Beach House have unfolded five cosmic new songs, Chapter 2 of their forthcoming LP Once Twice Melody, out February 18 on Mistletone Records via Inertia. Pre-order the gold vinyl box or silver vinyl double LP, here.
watch lyric animations for each song from Chapter 3, below;
watch lyric animations for each song from Chapter 2, below;
watch lyric animations for each song from Chapter 1, below;
Once Twice Melody features 18 tracks, and in the leadup to the physical release, will be presented in four chapters, with lyric animations for each song. The first four-song chapter of Once Twice Melody will be available on all digital service providers from 4pm AEDT today, November 10. The entire chapter and song release schedule will be as follows:
Chapter 1 on November 10, 2021
1. Once Twice Melody 2. Superstar 3. Pink Funeral 4. Through Me
Chapter 2 on December 8, 2021
5. Runaway 6. ESP 7. New Romance 8. Over and Over
Chapter 3 on January 19, 2022
9. Sunset 10. Only You Know 11. Another Go Around 12. Masquerade 13. Illusion of Forever
Chapter 4 (full album release) on February 18, 2022
14. Finale 15. The Bells 16. Hurts to Love 17. Many Nights 18. Modern Love Stories
Once Twice Melody is available to pre-order in the following formats:
Limited “GOLD” Edition 2xLP in a gold-embossed, hinged box on gold and clear vinyl with full-color booklet and 2 exclusive posters
“SILVER” Edition 2xLP in a silver embossed black sleeve, on classic black vinyl with double-sided exclusive poster
Beach House have unfolded four cosmic new songs, Chapter 2 of their forthcoming LP Once Twice Melody, out February 18 on Mistletone Records via Inertia. Pre-order the gold vinyl box or silver vinyl double LP, here.
watch lyric animations for each song from Chapter 2, below;
watch lyric animations for each song from Chapter 1, below;
Once Twice Melody features 18 tracks, and in the leadup to the physical release, will be presented in four chapters, with lyric animations for each song. The first four-song chapter of Once Twice Melody will be available on all digital service providers from 4pm AEDT today, November 10. The entire chapter and song release schedule will be as follows:
Chapter 1 on November 10, 2021
1. Once Twice Melody 2. Superstar 3. Pink Funeral 4. Through Me
Chapter 2 on December 8, 2021
5. Runaway 6. ESP 7. New Romance 8. Over and Over
Chapter 3 on January 19, 2022
9. Sunset 10. Only You Know 11. Another Go Around 12. Masquerade 13. Illusion of Forever
Chapter 4 (full album release) on February 18, 2022
14. Finale 15. The Bells 16. Hurts to Love 17. Many Nights 18. Modern Love Stories
Once Twice Melody is available to pre-order in the following formats:
Limited “GOLD” Edition 2xLP in a gold-embossed, hinged box on gold and clear vinyl with full-color booklet and 2 exclusive posters
“SILVER” Edition 2xLP in a silver embossed black sleeve, on classic black vinyl with double-sided exclusive poster
Mistletone proudly presents Welsh-Cornish musician Gwenno returning to Australia for her first shows since 2019, to perform her stunningly atmospheric live score for Mark Jenkin’s BAFTA-winning film BAIT; and to give audiences a glimpse at her much-anticipated new album, due for release in mid-2022, with a string of solo shows.
GWENNO TOUR DATES: Saturday Jan 22 – MONA FOMA, Launceston: solo show. tickets / info here. Tuesday Jan 25 – ACMI, Melbourne: BAIT live score. tickets / info here. Friday Jan 28 – Theatre Royal, Castlemaine: BAIT live score + solo show. tickets / info here. Saturday Jan 29 – MONA FOMA, Hobart: BAIT live score. tickets / info here. Friday Feb 4 – City Recital Hall, Sydney: BAIT live score + solo show. tickets / info here.
Gwenno Saunders is a renowned sound artist, composer, DJ and radio presenter. Political, feminist and passionate about the preservation of the Welsh and Cornish languages, she is charting her own defiant course, producing brilliant music that’s free of commercial shackles. Having performed the BAIT live score at Brighton Festival and End of the Road UK, Gwenno also recently created and performed a new music score of Brecht’s Caucasian Chalk Circle for Theatr Genedlaethol Cymru (National Theatre of Wales), and remixed Manic Street Preachers and Paul Weller. In 2015, Gwenno won the Welsh Music Prize for her groundbreaking Welsh and Cornish language album, Y Dydd Olaf. Her 2018 follow up, Le Kov, was performed exclusively in Cornish (her first language) – and so the stars aligned, when Mark Jenkin asked her to be part of his extraordinary Cornish film.
click below to watch/share the trailer for BAIT:
Winner of a BAFTA for Outstanding Debut, Jenkin filmed BAIT in his native Cornwall on a vintage 16mm camera using monochrome Kodak stock. Deliberately using archaic cinematic techniques to tell a very modern story of culture clash and economic crisis in a Cornish fishing village, BAIT is a humorous, yet poignant film which will resonate with any community dealing with the impacts of gentrification and unwelcome change.
Gwenno’s electric soundscape for BAIT weaves synth loops, guitar drones and live vocals, with accompaniment by renowned Canberra experimental artist Sia Ahmad. In a statement, Gwenno said: “I’m looking forward to performing our live score to BAIT in some beautiful Australian venues, creating an ambient sonic adventure, mixing ancient, living Celtic languages with electronic textures.”
Hailed by The Guardian as “one of the defining British films of the decade”, BAIT centres on the tension between a struggling fishing community and the influx of holidaymakers who have changed the face of the area. Modern-day Cornish fisherman Martin is struggling to buy a boat while coping with family rivalry and the influx of London money, Airbnb and stag parties to his harbour village. The summer tourism season brings simmering tensions between the locals and newcomers to boiling point, with tragic consequences.
“What Gwenno did was take the film in ways that I wasn’t able to take it in,” said Mark Jenkin in conversation with directorsnotes.com. “Not just technically or musically but thematically. I think she really transformed Martin at times into a mythical godlike figure. She also mythologised the physical processes of fishing… turned them into something that was almost like a spiritual moment, which I loved. There were moments where I almost felt like standing up out of my seat, not to applaud, just through a physical reaction to the film.”
Gwenno’s accompanist for the BAIT live scores, Sia Ahmad uses guitar, keyboard, voice and electronics to create idiosyncratic sounds, most recently her new album Facade; along with sound design for dance, theatre, installation pieces and contemporary chamber composition, inspired by 20th-century avant-classical works, Indian raga form and minimalist electronic music. Gwenno and Sia Ahmad share a magical and intuitive capacity for music as a language of atmosphere and storytelling. Together, their live score performance forBAIT will bring new, emotionally potent dimensions to this tour de force of social realism.
Also not to be missed are Gwenno’s solo performances of her own crystalline music, which comes highly recommended for fans of Broadcast, Cate Le Bon and Stereolab. Gwenno’s latest solo album Le Kov swirled with ancient myths, modern themes and retro-futuristic synth lines tumbling over Krautrock and pop rhythms. Recorded entirely in Cornish, the language she learned as a child, Gwenno expounds on the joy of singing in a language that only 600 people in the world are supposed to be fluent in: “Tonally,” she says, “Cornish is a dark language, very close to Breton, a lot more Zs and Ks and Vs, which gives it a very different texture. It probably reflects the harsh landscape of Cornwall. And it’s almost like an emotional shield. Singing in Cornish, I thought, ‘Wow, no one understands me!’ I can get lost, and everyone else has to get lost, because what else can they do? It allows me to escape and find freedom in music. There’s something magical about that.”
Gwenno’s Australian tour is supported by the UK/Australia Season Patrons Board, the British Council and the Australian Government as part of the UK/Australia Season.
Mistletone is super proud to announce that we will be releasing the brilliant new album by Melbourne post-punk four-piece, Pinch Points. Process by Pinch Points will be released on March 18 on Mistletone Records (Australia/New Zealand) and Exploding in Sound (USA).
MELBOURNE 7″ LAUNCH:Pinch Points launch their debut 7″ single for Mistletone, “Reasons to be Anxious” b/w “Boy” on Sunday, December 5 for Melbourne Music Week at Max Watt’s House of Music with special guests CLAMM + Delivery + Zig Zag. tickets on sale here.
“ This band — if you’re into punk, you’re going to love them. They are so, so fun. It’s spiky, angular, awesome punk music” – ZAN ROWE, DOUBLE J
check out the life-affirming video for the first single, “Reasons to be Anxious”, directed by Jasper Fearnley & starring Brenton Aylward:
“The video is a high intensity ride, that gels perfectly with the tone of the song, following a crop-top wearing, pink haired Brenton Aylward dancing around Melbourne in an almost anxiety inducing mania to match the lyrics” – BEAT
“ ” one of the most relatable songs I’ve heard in the past two years”
– FEE B SQUARED, TRIPLE R ON “REASONS TO BE ANXIOUS”
mail order “Reasons to be Anxious” b/w “Boy” on limited edition 7″ vinyl via Bandcamp below;
Pinch Points burst forth from the Melbourne underground with their 2019 debut Moving Parts, and were hailed by Double J as “the sharpest new band in the country” and Music Victoria’s Best Breakthrough Act of 2020. The band toured with Tropical F*ck Storm, supported Amyl and the Sniffers, Kikagaku Moyo, Viagra Boys, RVG and Cash Savage and the Last Drinks, and opened 2020’s Golden Plains to a packed amphitheatre.
The hotly-anticipated new Pinch Points album Process was recorded with Anna Laverty (Courtney Barnett,Nick Cave, The Peep Tempel) and is a momentous leap forward into full-force post-punk empowerment, with 10 songs engaging with the fractures in so-called ‘Australia’ — from catastrophic bushfires, gendered violence, mental health struggles to First Nations incarceration and deaths in custody — with clear-eyed directness, along with an uncommon nuance and empathy.
The album opens with “Reasons to be Anxious”, an all-too-relatable laundry list of the fight-or-flight triggers that frazzle our nervous systems;
“I get anxious when I get a text / I get anxious when I don’t get a text / I get anxious when my doorbell rings / I get anxious about f**king anything / I get anxious when I take time off / I get anxious that I’m not good enough / I get anxious going to therapy / to try and treat my anxiety”.
The B-side, “Boy”, dives deep into the cesspool of toxic masculinity and the repressed emotions that boys are socialised to deny, with disastrous outcomes for everyone.
As the album title suggests, Process is a commentary on structural collapse; the systemic failures and baked-in inequalities that are ravaging ecosystems, the mental health system, the gig economy workforce and all aspects of our lives. The title Process also recognises the emotions processed and channelled in the songs, as a collective expression of empathy and shared grief.
A true collaboration, finding consensus from the experiences of four individual humans, Pinch Points embody music-making as an act of friendship and community, upholding the band’s shared belief in the music scene as a real-life platform for connection, strength and solidarity.
PINCH POINTS are Acacia Coates, Adam Smith, Jordan Oakley and Isabella Orsini.
On February 18, 2022, Beach House will release their eighth album, Once Twice Melody, on Mistletone Records via Inertia (AU/NZ), Sub Pop (USA) and Bella Union (UK/Europe). Pre-order the gold vinyl box or silver vinyl double LP, here.
Once Twice Melody, the first album produced entirely by Beach House, was recorded at Pachyderm studio in Cannon Falls, Minnesota; United Studio in Los Angeles; and Apple Orchard Studios in Baltimore. For the first time, a live string ensemble was used, with arrangements by David Campbell. Once Twice Melody was mostly mixed by Alan Moulder, but a few tracks were also mixed by Caesar Edmunds, Trevor Spencer, and Dave Fridmann.
Once Twice Melody features 18 tracks, and in the leadup to the physical release, will be presented in four chapters, with lyric animations for each song. The first four-song chapter of Once Twice Melody will be available on all digital service providers from 4pm AEDT today, November 10. The entire chapter and song release schedule will be as follows:
Chapter 1 on November 10, 2021
1. Once Twice Melody 2. Superstar 3. Pink Funeral 4. Through Me
Chapter 2 on December 8, 2021
5. Runaway 6. ESP 7. New Romance 8. Over and Over
Chapter 3 on January 19, 2022
9. Sunset 10. Only You Know 11. Another Go Around 12. Masquerade 13. Illusion of Forever
Chapter 4 (full album release) on February 18, 2022
14. Finale 15. The Bells 16. Hurts to Love 17. Many Nights 18. Modern Love Stories
Once Twice Melody is available to pre-order in the following formats:
Limited “GOLD” Edition 2xLP in a gold-embossed, hinged box on gold and clear vinyl with full-color booklet and 2 exclusive posters
“SILVER” Edition 2xLP in a silver embossed black sleeve, on classic black vinyl with double-sided exclusive poster
Mistletone is sad to announce that Connan Mockasin’s Australian shows can’t happen, due to lockdown and the closure of the NZ/AU travel bubble. We’re working on a Plan B and hope to reschedule soon. All tickets will be valid for rescheduled dates or refunded from point of purchase. All Vivid LIVE tickets will be refunded and we hope to find a new Sydney show soon.
CONNAN MOCKASIN TOUR DATES:
WED 11 AUG – ELTHAM HOTEL, ELTHAM NSW* SOLD OUT THU 12 AUG – ELTHAM HOTEL, ELTHAM NSW. extra show added, tickets on sale now. * FRI 13 AUG – THE TIVOLI, BRISBANE. Tickets on sale now. * MON 16 + TUE 17 AUG – VIVID LIVE, SYDNEY OPERA HOUSE. Tickets on sale now. THU 19 AUG – FORUM MELBOURNE. Early show added (6:15pm), late show (9:30pm), tickets on sale now. * presented by Jet Black Cat Music.
Take a mind-expanding trip with Te Awanga’s own kink of rock’n’roll, Connan Mockasin, a fearless psych-pop explorer who has established himself as one of the most influential musicians of his generation.
Bringing his Connan Unplugged, Bost’n ‘n Dobs’n Plugged to Australia’s east coast for a series of unique, fully seated performances, Connan will screen two never-seen-before episode of his TV “melodrama” Bost’n ‘n Dobs’n followed by an unplugged solo set. A musical chameleon and psych-pop savant par excellence, Connan Mockasin invites you to experience his strange world of sonic sensation.
Connan Mockasin is something of a mystery, even in his home country of New Zealand. Tales abound of him wandering Wellington’s streets in shoes cobbled together from motorcycle tyres and sheepskin (hence the surname); and projects with backstories about immunodeficient lounge lizards and human-dolphin love affairs.
Then there’s his legion of famous fans and collaborators— including Radiohead’s Thom Yorke, Tyler the Creator, Charlotte Gainsbourg, James Blake, Dev Hynes aka Blood Orange, MGMT and Mac DeMarco —who’ve been drawn to his snail’s pace R&B, dulcet falsetto, woozy psychedelia and disregard for recording industry release schedules.
With his singular talent for mixing psychedelic pop, trippy funk, experimental glam and prog rock, Connan Mockasin has made a reputation as an entrancing performer – and his live act has drawn ecstatic raves and head-scratching puzzlement in seemingly equal doses.
A prodigious musician and singular producer, Connan followed up his jazzy, soft rock inspired Forever Dolphin Love and its sultry follow-up, Caramel, with his most recent album Jassbusters which saw Mockasin roaming across country rock, soul and musical surrealism. Taking advantage of the New Zealand travel bubble, Connan brings his magic across the pond to Australia’s east coast.
“Connan Mockasin has the musical charm to bend notes in agreeable ways right up to the edge of good tuning.” – Neil Finn
Mistletone proudly presents “On Time,” a Parquet Courts concert livestream and retrospective in celebration of the 10th anniversary of their first show. Thursday December 10, 8pm AEDT with a 48 Hour rebroadcast; tickets here.
Parquet Courts have been praised as one of the decade’s essential bands. Over the years, they’ve released five acclaimed studio albums, countless EPs and singles, and played over a thousand shows. Their influence reverberates through New York City’s music scene to Australian shores, where they’ve toured five times in 10 years.
Lyrically, Parquet Courts’ songs have revealed a desperately prescient quality, as narratives of isolation, climate catastrophe, technological dependence, and police brutality pepper their body of work and have materialised years later in some of this decade’s darker moments. Yet through this all, the band’s positive calls to action continue to invigorate audiences to fight through their malaise and to find it within themselves to move. It’s this polarity of cause and response, inventive action spurred by repulsed reaction, that led writer Lindsay Zoladz to call them “one of the most vital rock bands working today” in her Slate column at the end of 2018.
On Time with Parquet Courts celebrates their 10th anniversary with a concert livestream and retrospective. This special show, filmed live at Brooklyn’s Pioneer Works, commemorates their first show ever, which took place at Monster Island on December 17th, 2010. It will feature rare archival footage, new interviews, exclusive merch available only to ticket buyers, and much more. The band adds: “Ten years ago our adventure began by playing our first show to virtually no one, and to celebrate we’ve decided to play a show to everyone, virtually.”
In conjunction, Parquet Courts unveil the classically jittery “Hey Bug,” a previously unreleased track that came from “Sunbathing Animal”LP session.
“If I remember correctly, it would have been recorded at Seaside Lounge in Brooklyn, during the fall of 2013. We were working there with our pal Jonathan Schenke, who had recorded Light Up Gold, but this time in a studio rather than a practice space,” says A. Savage.
“We’d have been recording material for “Tally All the Things That You Broke”and Sunbathing Animal. Editing the sequence for a record is often a tough process, and when it’s over it’s typically such a relief that I’ll purge it from my memory entirely. And now I’m listening to ‘Hey Bug’ these seven years later and thinking what a cool song it is. That period was a frenzy of writing and I know it’s not the only unreleased song from that session. So here you are, our lone musical contribution in the year 2020: ‘Hey Bug’ (recorded 2013).”
photo by Samantha York
Praise for Parquet Courts :
“Parquet Courts offer a fine testament to rock’s continued power and relevance.” – Pitchfork
“The most exciting young rock band in America” – Rolling Stone
“These musicians are self-styled rock traditionalists at a time when tradition is in short supply… you could call them a New York heritage band, if such a thing exists today.” –New York Times
“It’s workmanlike rock…rock molded to make you shake and rattle and roll; rock to enhance or expel the rage and despair you feel about everything that exists outside your front door.” – GQ
“Originality in rock music has never been about creating something out of nothing. It’s about creating something out of a previous something and making that new something feel young, vibrant, and sexy. This is what Parquet Courts does exceedingly well.”- Grantland
Mistletone is proud to release the debut solo album by Philly-born, Canberra-dwelling John Sharkey III. Shoot Out The Cameras is out March 5 on Mistletone (AU/NZ) and 12XU (USA); pre-order vinyl here. The arresting first single, “I Found Everyone This Way”, can be heard below.
Written and recorded amidst the devastating bushfires which ravaged his adopted hometown Canberra, just before the wave of pandemic broke, Shoot Out The Cameras reveals John Sharkey III to be a master craftsman; honing in on the existential dread of living in a burning world, and the imperative to find beauty in what remains.
Perhaps best known as the creative force behind confrontational noise-punk band Clockcleaner, which erupted from the fertile soil of Philly’s DIY scene in the 00s, Sharkey’s solid underground creds include hardcore/punk bands such as 9 Shocks Terror and more recently, literate indie-rock explorations as Puerto Rico Flowers and Dark Blue.
It was love (of course) that brought Sharkey from Philly to Melbourne in 2008, where he worked behind the bar at beloved venue, The Tote. Sharkey and his partner Yasmin moved back to Philly for several years; then, amid the darkening landscape of US politics, the couple decided to settle in Canberra, Yasmin’s hometown. A lunatic sports fan, Sharkey adopted the Canberra Raiders with the same fervour as his beloved Philly Eagles, and has connected with hardcore Rugby League fans, making several guest appearances on the wildly popular NRL Boom Rookies podcast.
At a physical but not psychological remove from the horrifying dysfunction of Trump’s America, Sharkey watched catastrophic bushfires encircle Canberra, raging through the hills of the Southern Tablelands, the city glowing orange, the suburbs suffocating in smoke. This is when the songs of Shoot Out The Cameras took form.
As if to echo the craters of “before” and “after” that apocalyptic events leave in our collective consciousness, the songs arranged themselves into a cinematic narrative arc, from the foreboding of disaster (Side A) through its aftermath (Side B). The background horrors of totalitarianism, paranoia and surveillance also stalk the album – the cameras of the title inspired by Canberra’s omnipresent CCTV and speed cameras – just to add to the unmistakable sense of impending doom.
Such heavy subject matter brought into his music, for the first time, a treasure that Sharkey had carried within him since his teens; the mighty influence of one of Americana’s great auteurs, Iris Dement. Dement’s ability to cut to the bone, in her sweet and devastating songs, deeply informed Sharkey’s songwriting on Shoot Out The Cameras.
“My grandmother raised me on country music – Ray Price and Patsy Cline”, Sharkey recalls. “When I was 12, my mother would flog Iris Dement’s first two albums on drives to the beach. I was into Black Flag, but come 16 or 17, I was sneaking into the car to steal her tapes. Iris Dement crept into my psyche, and never left. She taught me not to hold back, when it comes to death or sorrow, doubling down on depressive lyrics.”
Fate intervened in the shaggy shape of Philly hero Kurt Vile, who invited Sharkey onstage when he toured Canberra last year. In the audience that night was Canberra native Nick Craft, who stood mouth agape as Sharkey sang pristine country harmonies with Vile on a cover of The Highwaymen’s “Silver Stallion”. Once Craft heard Sharkey’s demos, he urged him to make an album.
Holed up in a small studio on Queanbeyan’s industrial estate, Sharkey and Craft captured Shoot Out The Cameras in two marathon sessions. Beautifully recorded, the starkness of Sharkey’s lyrical imagery and pit-of-the-stomach emotions are honoured with nothing more than guitar and voice, and, on the album’s closer, the glisten of Philly homie Mary Lattimore’s harp.
The result is an album of searing emotional depth, which faces the onslaught of disaster unflinchingly, with the hope and determination that families and communities must muster to pull through the personal and collective nightmares we all face. Sharkey remains a staunch optimist, his love for his adopted Australia only strengthened by watching it burn.
“We will adapt, we will get through this together,” he vows. “The most important thing to have in your arsenal of emotions is empathy. Not many people have it; so you have to build your own resilience and strength to deal with that too. You have to be tougher than anything the world can throw at you.”
Titans of Melbourne’s live music scene Cash Savage and the Last Drinks have announced a live LP, Live At Hamer Hall, out on Mistletone Records via Inertia on November 27.
This stunning live album documents a lockdown performance by Cash Savage and the Last Drinks in the iconic venue, and captures the ferocity of the band’s live show, astonishingly without an audience.
watch footage from Hamer Hall for the new and previously unreleased single, “Fun in the Sun”:
Cash Savage explains the grim backstory of “Fun in the Sun”: “We’ve watched the world get hotter. We’ve watched Australia burn. We’ve watched as year after year the top scientists get disregarded by the dickheads we’ve voted for. We’ve been warned, we’ve been shown, we can feel it, we know it’s real, it’s the end of mammals, it’s the end of society, it’s the end.
“But what a beautiful sunny day it is today. Better put your hat on and some SPF 50+ sunscreen and disengage, because that’s all we have left.”
Reflecting on the Hamer Hall performance, she adds; “There were mixed emotions going into this performance. Melbourne had fared well through the first lockdown, and as we were rehearsing for this, it felt like we were going to come out of it okay. By the time we performed, it was the very beginnings of the second wave.
“Having the opportunity to play Hamer Hall was huge. It was an adjustment of expectations to think of it as a gig with no audience. We decided to make this something different — not a gig with no audience — its own thing. A performance in one movement. No gaps, no empty space. No back and forth with the crowd. Just us.
“We didn’t intend on releasing it when we recorded it. It was performed for the moment.
“When we received the first mix, Melbourne’s COVID-19 situation had got worse. Nao Anzai’s mix was epic, and listening to it — knowing it was going to be a while before we could perform again — made it even more precious.
“The band and I are very proud of this performance and appreciate how special it is, in this time, to have been able to do it.”
LIVE AT HAMER HALL TRACK LISTING:
01 Intro-Falling, Landing
02 Rat-a-tat-tat
03 February
04 Human, I Am
05 Good Citizens
06 Better Than That
07 Collapse
08 Fun In The Sun
09 Sunday
10 Pack Animals
photo: Naomi Lee Beveridge
Previous albums by Cash Savage and The Last Drinks, Good Citizens and One Of Us are available on mail order LPs or CDs here.
ABOUT CASH SAVAGE AND THE LAST DRINKS
“One of the most powerful bands in the country… you won’t hear much that’s better than this” – THE GUARDIAN
“A f**king spectacular live phenomenon” – BEAT MAGAZINE
Cash Savage & The Last Drinks are a critically acclaimed, internationally renowned seven piece band with strong ties to the Melbourne music scene.
Since forming in 2009, Cash Savage & The Last Drinks have played countless shows across the country, as well as embarking on five European tours. Some highlights include: Meredith Music Festival, Golden Plains, Boogie Fest, Wave Rock, Darwin Festival, Adelaide Fringe, Adelaide Festival, Orange Blossom Special Festival (DE), Binic Blues Festival (FR) and Colours of Ostrava Festival (CZ).
The band’s most recent album Good Citizens (Mistletone, 2018) was universally lauded by their fans and local and international music media. Good Citizens topped The Guardian’s ‘Top 10 Australian albums of 2018’ list, and also featured in The Sydney Morning Herald’s Top 10 albums of 2018 and The Financial Review’s Top 10 albums of 2018. It was Album of the Week on RRR FM, PBS and RTR-FM.
The album’s lead single, Better Than That, written about Savage’s personal struggle with Australia’s Marriage Plebiscite, was cited by The Guardian as one of the ‘great Aussie protest songs’; and Radio Eins Berlin placed the single Pack Animals in their Top 100 Songs of the Decade list.
In the wake of the release of Good Citizens, Cash Savage & The Last Drinks were nominated for the Music Victoria award for Best Band and Best Song 2019, as well as the National Live Music Award for Best Rock Band 2019 and Live Instrumentalist of the Year 2019 (Kat Mear, violin). Good Citizens was long listed for the Australian Music Prize.
The band’s 2016 album One Of Us (Mistletone/Beast Records) was also released to critical acclaim. It was Album of the Week on RRRFM, PBS, RTR-FM, Beat Magazine, received 4.5 stars in The Age and 4 stars in the Herald Sun.
Current Last Drinks:
Cash Savage Vocals Guitar / Joe White Guitar / Dougal Shaw Guitar / Nick Finch Bass / Kat Mear Violin / Roshan Khozouei Keys / Rene Mancuso Drums
Join Kaitlyn Aurelia Smith on Thursday, August 13th at 8pm AEST for a special, one-off livestream premiere of The Mosaic of Transformation, featuring visuals by Sean Hellfritsch (who has made videos for BJÖRK, GRIZZLY BEAR and PANDA BEAR amongst others, and records music as Cool Maritime).
This is a global livestream event with three different time zones to accommodate fans from around the world: make sure you choose the best time zone for you before purchasing. Buy a ticket here.
A message from Kaitlyn Aurelia Smith: “It has been challenging to accept that I may not play the live set I prepared for my most recent album for a long time… Instead I have decided to create a virtual performance so it can still be shared. I’m sorry I can’t be there in person… live performance has always been such a special form of connection. I have hope that new ways of connecting will continue to grow. Your support means so much and I can’t wait for you to experience my album in this way. A portion of proceeds will benefit Black Trans Femmes in the Arts. Thank you in advance for your kindness and generosity.”
//// presented by Mistletone. https://kaitlynaureliasmith.com
