Mitski

Mitski

Julia Jacklin, Half Waif

Fri, July 7, 2017

Doors: 7:30 pm / Show: 8:30 pm

Union Transfer

Philadelphia, PA

Sold Out

This event is all ages

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Mitski
Mitski
Mitski warmly recalls a quote from sculptor El Anatsui, “Art grows out of each particular situation, and I believe that artists are better off working with whatever their environment throws up.”

In the ever-evolving terrain of life in her early twenties, Mitski’s environment throws more than its fair share of change and discomfort and love and passion. Mitski, a recent graduate from SUNY Purchase, has turned to a new chapter of her life upon moving to New York City, and with this renaissance comes an overflowing wealth of inspiration. Mitski’s new full-length album, Bury Me at Makeout Creek, out November 11th on DDW, welcomes the changes brought on by this foray into adulthood with open arms, while maintaining a rogue streak that reels against it.

With this nerve exposed lyrically, and having dived into her new beginning, Mitski chooses the new record to explore uncharted sonic territory, trading in large string arrangements for guitar and bass. While studying composition at Purchase’s music conservatory, she had previously recorded music with a full orchestra, writing out parts in painstaking detail and organizing 60 of her peers to partake in these recordings. But as college graduation inched closer, Mitski moved away from the concert hall and into the campus’ student venue, The Stood.

“I awoke to the fact that music didn’t have to be this difficult and academic thing to be ‘good’,” Mitski says. She connected with friends at the now Brooklyn-based label Double Double Whammy, and was inspired by other artists of the Purchase circuit, like LVL UP, Porches., SIRS, Frankie Cosmos and Zona Mexicana. Upon moving to New York, she entered the stage at Death By Audio, Silent Barn, and Bed Stuy basements, entrenching her songs of love, fear, lust, and brilliant clarity into entirely sympathetic ears.

“First Love / Late Spring” is the first single off of Bury Me at Makeout Creek, gifted to listeners earlier in 2014. “I was so young when I behaved 25,” she sings on this particular song, “yet now I find I’ve grown into a tall child.” A veritable thesis speaks to sentiments of the poetry and beauty of struggling up the hill to adulthood. Mitski follows El Anatsui’s humbling advice, cathartically revealing snapshots from her adventures in youth, and the empowerment found in sharing these stories with others.
Julia Jacklin
Julia Jacklin
Julia Jacklin thought she’d be a social worker.

Growing up in the Blue Mountains to a family of teachers, Jacklin discovered an avenue to art at the age of 10, thanks to an unlikely source: Britney Spears.

Jacklin chanced upon a documentary about the pop star while on family holiday. “By the time Britney was 12 she’d achieved a lot,” says Jacklin.”I remember thinking, ‘Shit, what have I done with my life? I haven’t achieved anything.’ So I was like, ‘Mum, as soon as we get home from this holiday I need to go to singing lessons.’

Classical singing lessons were the only kind in the area, but Jacklin took to it. Voice control was crucial, and Jacklin flourished. But the lack of expression had the teen seeking substance, and she wound up in a high school band, “wearing surf clothing and doing a lot of high jumps” singing Avril Lavigne and Evanescence covers. It wasn’t much but she was hooked.

Jacklin’s second epiphany came after high school. Travelling in South America she reconnected with high school friend and future foil Liz Hughes. The two returned home to the Blue Mountains and started a band, bonding over a love of indie-Appalachian folk trio Mountain Man and the songs Hughes was writing.

“I would just sing,” says Jacklin. “But as I got my confidence I started playing guitar and writing songs. I wouldn’t be doing music now if it wasn’t for Liz or that band. I never knew it was something I could do. “

Inspired, Jacklin began educating herself. From Fiona Apple she learned to be bold with words; from Anna Calvi, the cut and presence of electric guitar; and from Angel Olsen, that interpretation triumphs over technique. Now living in a garage in Glebe and working a day job on a factory production line making essential oils, the 25-year old found time to hone her craft – to examine her turns of phrase, to observe the stretching of her friendship circles, to wonder who she was and who she might become. That document is Jacklin’s masterful debut album, Don’t Let The Kids Win – an intimate examination of a life still being lived.

Recorded at New Zealand’s Sitting Room studios with Ben Edwards (Marlon Williams, Aldous Harding, Nadia Reid), Don’t Let The Kids Win courses with the aching current of alt-country and indie-folk, augmented by Jacklin’s undeniable calling cards: her rich, distinctive voice, and her playful, observational wit.

You can hear it in opener ‘Pool Party’, a gorgeous lilt bristling with Jacklin’s tale of substance abuse by the pool; in the sparse, ‘Elizabeth’, wrestling with both devotion and admonishment of a friend; in detailing the slow-motion banality of a relationship breakdown in the woozy ‘L.A Dreams’; and in her resolve to accept the passing of time on the snappy fuzz of ‘Coming Of Age’. The album hums with peripheral insights, minute in their moments but together proving an urge to stay curious.

“I thought it was going to be a heartbreak record,” says Jacklin of Don’t Let The Kids Win. “But in hindsight I see it’s about hitting 24 and thinking, ‘What the fuck am I doing?’ I was feeling very nostalgic for my youth. When I was growing up I was so ambitious: I’m going to be this amazing social worker, save the world, a great musician, fit, an amazing writer. Then you get to mid-20s and you realise you have to focus on one thing. Even if it doesn’t pay-off, or you feel embarrassed at family occasions because you’re the poor musician still, that’s the decision I made.”

In person Jacklin is funny, wry, quick to crack a joke. It makes the blunt honesty and prickly insight laced through her songwriting disarming, a dissonance she delights in. “Especially coming from my family,” says Jacklin. “They don’t talk about feelings at all. I love writing songs about them and watching them listen and squirm. To me that’s great. I enjoy it.”

The title track was the last song Jacklin wrote for the album. “My sister’s getting married soon,” she says of the closer. “And it hit me – we used to be two young girls and now that part of our lives is over. Seeing her talking about wanting to have a baby and…it’s like, man I can’t believe we’re already here.”

Don’t mistake this awareness for nostalgia. “It’s not that I want to go back to that time at all,” says Jacklin. “It’s trying to figure out how to be responsible when you don’t identify with who you were anymore.”

“All my friends at this age are freaking out. Everyone’s constantly talking about being old. “Don’t Let The Kids Win” is saying yeah we’re getting older but it’s not so special. It’s not unique. Everyone has dealt with this and it’s going to keep feeling weird. So I’m freaking out about it too but that song is trying to convince myself: let’s live now and just be old when we’re old.”
Half Waif
Half Waif
Nandi Rose Plunkett writes, records and performs under the name Half Waif. Her music is deeply personal and engaging, reflecting her lifelong endeavor to reconcile a sense of place. Raised in the bucolic cultural hub of Williamstown, Massachusetts, Nandi was the daughter of an Indian refugee mother and an American father of Irish/Swiss descent. She was one of Williamstown’s only non-white residents. As a kid, she listened to a wide mix of music that included everything from Joni Mitchell and Tori Amos, to Celtic songstress Loreena McKennitt and traditional Indian bhajans. In college, she studied classical singing and became enamored with the works of Olivier Messiaen and Claude Debussy. Her output as Half Waif reflects these varying influences, resulting in a richly layered collage of blinking electronic soundscapes, echoes of Celtic melodies and the sad chord changes of 19th-century art music.

Next to her touring schedule as a member of Pinegrove, Half Waif has already self-released two EPs and two albums – a split 7" with Deerhoof, the Future Joys EP in 2013, and then albums KOTEKAN (produced by Devin Greenwood) in 2014, and Probable Depths (produced by Zubin Hensler) last May. It was with Probable Depths that Half Waif caught the attention of the worldwide music media, with NPR singling out track ‘Turn Me Around’ and Pitchfork awarding it their coveted Best New Track distinction. It was also during this time that Half Waif’s relationship with Cascine began.

Half Waif’s latest work is newly complete. The form/a EP is a collection of tracks that expand on her exploration of home. She explains, “there’s an inherent restlessness in the way that I write and think about sound. I’m the daughter of a refugee, and somewhere in me is this innate story of searching for a home. As a result, I have many – a collection of places that I latch onto, that inspire me, that fuse themselves to me. I’m sentimental, nostalgic – yet constantly seeking what’s next, excavating the sound of my past and coloring it to make the sound of my future. I’m a child of divorce, fiercely loved but forced into independence at a young age; I rocket into relationships with the desire to find roots, commonality, to create stillness in the midst of public noise. In this way, my songs are like the notes of a large scavenger hunt, clues pinned to trees I have known, or tucked under rocks on my path, urging the listener to keep looking a little deeper, because maybe they will find something special in the end.”

form/a was released as a limited-edition 12” in February 2017 on Half Waif’s new label home, Cascine. Half Waif is comprised of Nandi Rose Plunkett, Zack Levine and Adan Carlo.
Venue Information:
Union Transfer
1026 Spring Garden St.
Philadelphia, PA, 19123