Umlaut Desole (Transparent Orange)

Melbourne-based experimental collective Umlaut return this July with their boldest, most electrifying statement to date: Desolë, the group’s third full-length album, is set for release on July.
This record not only marks a sonic evolution for the ensemble but also a significant lineup shift, welcoming long-time friend and legendary drummer Danny Heifetz (of Mr. Bungle) into the fold.
Featuring the core trio of Clinton ‘Bär’ McKinnon, Angus Leslie, and Shane Lieber, Umlaut’s ever-mutating lineup has spanned sprawling seven-piece live acts to intricate horn-laden arrangements. Now streamlined into a focused, four-member unit, Umlaut are diving headfirst into a new chapter—one forged in chemistry, intuition, and a shared love of unpredictability.
“Danny is a unique creature and one of the best drummers I could ever hope to have on my music,” states McKinnon. “He and I have both lived in Australia for probably too long but it was finally time to include him in the process. Danny will personalize his approach to the song and by the end of the process his intuition about how to approach each song is always a delightful revelation.”
‘Desolë" captures the energy of this revitalized quartet. The songs are punchy, raw, and surprisingly accessible—a calculated detour into higher-energy, hook-forward territory that still carries Umlaut’s trademark sense of chaos and mischief. “This set of songs was borne of an intention of doing some unapologetically earnest, higher-energy songs with which to bombard our sleepy audiences,” McKinnon continues. “I think it may surprise some fans with its no-holds-barred accessibility.”
For Leslie, the album represented not just a musical shift but a personal education in studio craft. “For me, making Desolë was one of the more instructive things I've done in terms of production and getting sounds,” he shares. “Initially having Idge's Soundpark studios in Northcote for a lot of the sessions, we were like kids in a candy store, with an array of organs, synthesizers, killer mics and outboard gear... Some songs like Grumpy Libarary were worked out meticulously, others like Vinnie were one basic track take only — we barely knew the song, which only adds to the energy.”
The album’s production weaves together material recorded across three different locations, lending Desolë a richly layered, shape-shifting feel—a controlled chaos honed by experience. Overdub sessions in multiple studios included everything from “chaotic percussion sessions in Danny's studio” to “re-amplified giggling and screaming into distorted amps” at Leslie’s own. Final mixes were completed at his now-closed Clifton Hill space, with engineers Michael O’Connell and Nao Anzai helping balance the madness.
As Leslie puts it: “Michael really did what I would call a bang-up job on that final stretch, alongside Nao pulling together and balancing all of our chaos.”
Reflecting on the band’s journey, bassist Shane Lieber provides context for the album’s streamlined approach. “After 2 albums, a couple EPs and multiple permutations of the live band... the nightmare of trying to accommodate so many musicians' schedules and varying levels of enthusiasm led us to scale the band back to a 4-piece.”
The pandemic years proved fertile ground for reinvention. “Bar had amassed a large selection of vocal pop/rock tunes that suited our new four-piece 'more keyboards on-stage than humans' line-up,” Lieber recalls. With their former drummer stepping aside, the opportunity finally arose to bring Heifetz into the mix. “Over a handful of rehearsals, we worked these tunes up... some being note-for-note recreations of Bar’s demos, others being workshopped and shaped by the band in the rehearsal room.”
The result is a focused, forward-looking album that fuses jazz-minded experimentation, electronic pop textures, and unmistakably Umlaut humor. At once nostalgic and new, Desolë stands as a landmark release for a band that continues to evolve while defying categorization.