club, Melbourne with special guests Forces + DJ Ash Buscombe. Tickets on sale now from Corner Presents.

HOLY FUCK planned to take a break. They needed it, having toured steady from 2006 to 2011. Instead they had babies, adopted pets, and produced records for other artists (such as METZ and Lights, earning their first gold record); they stole away to play international festivals whilst writing new material and playing small venues under secret names; they even started new bands that also went out and toured the world.

So much for the break. Now they are ready to come out of this pseudo-retirement, playing their first actual tour since 2011, in Australia.

The back story of this enigmatic Canadian band, who prefer to be called Holy Fuck but often get censored in the weirdest and most convoluted way, goes sort of like this:

In a time of polished indie-dance Holy Fuck emerged with broken casios and piles of noise-making ‘stuff’ to play sweaty frenetic shows that followed less a set-list than a spontaneous energy. They caught the attention of Brooklyn dance punks !!! (chk chk chk) and former Antipop Consortium MC, Beans, as well as Montreal’s burgeoning buzz band Wolf Parade. After touring with the aforementioned acts they signed with the then-brand-new XL offshoot, Young Turks.

From there it turns into a smeared blur: Coachella, Glastonbury, Lollapalooza, plane tickets and endless summers playing European festivals, a tour with MIA, shout-outs from Lou Reed, Radiohead, Michael Stipe, shows in Japan, China, Australia & New Zealand (touring for Meredith Music Festival, Laneway Festival and Harvest), a stage-invasion by hundreds of fans at Barcelona’s Primavera (destroying everything in their path), more plane tickets, more endless summers, Coachella and Glastonbury again, and another shout out from Lou Reed (RIP).

Somewhere in there is a hit-and-run on a Ohio highway, whiplash, a destroyed van, an ousting from the Canadian government surrounding the controversy of their name (saying they aren’t Canadian enough for arts funding), and swine flu. They were voted Canada’s best live band by the CBC and were nominated for both a Polaris prize and a Juno (which we know may not mean anything to anyone not living in Canada… but all in all, not too shabby).

HTRK MELBOURNE LP Launch: Saturday April 26 @ The Hi-Fi with special guests New War, Regional Curse + DJ Conrad Standish. Presented by Triple R. Tickets on sale now from The Hi-Fi.

HOLY FUCK BRISBANE SHOW:

• Thu 24 April – The Zoo with Blank Realm. Co-presented with Consume + 4ZZZ. Tickets on sale now from Oztix.

HOLY FUCK planned to take a break.  They needed it, having toured steady from 2006 to 2011.  Instead they had babies, adopted pets, and produced records for other artists (such as METZ and Lights, earning their first gold record); they stole away to play international festivals whilst writing new material and playing small venues under secret names; they even started new bands that also went out and toured the world.

So much for the break. Now they are ready to come out of this pseudo-retirement, playing their first actual tour since 2011, in Australia.

The back story of this enigmatic Canadian band, who prefer to be called Holy Fuck but often get censored in the weirdest and most convoluted way, goes sort of like this:

In a time of polished indie-dance Holy Fuck emerged with broken casios and piles of noise-making ‘stuff’ to play sweaty frenetic shows that followed less a set-list than a spontaneous energy.  They caught the attention of Brooklyn dance punks !!! (chk chk chk) and former Antipop Consortium MC, Beans, as well as Montreal’s burgeoning buzz band Wolf Parade.  After touring with the aforementioned acts they signed with the then-brand-new XL offshoot, Young Turks.

From there it turns into a smeared blur: Coachella, Glastonbury, Lollapalooza, plane tickets and endless summers playing European festivals, a tour with MIA, shout-outs from Lou Reed, Radiohead, Michael Stipe, shows in Japan, China, Australia & New Zealand (touring for Meredith Music Festival, Laneway Festival and Harvest), a stage-invasion by hundreds of fans at Barcelona’s Primavera (destroying everything in their path), more plane tickets, more endless summers, Coachella and Glastonbury again, and another shout out from Lou Reed (RIP).

Somewhere in there is a hit-and-run on a Ohio highway, whiplash, a destroyed van, an ousting from the Canadian government surrounding the controversy of their name (saying they aren’t Canadian enough for arts funding), and swine flu.  They were voted Canada’s best live band by the CBC and were nominated for both a Polaris prize and a Juno (which we know may not mean anything to anyone not living in Canada… but all in all, not too shabby).

JULIA HOLTER MELBOURNE SHOW: Northcote Social Club, Friday February 14 with special guest Ducktails + Evelyn Ida Morris (Pikelet) + DJ Dan Lewis (Special Award Records). Tickets on sale now from The Corner Box Office. Presented by Triple R.

Mistletone proudly presents Julia Holter, one of the most singular artists to emerge from the groundswell of independent music in America. A Los Angeles composer who melds avant-pop and the art-song tradition, Julia Holter’s music is ambitious, yet intimate, described by Pitchfork as “bedroom pop made by somebody with pin-ups of Heidegger, Virginia Woolf and Laurie Anderson papering the walls”. Julia’s lush new album for Domino, Loud City Song, is one of the most universally critically acclaimed records this year. Julia Holter first toured Australia as a trio for Laneway Festival 2013 and now returns as a five piece, her extraordinary vocals and keyboards accompanied by cello, violin, sax and drums.

Very special guest for Julia’s return Australian tour is Ducktails, aka Brooklyn-based Matthew Mondanile, in exquisite solo performance mode. Ducktails traffics in the spaced-out pop songs one might discover in out-of-the-way thrift stores or deep in bins of 1970s private-press records—a casually sophisticated, genre-eluding pop ambience that contrasts with, yet echoes, the music Matt plays in the indie group Real Estate.

Artwork by Greedy Hen

JULIA HOLTER SYDNEY SHOW: The Standard, Wednesday February 12 with special guests Ducktails + Caitlin Park. Tickets on sale now from Moshtix. Presented by FBi.

Mistletone proudly presents Julia Holter, one of the most singular artists to emerge from the groundswell of independent music in America. A Los Angeles composer who melds avant-pop and the art-song tradition, Julia Holter’s music is ambitious, yet intimate, described by Pitchfork as “bedroom pop made by somebody with pin-ups of Heidegger, Virginia Woolf and Laurie Anderson papering the walls”. Julia’s lush new album for Domino, Loud City Song, is one of the most universally critically acclaimed records this year. Julia Holter first toured Australia as a trio for Laneway Festival 2013 and now returns as a five piece, her extraordinary vocals and keyboards accompanied by cello, violin, sax and drums.

Very special guest for Julia’s return Australian tour is Ducktails, aka Brooklyn-based Matthew Mondanile, in exquisite solo performance mode. Ducktails traffics in the spaced-out pop songs one might discover in out-of-the-way thrift stores or deep in bins of 1970s private-press records—a casually sophisticated, genre-eluding pop ambience that contrasts with, yet echoes, the music Matt plays in the indie group Real Estate.

Opener Caitlin Park takes folk and electro-acoustics to new heights with her abstract composition, sampling and film nostalgia. Her debut album MILK ANNUAL is a sprawling, intricate and heart-warming foray into the soundscapes of old films, audio books, spoken word, and minimalistic musical arrangement. Featuring performances by Holly Throsby, Aidan Roberts and a song co-written by Peter Broderick, MILK ANNUAL is inspired by the likes of Steve Reich, the Penguin Cafe Orchestra, CocoRosie and The Sleeping States. CP is currently writing her sophomore album, boasting even more sampling, a bigger sound and more filmic-esque adventure.

Mistletone is thrilled to announce Kurt Vile & The Violators, Cass McCombs and Parquet Courts as part of the epic lineup for Laneway Festival 2014 in Fremantle.

Laneway Festival 2014, Fremantle (Perth): Saturday, February 8 – Esplanade Park and West End, Fremantle. Tickets & info here.

Mistletone is thrilled to announce Kurt Vile & The Violators, Cass McCombs and Parquet Courts as part of the epic lineup for Laneway Festival 2014 in Adelaide.

Laneway Festival 2014, Adelaide: Friday, February 7 – Harts Mill, Port Adelaide. Tickets & info here.

CASS MCCOMBS SYDNEY SHOW: Thursday, February 6 @ Oxford Art Factory w/- Melodie Nelson. Tickets on sale now from Moshtix. Presented by Mistletone & 2SER.

Golden singer/songwriter of our time, CASS McCOMBS has traversed many borders, literally and figuratively, since his great debut Not The Way in 2003. Americana, bedroom pop, folk and chamber music have variously held the interest of the Baltimore native, but compelling storytelling and occasional flashes of humor are the common thread here. Cass’s 2011’s twin releases, Humour Risk and Wit’s End (Domino), highlights amongst a catalogue peppered with brilliance. His new double album for Domino Records, Big Wheel and Others, is a sprawling, visionary album that may just be his best yet. Big Wheel and Others is further proof of Cass’s status as one of his generation’s most visionary songwriters – as uncompromising, radical and counter-cultural as any other artist working today.

As Pitchfork noted, “he’s quietly become one of America’s finest chroniclers of fringe characters, a writer of heart-rending love songs and psychedelic odes to the natural world, a teller of tall-tales with a sense of humor dry as desert wood, and that rare folksinger who actually sings about the folk. Over the last decade, McCombs has been a remarkably consistent, if not publicity-averse, singer-songwriter, comparable to Bill Callahan and Will Oldham as our foremost translators of Old, Weird America into modern terms (and vice-versa).”