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Julianna Barwick  

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If you enjoy artists that often intrigue and perplex during their live shows, Julianna Barwick may be just the performer for you. The Brooklyn based performance artist is well known for her instrumental soundscapes which are both vast and intimate all at once due to the ethereal qualities of the music composition. Her performance often leaves emotional impact on audiences as within the quietness, the drama builds and it can all become quite poignant when watching in an intimate setting.

Currently supporting her latest release 'Pacing & Nepenthe', Julianna is setting off across the US with her unique brand of ambient folk. Playing with a selection of incredibly talented musicians, the percussion and strings swirl around the room and the silence emphasises each crystal clear note before her intense, hypnotising vocal entraps you and transports you to somewhere other worldly. Her music feels like it should be the soundtrack to enchanting, bewitching fantasy film or an elegant ballet performance. It appears not to fit the tones of our hectic world, instead existing in it's own perfect dimension.

Haunting, equally simplistic glowing, intermittent light appears above them intensifying the religious, supernatural elements to the musician's performance. An incredible, emotive artist who's live show is more of an experience than a simple concert.

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Julianna was great, however the show started late by 1 1/2 hours. When there’s only two acts comprising of three musicians total, delaying the start time that long is unacceptable.

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Julianna barwick.

Composer, vocalist, and producer Julianna Barwick crafts ethereal, largely wordless soundscapes built around layered loops of her voice. Inspired by her early years singing in rural church choirs, she begins most tracks with a single phrase or refrain, then uses a loop station and hints of other instrumentation to build her songs into intricate compositions with a powerful emotional impact. Barwick’s transcendent music draws comparisons to ambient legends like Brian Eno and Steve Reich, dream pop luminaries such as Sigur Rós and Cocteau Twins, conceptual artist Meredith Monk, and the soothing sounds of new age music, but the humanity in her approach is unique. She explores the intimate and vast aspects of her sound in continually fresh ways, from the relatively down-to-earth feel of 2011’s The Magic Place to 2013’s ambitious, polished Nepenthe. Though she added more elements and collaborators on albums such as 2020’s Healing Is a Miracle, Barwick’s music remained as distinctive as ever. While growing up in Louisiana, Missouri, and Oklahoma, Barwick fell in love with vocals and the power of natural reverb, whether singing rounds in an a cappella church choir or by herself in a parking garage. Her other formative musical experiences included high school vocal lessons and listening to everything from pop and R&B like Whitney Houston and Lionel Richie to film scores (John Williams’ music for Empire of the Sun was a favorite) to alternative music icons like Björk and Tori Amos. Barwick discovered experimental music after moving to New York, where she played DIY shows and recorded exploratory guitar pieces. However, her signature approach to making music began when a friend loaned her a looping guitar pedal in 2005. She used the pedal to record her self-released 2006 debut album Sanguine, which found her discovering the parameters of her sound. Following shows in Lisbon and London, Barwick graduated to using a full-fledged loop station for June 2009’s Florine EP, another self-released collection of tracks that embellished her vocals with touches of synth and piano. The growing praise for Barwick’s music led her to remix Radiohead’s “Reckoner” and sign a deal with Asthmatic Kitty. Recorded in a Brooklyn rehearsal space and named after a giant, hollowed-out tree trunk where she sang as a girl, February 2011’s The Magic Place presented a more refined and expansive version of her transfixing sound. In the wake of the album’s acclaim, Barwick issued that April’s Frkwys Vol. 6, a recording of an October 2010 live collaboration with Ikue Mori, and that October’s The Matrimony Remixes, a collection of Magic Place reworkings by Prince Rama, Diplo, Helado Negro’s Roberto Carlos Lange, and others. She continued to work on collaborative projects into 2012, appearing on Sharon Van Etten’s album Tramp and reuniting with Lange for their project Ombre, which released the album Believe You Me that August. In 2013, Barwick returned to her solo career. She issued the Pacing seven-inch on Suicide Squeeze in March, and in August she released her third full-length Nepenthe on Dead Oceans. To make the album, she traveled to Reykjavík, Iceland to record at Sigur Rós’ studio Sundlaugin with producer Alex Somers, marking the beginning of a long-running friendship. Inspired by the death of a relative, Nepenthe’s sound was more musically and emotionally complex than Barwick’s previous work and featured the string ensemble Amiina as well as members of Múm and a young women’s choir. Like her previous releases, Nepenthe earned glowing reviews. Next came June 2014’s Rosabi EP, a collaboration with Dogfish Head Brewery that incorporated recordings of the brewery into its pieces. The following year, she performed alongside Philip Glass and Laurie Anderson at the Flaming Lips’ reimagining of Sgt. Pepper’s Lonely Hearts Club Band at Carnegie Hall and played a pair of shows with Yoko Ono. Meanwhile, she recorded her fourth album in such distinct locations as Asheville, North Carolina; upstate New York; and Lisbon, Portugal. The results were 2016’s simpler and more grounded Will, which also featured Mas Ysa’s Thomas Arsenault, Dutch cellist Maarten Vos, and Chairlift drummer Jamie Ingalls. After 16 years in New York, Barwick moved to Los Angeles in 2017. Her first project after relocating was a July 2019 performance in Lincoln, Massachusetts that was part of visual artist Doug Aitken’s nomadic art project New Horizon, which sent a mirrored hot air balloon across the state. That December, the RVNG Intl. imprint Commend There issued Circumstance Synthesis, Barwick’s AI-enhanced score for the lobby of New York’s Sister City hotel. Barwick moved to Ninja Tune for her next album, July 2020’s Healing Is a Miracle. Based on improvisations she made just for herself, the album’s pieces were created with studio monitors given to her as a gift by Somers and his partner, Sigur Rós’ Jónsi. Jónsi also contributed to the album, along with two more of Barwick’s longtime friends, harpist Mary Lattimore and producer Nosaj Thing. ~ Heather Phares, Rovi

Malibu is a French electronic musician whose work sails between ambient and ethereal.

Forever inspired by soft reverbed vocals and melodic chord progressions, Malibu’s sound is a sea of synthetic strings and choirs.

“One Life” is her first record and most matured work, released in November 2019 on both Joyful Noise Recordings and Uno Nyc. 

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Julianna Barwick Announces Will , Shares "Nebula" Video, Plots Tour

By Evan Minsker

Photo by Vera Marmelo

Julianna Barwick  has announced the follow-up to 2013's  Nepenthe .  Will is out May 6 via Dead Oceans . It features Thomas Arsenault (aka Mas Ysa), Dutch cellist Maarten Vos, and sometime Chairlift drummer Jamie Ingalls. Below, check out the artwork, tracklist, and the Derrick Belcham-directed video for "Nebula." She's also touring behind the record; scroll down to see her dates.

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," according to a press release. She said: "While making this record, there were moments of isolation and dark currents. 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."

01 St. Apolonia 02 Nebula 03 Bleached 04 Same 05 Wist 06 Big Hollow 07 Heading Home 08 Someway 09 See, Know

Julianna Barwick:

04-01 Athens, GA - Slingshot Festival at Georgia Theatre 04-14 New York, NY - Titus Theater at MoMA 04-28 Cambridge, MA - Middle East Upstairs 04-29 Portland, ME - The Space Gallery 04-30 Portsmouth, NH - 3S Artspace 05-06 Los Angeles, CA - Velaslavasay Panorama 05-07 San Francisco, CA - The Chapel 05-10 Seattle, WA - Fremont Abbey Arts Center 05-11 Portland, OR - Old Church 05-13 Mayer, AZ - Arcosanti 05-19 Durham, NC - Moogfest 2016 at First Presbyterian 06-02 Amsterdam, Netherlands - Paradiso 06-06 Paris, France - Carmen 06-07 Brussels, Belgium - La Nuit de Botanique Festival 06-08 London, England - Pickle Factory 06-15 Washington, DC - Sixth & I 06-18 Chicago, IL - Constellation 06-19 Minneapolis, MN - Cedar Cultural Center 06-23 Detroit, MI - Museum of Contemporary Art 06-24 Pittsburgh, PA - Club Cafe

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The Balance of<br>Will and Want

Will finds Julianna Barwick entering a new phase of creativity, driven by experimenting with extremes alongside cosmic serendipitous intervention, she explains to Paul Bridgewater.

I meet Julianna Barwick on a sunny afternoon in Ponta Delgada, the capital of the Azores. We’re about 2,500 miles from her home in New York and 1,500 miles from mine in London, stuck on a volcanic island in the North Atlantic.

Barwick’s new album Will is released this month. Her fourth long-player, it follows 2012’s Nepenthe , the record she recorded in Iceland with Alex Somers (Sigur Rós, Alex and Jónsi). Aside from a handful of collaborations, it was her first experience where other musicians were part of the recording process and her first outside of New York. Nepenthe saw the likes of múm guitarist Róbert Sturla Reynisson and Amiina joining Somers and Barwick in Reykjavík and the resulting record saw her, in part, channel the grief from a recent death into a creative career high.

The success of Nepenthe sealed Barwick’s place as one of the most innovative and exciting musicians working in modern experimental music. That was almost three years ago and the value of that experience still resonates with her. “With the Iceland record, it was like: here are your dates, you're going to Alex's everyday [but] I’d never had a producer before,” she tells me. “I couldn't just fiddle around. We were making a record. I didn't go over there with any demos so everything was made when we were there.

“I wanted to return to my hermity, bedroom record-making roots [but] I always forget that I don't like being alone for more than a day."

“It was busy but nothing was compromised. Even the Pacing EP was made up of Nepenthe B-sides. We made so much stuff! The partnership of Alex and me was a match made in heaven. We emailed for a year before I even went over there. I met him a couple of times in New York too. I had a good feeling about it, 100 percent of the time. There wasn't a flicker of conflict. He was the first person to be a partner in my music.”

Will is a different beast altogether. A record that distills a year of her life, it was put together in three very different places. Beginning in a friend’s house in upstate New York, Barwick then stopped off at the Moog Factory in Asheville, North Carolina before finishing off the album in Lisbon.

“I was at my friend’s house by myself for a week,” she says of the record’s origins. “I brought all my stuff and I was starting to feel the pressure. Nepenthe had been out for a while and I needed to make a record. I went up there in February last year. It was really cold, there was lots of snow and I thought it would be really romantic to go up there by myself.

“I wanted to return to my hermity, bedroom record-making roots [but] I always forget that I don't like being alone for more than a day. It was totally isolating and I was counting down the hours towards the end for my friend to come and take me back to Brooklyn.”

She kept her sanity by taking long walks everyday, grounding herself in some of the routines of Brooklyn life: “There was nothing to walk to , but I didn't have a car...I needed that standard hour of walking. You probably walk about an hour in New York every day and I needed that exercise.”

“I said to myself: Why do I always do this to myself? I never want to be alone and then I think it's like this novel romantic idea to do.”

Initially dismissing the work from that first writing and recording session (“I thought it was worthless and I didn't like anything I'd made there,” she tells me), she finally found its value after decamping to the Moog Factory. “I already knew a couple of the Moog guys from factory tours when I was in Asheville,” she says. “They're the nicest people in the world. They had me demo the Mother 32 (Moog's first tabletop semi-modular synthesizer) and said they'd give me one when it came out.”

After playing a spot at the FORM festival in Arcosanti , Barwick experimented with some ideas at the Moog soundlab. Returning to Asheville, she recreated some of the ideas she’d had alongside her output from New York. “It started to make sense, it started to come together," she explains.

"The three different places that I recorded in...they were like different seasons, different places, different emotional ties to each place, different life circumstances..."

The remaing fifty percent of Will was created in Lisbon, 900 miles away from where we meet. Barwick is in the Azores to play at the third edition of Tremor , one of the most unique small festivals in the world. Tremor was set up to revitalise the city of Ponta Delgada, São Miguel through a unique experience of music and creativity. By pushing together international artists with Portuguese bands and local musicians at Tremor, a spirit of collaboration is encouraged. It’s something Barwick can relate to. She has a very special relationship with Portugal. Many years ago, while searching online for news about Panda Bear (“I'm still a huge Panda Bear fan”, she tells me), Barwick discovered Portuguese radio show Má Fama . After adding it to her MySpace friends, she was contacted and asked to do a session. It was the start of a lifelong relationship with the Portuguese capital.

“Lisbon is maybe my favourite place on earth,” Barwick enthuses. “It’s where I got my start. I spent ten days there back in 2007…Sergio from Má Fama set up a few shows, some national radio and then he posted some of my music on his website where he was interviewing people and having them do live sets. Someone in London heard it the stuff he’d posted and asked me to come to London too. I'd played maybe five shows in New York and I just went over there with a suitcase to London and Lisbon for three weeks.”

The Lisbon connection helped break Barwick to a European audience but for her, the impact was significantly more personal: “I just fell in love with the people and the city and I was heartbroken the day I left,” she shrugs, almost at a loss to explain why. “I’ve been back six or seven times now, I think. I have so many emotional ties there and some really great friends. I got my start in music - as in doing it for real - in Lisbon.”

Julianna Barwick was born a long way from Lisbon. Raised in Lousiana until the age of five, her family moved to Missouri and then, two years later, to Oklahoma. Her father was a youth minister and a childhood of summer camps, singing and church choirs helped uncover her vocal talent. An obsession with reverb gave focus to her creative direction and the formative DNA of Barwick, the artist.

"In a way, Will seems sort of disjointed but it's just where I was at during those different points of last year..."

As a teenager at college she would sing in carparks, bathrooms and stairwells, fascinated by the way her voice would carry and echo. Barwick's first record The Magic Place was, in her own words, a search for the "perfect reverb". A dense follow-up from the debut Sanguine and Florine EPs, it saw a release via Sufjan Stevens' Asthmatic Kitty label. Some critics noted a sonic link to Björk's Medulla and Sigur Rós so hooking ups with Jónsi-collaborator Somers for its follow up, Nepenthe , wasn’t a surprise.

Will isn’t entirely a closed book in terms of collaboration although Barwick took a more controlled approach to the record’s contributions. Mas Ysa's Thomas Arsenault sent guest vocals for two tracks while Dutch cellist Maarten Vos contributed strings and, on the album's bombastic and deliberately jarring final track "See, Know", the drums of Tanlines/Chairlift percussionist Jamie Ingalls dominate.

"All three of those things were like little dreams I always had," she confides. "I always wanted a male voice on one of my songs. The second thing was cello. The third was to have someone rock out on the drums to a song. All three came true with this album. I had help from my dudes ."

As Barwick explains, it wasn't just the Lisbon environment that instrumental to Will 's completion but its people. She talks fondly of the friends she's made over several trips to Portugal. Joaquim Albergaria, one of the two drummers from Portuguese experimental psych-band Paus, she met almost a decade ago. That relationship was pivotal to finishing Will .

"Paus had just finished setting up their studio the day I arrived," Barwick tells me. "They named it Haus! I just needed a soundproof room with a piano and they were like 'cool, here's the room, piano and keys. We're going to Madeira tomorrow, do what you gotta do.'"

“Lisbon is maybe my favourite place on earth - it’s where I got my start..."

What Barwick found in the studio was both startling and perfect: Sufjan's piano. "He left it there on the last day of his Age of Adz tour," she explains. "I made The Magic Place in Sufjan's little office/practise space. Everything on The Magic Place is Sufjan's piano. And here I am in Lisbon and it's Sufjan Stevens piano! Is this for real? The fluorescent electric tape was there, there was confetti in the strings...."

In a nod back to her days singing in college stairwells, she recorded the vocals for Will 's opening song in the train underpass between the studio and the grocery store. The song, "St. Apolonia", is actually named after the station there, she tells me: "[it] was a long marble underpass, under the train station. I would sing in it every day and one day I just decided to record in it. Maaren sent the cello parts for it."

Hearing the songs from Will live is predictably transcendent. A day before we talk, Barwick plays the standout set at Tremor in the confines of the tavern-like Solar da Graca venue. "I hadn't played a show in months until last night," she tells me. "I played so many Nepenthe shows - at least 125, maybe more. My relationship to those songs has really changed.

"With the new record I only recently figured out how to do 'Nebula' and 'St Apolonia' live."

The venue was strange, I remark. It felt more like a Bavarian beer hall, the kind of place where you'd get organised to stage a coup against the local government.

"I get really excited when it's a big, giant room," she says, "but I'm creating the space artificially with all the reverb I use so based on the size I know I'll have to dial it back. Last night the speakers were behind me so you have to be mindful of the loops. I wasn't using monitors last night, that's a whole lot of sound to be picked up on the loops. But I can play any place as long as the system is decent and things go wrong in the soundcheck."

Pitchfork once described Barwick's music as "very intimate but also anonymous" and it's tempting to see Will as a subversion of that. What's changed, however, is her skill to biographise in the abstract. It's an album that reaches the listener with more clarity and resonance than anything she's ever done and yet we're no closer to Barwick than we ever were.

"The three different places that I recorded in...they were like different seasons, different places, different emotional ties to each place, different life circumstances," Barwick theorises out loud. "In a way it seems sort of disjointed but it's just kinda of like where I was at during those different points of last year."

She views the circumstances of Will 's creation as something serendipitous rather than by design: "It's cosmic, it's meant to be and I'm into that shit. It's hippy dippy, yes. All these little funny things."

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Time: by arrangement, daily Duration: 2 hours Price: 21 $ Students and children: 17 $ Language: English Included in the price: the guided tour / tram ticket

Kremlin tour – daily (closed on Thursday)

With its 20 towers and high walls, the Kremlin rises imposingly over Red Square. This world-famous fortress with its area of ​​28 hectares is home to over 800 years of Russian history. Described as the eighth wonder of the world, this historic fortress complex is the principal symbol of Russia that sits on the banks of the Moscow River. Today the Kremlin still harbors numerous secrets and has palaces and cathedrals, surrounded by Kremlin Wall. The current wall was constructed between the 15 th  and 16 th  centuries, but the original wall was made of wood around the year 1147. The Kremlin Wall became an important symbol of Moscow’s importance in the Russian Empire. This top tourist destination attracts millions of people every year and there are various sights to see. With my Kremlin tour, you will see the oldest square in the city in the heart of the Kremlin, the once largest cannon in the world and the scene of numerous dramas – from Ivan the Terrible and Napoleon to Stalin. You cannot miss this unique experience.

An advance booking and prepayment for tickets are required.

Time: by arrangement, daily (closed on Thursday) Duration: 2 hours Price on request Students and children: on request Language: English Included in the price: Kremlin tickets / the guided tour

Moscow pub crawl – Friday / Saturday

Experience the real nightlife of Moscow with my Moscow Pub Crawl and enjoy 4 pubs/bars plus 4 welcome shot drinks. Move from one bar to another and get to know travelers from around the world as well as the locals. Play fun adventure games and contests in addition to getting perks in the bars. Between the bars, move from one place to another on foot. The routes are organized as such that you will walk no more than 10 minutes between the bars. Visit the most exciting events, parties, concerts, and dance in the bars. Moscow Pub Crawl is a tour that you will never forget.

This tour runs every Friday and Saturday evening at 8 PM and you need to bring along your passport or an ID card, comfortable shoes, and wear smart casual clothes.

An advance booking and a small prepayment are required!

Time: by arrangement, daily Duration: 4 hours Price on request Language: English Included in the price: the guided tour, 4 shot drinks

1.5-hour boat trip on the Moskva River.

Taking a boat tour in Moscow on the Moskva River is a very pleasant experience. It allows you to know the city from a totally different perspective and admire the beautiful bridges. In this 1.5-hour river trip, you will sail past many beautiful sites in Moscow, so you can take the best photos to commemorate this day. The ship makes several stops on the way. The trip starts from the Ustinskiy Bridge near Sarjadje Park and ends at the Kiev train station.

On this Boat Trip, you can see sights such as: the former Imperial Education House, Sarjadje Park, the “flowing”, “floating” bridge, the most beautiful view of the Kremlin, the Great Stone Bridge, the legendary House on the Quay, the Christ the Savior Cathedral , the monument to Peter the Great on the ship, the central sports arena Luzhniki, the Sparrow Hills, 240 meters high Lomonosov University, the numerous architecturally spectacular skyscrapers of Moscow-City, the Novodevichy Convent, the building of the Ministry of Foreign Affairs etc.

Time: by arrangement, daily Duration: 1.5 hours Price on request Language: English

A military tour – riding on tanks in Stupino (Moscow region)

Russian Military is one of the largest military forces in the world formed in 1992. With my Military Tour experience what it likes to be in the Russian military, shooting guns, ride the Tank T-34 and various models of German tanks from the Second World War, as well as armored personnel carriers and vehicles. You will also shoot from the AK-47 and another combat weapon.

The tour will begin with your private tour guide Moscow in a Soviet army van accompanied with some tasty snacks and tea for a tasty start. Upon arriving, you will have to put on the army safety clothing and climb the Russian armored vehicles. The tour will take you on the noisy, smoky tank, driving through mud roads. All participants will get the chance to drive the tank which is coordinated by the Russian military.

Time: by arrangement, daily Price on request Language: English

Alexander Popov

Welcome to Russia! My name is Alexander, I was born in Moscow and I'm a passionate tour guide. I want to share my passion for Russia and my hometown with you. On my website you will find useful information to make your individual trip to Russia as interesting as possible.

Gorky Park and Sparrow Hills: Green Lungs, place to relax and meet

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