Laneway Presents Highasakite
Laneway Presents is excited to announce Norwegian indie rock 5-piece HIGHASAKITE are making their debut visit to Australia this coming September.
TICKETS FOR ALL SHOWS ON SALE THURSDAY, 29 MAY AT 9AM AEST
Thursday, 18 September - Oxford Art Factory, Sydney (18+)
moshtix.com.au 1300 438 849
Saturday, 20 September - Howler, Melbourne (18+)
Highasakite’s latest album Silent Treatment (out now thru Caroline Label Services) has been garnering irrefutably favourable reviews across the Norwegian press, and the positivity has well and truly gone international. Intertwining fresh, soaring vocals around synths, guitars and percussion, the result is a delightfully folk-inflected, expansive sound layered with a lush instrumentation. Lead singer Ingrid Helene Håvik displays a vocal lustre that hovers somewhere between light and shade; drawing comparisons to Lykke Li and Bjork.
The band formed after Håvik met drummer Trond Bersu at the Trondheim Jazz Conservatory and began to write, record and perform together. Starting as a duo, they soon recruited producer Thomas Dahl to help out on bass and guitar, while also adding Øystein Skar to play synthesizer and eventually Marte Eberson, also on synths and Kristoffer Lo on guitar, flugabone and percussion. Before long, Justin Vernon (Bon Iver) jumped on board as a huge supporter after seeing them at Norway’s Øya Festival in 2012 and consequently took them out on tour with him.
Silent Treatment features the rapturous single, 'Since Last Wednesday' (currently getting love from triple j and community radio) which beautifully unveils their rugged Scandinavian accent, replete with shimmering vocals, twinkling guitars and anthemic pop hooks, all the time thinly veiling a richer, darker subject matter. Once you hear Highasakite you’ll wonder how you ever got by without them, theirs is an endless sound oscillating between density and spaciousness. Silent Treatment is filled with radical texture and startling immediacy, with Håvik’s idiosyncratic vocals perfectly joining the album’s eccentricity and accessibility.