The Bristol Germ (Chapter I: ‘The Noble Crusade Begins!!)

I

CHAPTER I THE NOBLE CRUSADE BEGINS!!

DRAW CLOSE, dear friends…

LISTEN (Amazed and Inspired) To the PREVIOUSLY-UNTOLD STORY of a Vibrant, Eclectic group of

ARTISTIC GENIUSES, Bound together as a COMMUNITY of

Friends and Equals in the city of BRISTOL, England.

THE STORY SO FAR… (ALASTAIR SHUTTLEWORTH: CREATOR & EDITOR) …is complicated, being comprised of many different projects and voices over the course seven-orso years. As it evades a clear ‘narrative’, this story will be told through a series of ever-intertwining interviews with the characters involved; however, this first group can be contextualised like so: In 2010, several Bristol musicians formed the Young Echo collective, ushering in a new wave of avant-garde electronic music. A year later, a then-struggling noise-rock band called Spectres moved to Bristol from Devon, and the guitarists- Joe Hatt and Adrian Dutt- founded Howling Owl Records.

After a disgruntled promoter quickly got Howling Owl banned from almost every venue in Bristol, the label started putting on shows in non-venues such as crypts and scout huts, attracting an eclectic clutch of new artists such as Velcro Hooks, Towns and The Naturals; in 2013 they had their first breakthrough release with ‘A Brief Introduction to Unnatural Lightyears’ the debut album by Oliver Wilde. Around this time, several other exciting DIY labels emerged in the city, such as Stolen Body Records and Art is Hard. Local celebrity and music-expert Big Jeff, who since 2002 has been going to 7 gigs a week, acted as an advocate for these new projects, while local filmmaker James Hankins began creating music videos for them. Under the direct or indirect influence of Young Echo, new projects Giant Swan and Silver Waves began using elements of the guitar-band aesthetic to create challenging new forms of electronic music. This burst of activity catalysed the coalescence of many new bands, labels and promoters around the city into a tight-knit community, paving the way for a glut of excellent new projects in 2014/15: Towns disbanded and reincarnated as Jesuits, Velcro Hooks died in a blaze of glory just as Milos Planes began their ascendance, and Iceman Furniss rose to acclaim with their strange and abrasive brand of no-wave jazz. IDLES (who had spent years in relative obscurity, vacillating between styles) settled on a muscular post-punk sound, and became the city’s biggest breakthrough act in recent memory. In 2016, Thorny’s leftfield club-nights gained increasing acclaim, local guitar music gained fresh representation in Breakfast Records, and the community welcomed a clutch of brand new artists in Van Zeller, LICE and Scalping.

I made this magazine out of a deep love for this paradise of a city, its music and its people. I also created it out of a white-hot hatred of most elements of the music press here and in London; in failing to adequately publicise this city’s music, these people have wasted their platform, and failed a public who are starved of genuinely interesting music. While these artists generally don’t crave outside recognition, their lack of promotion by the press has deprived the masses of some very important art that (were it given the exposure it deserves) could transform this country’s cultural landscape irreversibly. I am the magazine’s only ‘writer’, but almost every interview was done by email; I had the interviewees write their answers, so their crucially different voices remained as unmediated by my own as possible. There are no page numbers, to discourage readers from flipping to/over specific interviews; they are all connected, and must all be read. Artists are included if I think the public should know about them, regardless of whether they actually care about the publicity or not. The magazine will come out as often as it needs to.

This magazine is dedicated to my beautiful Mom (my constant sounding-board and partner-incrime) who suggested I start a magazine in the first place. It is dedicated to my heroic Dad ‘The Prof’, who has recently gotten two ground-breaking cancer drugs he designed into clinical trials, but has still always found the time to give me advice about the mag over a couple of beers. It is dedicated to my sister Rachel, of whose own work in music-journalism I am embarrassingly proud. It is dedicated to my friends Sam, Guy, Toom, Aliesha, Henry, Will, Eleanor and Anna. It is dedicated to my MPhil supervisor Dr. Stephen Cheeke. It is dedicated to the interviewees. I hope you all enjoy this magazine; it was really fun to make.

THIS ILLUSTRATED MUSIC MAGAZINE Documents and Promotes this exciting new moment in underground and avant-garde music, driven by a community of artists creating world-beating records and shows, united by a fierce DIY ethic.

This document is comprised of IN-DEPTH INTERVIEWS with the Cast of Characters driving this epoch, ORIGINAL ARTWORK by the city’s best illustrators, adverts for TRUSTED OUTPOSTS of cultural significance (most based here, some not), and FOUR MANIFESTOS outlining iniquities which influenced this magazine.

ENJOY, ABSORB, BE ENLIGHTENED.

LIST OF IMMORTALS (INDEX) Howling Owl Records Giant Swan Oliver Wilde (Manifesto 1: Bad Music Journalists) Spectres Thorny Milos Planes Breakfast Records (Manifesto 2: Venue-Closure) Jesuits Silver Waves IDLES The Iceman Furniss Quartet (Manifesto 3: ‘Scenes’) James Hankins Big Jeff (Manifesto 4: Great Art) ‘New Crusaders’: Scalping, Van Zeller, LICE Young Echo

HOWLING OWL CRUCIALLY IMPORTANT DIY LABEL, CATALYSING LOCAL MUSIC AND RUFFLING FEATHERS SINCE 2011.

Many people would regard the creation of Howling Owl Records as having catalysed a new ‘phase’ in Bristol’s

music; in re—jigging the live circuit, drawing together an eclectic mix of new artists and attracting a great deal of national attention, many people regard you as having fostered a fairly well-defined ‘moment’ in the city’s music.

How far would you agree with that? What was Bristol’s music scene like when you first moved here, and how different does it look today?

Adrian Dutt: Bristol is an ever evolving, and moving entity.

We exist in one small part of that. When we moved here we didn’t know anyone, except each other. Through going to gigs we started seeing these amazing bands, and it was only natural to become friends, then we realised we could put their music out because they trusted us and we liked the challenge. As a collective we’ve all grown together and supported each other and those who aren’t seen as ‘Howling Owl’ etc. Bristol is such a special city when it comes to music, it is vibrating with talent and has minimal ego. The landscape hasn’t shifted massively since we first spread our wings, if anything the network of bands, promoters and artists has grown, and cross pollinated. The people who are negative always wither into the shadows and live behind their keyboards now. I would like to think people maybe look back at what we have achieved and think of it as something special, because being part of it certainly has felt that way.

How did the two of you meet? Many people will know that you both play in Spectres and moved here with the band in 2011, but when did you first have the ambition to set up a label?

AD: We met a long time ago when Joe interviewed me for his skateboard zine. There weren’t many people in our town doing anything DIY or creative, so our paths kept crossing. We eventually worked together on zines and nights, and I always knew deep down he’d ruin my life one day so it was only natural to start a band with him. We quickly realised we had bigger aspirations when we moved here, and all the DIY influence and experience we’d built up was smashed together and Howling Owl was born.

Almost immediately after setting up here, you got in an argument with a promoter which saw you banned from virtually every venue in Bristol; can you tell me more about that? Did you find it difficult to gain acceptance within the local music community after that, and at what point do you believe you did?

AD: If anything that was undoubtedly a key turning point in the Owl timeline. Up to that point we were eager to please, and naively willing to pander to the promoters and venue owners because we were fresh, new and it was all we knew. In its purest form, we were releasing The Naturals debut 7”, we were putting on a show with another promoter in a venue, and we got screwed over. When we questioned the figures all sorts of accusations were thrown at us, and as a result we were added to the Bristol blacklist and told nobody would want to work with us again. They were right, and it was the best thing that could have happened to us.

We had to start thinking outside of the box, finding new locations, we started putting on shows which were moneyhaemorrhaging logistical nightmares, but we had never been happier. When the lights come up at the end of the night in a beer soaked art gallery, covered in feathers and sweaty half naked torsos, we know everyone’s had fun, and nobody’s Dad got nutted in the process.

Members: Adrian Dutt, Joe Hatt Members: Adrian Dutt, Illustration: Adrian DuttJoe Hatt Illustration: Adrian Dutt

We were never interested in acceptance, and I don’t think we ever have been by the Bristol old guard, but that’s the same as Spectres really, if those guys are so concerned with what we are doing, they are just wasting their own time, which is sad and life affirming for us. In terms of people coming to shows, I don’t really know how much the ‘promoter’ or ‘label’ really matters, if the shows, atmosphere and bands are good and genuine, people will go. Only one promoter gave us a chance though all this, and that was Matt Aitken, and that was probably only because he doesn’t read his emails. So we can all blame him for any of the bad stuff.

You have put on many memorable shows in bizarre locations, beginning with a show in a 13 century crypt; what would you say your favourite has been?

th

AD: For me, I think the Velcro Hooks show in a Diving School, and the Spectres EP launch in BV studios. Both involved utter carnage and hours of clean-up whilst being sick the next day.

We always say no more feathers, but they always come back. I’m also very fond of the Great Escape stage we curated, taking Towns, Velcro Hooks, The Naturals and Spectres up to Brighton and causing utter chaos; we ended the night by putting Joe in a giant owl suit, walking him to the beach and burning the owl totem along with our future hopes and dreams. Every NYNN is always amazing, I get to see Joe put together these events and I wonder how he is not dead yet. All that build up, then a big January blow out, I am sad but happy it is going to be the last one next year.

It seems that a very tight-knit group of artists formed around the label quite quickly, including Velcro Hooks, Oliver Wilde and The Naturals.

How did you meet each of these bands? Did that infrastructure feel unique at the time?

AD: We met by going to shows, and seeing the bands. When people have a shared drive for creativity, it’s easy to make friends. I feel so lucky to know all these people, and genuinely humbled they let us into their lives. Joe and I actually saw The Naturals a few months before we moved here, and we were blown away. As soon as we were settled we went to a show and introduced ourselves, I think they thought we were weird so they ignored us. Luckily the planets aligned and they let us into their lives.

With Oli, again a twist of fate had actually bought us together almost 12 months earlier, but it wasn’t until he and I both started working at Rise that we realised we knew each other. It was an awkward conversation as we both disliked each other’s bands at the time. I quickly ate my words though as I discovered he made some of the most beautiful music I’d ever heard.

Overall though, I genuinely believe we were just a tiny part of a bigger movement, where a unique collective of bands became friends, united by a passion, and we were lucky enough to put it under the Owl umbrella for a bit. It felt unique to us because we came from a small town where there was only ego, competition and surf rock.

When I met you, Howling Owl and London’s Sonic Cathedral were part-way through a campaign called ‘Record Store Day is Dying’, in which you printed 365 copies of a Spectres/ Lorelle Meets The Obsolete split single and released one per day for the whole year. What inspired that project? Were there any ‘days’ you are particularly proud of from it?

AD: Because Record store day lost its identity, ethos and direction. The message and idea comes from a great place, and the first few years were so good. But now it is a corporate vehicle for major labels to offload tat. People forget I’ve worked in independent record shops for every single RSD, so I get to see everything, the highs, the benefits (it used to keep the shop I worked in alive for the other 364 days a year) and the downfalls (being left with huge amounts of unsellable records). Our statement reached a lot of people, and was widely agreed with, but we were still fed to the wolves on countless occasions. Logistically it destroyed us, but that was the fun part. We had to plan every single day, putting them online, nailing them to wooden crosses, putting them in the nativity scene at Bristol cathedral on Christmas eve, and on top of that we were giving record shops the records for free, and people were hunting them down, and it was all very exciting. Bristol Live once used our campaign as a footnote in their RSD article, saying if you were so inclined you could find a copy in the tesco skip or a harbourside gutter, which although highlighted that they (along with most other music magazines) didn’t get it or have the balls to highlight the day’s problems, just made it all more worthwhile because that’s ironically where we’d always prefer to be.

Dom Mitchison of The Malthouse Studios has essentially been Howling Owl’s in-house producer, recording almost everything the label’s released; how did this relationship with Dom develop?

AD: Dom is a humble, honest and intelligent man so I’m not sure how he ended up in our talons. We fell in love with Velcro Hooks from day 1 and the relationship grew from there. The level of work and output he has been part of is, quite frankly, ridiculous. His work rate and ethic is untouchable, a complete God. As a band we’ve recorded with people in big studios, who flaunt the names and gold discs on the wall, and every time those people treat you like another job. They clock in, drift along, and then turf you out. Dom got inside of us, made us, and is now one of us. He doesn’t shout about himself enough, which in a selfish way is how I’d like it to stay, but there’s a reason why records he works on are critically acclaimed, and that’s because he is the heart behind that recording desk, pumping the blood into the bands.

What would you say is the release you’re proudest of?

AD: Whichever release finally kills us

HOWLING

You released Klein’s album on a diamante necklace, The Gnarwhals’ album on a skateboard, and (most recently) Tara Clerkin’s album with clay heads she’d made herself. What inspires you to be so imaginative with your releases?

AD: There are already countless record labels, so it’d be arrogant of us to just start one and expect people to start taking a risk on something new with us if we weren’t offering something special. It was important for us to create an identity from the beginning. We had no money, so we had to release the first few things on tapes we recorded ourselves, all individually, without high speed dubbing or on hand drawn t-shirts etc. We are both artists and that feeds in to our love for releasing and making music. We like to push the boundaries slightly so it was fun to think of what we could release music on/in/as part of. We obviously are hugely influenced by the 80s US zine and DIY scene, so that informed us constantly. There is something so satisfying about recording tapes, making zines, screen-printing an LP cover etc., because someone is going to interact with it, and hopefully enjoy it. We were careful not to be too gimmicky, or release things in pointlessly small quantities because we wanted more than just our friends or the bands to be listening to the music.

As with your band Spectres, Howling Owl has been very open in attacking the ills of the music industry. You have now been running the label for over six years- in that time, how do you think things have changed for small labels like yours?

AD: It was the small labels that kept vinyl alive, pressing short runs of 7”s and albums, now it’s almost too expensive to legitimately exist as a label. We’ve never gone about this as a business, it has never made money, we perpetually throw any profit we make into the next moneysapping idea. Sometimes bands break up, or move on, which puts us back in the red and we start again. The internet certainly exposes people to more music and labels, but in the same manner people’s attention spans are gone, it’s a lot tougher to keep a listener’s attention these days. Especially when major labels create small ‘DIY’ labels so they can grow a band ‘organically’. The industry is a shady place and I hope we aren’t part of it. When we dipped our toes into distribution and the seedy world of marketing/PR etc., we almost lost our legs. If a small indie label has the right heart, it will be ok.

When Howling Owl Records started, it was essentially a guitar-label, releasing the likes of Velcro Hooks, Towns and Oliver Wilde. Over the past couple of years, Howling Owl has undergone a shift to become more of a left-field electronic label, releasing the likes of Silver Waves and Giant Swan. Why is that? Do you think that is indicative of a wider shift in Bristol’s music towards experimentation?

AD: It’s more of a reflection of our eyes and ears being opened to more experimentation, that has always been prevalent in the city. There was pretty much no electronic/noise scene where we came from and all we really knew was other guitar bands, so when we first moved it was only natural for us to embed ourselves in that safety net. Giant Swan came out of the Naturals, and Silver Waves is Dylan Mallett who came to some of the earliest Howling Owl events, so these are people who we have been close to for a long time and their progression has inspired ours.

A couple of your recent major releasesKlein’s debut album ‘Only’ and Blood Sport’s ‘Live at Café Oto’- have been from further afield; Klein is from London, and Blood Sport are from Sheffield. Is this a conscious expansion of the label beyond Bristol? How did you come across these acts?

Joe Hatt: We’ve never seen Howling Owl as a Bristol only thing, and being in a touring band as well as my day job has led us to meeting and working with artists all over Europe. It was Felix from The Naturals who sent me Klein’s music a couple of years ago and I was instantly knocked out by her work. Adrian and Junkins [James Hankins] were convinced that the Natural’s boys had invented this character ‘Klein’ as it was so up my street but how silly they were. It has been really fun being part of her deserved ascendance. Blood Sport are band that I built a relationship with through work, then we put them on a couple of times in Bristol and they became a favourite here because they are unbelievably great live.

They asked us to put out the live record which was an honour. I was at the show that the live recording was taken from which is nice, for me. We’d also released artists from places such as Texas, Berlin and Athens before either of these so it’s not particularly something new for us I guess.

Photograph: Guy Pugh

What impression do you like to think you’ve left on Bristol so far?

JH: It would be nice to think that we’ve inspired other people to start labels and be adventurous with putting nights on etc. but we wouldn’t want to claim anything like that, as who knows? We know we have annoyed way more people than we have touched in a positive way, but hopefully the fact we are still going and have been able to keep being a label and putting elaborate nights on without any funding/ kick-starters/ philanthropy should prove that it can be done. If we have left any impression at all then that is enough for us.

What is next for the label?

JH: See what other bands we can break up, see how much more money we can lose I feel like I happened to meet you at the start of a new phase in Bristol’s music: Autumn 2015. Jesuits, rising from the ashes of label cornerstones Towns and GuMM, released their (and Gravy Train’s) first single.

Velcro Hooks played their last show, ending with everyone rushing the stage and the singer’s head being slashed open. A then-struggling IDLES debuted their ‘punk’ sound on the ‘Meat’ EP, breaking ties with ‘Welcome’ and beginning their rise to international acclaim. The Naturals finally released their historic first album, also beginning a hiatus which would see Giant Swan rise to international regard, and at the launch’s after-party Jamie Cruikshank told me and Milos Planes about a label he’d started planning called Breakfast Records.

What do you like to think will come with the next phase of Bristol’s music?

JH: Have you heard of Portishead?

GIANT SWAN

IMPROVISED INDUSTRIAL TECHNO The lion’s share of your touring and festival appearancCREATED WITH OLD GUITAR PEDALS AND DRUM MACHINES es have been in Europe. Do you think other countries

Giant Swan revolves around a pretty unusual concept: creating electronic music through the live, improvised manipulation of vocals and simple guitar/electronic drum-kit sounds using a bunch of old guitar pedals. Can you explain how that idea came into being?

Robin Stewart: I think when we started doing it the idea wasn’t so much to make ‘electronic music’ but more to establish a new way of playing music together. All we had was pedals and guitars and stuff, plus a few bits and bobs that Harry had collected over time; an old kaos pad and a partially melted 202 (for real, it is a bit melted), and we just started making droooone music ha. Those practices were really fun and exciting, and really loud, considering we used to have them in Harry’s old bedroom.

Giant Swan used to be far more drone-based, and that you both played guitar; today, your sound is closer to industrial techno, and guitar only features occasionally through Robin; how did that develop?

RS: Harry broke his arm haha! True story, Harry broke his arm one sunny afternoon and we had a gig lined up so he bought something that generated a beat and we played the whole set based around that. It was still droney and improvised, but now it had this massive distorted kick behind it. We loved it and decided to take the band further down that rabbit hole.

RS: To be honest, before that happened, our mantra had developed into ‘how can we create rhythms on guitars’, whether that be through creating rhythmic drone music or more abstract rhythm focused music, without relying on sequenced drums. Harry’s accident forced our hand/arm, so we adapted. It’s something I’m glad we’re able to do, adapt. Keeps everything interesting despite some of the limitations surrounding ‘industrial techno’ and the like. It’s now something that we understand we are, for better or worse, a part of.

Your live set is an incredibly unnatural spectacle; whether someone’s background is in electronic music or guitar music, they are liable to be anything between fascinated and freaked-out by their first Giant Swan set. Are there any artists who have had a similar effect on you?

RS: That’s kind of you ha. We like performing when we play, blurring the lines between the preconceived notion of a club show/techno act and the in-your-face energy we grew up with through a smattering of different music, be it hardcore punk or a soundsystem or whatever. It’s important for us that the audience isn’t just ‘well versed’ individuals. It’s important that the music and the performance can be digested without the nag of genre tags or signifiers – it’s supposed to be a challenge. We saw a band called La Colonie du Vacances in Paris this summer and we both came away from it fully rinsed and hung out to dry. They play in a quadrophonic square with the audience in the middle and play this churning endless drilling music. It was so ecstatic and aggressive and unusually SICK.

Members: Robin Stewart,Harry Harry Wright Wright Members: Robin Stewart, Illustration: Harry Wright Illustration: Harry Wright

I first interviewed you in October 2015 for UBTV’s ‘The Howling Family’. You explained that Giant Swan worked symbiotically with your main band The Naturals (with whom you were about to release ‘Hive’); two years on, Giant Swan has become one of the city’s most internationally sought-after bands, but The Naturals have only just returned from your postalbum hiatus. Did that hiatus force Giant Swan to become its own entity to a greater extent?

RS: It didn’t force it to necessarily. Personally, had we not had Giant Swan when TN was on a bit of a lull I think I’d have had a manic episode.

It was an amazing time when we started getting more bookings, being able to envisage a tentative ‘future’ for the project, but at the same time there was a bit of an overhanging question of ‘what is The Naturals?’. Our attitude in TN has always been something close to ‘there is no need to stop doing this’. Giant Swan has pretty much the same attitude, but all of a sudden we’re engaging in a completely different world to the one we’re used to. Being in a 4-piece band is so much harder than being in a duo that plays machines. Logistically, practically, everything.

The one thing it maybe doesn’t have is the sense of longevity and therefore emotional attachment. Not to say that Harry and I don’t have a huge amount invested in Giant Swan, but we literally grew up together playing in TN. We were lucky to have Giant Swan when we needed it which I think stopped it being frustrating.

Concurrently, bringing TN back into play has been one of the most gratifying things either of us have ever done, so that’s a relief. Both projects still keep us happy so it’s back on a winner ha.

I also asked you if you envisaged (as I did, and still do) people coming to see Giant Swan and being inspired to pursue a similar project; you replied that you’d never thought about your music as being ‘inspiring’ at all. Now that you’ve toured so much with this project, accrued loads of new fans and played alongside a lot of other experimental artists, I was wondering if you’d considered that question since. Have you encountered anyone trying to do anything similar to Giant Swan, or gotten a greater sense of the impression your music might leave on people?

RS: To be honest man I’m not on the page where I think about it being inspiring. I have to focus on whether or not I’m inspired, I think Harry would agree. I can’t recall much that is similar to us in so far as its more of a pervasive attitude accompanying the music that connects us with other artists. And that’s a hugely positive thing to happen in the last few years of our being on the scene as it were. I mean, some people don’t know how to process our music, in the same way they struggle to define someone like Beatrice Dillon, or Peder Mannerfelt or Dean Blunt or even a band like Liars! All of those folks are standing alone in their field, but they all converge on a sense of unease and an enjoyably provocative/playful duty to bring you into the wider world of music haha. Like I think I said before, if we can be a catalyst for someone starting something with those attributes then that’d be smashing.

Illustration by Harry Wright

are more hungry for this sort of avant-garde electronic music than the UK? If so, why?

The lion’s share of your touring and festival appearances Because European nations, avant-garde elechave beenininsome Europe.

Do you think other countries are tronichungry music for is fucking by theelectronic government! more this sortsubsidised of avant-garde music Right, we played this show in Ventspils in Latvia than thesoUK? If so, why?

(aye me neither), in this huge modernised theatre with RS: Because in and somewell European nations, avant-garde a banging system spec’d room and everything, electronic is fucking the does government! and it left music us thinking ‘whysubsidised oh fuckingbywhy this not Right, so in wethe played this This show was in Ventspils in Latvia fishing (aye me happen UK?!’. in an industrial neither), hugesea, modernised a banging town on in thethis Baltic hundreds theatre of mileswith from the system and well andplaying everything, and it left usIt metropolis, andspec’d there room we were to the welders! thinking ‘why oh fucking why and doesa this not happen in the was an experience for sure, positive one at that, UK?!’. wasbetween in an industrial townsocial on thesociety Baltic but theThis divide culture fishing and larger sea, hundreds of miles the metropolis, andsuch there in the UK hinders thefrom opportunity for artists aswe us were playing to the welders! It was an experience for sure, to get a good foothold on, and this fact becomes more and a positive one at that, but the divide between culture and more apparent every time we play outside it. and larger social society in the UK hinders the opportunity Berghain is a good example of a community that started for artists such as us to get a good foothold on, and this fact somethingmore which hasmore now apparent spread across world; the becomes and everythe time we play length of outside it. the parties, the freedom to behave as you wish, the isruthless policies not started always Berghain a goodmusic example of a (sometimes community that a good thing lol); has all ofnow these aspects of the something which spread across theculture world;are the given space and time developtoand these messages are length of the parties, thetofreedom behave as you wish, the carried music from Valencia to Tblisi. They are ina essence ruthless policies (sometimes not always good thing the codes of how the culture works from city to city,and lol); all of these aspects of the culture are given space with each one having ownmessages version. In country, time to develop and its these arethis carried from we’re decades behind to Valencia to Tblisi.

Theythem. are inNeo-liberal essence theentitlement codes of how the culture works city to artists city, with each one close venues andfrom challenge at every stephaving of the its own version.

In this country,However, we’re decades behind them. way sadly reigns supreme.

I would say that we Neo-liberal to close challenge have more entitlement to rail against here,venues so weand make better artists tunes at everyit step about ha! of the way sadly reigns supreme. However, I would say that we have more to rail against here, so we make better tunes about it ha! Waves, we have two newer artists In Scalping and Silver

from this city who similarly manipulate elements of

In and Silver Waves, we have twoofnewer artists theScalping ‘guitar-band’ aesthetic to make a kind electronfrom this city who similarly manipulate elements of the ic music. I’ve wondered before if- as these sorts of ‘guitar-band’ aesthetic to make a kind of electronic music. projects become more frequent and popular- British I’ve wondered before if- as these sorts of projects become guitar music may undergo this transformation more more frequent and popular- British guitar music may widely, eventually outdating the traditional guitar band undergo this transformation more widely, eventually entirely and onlyguitar its mutated offspring. outdating the leaving traditional band entirely andCould leaving you imagine this as well? only its mutated offspring. Could you imagine this as well?

Never.

Trad guitar music won’t RS: Never.

Trad guitar music won’tdie. die.ItItcan’t. can’t.There There will will alwaysbe beanother anotherband band waiting in the wings. it 5 always waiting in the wings.

GiveGive it 5 years, I guarantee there’ll be a Kooks2.0.

A The Iyears, guarantee there’ll be a Kooks2.0.

A The View x20. IView think x20.

I think Scalping its hilarious. it’s hilarious. and Dylan are clearly sending for that Scalping Dylan are clearly sending that shit shit haha. and It’s encouraging to see more openfor minded people haha. It’s encouraging toIsee more open minded starting bands or projects. mean, Dylan is like a viper, his music like a rising holding theDylan head is of like the peopleisstarting bandsbaphomet or projects.

I mean, singer from The 1975.

More to the point, I think it goes a viper, his music is like a rising baphomet holding over the heads people who are1975. interested making the head of the of singer from The More in to the traditional rockit goes music. at least it isn’t point, I think overFor theus heads of people whoabout are manipulating something in as rock muchmusic. as it For eventually interested in making traditional us at becomes about music, and a meanssomething to a specificinend.

Bands least it isn’t about manipulating as much who theirabout method are interesting because as it routinely eventuallychange becomes music, and a means to a itspecific becomes about conceptstheir rather than end.more Bands whoephemeral routinely change method how they made what sound.

Bands aremore aboutabout songs,ephemand are are interesting because it becomes so entangled with the caveat of fashion and impotent eral concepts rather than how they made what sound. ideology that comes with it. I think the key difference is that Bands are about songs, and are so entangled with the the artists you mentioned design their own caveat haha!

caveat of fashion and impotent ideology that comes with thinkSwan the key difference is that thewith artists A runit.ofI Giant t-shirts are emblazoned the you mentioned design their own caveat ‘Not All Drone is Good Drone’;haha! can you give me words one example of good drone and one example of bad A run of Giant Swan t-shirts are emblazoned with the drone?

words ‘Not All Drone is Good Drone’; can you give me

oneGood example of good drone and one example of bad RS: dronefridges. drone?

Bad drone: Tom from Editors’ voice.

Good drone: fridges.

Bad drone: Tom from Editors’ voice.

OLIVER OLIVER WILDE WILDE (WOOZY, GLITCHY ELECTRONIC-FOLK)

GLITCHY It’s my understanding that you originally It’sWOOZY, hard to believe that anyone ELECTRONIC FOLK weren’t interested in releasing your music listened to it really.

IWilde don’t need Members: Oliver an ever-shifting local musicians) Members: Oliver Wilde (and(and an ever-shifting castcast of of local musicians) James at all, but you were pushed into it by Joe any attention to getIllustration: outIllustration: of it what IHankins James Hankins and Adrian of a then-fledgling Howling enjoy; 10/10 reviews are the same as Owl Records. How did that come about, 0/10 reviews to me so it didn’t really me, It’s my that you originally weren’t My first time seeing you perform was at Simple Things 2015, at which OW: It’s hard to believe that anyone understanding and how would you describe that time in bother it’s just important that a interested in releasing your music at all, but you you performed several tracks intended for your next record (‘Long listened to it really.

I don’t need any Bristol’s music? bunch of people do actually listen were pushed into it by Joe and Adrian of a then- to it.

Hold Star An Infinite Abduction’) which would never see the light of attention to nice get out of ittowhat I enjoy; It’s also now know that fledgling Howling Owl Records.

How did that To write tracks as brilliant as those and still throw them away day.

10/10 reviews are the same as 0/10 In all honesty, I didn’t really believe in it. I people did actually listen to it and about, and how youmeant describe sounds incredibly difficult; what was your reasoning for shortening that me so it didn’t really bother kindacome thought music like would it wasn’t tothat feelreviews relief to being able to identify with in 2013, Bristol’swith music? time in album to an EP? me,I was it’s just important that a to bunch of be made it being too weird what doing and relate some people do actually listen complicated to it. It’s also or depressing or irrelevant or whatever. of the sadder and more nice from now towhat know that people did Oliver Wilde: In to all do honesty, I didn’t really themes OW: I’m not sure how present I really was during that period, I was Maybe it’s something with growing people have said actually to itkind and of feelexperience relief being in it. I kinda music like it wasn’t to me, really struggling with some undiagnosed mental health tangles at the up in believe the trappings of athought countryside village thatlisten is the to identify with Iwhat was doing meant to be made in 2013, it being bubble mentality or being a bit with stupid.

I too andable communication got Ifrom listen- time and my physical health was in a pretty bad way, my decision-making relate to some of for the that sadder and or depressing or terms irrelevant or whatever. ing and abilities that I relied on to make the other records were evading me hadn’tweird thought about it in of the to the music I did, alone more complicated themes fromthat what Maybe it’s something do ‘depressing’ with growing up in it was constantly. I stopped making genuine attempts at making the full-length way the so-called ‘weird’ to and a success for me.

I love people said to me.IThat’s the kind trappings of a countryside village album I’d had in mind after tiny insignificant setbacks. I was working musicthe I was into saved me. Most of the bubble record in have every sense, can stand of forever experience mentality or being a bit I hadn’tdethought by it records that consumed mystupid. wandering as itand wascommunication the truest andI with my wonderful band at the time who were making so many amazing got from listeningI to theever music I did, about itwere in terms of the way the are so-called contributions and I was having fun working with a producer for the first velopment by people who dead,‘weird’ purest expression will make, for that alonemyself it was aso success for and ‘depressing’ music I was into Isaved me. I’veand time, I just kept making the wrong choices and they mounted up into like Mark Linkous and Eliott Smith; never poured genuineme. anything I love that quite recordas in much every sense, of the records consumed an unconquerable Everest of challenges and- being an all or nothing guess Most I thought I could takethat the torch and my ly into as ‘AI carry wandering on in their spirit. Onwere the by other hand, I didn’t it canIntroduction’, stand by it forever as itknow was the development people who are Brief kind of person- towards the end I chose to have nothing to do with it.

Joe and Adrian had the kind and of belief goingand topurest be listened to so I capexpression I will ever dead, like Mark Linkous Eliott in Smith; I wastruest In retrospect the record could have been saved and made into a fullit thatguess I needed to feel confident an honesty andpoured humility to itso make, I’ve never myself I thought I could take the enough torch and carry tured length album, but it would have taken two more years at least to go back to share it and other over theJoe and that’s more difficult to do when you genuinely into anything quite as much on in their let spirit.

Onpeople the other hand, and correct myself. Joe and Adrian once again convinced me to put an wall. IAdrian hate using term, but in truthfully it expect people Ithan as ‘Athat Briefmore Introduction’, didn’tyour know had thethe kind of belief it that I needed EP out of a select few tracks from the session; keep your ears peeled is veryto‘personal’ and I wastososhare protective willgoing listentotobeit. listened I think possibly it was to so I feel confident enough it and let other mates though, the rest of those sessions will be released eventually. Simply put, over it, I’m not that Inowit doesn’t mental and process slightly capturedthe an honesty humility to it people overlike the wall. hate using the term, but it informs I just wasn’t in any position to be making a record at the time, I tend to belong to me in same way anymore. butdifficult who knows. that’s more to do when you truthfully it the is very ‘personal’ and I was so differently work when it comes naturally to me, whacking deadlines and pressure protective over it, I’m not like that now- it

expect that more people than your

on things kills it straight away for me.

Whendoesn’t I arrived in toBristol so many moons favourite track your second will listen to from it. I think possibly it belong me in the same way anymore. Mymates ago, one of the first shows I saw was SJ album (‘Red Opal In The By contrast, your most recent record ‘Post-Frenz Container Buzz’ was informs theTide mental process slightly ESAUWhen and IFairhorns (or possibly Team End Womb’) is ‘Vessel’. This followed by a full album of offcuts and demos named ‘And This Is differently but who knows. arrived in Bristol so many moons ago, Loose Brick); they hadfirst their pedals not and song explicitly deals with your recur- Where The Tragic Happens’, which you soft-released for free on one of the shows I sawon wastables SJ ESAU the floor, they (or hadpossibly no band, theyBrick); madethey had ringMy battle with track Cardiac favourite fromSarcoidosis. your second bandcamp. The fact that you’re this willing to throw unfinished work Fairhorns Team their fucked up on sounds have(‘Red yourTide physical and Opal In Themental Loose album out there (especially in light of your usual reluctance towards releases) their pedals tables all notby thethemselves. floor, they had no How I related tothey them in some way, itupwas a all by health yoursong is perhaps less surprising than how utterly exceptional this record is.

End problems Womb’) isinfluenced ‘Vessel’. This band, made their fucked sounds reassurance I’d been looking for.

Turned music? explicitly deals with your recurring What motivated this release? themselves. I related to them in some way, it was out what I was finding in my ‘outsider’ battle with Cardiac Sarcoidosis. How the reassurance I’d been looking for. Turned worldout of what discovery could actually be pretty That was a difficult and frightening have your physical and mental health OW: To me “And This Is Where The Tragic Happens” is a I was finding in my ‘outsider’ world of interesting.

It was a beautiful and validating time, having an expression to fall problems influenced your music? lackadaisical attempt at emptying the tensions that build from discovery could actually be pretty interesting. It time in Bristol’s so called ‘scene’ and is back on was a necessary comfort in harbouring too many songs in my head and/or on my computers/tape was a beautiful and validating time in Bristol’s so again now, it kinda yo-yos in ice ages and that situation. I may wrongly assume OW: That was a difficult and machines. It was a relief to part ways with most of those songs. I wrote called ‘scene’ and is again now, it kinda yo-yos in thawing, but then again I probably don’t it’s frightening the same time, for most artists really, having an expression the majority of them around the time of the first two records but yeah ice ages and thawing, but then again I probably know anything really, bands, labels and all as you you soak it all to fallexperience back on waslife a necessary comfort felt they were too sad or like Elliott Smith. My ambivalence towards don’t know anything really, bands, labels and all sorts pop up all the time. It’s great to see up,inuntangle it over time and find that situation.

I may wrongly assume them swayed towards giving it away for free as capitalising on those kind sorts pop up all the time. It’s great to see so many it’stothearticulate same for itmost artistswas really, so many more socially inept aliens creating ways Vessel oneas of genuine feelings and what are essentially bedroom demos, kinda more socially inept aliens creating in this city you experience life you soak it all up, in this city right now; Bristol literally of those kind of occasions. Music has untangle it over time and find ways to seemed perverse. They weren’t intended for any official albums or right now; Bristol literally doesn’t know how doesn’t know how lucky it is. There’s this historically served as a pretty good articulate it- Vessel was one of those anything like that, they are a ‘greatest non-hits’ of a period of time so to lucky it is. There’s this unilateral decision unilateral decision making that sometimes platform kind for of communication. occasions. MusicMental has making that sometimes ignores underground health issues amongst many others of speak, the best of a sad bunch. There will be more of those kinds of ignores the underground culturethe and historically served as a pretty good collections to come, I promise. and kindadriving gears towards platform for communication. kindaculture gears towards it’s art driving into its art personal relevance and less so,Mental lend into mediocrity; it’s inevitable, it’s fine, health issues manywith others mediocrity; it’s inevitable, but it’sbutfine, and and themselves wellamongst to a voice a of personal relevance and less so, help lend What kind of influence would you like to think your music has had on of a natural cycle, plus artistsalways always find a small part ofpart a natural cycle, plus artists growing audience.

I can’t themselves well to a voice with a small the people who listen to you? And what kind of impact do you think thethe people, not not Bristol, that makes find away. way.It’sIt’s people Bristol that the butgrowing feel responsible to use that priviaudience. I can’t help but feel career has made on Bristol’s music? your art, and they can leave when they can’t afford to makes the art and they can leave when legeresponsible to addresstothose issues, however use that privilege to live here anymore or another conurbation they can’t afford to live here anymore or looks little or great theissues, impact.

Alsolittle youor address those however OW: That’s not a question I can answer. I mean I hope that I’ve shown more accommodating. it’s pretty should great always the impact.

Alsoabout you should another conurbation looks Right morenow accomjust write what justitwrite you know; people that listen to my music that it’s ok to start dialogues in art, not to healthyright though, guess healthy artists sometimes youalways modating, nowand it’s Ipretty know; can about neverwhat be seen as it can never be seen as pretentious or react aggressively and creatively though andmore I guess artists sometimes reactwhen pretentious or contrived that way. It’s glamorise sadness or pain but to prove that art is a safe place to come to contrived that way. It’s good to see terms with your own human experience, not everybody is so existential with mediocrity. more faced aggressively and creatively when good tobigger see even bigger international even international artists taking or introspective, but for those who are, here is a place where you are faced with mediocrity. artists taking responsibly and starting responsibility and starting such Your debut album ‘A Brief Introduction to such not alone in doing so. I hope my music is not exclusive or dismissive conversations.

Individually, conversations.

Individually, people have their personal experience of Lightyears’ a breakthrough people either, some people just want to hear pretty music, lo-fi music, pop Your Unnatural debut album ‘A Briefwas Introduction haveown their own personal music so of I only hope something the label andwas the acity, drawing a great experience record forLightyears’ music or whatever so hopefully it’s three dimensional in that way. Again to Unnatural music so it’s I only hope positive, and what can be more positive to both.

Whatand wasthe it like it’s something positive, and what can my impact on Bristol is a question to be asked to it, not me. I love that deal of attention breakthrough record for the label than addressing matters in need of receiving asuch there are so many really incredible artists like MXLX and EBU around city, drawing greatimmediate deal of attention? How do be resolution, more positive addressing and than playing a part in you feel about that record now? attention to both. What was it like receivmatters in need at the moment, maybe we all helped validate each other in some way. progression? of resolution, and ing such immediate attention? How do playing a part in progression?

Either way I’m happy with what I’ve done so far, whether it has you feel about that record now? influenced anyone isn’t a motivation for me, just making connections and having communication is the biggest reward.

Illustration by James Hankins

MUSIC

AWARD-WINNING MUSIC DOCUMENTARIES FROM THE UNIVERSITY OF BRISTOL’S ONLINE STUDENT TELEVISION STATION, AVAILABLE TO WATCH NOW ON YOUTUBE:

THE HOWLING OWL FAMILY

BEN ‘THE REBEL’ WALLERS (THE COUNTRY TEASERS): ‘SPAKENKEUZ’

BRISTOL’S GOLDEN AGE

TAOS HUMM OLIVER WILDE GIANT SWAN THE NATURALS

IDLES: ‘THE FULL PACKAGE, C*NT’

SPECTRES RINK THE KARMA REPAIR KIT VAN ZELLER SILVER WAVES

(NASTA WINNER- BEST MUSIC FEATURE 2016)

SLEAFORD MODS: ‘SMASH THE WINDOW’ DAMO SUZUKI (CAN): ‘COMMUNICATION’

(NASTA HIGHLY COMMENDEDBEST MUSIC FEATURE 2017)

1 1 PURGE

The pernicious DISEASE of

BAD MUSIC JOURNALISTS Who MISTAKE Their DUTY of PublicEnlightenment For One of Artist- Promotion.

CONFUSION OVER THIS DISTINCTION… Mixed with The

Mixed with The

GREED OF LONDON,

SENTIMENTALITY OF LOCAL MUSIC JOURNALISM,

Has Made THE MAINSTREAM MUSIC PRESS an

HAS STIFLED PROGRESSION.

IMPREGNABLE, CORRUPT

Many Local Music Journalists TOOL OF PAID See their ROLE as Helping ambitious local artists’ ADVERTISEMENT. CAREERS. The Talentless But WellIn practice, this means the Financed BUY AMBITIOUS but BORING are COVERAGE via Hired PR pushed forward, and exposure is Companies. not ‘WASTED’ on the UNAMBITIOUS but GENIUS.

SPECTRES SPECTRES

Spectres have always openly attacked the what we are getting up to. But Bristol ills of the British music industry, and its has certainly been the lifeblood of our

propagation of toothless, reactionary landfill. project, in particular meeting Dom who Perhaps my favourite example is your video is also now part of our cursed existence. for ‘This Purgatory’, which sees you play a The collective mindset amongst most of MORBID, DEVASTATING NOISE-ROCK (MORBID, VISCERAL NOISE-ROCK) BBC Radio 1 session (perfectly mocked-up the scene here is a truly inspiring thing, Members: Joe Hatt, Adrian Dutt, Andy Came, Mitchison, (formerly) Darren Frost OF Dom THE MUSIC INDUSTRY

by James Hankins) in which you brutally TIRELESS SENDERS-UP and it is both a privilege and inspiring Illustration: Harry Wyld murder Fearne Cotton, Reggie Yates and to be part of it. Obviously none of the As a live band, Spectres’ brand of aural sadism is notorious for

AD: We recently heard would we are have ‘disliked on a Spectres have alwaysraising openlyaattacked the As a live band, Spectres’ brand ofand aural sadism is notoriousheads Members: Joe Hatt, Adrian Dutt, Andy Came, Dom Mitchison, Nick Grimshaw (before more the ills ofleaving things you listed happened punters’ fingers in their ears, sound-engineers’ personal level’ by certain people within the Bristol British music industry, and its propagation of for leaving punters’ fingers in their ears, and soundIllustration: Harry Wyld receptive John Peel from the dead). I we moved to Bristol, so looking in their hands. However, I’ve heard that at least a couple of youmusic unless scene, and we’ve also been titled the landfill.

Perhaps my favourite engineers’ heads in their hands. imaginetoothless, that continually yourself back at it, thank godscene. we did. reactionarypitting never wear ear plugs onstagewhy? However, I’ve heard that at Coldplay of the Bristol noise It’s humbling is your video for ‘Thishas Purgatory’, against example the forces of the industry made which sees least a couple of you never wear ear plugs onstage- why? to know these people are spending their personal a BBC Radiofor 1 session (perfectly what we are getting up to. But things ayou lotplay more difficult your band thanmockedIt is myabout understanding that Henry We cannot lose ourselves when we can’t hear ourselves. We’vetime worrying has certainly been lifeblood of come our up by beJames Hankins) which you brutally murder AD: We cannot loseuse ourselves wecouple can’t hear they should why do youindo it anyway? is a big fan;thehow did you tried numerous times to them when live. A ofourselves. us even got Bristol Rollins project, in particular meeting Dom who is also Fearne Cotton, Reggie Yates and Nick Grimshaw tried numerous timesstupid to use them live.on A couple of us into contact with him? our earsWe’ve 3D mapped and spent money an expensive now part of our cursed existence. The collective raising a more Peel frompair, the buteven (before our ears 3Da mapped stupid out money anthe If we ever let ourselves get receptive swept upJohn in any halfgot a song into set theyand hadspent to come likeonall mind-set amongst most of the scene here is a truly imagine that continually pitting yourself pair, halfplaying a song with into athem set they to comenaïve form ofdead). hype Iand back slapping, then the It was Christmas I was others asexpensive it just felt so but dead in.had It sounds inspiring thing,onand it is botheve a 2015, privilege and the forces of the industry made a lot stupid againstdisappointments out to likesay all but the others as it just so dead with them inspiring to be part of it.

Obviously none of the continuous wouldhas only bethingsand walking in the rain to go and leave a I’d rather notfeltplay at allplaying than wear them, so things you listedinwould haveCathedral happened as unless for your they should be-it’s whyprobably moreIfdifficult in. It sounds sayabut I’d rather not play at magnified. you don’t biteband thethan hand that record Bristol partweof our a goodnaïve thingand westupid can’ttoget booking agent. movedRSD to Bristol, so looking back at and it, thank god you do it anyway? all than wear them, so it’s probably a good thing we can’t get feeds itdo will smother you when you begin is Dying campaign, an email we did. a booking to dream. When we take a step back and pinged into our inbox from Henry RollYour second LP,agent.

‘Dead’, was an eclectic collection of left-field, Adrian Dutt: we ever ourselves in think logically, thenIf yes it is let quite clear get thatswept up It was a surreal moment, it still electronic remixes of songs from your debut album ‘Dying’; these It is myins. understanding that Henry Rollinsand is a big any probably form of hype back of slapping, the LP, likes ‘Dead’, an Bell eclectic collection of BraithleftYour second we should tone and that kind thing theninclude blows my mind to this day. His records remixes by the of was Andy (Ride), Stuart fan; how did you come into contact with him? would ofonly waite be (Mogwai), field, electronic of songs fromand yourFactory debut album down acontinuous bit, but thendisappointments as soon as the reality have been in my collection for a long Robertremixes Hampson (Loop) Floor. magnified. you don’t bite the hand that feeds itWhat will inspired theseproject, include and remixes likes Andyartists Bell on ‘Dying’; this what that actuallyIfmeans becomes appartime, and I wrote about Black Flag in my howby didtheyou getofthese AD: It was on Christmas eve 2015, I was walking whenno. youWhen begin we to dream. we (Ride), Stuart Braithwaite (Mogwai), Robert Hampson ent thensmother it’s an you instant have Whenboard? dissertation. He discovered us via the in the rain to go and leave a record in Bristol take athings step back logically, thenDay yes it is quite (Loop) and Factory Floor. What inspired this project, and conducted likeand thethink ‘Record Store split 7” with Lorelle Meets The Obsolete Cathedral as part of our RSD is Dying campaign, clear that we should probably tonewith that the kind of Ithing didthe youreasons get theseisartists on board? how of Is Dying’ campaign, the fun we had has said some very nice things about guess one the fact that we see Spectres as and anand email pinged into our inbox from Henry down asoundtrack bit, but then as soon the reality that James Bond etc., weasare using of whatsomething along with playing most of our songs that can work in a variety of contexts. Our musical Rollins.us, It was a surreal moment, and it still blows actually means becomes apparent then it’s an instant whatever tiny platform we have somehow on his radio show. We’ve certainly made I guess reasons isangles the factand that we we see interestsAD: spread outone in ofallthe different areSpectres always my mind to this day. His records have been in my When we conducted things like the ‘Record forged no. ourselves to have try and subvert a landsome new fans by having his stamp of that can a variety contexts.and Our thinkingasofsomething ways for what we work do toinevolve andofmutate spread collection for a long time, and I wrote about Black scape that twocampaign, years between approval. It was a pleasure meeting him out in allangles. differentIangles and wego areto way Storeeven Day in Is the Dying’ the fun we hadour withownmusical music interests out intospread all different personally Flag in my dissertation. He discovered us via the releasing first Bond and second albums and if the godfather of hardcore likes us always thinking of ways forthan what ‘guitar we do tomusic’ evolve and mutate theour James soundtrack etc.,has we are using more ‘electronic music’ nights nights so always split 7” with Lorelle Meets The Obsolete and has changed drastically.

It is much to maybe we are doing something right. whatever tiny platform weeasier have somehow forged our of ownone music out songs into allbeing different angles. in I the dream ofand thespread scenario of our dropped said some very nice things about us, along with fail when you’retothe carving the self that even ourselves try ones and subvert a landscape in personally go totechno way more middle of some noise set.‘electronic The only music’ way tonights makethan this playing most of our songs on his radio show. fulfillingtheprophecy.

One thing we do is second Last year, Rollins gave you advice when two years between releasing ourhope first and happen ‘guitar is to try and nights get someone twistofone our songs music’ so always to dream the of scenario of oneinto We’ve certainly made some new fans by having that thealbums thingshas wechanged get up to don’t getIt taken you were invited to perform in Israel by drastically. is much easier thistobeast, this was thedropped first step of and our songs being in to thethat. middle of some noise his stamp of approval. It was a pleasure meeting as attention seeking stunts or flippancy. a group called the ‘Shoegazers of Tel We wanted a list artists admired, and thought would fail when you’re the ones carving theOur self-fulfilling techno set.of The only who way towe make this happen is to try and him and if the godfather of hardcore likes us outbursts and outposts come Aviv’, an offer you eventually accepted. deliver varied andtoeclectic Some close friends prophecy.

One thing we dofrom hopeaisgenuine that the things we aget someone twist onemix. of our songs were into this beast, and thiswho maybe we are doing something right. place and wetojust want to spark debateseeking or at stunts Did you- like him- experience any backareorconveniently making of wanted the besta list music around, and get up don’t get taken as attention was the first step to some that. We of artists who we least tryflippancy. and snapOur people out and of the chronic others pipeand dreams thatwould we thought happen but lash for deciding to play Israel, and what outbursts outposts come from a were admired, thought deliver awould variednever and eclectic Last year, Rollins gave you advice when you were apathy genuine which isplace ourand generation’s card. advice would you give to bands placed in songs to our chosen we just wantcalling to spark debate Nat or at(Sonic mix.Cathedral) Some were sent close the friends whoaround are conveniently making ones invited to perform in Israel by a group called the a similar position? and pretty much yes.and Looking at the listdreams of names least try and snap people out of the chronic apathy some of theeveryone best musicsaid around, others were pipe ‘Shoegazers of Tel Aviv’, an offer you eventually Despitewhich yourisresistance to thecalling industry, involvedthat makes feel a would little silly to be honest, proud our generation’s card. you we us thought never happen but but Natalso (Sonic accepted. Did you- like him- experience any have amassed fans all over the world and We had a few messages and tweets from that these people we were up for investing Cathedral) sentrespect the songs around to our chosentheir ones time and into backlash for deciding to play Israel, and what both ofDespite your studio albums were incredibly groups that boycott bands, but we are gave much themeveryone all the same mission statement: ‘Kill our your resistance to the industry, you this. have Wepretty said yes.

Looking at the list of names advice would you give to bands placed in a similar well-received, latterthealready in of songs’. such a blip of a band that it was never fans the all over world being and both your amassedwith involved makes us feel a little silly to be honest, but also position? its thirdstudio pressing.

Your has not been withIt the going to make waves in the press. My pulledproud out aspects the Dying thatwere wereupburied in there, albums weresuccess incredibly well-received, that theseofpeople we respect for investing their that at the cost beingbeing afraid challenge theYour success perhaps time we didn’t know existed. is still that feeling of claus- advice would be to play the show, why in to its third pressing. latterofalready into this.

We gave them There all the same mission statement: had apeople few messages and tweets AD: We iniquities industry; if this encourages punish who are trying to from make a trophobia butaspects amongst notthe been at the cost of being afraid to challenge hasof ‘killand ourdread songs’.lingering, It pulled out of thesome Dyingmoments that were that groups difference that boycott in bands, but we are and such put a blipgigs other bands to similarly resist ‘playing the their country could almost be described as euphoric.

It was both nerve wrackthe iniquities of the industry; if this encourages other buried in there, that perhaps we didn’t know existed. There of a band it was neverall going to make waves in game’, bands wouldtoyou consider this to the be game’, an woulding on.that We should applaud the human for each of the artists to arrive similarly resist ‘playing youand fun is stillwaiting that feeling of claustrophobia andversions dread lingering, butin our the press.

My advice would bepeople to play the showachievement? resilience that some show.

Israel inbox, and some definitely surprised us; but none disappointed. consider this to be an achievement? amongst some moments that could almost be described as why punish trying toplaces make I ahave is onepeople of the who mostareamazing euphoric. It was both nerve-wracking and fun waiting for each difference inbeen, their country and never put gigsregret on? We I think AD: more bands should step back from ever and I will playing Some of these remixes were contributed by fellow Bristol artists, I think more bands should step back from their of the artists’ versions to arrive in our inbox, and some all applaud human some and their preconceived notionsofofwhat what It’s the so easy forresilience peoplethat to judge Oliver surprised Wilde, Giant and Dom Mitchison, and shouldthere. preconceived notions thethe ‘industry’ “is”including and definitely us, but Swan none disappointed. show. from Israel behind is one oftheir the most ‘industry’ “is” and perhaps socialamazing media to me that the careers of all three were significantly peoplesnipe perhaps re-evaluate whatreitevaluate means to what them to beitinseems a I have ever it means to them to be in aUnfortunately, band and make it’sbeen, sad. and I will never regret by of Spectres.

You gave then-fledgling Giant Swan places profiles, Some these remixes were acontributed by fellow Bristol band and make music. it’s far tooinfluenced easy playing there. It’s so easy for people to judge and music. for Unfortunately, far too easy for an their firstartists, touring opportunities, and asGiant I writeSwan theyand prepare including Oliver Wilde, Dom to an A&R personit’s to pick up on a naïve young band, snipe from behind socialup media it’s A&R person to pick ona aproduct, naïve young People whotheir picked theprofiles, February play Berlin’s Berghain (the latest in a recent series of high-profile and groom themup into which is then either Mitchison, and it seems to me that the careers of all three sad. edition of Loud and Quiet will have seen band, and groom them into a product, international gigs).

Oliver Wilde’s first release wouldn’t have marketed to the masses, or incubated until it dies. We were significantly influenced by Spectres. You gave a thenwhich ismake thenour either marketed to the masses, happened something rather strange: a full-page if JoeGiant and Adrian hadn’t persuaded him to and let them own bed, and we sleep in it, we know we fledgling Swan their first touring opportunities, as People‘advert’ who picked up the February edition or incubated until it dies. We make our for your album penned by ofyourput it outI write on their Howling Owl, and it saw(the him become are our own worst enemies when it comes to success, they label prepare to play Berlin’s Berghain latest in a one Quiet will have seen something rather Loud and own bed, and we sleep in it, we know we are selves, which encourages you to ‘Abanof Bristol’s most important and celebrated breakthrough acts in any progression we make within the industry is usually recent series of high-profile international gigs). Oliver a full-page ‘advert’ for your album penned our own worst enemies when it comes to All Music Now’ as the nature of the decades.Wilde’s Dom Mitchison some have of hishappened first production workstrange:don smashed back down when we speak out about first releasedid wouldn’t if Joe and which encourages you toyou.

‘Abandon by yourselves, success,something/someone any progression and we make within the industry is stacked against However, on your EP ‘Hunger’, and he is now one of the most respected it makes its way around the Adrian hadn’t persuaded him to let them put it out on their the nature of theand industry All Music industry is usually smashed back down when and sought-after producers in Bristol. You’ve told me before how yourNow’ bandas does continue, todayis may internet and onto the agenda of Island records’ label Howling Owl, and it saw him become one of Bristol’s you. However, does stackedbeagainst we speak out about something/someone considered strongeryour thanband ever.

You’ve much Bristol has nurtured your project, and suggested that if meetings. There will never be another Arctic most important and celebrated breakthrough acts in decades. today may considered stronger and it makes its way around the internet and you hadn’t moved here Spectres would have disbanded by now;continue, justand released yourbegreatest record to date, Monkeys and that is a fact. Every organic band you Dom Mitchison did some of his first production work on You’ve two just shows releasedwith your greatest onto the agenda of Island records’ meetings. in light of these reflections, have you tried to put into Bristol as than ever. performed RIDE, and read about in two years time will have been a five year your EP ‘Hunger’, and he is now one of the most respected to date, performed two showsproducer with RIDE, There will never be another Arctic Monkeys much as you’ve taken out? How significant has being in Bristol record recruited your long-time to the and sought-after producers in Bristol. You’ve told me before sleeper project concocted by a major label and to the and recruited and that is a fact. Every organic band you lineup. your As a long-time band whoproducer are frequently been to your identity, and what impression do you think you’ve how much Bristol has nurtured your project, and suggested realised via canny use of social media, and there will As a band exasperated who are frequently lineup.misunderstood, read about in two years time will have been a made on its ‘scene’? by the be a hundred other bands sat on and suffocated. But that if you hadn’t moved here Spectres would have by the industry andthan a misunderstood, five year sleeper project concocted by a maindustryexasperated and a lot less well-known we know who we are, we know where we are and we disbanded by now; in light of these reflections, have you tried well-known than be by stops now, lot less you jor label and realised via canny use of social deserve toyou be deserve by now,towhat We recently heard we are ‘disliked on a personal level’ by certain know why we are, and we’re cool with that. to put into Bristol as much as you’ve taken out? How media, and there will be a hundred other youyou from ‘abandoning music’? what stops from ‘abandoning all all music’? people within the Bristol music scene, and we’ve also been titled significant has being in Bristol been to your identity, and what bands sat on and suffocated. But we know the Coldplay of thedoBristol noise scene. humbling impression you think you’ve madeIt’s on its ‘scene’? to know who we are, we know where we are and we Arrogance. these people are spending their personal time worrying about AD: Arrogance. know why we are, and we’re cool with that.

Illustration by Harry Wyld

THORNY THORNY

DIY ARTS COLLECTIVE, PUTTING ON BOUNDARY-PUSHING NIGHTS OF PERFORMANCE ART AND LEFTFIELD MUSIC

(DIY ARTS COLLECTIVE, PUTTING ON BOUNDARY-PUSHING NIGHTS OF Members: Jo Bligh et al PERFORMANCE ART AND LEFTFIELD MUSIC FOR SOCIAL OUTSIDERS) Illustration: Sophia Jowett

How would you describe what Thorny I think in the past there must’ve been How would you describe what Thorny does?

I think in the past there must’ve been similar will does? What do you hope people similar events to the ones we put on, but What do you hope people will take away from events to I’ve the ones put on, but not I’ve take away from your shows? not since livedwehere.

I went tosince an exyour shows? lived here.

I went an exhibition about the

hibition about the to history of Old Market history ofwhere Old Market recently, wherea Ifetish found THORNY are a DIY collective of artrecently, I found out about ists, performers and producers.

We’re of night in thea noughties Spank. That Jo Bligh: THORNY is a DIY collective out about fetish night called in the noughties called aartists, mixedperformers bunch andand everyone brings pretty cool. pretty cool. producers.

We’re a sounded Spank. That sounded different interests, attitudes brings and skills mixed bunch and everyone different tointerests, the table.

The core of what we do Your nights generally include a combiattitudes and skills to the table. The Your nights generally include a combination of is put on events: gigs, cabaret shows, nation of experimental/left-field music core of what we do is put on events: gigs, experimental/left-field music and performance club-nights and parties, and the thread and performance art; do you see these cabaret shows, club-nights and parties, and the do you see these art forms as being through these is that we want to create artart; forms as being connected outside of thread through these is that we wantvoices. to create Thorny? connected outside of Thorny? platforms for underrepresented platforms for under-represented voices.

I think our shows are for curious minds want to I thinkwho our shows areexperience for curious minds who something new thatsomething might challenge or want to experience new that might provoke them. To see things in a new challenge or provoke them to see things in a way, or understand another perspecnewthat way,is or understand another perspective tive different to theirs.

Ultimatethat is different theirs. come Ultimately, I hope ly, I hope whentopeople they feel when people comefrom they feel and free uplifted and free theiruplifted everyday anxieties least foranxieties a few hours. from theirateveryday at least Itfor a few can getItvery and sometimes a bita bit hours. can silly, get very silly, and sometimes messy. messy.

How did this project come about How did this project come about originally? originally?

JB:been I’d been living in Bristolfor fora awhile while and I I’d living in Bristol and was becoming was Ibecoming frustratedfrustrated with a few with things about athe fewcity: things about theofcity: the sameand the the same types bands at gigs, types bands at gigs, the stagnanlack ofofqueer nightlife onand offer. cy of the local queer nightlife offering.

Yes. personally love things JB: IYes. I personally love thingsthat thatsit sit on on the the margins, when you’re watching somemargins, when you’re watching something that thing that intrigues youit because it doesn’t intrigues you because doesn’t strictly sit in strictly sit in one medium. We often one medium. We often encourage local artists encourage local artists to use THORNY use THORNY as something a playground, astoa playground, to try newtoortry something new or take a risk creatively. A really take a risk creatively. of this is EofB this U, aisBristol-based Agood reallyexample good example E B U, a Bristol-based musician who has musician who has been creating this been hypnotic, creating this hypnotic, spellbinding world spellbinding world of sound.

THORNY was ofher sound.

THORNY wasand hershe firstperformed show first show in a while, in a while, and she performed with such with such confidence, really commanding the confidence, really commanding the stage stage and creating a visual complement to her and creating a visual complement to her sound.ItIt was was aa brave paid off.off.

This sound. bravemove movethat that paid is also why I love festivals like Supernormal, a

This is also why Iwho loveprogramme festivals like mixed arts festival different art Supernormal, a mixedalchemise arts festival forms and consistently thiswho melting programme different artyear. forms and inviting pot of wonder year after I think consistently alchemise this melting pot different forms, styles and genres in that way is of wonder year after year. I think inviting At the same time, I’d started to meet some important: it’s the only way you get different At the same time, I’d started to meet different forms, styles and genres in that provocative, inspiring artists artists from different way people talking to each other. some provocative, inspiring is important: it’s the only way you get creative scenes: bands, artists, different people talking to each other. from different creative scenes:solo bands, performance poets, drag actspoets, and DJs. solo artists, performance dragI think As well as musicians from further afield (such acts DJs. I me think whatTHORNY motivated musicians fromKlein), further afield whatand motivated to start was the Asaswell the as utterly exceptional your shows me to start that THORNY the realisathe utterly exceptional Klein), realisation all these was intriguing creatures (such have as featured a range of local artists including tion that scattered all these intriguing shows have featured a range of existed, across the creatures city, but they your Oliver Wilde, Mun Sing and Yama Warashi; existed, scattered across the city, but local artists including Oliver Wilde, Mun weren’t talking to each other, so connecting how do you see Thorny as fitting into Bristol’s they weren’t talking to each other.

Sing and Yama Warashi; how do you them and including them onincluding the same platform see music scene?as fitting into Bristol’s music So connecting them and Thorny felt like important idea. them onanthe same platform felt like an scene?

JB: Bristol is our home and I spend all of my important idea. ourgoing hometoand all ofbeing my Did anything similar to Thorny exist in Bristol Bristol spare is time seeI spend things and Did anything similar timebygoing see things before?

If not, what to wasThorny it like exist for queer spare inspired thingsto that are putand on being by local incommunities Bristol before?

If not not,have whata was by things are put by local here to nightit which inspired promoters.

At the that moment, the on underground like for queer communities here to promoters.

At the moment, the undergives them the representation Thorny does? scene here feels the most alive it has been since not have a night which gives them the ground scene here feels the most alive it I moved hereI six yearshere ago,six and it feels representation Thorny does? has been since moved years ago, JB: THORNY was started in reaction to the and necessary be a part oftothat, feel connected it feelstonecessary be to a part of that, lack of spaces people who feel to socially totofeel it. connected to it.

THORNY wasfor started in reaction the lack oforspaces for people outside, on the borders who of feel creative socially outside, or on borders of cater AtAtthe time,asaswe’ve we’ve built momen-it’s disciplines and might not the fit onto bills that thesame same time, built momentum creative disciplines and might not fit tum it’s become possible to bring progresto a specific clique. We’ve always been about become possible to bring progressive work onto bills that cater to a specific clique. sive work from other towns and cities.

On that: not restricting people. You can be from other towns and cities. On 28th October 28th October as part of COIL, a clubnight whoever you want to be at our nights, there’s part of COIL, a clubnight we produce in We’ve always been about that: not reweasproduce in collaboration with Howling no pressure to hide parts of your personality, collaboration with Howling stricting people. You can be whoever Owl Records, we’re bringing Owl ImmaRecords, Asher because foster an atmosphere over we’re bringing Imma over from NYC; you wantwetowork be athard ourtonights, there’s from NYC; she’sAsher a professionally of warmth and no pressure toacceptance. hide parts of your trained dancertrained who transcended she’s a ballet professionally ballet dancer who personality, because we work hard to that industry and now industry choreographs transcended that and these now foster an atmosphere of warmth and entrancing live art shows.

There’s noshows. one choreographs these entrancing live art acceptance. else making work like hers.

There’s no one else making work like hers.

Illustration by Sophia Jowett

My first time seeing a drag-act was pretty re-

My first time seeing a drag-act was pretty recent; it was cent; it was johnsmith at Howling Owl’s ‘New johnsmith at Howling Owl’s ‘New atYear: Year: New Noise IV’ festival the New start Noise of this IV’ festival at the start of this year.

However, thisperforis just year.

However, this is just one of many one of many performance/drag-artists project mance/drag-artists your project hasyour brought to thebrought city; dotoyou feel do as you though you’ve helped has the city; feel as though you’ve give that form representation in in helped giveart that art greater form greater representation Bristol, andfor readers who have never seen Bristol, and- for readers who have never seen an act an act like that before- what would you say is like that before- what would you say is special/important about these artists? special/important about these artists?

Wow, in at the deep end! johnsmith is an

JB: Wow, inofat athe deep end! johnsmith an example example performer who usesisdrag as an andwho a tool explore idea of ofinfluence a performer usestodrag as an the influence and a transformation more Don’t get me tool to explore the ideabroadly. of transformation more wrong –Don’t I lovegeta me good old fashioned broadly. wrong – I love a drag good old queen belting out the Kylie, but in recent fashioned drag queen belting out the Kylie, but in years with the exponential growth of drag’s recent yearsthrough with the shows exponential growth of Drag drag’s exposure like Ru Paul’s exposure showson likethe Ruunderground Paul’s Drag Race, a Race, a through lot of artists have lot of artists on the drag underground been exploring been exploring as an arthave form and testing its limits. drag as an art form and testing its limits. Drag queens Draghave queens nowplatforms, have massive now massive and platforms, we’re here to and we’re here to represent underdogs represent the underdogs who are the pushing its political who are pushing its political and playful core and playful core in new directions.

in new directions.

You’ve in the past past that Thorny is not a You’veemphasised emphasised in the that Thorny ‘gay night’, andnight’, is openand for isallopen people of is not a ‘gay forregardless all people what they identify as. they However, many regardless of what identify as. people Howev-who er, many people never been to athe have never been to awho nighthave like Thorny, or shown night like Thorny, or shown the queer queer art and culture that it showcases, may be art slightly and culturebythat showcases, theit prospect of may going be to slightly such a intimidated intimidated by the prospect of going to such different and unusual kind of show. What would you a different and unusual kind of show. What like to sayyou to these people? would like to say to these people?

JB: justsay saycome come and us. us.

In light of the I’dI’d just anddance dancewith with In light of the state of thingswe globally, wethe should be state of things globally, should be last people the last people you’re intimidated by.

Nothing you’re intimidated by. Nothing can be everyone’s cup of tea,are butrare, spaces like ofcan tea,be buteveryone’s spaces like cup THORNY important THORNY are rare, important and sacred. and sacred. It’s not often that outsiders feel included It’s not often that outsiders feel included and and celebrated,and andwe we make make aa loud about celebrated, loudstatement statement that.

I can’t apologise it. about that.

I can’t for apologise for it.

Whatdodoyou you have have planned plannedfor forthe the future future with with What Thorny?

Thorny?

THORNY began as a hobby but now,

JB: THORNY began as a hobby but now, especially especially with the state of our country and with the state of our country and the even scarier news the even scarier news from across the pond, from the(and pond, safe spaces (and them) the livesare within safeacross spaces the lives within them) are becoming more and necessary, more necessary, becoming more and more and and increasingly threatened.

We’re beenbeen working with increasingly threatened.

We’re working with Bristol Zero Tolerance to make Bristol Zero Tolerance to make sure we’re sure doing all we’re doing allour wespaces. can to protect our spaces. we can to protect

We have a solid team now, who are working

We have a solid team now, who are working themselves silly for free, so a new challenge themselves so asome new challenge to find is to find silly waysfortofree, make money, iswithout ways to make some money, without selling selling out and becoming a diluted sap.out and becoming a diluted sap. Events-wise, you can keep up Events-wise, youoncan up with what’s with what’s going in keep THORNY world on goour ing on inpage, THORNY world on our Facebook Facebook or at wearethorny.com. page, or at wearethorny.com.

MILOS PLANES MILOS PLANES

HIGH-OCTANE, MATHY PUNK

(HIGH-OCTANE, MATHY PUNK)

Members: JoeJoe Sherrin, Harry Sherrin, Charlie Horne, Members: Sherrin, Harry Sherrin, Charlie Horne,Sam SamGreen Green Illustration: Sam Green Illustration: Sam Green

Thefirst firsttime timeI Isaw sawyou youlive livewas wasaafew fewmonths monthsafter afteryou We’re trying prove people we’re proI first saw you, Samasjoined as JS: We’re The Since Since I first saw you, Sam joined a second notnot trying to to prove to to people we’re you released your debut album ‘Aural Palate Cleaning lific or anything, we just tend to write, record, a second drummer; how did he get released your debut album ‘Aural Palate Cleaning Exercises’. drummer; how did he get involved in the prolific or anything, we just tend to write, record, Exercises’. You were opening for popular local punk band involved in the band? release and get sick of stuff very quickly. With You were band? opening for popular local punk band Velcro release and get sick of stuff very quickly.

With the Hooks, at what became their chaotic final show; Velcro the first album we recorded it (in 2013) and Hooks, at what became their chaotic final show; this ended we recorded it (in 2013) and then JS: Sam grew up with Harry and Char- first album this ended in everyone rushing the stage, their equipment then tried to sit on it (until 2015), waiting for in everyone rushing the stage, their equipment being broken JS: Sam grew up with Harry and Charlie, so tried to sit on it (until 2015), waiting for someone lie, so always shared similar music taste being broken and the singer Jenner having his head sliced someone to turn round and say “YES! QUIT and the singer having his head sliced open.

One year later, always shared similar music taste Harry to turn round and say “YES! QUIT YOUR Harry would steal Joe’s music off his open. One year later, you played a similarly anarchic YOUR JOBS NOW, HERES THE ALBUM you played show a similarly anarchicOwl’s headline show for and Howling steal Joe’sand music computer NOW, HERES THE ALBUM ON gift itofftohis Sam and Char- JOBSON headline for Howling Boat Party, Velcro wouldcomputer VINYL AND ALL THE MONEY YOU lie,itpretending discovered it. The VINYL AND ALL THE MONEY YOU Owl’s BoatGeorge Party, and Velcro Hooks’ Garratt joined to Sam andhe’d Charlie, pretending Hooks’ Garratt joined youGeorge for a rendition of their and gift NEED TO DO A HUGELY SUCCESFUL three of them used to make “music” you for‘Girlfren’’. a renditionI remember of their song ‘Girlfren’’.

I remember it. The three of them used NEEDWORLD TO DO TOUR.” A HUGELY song seeing that show and feeling he’d discovered Now SUCCESFUL we realise and are in Sam’s so they always seeing that show and feeling changingto ofhave the guard “music”bedroom, in Sam’s bedroom, so theyhad WORLD TOUR.” Now we realise (and are as though a changing of as thethough guardaseemed taken to make fairly comfortable in the knowledge that no some sort of musical place.toDid Velcro music/shows have any influencealways had some sort of musical fairly comfortable seemed have taken Hooks’ place. Did Velcro Hooks’ music/shows in the knowledge) that one the one gives a fuck at all, so we justno release connection. Sam had always joined on any you influence when youonwere out here?

Do you feel as connection. Sam had always joined us on gives amusic have you starting when you were starting out here? fuck atasall, so we just release quickly as we writethe it, music whichasin turn us on the road when touring - we though you filled an ‘anarchic, energetic punk’-shaped Do you feel as though you filled an ‘anarchic, energetic holethe road when firsthand touring his - we witnessed dis-quicklystops as we it, going which stale in turn stops the thewrite songs by having to play witnessed exceptional left by themhole in the punk’-shaped leftcommunity? by them in the community? firsthand exceptional and displays of songs old going stale all by the having to By playthe oldtime songswe allreleased songs time. plays his of drunkenness discordance, drunkenness and discordance, it seemed so it seemed like a greatsoidea to get himthe time. the we timehad we already releasedrecorded the debut the we second the By debut Joe Sherrin: Yeah of course, I mean nottotrying to like a up onidea stage us. up on stage with great to with get him album,recorded same with second album, Joe Sherrin: Yeah of courseI mean we’re we’re not trying mimic had already thethe second album, sameI think mimic them, nor are we in any way filling their sorely at our firstalbum, two album launches we played like us. them, nor are we in any way filling their sorely-missed hole; with the second I think at our first two missed hole - besides clearly sharing some influences I While you continue to be based in or 2 songs the like album were launching. besides clearly sharing some influences I don’t think our album1launches we off played 1 orwe 2 songs off don’t think our music is all that similar. In a live sense and Bristol, Sam, Charlie and Harry all live We get boredlaunching. of songs We veryget quickly.

But I While you continue to be based in Bristol, music is all that similar. In a live sense and in general the album we were bored of in general presence around the time of their Gymnophoria in other cities; how do the music scenes think that’s healthy.

Sam, Charlie and Harry all live in other presence around the time of their Gymnophoria EP though, songs very quickly.

But I think that’s healthy. of these other places compare with EP though, they were definitely a big influence- especially how do the scenes of these they definitely influenceespecially Harry, Hasmusic moving exposed you to for were Harry, Charlie a&big Sam who were probablyforonly about cities;Bristol’s? think thewith speed with which other anything places compare Bristol’s?

Charlie & Sam onlywould’ve about 16 been when some they I thinkIthe speed which we’re ablewe’re to new thatwith you’d like to Has bring toPartly Partly 16 when theywho firstwere saw probably them; theirs able to write stuff as quickly as we theexposed next Milo’s Planes record? moving you to anything new that first them;shows theirsthey would’ve been certainly some of the write stuff as quickly as we do is owed to mydo andis owed of saw the first ever sawthe first firstshows tiny, toinstant mine and Harry’s instant ability to isknow they everpunk saw- shows. certainlyThough the firstthis tiny, punk shows.withyou’d like to bring to the next Milo’s Planes Harry’s ability to know what the other sweaty is asweaty shared influence the other is trying to do. Sounds like I’m Harry Sherrin: I’ve found myself fairly trying what Though thisOwl is a and shared with Howling andthey all putrecord? to do. Sounds like I’m pretentiously Howling all influence the incredible, chaoticOwl shows pretentiously describing some kind of psychic underwhelmed by the local music onincredible, around that time,shows of allthey those bands shows, the chaotic putamazing on around thatand time, describing some kind of psychic mind power scene in Manchester.

Not only will mind power thing because we’re brothers, but Hooks were, andand stillshows, are, the best. Hooks They definitely ofVelcro all those amazing bands Velcro were, thing because we’re brothers, but we do Harry Sherrin: I’ve found myself fairly none of the venues give Milo’s Planes we do genuinely have a very strong musical meant a lot to us; we were all completely obsessed with and still are, the best. They definitely meant a lot to us; we genuinely have a very strong musical underwhelmed by the most local music in a gig (rookies!), of thescene student “connection” from playing together for so long, them that obsessed time. They were really exceptional were allaround completely with them around that time.and Manchester.

Not are only will none of the of“connection” from playing together for so long, population bedroom DJ chumps which makes putting new songs together a very not just of the rowdiness and They werebecause really exceptional and not justanarchic becausequalities of the venues Milo’sbought Planes me a giga set (rookies!), makes putting new songs together a very thegive “Daddy of CDJs” which easy & enjoyable process. That’s not to say that of their live shows, but because their songs were just so than friends’ bands rowdiness and anarchic qualities of their live shows, but most variety. of theOther student population areand easy and enjoyable process.

That’s not in to the say that Charlie & Sam aren’t crucial formation god jam good. I don’t think anyone will fill the hole left people with similar I’m quite dis-Charlie & Sam aren’t crucial in the formation of because their songs were just so god jam good. I don’t think bedroom DJ chumps of thetastes, “Daddy bought of our songs, of course they are. by them but it’s humbling to be mentioned in the same fromvariety. the Manchester scene.our songs, of course they are. anyone will fill the hole left by them but it’s humbling to be me aconnected set of CDJs” Other than breath.

Manchester is my unfulfilling mistress; mentioned in the same breath. friends’ bands and people with similar How do you envisage your sound changing Bristol’s my true muse.

How do you envisage your sound changing with tastes, I’m quite disconnected from the with future releases?

Joe has said that most of his lyrics are inspired by frusfuture Joe has said that most of his lyrics are inspired by frustrating releases?

Manchester scene.

Manchester is my trating experiences at work; without meaning to get you Charlie Horne: Having moved to Falexperiences work;you without to get youDo in trouble, mistress; Bristol’s true muse.

JS: We want this next album to be much more mouth, I’ve found thatmy making music in trouble,atcould give meaning me an example? you ever unfulfilling could give your me an example? finding Do youout? ever worry about CH: We want this next album be much more challenging; we’ve had to pretentious concept or watching bands is a great way to worryyou about co-workers ignore the monotony living in atotiny challenging; your co-workers finding out?

Charlie Horne: Having ofmoved we’veeverything. had pretentious conceptof ideas ideas and Regardless whether we seaside not amusic wholeorlot toand everything. decide toRegardless release a of ridiculous concept Falmouth, I’vetown. foundThere’s that making whether we decidealbum JS: Although the second album ‘Delivering Business do here. theway abundance we’re going to concept experiment sure. is more frustrated at work, watching bandsGiven is a great to ignoreof themusicto release a ridiculous albummore we’refor going JS:Success!’

Although the literally second about albumbeing ‘Delivering Business students jammed into the place there’s to experiment Much more and discordant; abrasive. mostly I’ve found the mundanity, monotony repetitive-monotony of living in a tiny seaside town. more brittle for sure.

Much more brittle, Success!’ is more literally about being frustratedand at work, a diverse scene, thankfully with enough ness ofI’ve working in anthe office to be a really reliable source Joe’s and got aabrasive. baritoneJoe’s guitargotnow and we’re going There’s not a whole lot to do here. Given discordant mostly found mundanity, monotony and a baritone rowdy punk to fill the Bristol shaped of metaphor for writing about more personal stuff, usually to write the whole album on that so there’ll be the abundance of music students jammed repetitiveness of working in an office to be a really reliable guitar now and we’re going to write the whole hole in my life. about feeling miserable and all the other fun topics people a kind of two drums/two bass type into the place there’s a diverse scene, source of metaphor for writing about more personal stuff, album on that so there’ll be a kind of thing two along write songs about.

There’s a lot of despair in the nooks with further usage of the overlapping thankfully enough rowdyhugely punk immersed to fill usually about feeling miserable and all the other fun topics drums/two bass type thing along with furthervocals Joe Sam with Green: I haven’t and forgotten places of an office. I like to get in there. I’m started to do on Individual Developmyself in thehole localinscene in Brightthe Bristol shaped my life. people write songs about. There’s a lot of despair in the usage &ofHarry the overlapping vocals Joe & Harry really into focusing and over-examining trivial stuff, so one ment Plan.

Also, Sam just built his own slide on, but there are a few cool bands nooks and forgotten places of an office. I like to get in there. started to do on Individual Development Plan. example would be to hone in on genuine people’s characguitar - it’s really fucking disgusting and he just knocking about that I cross paths with Green: I haven’t hugely immersed I’m really into focusing and over-examining trivial stuff, so Also, Sam just built his own slide guitar - it’s really ter traits and obsess over them until they seem insane, thenSam Frank hits it with things, it sounds glorious. We had and Beans are rock hot. Largely, myself in the local scene in Brighton, but one example would be to hone in on genuine people’s fucking disgusting and he just hits it with things, it use this new, beastly character as the focal point of a song though, I get my fill of live music by our first practice in ages the other night and are a few cool bands knocking about character traitsjust andabout obsessme overfeeling them until theywasting seem insane, sounds glorious. We had our first practice in ages that’s really like I’m my life. there visiting London and by returning home pumped out 3 new ones so it’s well on the way. that I to cross pathsto with - Frank Beans are then use this people new, beastly thewrite focalsongs point about of a the other night and pumped out 3 new ones so Hopefully don’t character think we as only Bristol play with and Milo’s. rock hot. Largely, though, I get my fill of live song that’s though really just aboutthat me way feeling I’mgetwasting my it’s well on the way. offices... maybe we like could a Staples What kind of impression do you regard by visiting London andyou’ve by returning life.

Hopefully people don’t thinkget we our onlyhands write songs aboutsweetmusicFor the length of time been endorsement deal and finally on some yourselves as having left on Bristol’s music so youtohave exceptionally pro-What far, kind impression do you regard over the to Bristol playbeen with Milo’s. offices... though hole maybe that based way we could get a Staples Milo’s Planes punch merch.... hmmm yeah I’llhomegoing, andofwhat are your main ambitions lific. In three years, you have released yourselves as having left on Bristol’s music so far, ping them an email. endorsement deal and finally get our hands on some sweet next year? three full-length and three And Planes yes, I used be completely terrified of co-workers and what are your main ambitions over the next Milo’s hole to punch based merch.... hmmm yeah I’ll For the length of time albums you’ve been going, EPs. been How and why do you recordInand year? finding (I have a preposterous handle on Facebook you have exceptionally prolific. ping themout an email.

JS: None whatsoever. Our ambitions for the music so released quickly, three and infullsuch years, you have so they find name) but I don’tofmind so much three release And yes, can’t I used to me be by completely terrified co-workers next year are to make an unrelenting album so abundance? length albums and three EPs. How and why now; I’ve handed my notice. handle on Facebook so finding out (I have ainpreposterous JS: None whatsoever.

Our ambitions for the nextlike it. revolting that most people don’t even do you record and release music so quickly, they can’t find me by name) but I don’t mind so much now; year are to make an unrelenting album so and in such abundance?

Illustration by Sam Green I’ve handed in my notice. revolting that most people don’t even like it.

BREAKFAST RECORDS BREAKFAST RECORDS

(DIY LABEL. ADMIR’D PURVEYORS OF GARAGE-ROCK, DIY LABEL; ADMIR’D PURVEYORS OF GARAGE-ROCK CASSETTES AND RIOTOUSLY FUN ALL-DAYERS) AND RIOTOUSLY FUN ALL DAYERS

I met Jamie in November 2015 in The Mother’s Ruin, after The Naturals’ album launch; he’d overheard me Italking withinsomeone met Jamie Novemberabout 2015 The in The

Naturals’ (excellent) basslines, and Mother’s Ruin, after The Naturals’ album mentioned thatoverheard their bassist launch; he’d me also talking with plays drums in his skate-punk band someone about The Naturals’ (excellent) The Gnarwhals. After we’d gotten basslines, and mentioned that their bassist to talking, Jamie mentioned an idea his skate-punk himalso andplays his drums friendsinhad for a labelband The‘Breakfast Gnarwhals.Records’, After we’d gotten to called which talking, Jamie mentioned an idea him and would be based around live sessions in which the had artists his friends for awere label also calledfilmed ‘Breakfast eating breakfast. wouldbebebased lyingaround Records’, whichI would if I live saidsessions it sounded like a lucrative in which the artists were also business the time, but within filmed idea eatingatbreakfast.

I would be lying if twoI years you have released about said it sounded like a lucrative business sixteen albums, EPs and compilaidea at the time, but within two years you tions, cementing yourselves as one havecity’s released aboutsmall sixteen albums, of the leading labels, andEPs and compilations, yourselves a cornerstone of thecementing local artistic as one of the city’s smalloflabels, community.

How didleading the three youand firsta form the label, andlocal whatartistic cornerstone of the wascommunity. the inspiration behind it? of you first How did the three form the label, and what was the

Daninspiration Anthony: Jamie behind it? and Josh have long known each other growing up in Bristol. I met them both later Dan Anthony: Jamie and Josh have long whilst living in Oxford after graduknown growingthrough up in Bristol. I ation, andeach we other all bonded met them later whilst living in Oxford playing gigs both together.

It wasn’t until and of wegrowing all bonded lateafter 2015graduation, when the fear oldthrough and boring spurred us all toIt wasn’t playing gigs together. develop something more concrete until late 2015 when the fear of growing around which we could anchor old and boring spurred us all to all develop of our artisticmore and musical visions.which something concrete around I would love to pretend we all met we could anchor all of our artistic and under bacon mistletoe at some musical visions.

I would foods, love to and pretend convention for breakfast we all met under bacon sure mistletoe at some at one point I’m pretty I develconvention for breakfast foods,for andthe at one oped an elaborate backstory point I’m pretty sure rescued I developed label involving us being as an children by backstory wolves and forming a elaborate for the label involving skiffle band,rescued but really I think by we’re us being as children wolves all just still get toobut excited and nerds formingwho a skiffle band, really I at the sound of a fuzz-pedal. think we’re all just nerds who still get too excited at the sound of a fuzz-pedal.

Your output is almost entirely guitar-based, releasing artists such as YourHuman output Bones, is almostGin entirely guitarSlonk, Birkins releasing artists suchis as Slonk, andbased, American Enthusiasm; your Human Bones, Gin toBirkins and label designed to appeal and represent thatEnthusiasm; particular section American is yourof label Bristol’s eclectic music scene, or hasthat designed to appeal to and represent thatparticular come about naturally from section of Bristol’s your eclectic ownmusic personal tastes? scene, or has that come about naturally from your own personal tastes?

Josh Jarman: There’s so much good stuff here, we’re just a drop in Jarman: There’s so much good stuff the Josh ocean.

Whilst we want to keep we’re just aas drop in we’re the ocean. ourhere, output varied, a label we want to keep our is output varied, veryWhilst guitar-centric.

Bristol home to such a rich musical spectrum, Bristol it as a label we’re very guitar-centric. would be silly for athree idiots in their is home to such rich musical spectrum, spare time to it would be try sillyand for encompass three idiots in their everything that’s going on here. spare time to try and encompass everything that’s going on here.

Members: Joshua Jarman, Jamiewithin Cruikshank, Anthony How do you see yourselves the Daniel context Illustration: Hannah Sunny Whaler of Bristol’s music scene, and what influence do you like to think you are having on things here?

How do you see yourselves within the context of Bristol’s JJ: A lot of and it is what just influence about trying to like create fun,you music scene, do you to think safehaving spaces everyone are on for things here? to just get out and listen

to music. We don’t want it to feel like a clique.

There’s no shortage of amazing new bands popJJ: A lot of it is just about trying to create fun, safe spaces ping up here, so we’re always trying to put on as for everyone to just get and listen to music. We don’t many new artists as out possible.

want it to feel like a clique. There’s no shortage of amazing popping up that here,you’ve so we’re What isnew yourbands favourite show putalways on? trying to put on as many new artists as possible.

JJ: For me it’s been the All-Dayers at the White Rabbit.

We’ve doneshow three which I think What is your favourite thatnow, you’ve put on? racks up at about 36 artists in total, and the energy that they’ve all brought has been unreal.

JJ: For me it’s been the All-Dayers at the White Rabbit.

On top of witnessing an incredible mélange of We’ve done three now, which I think racks up at about skill and creativity, these events are just a ridicu36 artists in total, lous amount ofand fun.the energy that they’ve all brought

has been unreal. On top of witnessing an incredible mélange of skill and you creativity, these events are just Almost everything release is on cassette; at a the launch of your first compilation tape, you ridiculous amount of fun.

even sold small cassette players alongside them, and started giving away free at at the Friendly Almost everything youthem release is onfor cassette; launch Records people bought a cassette from of your firstwhen compilation tape, you even sold small cassette you. Why do you like that medium so much? players alongside them, and started giving them away for free at Friendly Records when people bought a cassette JJ: The medium ain’t the message, it’s just from Why do that medium so much? aboutyou. creating a you nicelike physical artifact.

That’s

something that’s important to us. Music you

JJ: Theand medium ain’t the it’s just aboutthan creating own, can hold in message, your hand, rather you stream thesomething first few that’s seconds of asomething nice physical artifact.

That’s important once and then forgot work a lot on to us: music you own, andforever. can holdWe in your hand, rather tape because it’s affordable, that’s the long and than something you stream the first few seconds of once short of forgot it. Weforever. love vinyl, but agetting it made is and then We work lot on tape because expensive as hell, and could limit our output. it’s affordable, that’s the long and short of it. We love vinyl, but getting italso made is expensive as hell,warm and could DA: Cassettes sound surprisingly and limit our output. colourful when you have the right environment.

I think throughout history the tinny car tape

DA: also sound surprisingly warm and colourful deckCassettes has distorted people’s perceptions, but compared to the theright horrendous, flatI think compression when you have environment. throughout forced the onto many a bithas of tape hiss people’s is still history tinny car CD’s tape deck distorted preferable, especially in earthier guitar music. perceptions, but compared to the horrendous, flat compression forced onto many CD’s a bit of tape hiss is JJ: I do love my tinny car tape deck, though. still preferable, especially in earthier guitar music.

You recently released a cassette of eleven covers

JJ: do love artists my tinny car tape with deck, the though. byIeleven affiliated label called

‘Elevenses’, of which eleven were made; what

You recently cassette eleven covers inspired this,released and doayou haveofa favourite fromby the cassette? eleven artists affiliated with the label called ‘Elevenses’, of which eleven were made; what inspired this, and do you JJ: The standard so cassette? high on that compilation, have a favourite fromisthe

but one I always go back to is The Ornsteins covering ‘Green Hands’. It’s just sublime.

JJ: The standard is so high on that compilation, but one I Fitting, too, given Joe Ornstein was the one who always go back to is The Ornsteinsforcovering ‘Green suggested the name ‘Elevenses’ our next Hands’.

It’s just sublime. Fitting, too, given Joe Ornstein compilation. was the one who suggested the name ‘Elevenses’ for our next DA:compilation.

It’s hard to pick a favourite, although for

sheer inventiveness I have to go for Springbreak’s ‘Pool the Gnarwhals.

DA: It’s cover hard toofpick a House’ favourite, by although for sheer The track sounds like it’s being played byofa ‘Pool inventiveness I have to go for Springbreak’s cover prom-band from a Carrie remake 45 years into House’ by the Gnarwhals. The track sounds like it’s being the future. It’s also super rad.

played by a prom-band from a Carrie remake 45 years into the future. It’s also super rad.

Illustration by Hannah Sunny Whaler

Over the past year, many Bristol music venues have been endangered by people who have knowingly bought flats near these venues, and sent frivolous Over the past year, many Bristol noise music complaints venues have to the council about them.

Following the been endangered by people who have knowingly announcement of the Stag and Hounds’ bought flats near these venues, and sent frivolous closure, your plea to these people to stop noise complaints to the council about them. Following ‘trying to silence’ Bristol’s scene racked the announcement of the Stag and Hounds’ closure, up over two-thousand likes and massively your plea interest to these in people to stopalmost ‘trying doubling to silence’ raised the label, Bristol’s scene racked up over two-thousand likes you and its number of page-likes overnight. Did massively raised interest in the label, almost doubling anticipate such a reaction?

What would you its like number of page-likes to see happen overnight. in BristolDid to you stopanticipate this happening such a reaction?again?

What would you like to see happen in Bristol to stop this happening again?

JJ: It obviously struck a chord with a lot of people, but it’s emblematic of a much JJ: It obviously struck a chord with a lot of people, but bigger problem, I think. We can piss and it’s emblematic of a much bigger problem, I think. We moan about our music venues ‘til the cows cancome piss and moan our music venues ‘til of the home, butabout the whole thing is part cows come home, but the whole thing part of something far worse happening in isBristol, something far worse happening Bristol, andshitty, venues and venues closing, whilstinobviously is second to shitty, the housing closing, whilst fiddle obviously is secondcrisis fiddlehere. to the Thesecrisis so-called luxury flats are a problem housing here. These so-called luxury flats are a for music venues, but but alsoalso forfor thethe city problem for music venues, cityasasa a whole, foremost we need whole, andand firstfirst and and foremost we need to helptoget help get people off the streets. Bristol is people off the streets. Bristol is always being talked always being talked about as a progressive about as a progressive city, as a place on the grow, but city, as a place on the grow, but it’s homeit’slessness homelessness on the rise.

Andit’s it’s not not really that’sthat’s on the rise.

And really being talked about.

It’s ridiculous.

There but for the being talked about.

It’s ridiculous.

There grace godthe goes Breakfast. butoffor grace of god goes Breakfast.

DA: Equally, I don’t DA: Equally, I don’t thinkthink we’vewe’ve ever ever hidden our hidden our political leanings, with political leanings, and with everythingand venue closures are justtyranny part ofthat a areeverything just part ofvenue a widerclosures market-focused wider market-focused tyranny that fails to fails to appreciate the intrinsic goods within society. appreciate the intrinsic goods within society.

Music is more than a brief hedonic pleasure for so Music is more than a brief hedonic pleasure many andpeople whilst we luckywe to are be able to for people so many andarewhilst lucky enjoy liveable musictoinenjoy a safe and there to be livecomfortable music in aspace, safe and is an increasing trend to simply everything by comfortable space, theremeasure is an increasing to or simply measure by its its trend personal economic value everything that is so detrimental economic value that is so detrito personal communityorand real prosperity.

Campaigning for to community and real prosperity. themental preservation of the local Bristol music scene is just thesocial preservation the to oneCampaigning small part of afor wider change thatofneeds local Bristol music scene is just one small occur so that the welfare of those who are politically part of a wider social change that needs to disenfranchised is ensured for generations to come. occur so that the welfare of those who are politically disenfranchised is ensured for What do you have generations toplanned come. next for the label?

have for the JJ: What A realitydo TVyou show: Theplanned Great Bignext Breakfast Island. label?

The winner is the last musician left alive.

JJ: A reality TV show: The Great Big Break-

DA: It took us about four weeks to choose a label fast Island. The winner is the last musician name. Then another four weeks to come up with any left alive. plans more concrete than developing our own brand of DA: cereal.ItI took expectusinabout four years cerealtowill finally fourthat weeks choose come out. name. Then another four weeks a label

to come up with any plans more concrete

developing ofIsland cereal.

JJ: than The winner of The our Greatown Big brand Breakfast gets I expect in four years that cereal will finally a box of the cereal. come out.

JJ: The winner of The Great Big Breakfast Island gets a box of the cereal.

THE LOCO KLUB

CHOSEN BIRTHPLACE OF THIS ISSUE 25/11/2017 w/ The Naturals, Scalping and Bad Tracking

2 RESIST The Unstoppable MENACE of

VENUE - CLOSURE Caused by Frivolous Noise-Complaints, Gentrification and Neglect.

NOT ALL VENUES ARE CREATED EQUAL. Many are poorly-kept or mismanaged.

Many venue-owners waste their platform, bowing to the landfill.

Many complacently rely on their ‘heritage’ “didyouknowRadioheadplayedherein1998?”

But ALL

HAVE VALUE, when placed in the hands Of

Those Who Are Strong In Vision and Will.

THE GRAVEYARD FILLS. YOUR LOCAL VENUES NEED YOU TO SUPPORT People will always buy THEM! Use them. Look up property next to venues listings, listen to new local and and complain when touring bands, see them live, they put on shows, and and you are preventing the venues will always have graveyard from filling. to fight being closed.

Bristol venues placed under This year alone in Bristol, of closure THIS YEAR: threat Start The Bus, Roll for The The Jam Jar, Thekla, Roll For The Soul and The Stag and Soul (closed), Stag and Hounds Hounds have closed. (closed), Start The Bus (closed)…

Look up listings, listen People will to always localbuy andproperty touring next to venues and complain bands, and go to see when they put on shows, and them live. Music venues venues will always have to fight exist by the grace of being closed. those who use them.

Look after them, and they’ll look

START THE BUS was one of the city’s most important and beloved venues. It was owned by Mitchells & Butlers (Harvester, Toby Carvery) whose lack-of-judgement led it to be turned into a table-service and light-jazz restaurant named Hy Brasil Music Club.

This destroyed the reputation of the venue, impeded opportunities for touring bands to visit the city, and damaged the careers and opportunities of local artists and promoters.

WHAT A WASTE.

After James Maclucus left the band at the end of last year, yourselves (Arthur Brown, Lily Cook and Miles Hastings) continued as a three-piece in a fiercely experimental new direction. After your first show in this incarnation, it was variously described it to me as like trap, early post-punk and (genuinely) ‘shoegaze-y

Death but the unanimous AfterGrips’, James Maclucus left the bandverdict at the end wasofthat sounded a(Arthur lot heavier last Jesuits year, yourselves Brown, Lily andCook a lotand weirder than in your previous as a three Miles Hastings) continued shoegaze/power-pop/grunge incarnation. piece in a fiercely experimental new direction.

Did you anticipate the new direction After your first show in this incarnation, it was getting such a huge reaction? What variously described it to me as like trap, early influenced this sound? post-punk and (genuinely) ‘shoegaze-y Death

Grips’, but the unanimous was that Arthur Brown: Last Autumn verdict I’d come sounded a lot heavier and a lot Jesuits out of a period of intense personal weirder previousI was shoegaze/ than in your problems.

Artistically havingpower-pop/ issues you anticipate grunge born out incarnation. of a creativeDid frustration withthe new such a huge reaction?

What direction getting guitar-based rock or indie music.

Coming this sound? outinfluenced of this period was very invigorating & refreshing as my outlook on life & art hadArthur changed to aLast large degree. started Brown: Autumn I’d Icome out of a mining internet and digging periodthe of intense personaldeeper problems. forArtistically new music, almost ravenously…

I was having issues born out of a

creative frustration with guitar-based rock or

I’dindie stumbled ofperiod amaz-was very music. across Comingall outsorts of this inginvigorating stuff on YouTube, Bandcamp andon life & refreshing as my outlook Soundcloud.

The key stuff was mostly & art had changed to a large degree. I started Trap / Vaporwave / PC Music / Indusmining the internet and digging deeper for new trial / Classical / Glitch / Experimental music, almost ravenously… / Power-Noise.... it’s a long list if I’m honest but those were the key genres.

I’d stumbled across all sorts of amazing stuff on I’d also started paying more attention to YouTube, Bandcamp and Soundcloud. The what was happening in modern pop-mustuff was Trap influence / Vaporwave sic.key This was anmostly important & / PC Music / Industrial / Classical / Glitch / served as a strong incentive to begin a Experimental / Power-Noise.... it’senough a long list if creative shift. We are also lucky I’m honest but those were the key genres. to have amazingly talented friends like I’d alsoWaves, started paying more attention to what Silver MXLX, Giant Swan, Oli- was in modern was an verhappening Wilde, John Bencepop-music. & Young This Echo, important influence & servedcannot as a strong their inspiration and influence be underestimated. incentive to begin a creative shift. We are also lucky enough to have amazingly talented

Around JamesMXLX, leavingGiant the Swan, friendsthe liketime Silverof Waves, band we’dWilde, made John a conscious Oliver Bence &decision Young Echo, to focus more on space dynamics their inspiration and and influence cannot be in our music, drawing on the minimalunderestimated. ism of Trap, Industrial & all the other genres I mentioned. I was really happy Around the time of James leaving the band that Lily and Miles seemed as excited at we’d made a conscious decision to focus more the prospect as I was...the amazing thing on space and dynamics in our music, drawing was, when we tried it, it worked almost on the minimalism of Trap, Industrial & all the straight away! We were laughing hysteriother genres I mentioned. I was really happy cally as it seemed so easy and enjoyable thatWhen Lily and seemed the as excited to us. weMiles performed new at the prospect as I was...the amazing thing was, when material, we were also stunned by the we triedfrom it, it worked almostbut straight reactions audiences, again,away! it We were laughing hysterically as it seemed so easy seemed to be taken on positively almost and enjoyable straight away. to us. When we performed the new material, we were also stunned by the from audiences, but again, it seemed It’sreactions since occurred to me that it’s actually a very and cyclical for to betraditional taken on positively almosttradition straight away. guitar bands to implement the grooves andIt’srhythms of modern since occurred to me dance that it’s music actually a very intotraditional their sound. grooves and Dominant cyclical tradition forand guitar rhythms that are relevant to artists bands to implement the grooves andand rhythms theoferamodern they’redance operating I’m very musicwithin. into their sound. happy that it feels like we’re part neware Dominant grooves and rhythmsof athat movement in this tradition and that the relevant to artists and the era they’re operating experiment is rewarding both for us and within. I’m very happy that it feels like we’re our audiences. part of a new movement in this tradition and that the experiment is rewarding both for us and our audiences.

JESUITS JESUITS

In Howling Owl’s evolution from a guitar-label into more of a left-field electronic label, and the growing popularity of acts such as Giant Swan, Silver EXPERIMENTAL VAPORWAVE/ GOTH-ROCK Waves and (most recently) (EXPERIMENTAL VAPORWAVE/ GOTH ROCK) Members: Arthur Brown, Lily Cook, Miles Hastings Scalping, do you think your Illustration: Phoebe Phillips experimental new direction I know Arthur is interested in Asian culture and history, and ‘Wu X Shu’ is illustrates a more general inspired the imperialist occupation of Asia.

Is history, there any from In Howling Owl’s evolution frommoveI knowbyArthur is interested in Asian culture and andmusic ‘Wu X Shu’Asia is inspired ment towards experimentation which has by influenced yours? a guitar-label into more of a leftthe imperialist occupation of Asia. Is there any music from Asia which Bristol? Have fieldin electronic label,other and experithe has influenced yours?

Wu X Shu was very much a middle-ground between our previous incarnation growing mental acts in of Bristol influenced popularity acts such as andAB: the ‘Wu new style; youwas canvery hearmuch the increased attentionbetween to groove the your new Silver sound?

Swan, Waves and Giant X Shu’ a middle-ground ourand previous space within the music. A certain gothic ambience. I’d been reading a lot of (most recently) Scalping, do you incarnation and the new style; you can hear the increased attention to groove and literature both fictional and non-fictional about the colonization of Asia, and think I think has always yourBristol experimental newbeen the space within the music. A certain gothic ambience. I’d been reading a lot of was really fascinated. I wanted to draw upon that in the lyrics as I saw a corvery eclectic and experimental. illustrates a more direction literature both fictional and non-fictional about the colonization of Asia, and was respondence between the ethics used back then and the ethics and strategies The city is steeped in a rich movement towards general really fascinated. I wanted to draw upon that in the lyrics as I saw a used in modern economics and business. sound system culture, which led experimentation in Bristol? Have correspondence between the ethics usedofback then and the ethics and strategies A lot of the concept of Jesuits is a sort meshing of the ancient world with to experimental many interesting acts ininnovations Bristol other used in modern economics and business. the modern, which the name of the band represents to me. In turn the and movements like Trip-Hop, your new sound? influenced A lot of thelyrical concept of Jesuits is adraws sort offrom meshing of the ancient world with the musical and content often spiritual, pseudo-philosophical Dubstep etc etc. which the name theasband represents to me. Inand turnfeelings the musical and andmodern, historical contexts, as of well channeling aesthetics of where However going back to the I think Bristol has always often draws spiritual, pseudo-philosophical welyrical are incontent the modern world.from Musically I draw influence from aand lot historical of different AB:points made in the previous and very eclectic contexts, as well as the channelling aesthetics feelings of where we are in the cultures.

From Asia techniques I drawand upon are mainly using modal scalesbeen question, I think the dissolution experimental.

The city is steeped modern Musically I draw fromofa modern lot of different From vocally andworld. chanting etc. I’m alsoinfluence a huge fan J-Popcultures. and K-Pop of scenes and musical boundin a rich sound system culture, andAsia a lottheoftechniques the rhythms, sounds techniques seepscales into vocally new Jesuits I draw uponand arevocal mainly using modal and aries has influenced our new which led to many interesting material...albeit subtly. chanting etc. I’m also a huge fan of modern J-Pop and K-Pop and a lot of the direction to an incalculable innovations and movements like rhythms, sounds and vocal techniques seep into new Jesuits material...albeit degree, and probably a large Have your lyrical concerns changed with your new musical direction?

Trip-Hop, Dubstep etc etc. subtly. number of other Bristol artists However going back to the points also.

Yes. With the new direction I wanted to let my vocals be more stream of Have your lyrical concerns changed with your new musical direction?

made in the previous question, I

incredible art and performances can only be seen as a by-product of this shift in consciousness.

time in decades for Bristol music, and to attend and support as many events as they can.

consciousness and free-form, whereas previously I’d written lyrics. So the think the dissolution of scenes of our main lyrical content is now truly personal to me, as it reflects the moment of its in- andA lot musical boundaries has AB: Yes. With the new direction I wanted to let my vocals be more stream of influences are local, quite ception with an honesty that I could never channel when writing lyrics down. influenced our new direction to consciousness and free-form, whereas previously I’d written lyrics. So the lyrical MXLX, I’m sometimes surprised at what comes out of me, disturbed even, but I’m an honestly. incalculable degree, and content is now truly personal to me, as it reflects the moment of its inception with devoted to this new approach. It’s cathartic to channel whatever you’re feeling The Naturals / Giant Swan, probably large number other an honesty that I could never channel when writing lyrics down. I’m sometimes SilveraWaves, John of Bence, into artistic expression completely within the moment.

Bristol artists also. surprised at what comes out of me, disturbed even, but I’m devoted to this new Belvoir Crew (Taos Humm I’m hugely inspired by vocalists like Liz Fraser of the Cocteau Twins or Kate approach. cathartic channel you’re feeling in intoa artistic etc), Kahn and the Young Echo Bush, artistsIt’s who createtotheir ownwhatever world and language playfulexpression or almost of our mainthey influences aremy completely the moment. collective.... changed child-like way.within My new vocal style reflects those influences but combined with A lot local, quite honestly.

MXLX, I’m hugely inspired by vocalists like Liz Fraser of the Cocteau Twins or Kate chanting, rapping and choral influence. Lyrically it is a mesh of what’s person- life, and I felt so lucky to be Naturals / Giant Swan, Silver Bush, create their own world and language in a playful or almostsocial child-or Theable to draw influence from al to me artists in thatwho moment.

It could be emotional, political, historical, Belvoir like way. My new vocalsmashed style reflects those influences butor combined pop-culture influence, into abstract poetry phrases.with chanting, Waves, artistsJohn withinBence, the same city!

Crew Humm etc), Kahnis rapping andoften choral influence.

Lyricallythe it isancient a mesh world of what’s personal to me in Again we’re aiming to combine with the modern Of (Taos particular importance the Young collective.... that within moment.

It could be emotional, historical, social or rap, pop-culture world Jesuits.

Combining thingspolitical, like choral melody with historical andMXLX as IEcho believe he’s taken theymany changed my life, andhis I felt so in concerns with currentinto issues, it makes interesting influence, smashed abstract poetry for or phrases.

Again we’re often aiming to artists under wing to be able draw influence experimental to me.world When recording the within albumJesuits.

I will most likely lucky combine theart ancient withwe’re the modern world Combining a sense, andtobeen a massive have lyrics but would like to leave room for total expression andit from artists within the same city! things likeprepared, choral melody with rap, historical concerns with current issues, influence on them creatively creative Of and particular importance is makesfreedom. for interesting experimental art to me. When we’re recording the album I personally.

MXLX as it I was believe he’s taken will most likely have lyrics prepared, but would like to leave room for total I know certainly the case Through Jesuits your former bands (GuMM and Towns), you have all many under his wing in a forartists me, but I think his savant-esexpression and and creative freedom. been important and popular fixtures in Bristol’s music for several years, and sense, and beenonathemassive que influence general have seen aJesuits lot of and amazing projects begin and finish.

How do Bris- influence creatively Bristol and layouton of them underground Through your former bands (GuMM and Towns), youyou havethink all been tol’s ‘scene’ has developed in this time? personally. was certainly The music isI know reallyitunderrated. important and popular fixtures in Bristol’s music for several years, and have seen the eclecticism case for me,ofbut think hisI art andhistaste a lot of amazing projects begin and finish. How do you think Bristol’s ‘scene’ has The best change for me is a shift from scenes, to an emphasis on community. impacted Bristol on a deep level savant-esque influence on the developed in this time?

Music Scenes are almost like dirty words to me now, as they so often go handin thelayout underground. general of underground in-hand with exclusivity, judgement and bitterness.

Bristol music is really underrated.

AB: The best change for me is a shift from scenes, to an emphasis on community.

Bristol used to be quite separated in terms of venues and scenes. For exlong before thisarthistoric eclecticism of his and Musicwhen Scenes are almost likefirst dirtystarted, words to me now, as they often go hand-in-in TheNot ample, Howling Owl I remember us allsobeing involved document breathes its first, taste impacted Bristol on a deep hand with exclusivity, judgement and bitterness.

Bristol used to be quite separated endless disputes with promoters, venues or even some artists. Everyone would of new students will in the underground. in terms have of venues and scenes. when Owlevents first started, constantly to think outsideFor theexample, box to put onHowling shows and (hugeI levelthousands descend upon this city with no remember us all being involved in endless disputes with promoters, venues or props to Joe and Adrian for doing that and continuing to innovate in this way, knowledge of Bristol’s Notprevious long before this historic some artists.

Everyone constantly to sensibility think outside box to put andeven everyone else who puts would on shows with ahave DIY inthe Bristol). music (as I once did).

What breathes its first, document on shows andisevents (huge props to and Joe and Adrian forperiod doing that and continuing I think Bristol in a really special transitional currently, as many would you like students to say towill them of new thousands scenes have dissolved in my Acrosselse almost genre youwith canasee to innovate in this way, andeyes. everyone who every puts on shows DIY aboutupon the music here? this city with no familiar facesinperforming, promoting or supporting a stunning range of events.descend sensibility Bristol).

Audiences and artists hungry to digest asperiod manycurrently, styles as possible, previous knowledge of Bristol’s I think Bristol is in ahere reallyseem special and transitional as many I’d say they’re scenes in my eyes. Across almost every you can Isee familiar which in have turn dissolved culminates in increasingly eclectic art genre and culture. talk to (as that I once did).extremely What music lucky they’ve arrived the best faces in performing, or supporting a stunning range of events. friends London promoting and they say there’s boundaries between even Audiences guitar or would you like to say to atthem andbands, artists here seem hungry to digest styles possible, which turnhas time decades indie which I find stunning andasamany bit sad.

I’masreally proud thisincity theinmusic here?for Bristol muabout culminates in increasingly eclectic art and culture. I talk to friends in London and sic, and to attend and support as seemingly evolved past any pre-tense of prejudice with regard to cultural bias they say there’s boundaries between even guitar or indie bands, which I find many as they can. recently, and I think the incredible art and performances can only be seen as AB: I’d sayevents that they’re extremely stunning and a bit sad. I’m really proud this city has seemingly evolved past any a by-product this shiftwith in consciousness. lucky they’ve arrived at the best pre-tense ofofprejudice regard to cultural bias recently, and I think the Illustration by Phoebe Phillips

SILVER WAVES WAVES SILVER

(ABRASIVE, EXPERIMENTAL ELECTRONIC MUSIC) ABRASIVE, FIERCELY FIERCELY EXPERIMENTAL ELECTRONIC MUSIC Of the tracks you’ve released so far, ‘V’ is the greatest but also the most abrasive, confrontational and unpredictable.

From the opening swell of metallic Of the tracks you’ve released so far, ‘V’ is the greatest distortion (occasionally recognisable as a series of but also the most abrasive, confrontational and screams) to the ear-perforating breakbeats, to the unpredictable. From the opening swell of metallic punishing surprise ‘drop’ near the end, it is never distortion (occasionally recognisable as a series of quite clear whether you intend for your audience to screams) to the ear-perforating breakbeats, to the dance or to stand slack-jawed in horror. How would surprise ‘drop’ near the end, it is never quite youpunishing like to imagine people reacting to your music? clear whether you intend for your audience to dance or to standthat slack-jawed horror.

How as would you like I wanted tune to income across a punch in to the imagine people reacting to your music? face. That’s what I was thinking of when I made it,

a punch in the face. I recently got punched in the wanted that tune come faceDylan and itMallett: didn’tI actually take as to long as across it doesastoa punch in the face.soThat’s what I was thinking listen to that song retrospectivelyI’m of notwhen sureI it, a punch in the I recently gotapunched if I made succeeded.

That EPface. to me signifies pretty in the face turning and it didn’t actually takeproject, as long as doesbeto important point for the initpart cause it was thesong firstso-time I wrote with retrospectivelyI’man notaudience’s sure if I listen to that potential reaction in mind purely for succeeded.

That EP to me rather signifiesthan a pretty important myself.

I definitely wanted be because incendiary turning point for the project,itintopart it wasand the testing, but Ihopefully andpotential rewarding in first time wrote withclimactic an audience’s reaction some way asrather well. than It does borrow certainI features in mind purely for myself. definitely from dance music but I think to andyou’d testing,struggle but hopefully wanted it to be incendiary dance to it -and that’s something I tryway to as touch a climactic rewarding in some well. on It does bit more my live shows.

Certainly withbut theI stuff borrowin certain features from dance music think I’veyou’d beenstruggle working on since EPsomething there’s been to dance to it that - that’s I try to a lottouch more consideration throughout the writing on a bit more in my live shows. Certainly with the process for how the music is likely to be received stuff I’ve been working on since that EP there’s been a by an audience and in what context, but it’s still lot more consideration throughout the writing process very open-ended, and something that I try and use for how the music is likely to be received by an audience as a jump off point to play with notions of what and in what context, but it’s still very open-ended, and I’m doing rather than adhere to them. The main something that I try and use as a jump off point to play consideration is to communicate a distinct narrative, withannotions of what doing rather than adhere to albeit abstract one.I’m How that’s received and what them. The main consideration is to communicate a it ‘means’ is up to whoever is listening.

There is no distinct narrative, albeit an abstract one.

How that’s specifically sought reaction. It probably represents received very and different what it ‘means’ up it to does whoever is something to youisthan to me, andlistening.

I relish There that. is no specifically sought reaction. It probably represents something very different to you

than it does to me,artists and I relish Like other Bristol such that. as Giant Swan and Scalping, you use elements of the ‘guitar-band’ Like other Bristol such as Giant and aesthetic (stomp box artists pedals, in your case)Swan to make a kind of electronic music;ofasthesome readersaesthetic may Scalping, you use elements ‘guitar-band’ know, youbox alsopedals, used to play case) guitartofor a band called (stomp in your make a kind of Francis Fear.music; Howasfar do readers you seemay your music electronic some know, you as also Silver being to your ‘guitar-band’ usedWaves to play as guitar for alinked band called Francis Fear. How roots? far do you see your music as Silver Waves as being linked to your ‘guitar-band’ roots?

Intrinsically. I come from a song writing background I considerI the Silver Waves stuffwriting to be DM: and Intrinsically. come from a song verybackground tightly composed, which comesstuff from and I consider the likely Silver Waves to be that.very I think my attitude towards effects and their tightly composed, which likely comes from that. I potential as standalone instruments stems from think my attitude towards effects and their potential as that time as well, although these are things I have standalone instruments stems from that time as well, focused on and developed more consciously since although these are things I have focused on and my time in the band. In terms of the sonic palette developed more consciously since my time in the band. there isn’t a link. The first release was guitar stuff, terms of the sonic palette there isn’t a link. The first butIn I was really finding my feet back then. As I was EP guitar stuff, but I wasturning really finding said,release the last was a definite pointmy forfeet the back then.

As I said, the last EP was a definite turning project and what I’ve been doing for the past couple project and what I’ve been doingthem for the point for of years hasthe been hardware because I have past couple of years has been hardware because I have lying around and much more computer based.

I use themstomp lying around and much computer based. all the box pedals live more in conjunction with I use Ialldon’t the stomp pedals livea in conjunction with other. want box to play with laptop.

I am inherother.

I don’t want to play with a laptop. am inherently ently more physically involved in the Iperformance more physically involved in the performance when using the pedals, which I really enjoy, aswhen it’s using the that pedals, which lost I really enjoy,the as it’s something something is often during writing stage.

Composition very different curthat is often is losta during the writingbeast, stage. which Composition rently aroundbeast, DAW production, is arevolves very different which currently although revolves I often useDAW bits of hardwarealthough as sound sources forof I often use bits around production, further editing. hardware as sound sources for further editing.

Members: Dylan Mallett Illustration: Alastair Shuttleworth Illustration: Alastair Shuttleworth

You recently revealed you’d produced the soundtrack for a video game called ‘Env’; could you tell me more about this project?

DM: Yeah! It’s a game about environmental destruction made by my friend Sam Chester. Arthur from Jesuits was living with him a few years ago and put us in contact after my first release came out, saying that he was looking for some music for a game he was developing. Both of us, Sam especially, put in a lot of time and effort working on it and I’m stoked it’s finally come out. The soundtrack was intended to reflect the gradual decimation of the landscapes in which the players will find themselves in the game. Most of the composition was based around layering audio tracks that represent different facets of the gameplay environment to create a convincing atmosphere that evolves in parallel with the plot. I’d recommend that anyone who’s interested just play it because it’s free and it took fucking ages.

Soundtrack work is something I’m interested in pursuing further. I’m open to undertaking lots of different creative projects provided they interest me and are likely to push me onto new ground.

You’ve suggested before that going to more shows in Bristol, meeting Howling Owl and seeing artists like The Naturals had an important influence on you when you started pursuing this experimental project. Would you say that your music is principally influenced by what’s happening in Bristol? If so, doesn’t this indicate thatalthough Bristol’s current music scene is incredibly eclectic- there perhaps are some definitive, unique ‘sounds’ emerging from this city?

DM: I don’t think that’s an unfair assessment. I played in Newcastle last year with Giant Swan and Ossia alongside a bunch of other musicians from around the country, and remember Robin Swan alluding to us three acts as having something of a ‘Bristol sound’ in comparison to the other performers, with which I’d concur. Principally, yes, my music would definitely be different if I grew up around another city and it would be interesting to know how it would sound if I came from Manchester for example, which also has a really strong experimental / DIY thing going on as far as I’m aware.

Nowadays I would say there’s less direct influence from Bristol in my music as I’ve developed a better understanding of what Silver Waves constitutes in and of itself, and what it has the capacity to include in the future. My main influences for the past couple of years have been largely internal, and revolve much more around concepts and perception than other music. That said, it’s all built on a backbone of what Bristol has allowed for and inspired me to cultivate.

We’ve discussed how a defining aspect of Bristol’s new music scene is that artists here are not preoccupied making the same We’ve discussed how a definingwith aspect of Bristol’s new sort of music as each other. You said, howevmusic scene is that artists here are not preoccupied with er, they are united by a common thread of ‘atmaking the same sort of music as each other. You said, titude’. How would you define this ‘attitude’? however, they are united by a common thread of ‘attitude’.

How would you define this ‘attitude’?

I wouldn’t say that’s 100% true. I definitely

hear sounds and styles from some of the

more established acts in theI city trickling DM: I wouldn’t say that’s 100% true. definitely hearinto the crop newer acts, butmore they’re usually presounds and styles of from some of the established sented in a different a fresh take, acts in the city trickling into theway croporofwith newer acts, but and in presented my opinion be way there they’re usually in ashould different orfor withthe a taking providing they’re built upon. In regards fresh take, and in my opinion should be there for the to a common attitude I would say DIY, altaking providing they’re built upon. In regards to a though a somewhat immoderately distributed commonterm, attitude I would applies say DIY,to although a somewhat properly the actions of many immoderately distributed term, properly applies to the of the musicians and other artists involved actions in of Bristol’s many of music the musicians and case otherinartists community, point; involvedthis in Bristol’s music community, case ininclusive, point; magazine.

At its best it’s rather there seems be it’s littlerather pretence aboutthere who this magazine.

At its to best inclusive, and who shows with and who, seems tocan be do littlewhat pretence aboutplays who can do what a shared passion exciting music is more who plays shows with who, afor shared passion for exciting There’s often crosspollination music isimportant. more important.

There’s often crosspollinationand influence transferring throughout the wider and influence transferring throughout the wider community rather than pockets of ideas that community rather than pockets of ideas that are divided are divided by genres. As a result, you get this by genres. a result, youfuckery get this big incestuous fuckery bigAsincestuous of local music pushing of localout music out in directions. all these different in allpushing these different Which directions.

WhichIt iscreates great! aIt landscape creates a landscape thatfor is great! that allows allows for andproduces produces some some incredibly andand and incrediblyinnovative innovative fearless music. fearless music.

You’ve released EP2 You’ve released three EPs,three titledEPs, EP1,titled EP2 EP1, and EP3. andtwo EP3.

Eachtracks bearsfor twoa original tracks for Each bears original total of six, which a total of six, which are titled I, II, III, IV, V are titled I, II, III, IV, V and VI. For an artist who resists and VI. For an artist who resists sounding or sounding or performing in any way that could be called performing in any way that could be called ‘regimented’, you’ve been conspicuously ‘tidy’ about‘tidy’ ‘regimented’, you’ve been conspicuously packaging your releases; why is this so? about packaging your releases; why is this so? fairness my performances areregimented more DM: In In fairness my performances are more regimented I perhaps let on There the last than I perhaps let on than the last time we spoke. aretime we spoke. and There are a lotinofplace parameters and a lot of parameters boundaries due to the boundaries in place theI nature of the nature of the equipment that due I usetobut try to allow equipment that I use but I try to allow myself myself an amount of freedom within those parameters. an amount of freedom within those paramStructurally, within separate tunes in the set there is eters. Structurally, within separate tunes in more regimentation, is likely to change the set there however is more this regimentation, however when I start playing my newer stuff live.

EPs, my this is likely to change when IWith start the playing that wasnewer always stuff the plan thethe getEPs, go; tothat havewas them live.from With always as a trilogy all the packaged a similar way. Ias seta thewhich plan are from get go;in to have them trilogy which are packaged in aeach similar myself those limitations in all 2013 - three EPs, withway.

I settracks myself thoseten limitations 2013I-then three two untitled around minutes ininlength.

EPs, eachevery withsummer two untitled around made one a year startingtracks that year.

The ten length.direction I then and made onefully a point was to minutes allow for ainnatural more year every summer starting that year. The formed creative path to present itself through point was to allow for a natural direction and experimentation and evolution, confined and linked more fully formed creative path to present through itself pre-decided aesthetic and creative and boundaries. through experimentation evolution, I tried confined to experiment with different compositional and linked through pre-decided techniques that pushed forward from whatI tried I had aesthetic and creative boundaries. focused to onexperiment last time with one. They were the witheach different compositional techniques that pushed forward frommore what I stepping-stones necessary for me to make had focused onmusic. last time with each one. They individual and confident were the stepping-stones necessary for me to

make morefrom individual andrelease? confident music.

What can we expect your next

What can we expect from your next release?

DM: Song titles.

Song titles.

IDLES IDLES

MUSCULAR, SATIRICAL POST-PUNK

(MUSCULAR, SATIRICAL POST-PUNK; BRISTOL’S BIGGEST Members: Joe Talbot, Adam ‘Dev’ Devonshire, Jon Beavis, Lee Kiernan, Mark Bowen Illustration: Joe Talbot‘Mythologies’ BREAKTHROUGH ACT IN RECENT MEMORY) I Ifirst you(for first met metand and interviewed interviewed you (forUBTV’s UBTV’s ‘IDLES: The Full Package, ‘IDLES: The Full Package, Cunt’) at an Cunt’) at an important point of transition important transition for out IDLES. for IDLES.point Youofhad just sold the You had just sold out the 150-capacity Louisiana to 150-capacity Louisiana to launch the launchEP: the the ‘Meat’ EP: the ‘Meat’ record withrecord whichwith youwhich debuted your satirical, muscular post-punk you debuted your satirical, muscular post-punk sound, tieswith with‘Welcome’ ‘Welcome’ sound, broke broke ties andand began a began a rise to international acclaim as rise to international acclaim as one of the UK’s one of the UK’s most celebrated breakmost celebrated breakthrough bands. Could through bands. Could you tell me about youyears tell me about up theto years up to that the leading thatleading for IDLES? for IDLES?

Joe Talbot: They were a muddy cluster ofJoe years for They me, really; they were electric Talbot: were a muddy cluster of years and at the for savage me, really; theysame were time. electricOn andone savage at hand I had the band, which seemed to go the same time. On one hand I had the band, from strength to lull to strength (though which seemed to go from strength without any catastrophes), and on to thelull to strength (though without any catastrophes), other hand was my personal life, whichand on the other hand was myfuck personal life,then which seemed to sporadically up and un-fuck days or fuck evenup hours.

Theunseemed within to sporadically and then band one oforthose fuck was within days even things hours. that The in band was hindsight seems like long journey butlike one of those things thata in hindsight seems toa me it was always a short-hand focus on long journey but to me it was always a shortthe next song, and keeping myself out of hand focus on the next song, and keeping prison.

We were constantly determined outwhat of prison.

We were tomyself achieve was in front of us constantly and determined achieve what in front not the grandto picture.

We was applied our-of us selves to becoming of a community and not the grandpart picture.

We applied which didn’t exist inpart Bristol, was ourselves to yet becoming of a but community simultaneously being We cared which didn’t yet existforged. in Bristol, but was not of other people’s achievements but simultaneously being forged. We cared not of only celebrated them, and- with all that in other I think people’s achievements but only mindwe were part of something them, andwith meaningless. all that in mind- I socelebrated magical because it was thinkbig webeautiful were partfucking of something so magical One mess. The years were taken up with serious because it was meaningless.

One bighard beautiful work andmess. pure,The joyous fucking yearschaos. were taken up with serious hard work and pure, joyous chaos.

That show was your first live performance of a then-just-completed ‘Well That show live performance Done’, andwas an your earlyfirst outing of other of a then-just-completed ‘Well Done’,on and an early tracks that would later appear ‘Bruouting of otheritstracks that performances, would later appear talism’.

From first live did imagine ‘Brutalism’ have on you ‘Brutalism’.

From its first livewould performances, such a major impact, and prove to besuch so a did you imagine ‘Brutalism’ would have popular? major impact, and prove to be so popular?

Absolutely not. I always imagined us JT: Absolutely not. Ibutalways imagined playing to big venues I daren’t ever us playing to big venues but I Idaren’t everon imagine imagine how and when. focused how andeach when. enjoyed enjoyed gigI focused as a gift.onWe wroteeach Bru-gig talism forWe us;wrote it wasBrutalism almost as as a gift. forausparting almost as a gift to a gift band had up trying to to parting to athat band thatgiven had given up trying please everyone else. We had absolutely please everyone else. We had absolutely no no expectations because we relieved each expectations because we relieved each other of other of any more pressures and just any moreitpressures smashed out. and just smashed it out. thatinterview, interview, Joe Joe also also spoke spoke about InInthat about how how every of expression has anaround every formform of expression has an ‘aura’ ‘aura’ around it, reproduced which can’torbe reproit, which can’t be sought out, but duced or sought out, but comes naturally comes naturally when you relax into what when you relax into what you’re doing. you’re doing. Two years on, do you think your Two years on, do you think your work work has achieved an ‘aura’ of own? its own? has achieved an ‘aura’ of its

Yes, the album and each song is an entity JT: Yes, the album and each song is an entity and entities have auras for me that evolve and entities have auras for me that evolve and and devolve all the time. I just like to devolve themusic time. Ion justalike enjoy level art and enjoy artall and verytobasic music on a very basic level and just instinctively and just instinctively enjoy things; I often find deconstructing art deconstructing and exploringartart enjoy things; I often find and and music’s can spoil forspoil me.itIfor exploring artdetails and music’s detailsitcan know Bowen is quite the opposite. me. Ithat know that Bowen is quite the opposite.

The album at the moment has changed The album at the moment has changed so so much because we’re in the midst of much because in the midst of album two album two andwe’re I’m finding it fascinating andhow I’m different finding it fascinating just the songsjust andhow thedifferent the songs the like album to me: like album feel and to me: an feel emotional andan creative burden that I have recently emotional and creative burden that left I have behind celebrate weightlessrecentlytoleft behind the to ‘now’ celebrate the ‘now’ ly,weightlessly, in order toinwrite order freely to writeagain. freely again.

Brutalism was largely inspired by Brutalism was largely inspired by personal grief, personal grief, as well as frustration as well as frustration with elements of the with elements of the society and people society you. and This people you.

This sits around sitsaround curiously alongside your very alongside prominent sense humoursense as curiously your very of prominent a of band, showcased songs such ‘Stendhumour as a band,inshowcased in songs such hal Syndrome’ as wellasaswell your constant ‘Stendhal Syndrome’ as your constant bantering with the audience at live shows. bantering with the audience at live shows. What What value do you see humour as having you see having in your invalue yourdo music, andhumour how doasyou resolve music, do in you resolve that with the that withand thehow anger this record? anger in this record?

I used to neglect humour within our music and to artneglect as I thought people JT: I used humourthat within our music wouldn’t us seriously, butwouldn’t the more and art astake I thought that people take I practiced that the more I realised I was us seriously, but the more I practiced that the starving us of who we were and also that moreofI the realised was starvingcommentaus of who we some mostI respected were.

Also, some of the most respected tors of modern and popular culture are commentators modern andpaints popular culture fucking funny. of Stewart Lee some ofare thefucking most funny. stark and haunting pictures Stewart Lee paints some of ofthe modern British society pictures and heofis modern hilarimost stark and haunting ous.

I, since veryheyoung age have always British societya and is hilarious.

I, since a very strived to make people and myself laugh young age, have always strived to make people so how can I write honest music if I’m andbeing myself laugh,myself? so how can I write honest not honest music if I’m not being honest myself?

Brutalism deals prominently with the death of Joe’s a photo Brutalism dealsmother, prominently with of thewhom death of adorns the cover, but your bassistadorns Dev the Joe’s mother, a photo of whom also sadly lost his mother before the cover, but your bassist Dev also sadly lost his album was released; did the album help mother before the album was released; did the Dev with that experience too? album help Dev with that experience too?

I think the processes of writing or any sort creating can helpofpeople JT: of I think the processes writing get or any sort through grief. his mother wellgrief. of creating canDev helplost people get through after Brutalism but touring, Devwe lostfinished his mother well after we finished a Brutalism continuous path of creating album two but touring, a continuous path of and dismantling through catharsis has creatingcertainly album two and him. dismantling through almost helped However, catharsis has almost certainly helped him.

Dev and I are very different animals; I’m andvocal I are very animals; a However, whole lotDev more anddifferent confident than is solot we’ve our grief than I’m he a whole moreallowed vocal and confident tohemanifest completely differently is so we’ve allowed our grief to but manifest wecompletely both have a huge but bastard family differently we both haveof a huge mongrels that have carried us with love bastard family of mongrels that have carried us along the way. with love along the way.

AAbig IDLES’rise riseto to acclaim bigpart part of of IDLES’ acclaim has has beenbeen Steve Steve Lamacq’s very prominent reverence for Lamacq’s very prominent reverence for the band; do the band; do you know how he came across you music? know how camething acrosstoday your to music? your It’shea rare see aIt’s a rare thing today to see a mainstream broadcaster mainstream broadcaster become so engaged become so engaged with a particular bandwith a particular bandhow would you de- how scribe relationship with him? with him? wouldyour you describe your relationship He across us because heheinterviewed JT:came He came across us because interviewed two two of my good friends Mig Schillace and Pat of my good friends Mig Schillace and Pat Somers on Somers on BBC6 about their Bristol venues BBC6 about their Bristol venues The Louisiana The Louisiana and the Thekla before the and the Thekla before the BBC6 music festival and they BBC6 music festival and they both recomboth recommended he go us. He came to mended he go and see us.and Hesee came to the Thekla that that nightnight to watch us, us, he he loved it, it, hehe the Thekla to watch loved approached meafter afteratatThe The Mother’s approached me Mother’s RuinRuin and has and has supported us ever since. Our relasupported us ever since. Our relationship with him tionship with him has been how I would have has been how I would have imagined it to be when I imagined it to be when I was a young teenwas awhere young teenager; you play a gigfucking and some ager; you playwhere a gig and some fucking and changes life forever, hero seeshero yousees andyou changes your your life forever, months later later you thethe pubpub nownow and again months youmeet meetupupat at and and you hearmental bat-shit mental stories andagain you hear bat-shit stories about other about other heroes.

I guess it’s of a relationship heroes.

I guess it’s a relationship mutual respect ofbut mutual respect but I am most certainly in I am most certainly in complete and eternal complete and eternal gratitude to Steve and gratitude to Steve and Mig and Pat for giving us the Mig and Pat for giving us the opportunity to to do whatItwe now. It is magic. doopportunity what we do now. is do magic.

My songfrom fromBrutalism Brutalism is probaMyfavourite favourite song is probably ‘1049 bly ‘1049Titling Gotho’. this song after anseems Gotho’. thisTitling song after an asteroid asteroid seems bizarre in itself, butnaming it appears bizarre in itself, but it appears that the of the that the naming of the asteroid itself is a asteroid itself is a mystery, there being no official mystery, there being no official record of what what its name refers to. What inspired this itsrecord nameofrefers to. What inspired this song, song, its title? and itsand title?

The is a is vignette of aoftime mymymate JT: song The song a vignette a time mate came came night was of intears and back back from afrom night aout and out was and in floods floods tearswhat andhad I asked them had I askedofthem happened andwhat they explained happened and they explained that nothing that nothing had happened… they then went on to had happened… they then went on to explain explain depression in that a wayonly that only could depression in a way theythey could andand shaped my my perspective perspective ononmental health it itshaped mental wellforever.

The title was a short and strange series and of mistakes health forever.

The title was a short strange oftomistakes butfitthat seemedThere but thatseries seemed mysteriously at random. toismysteriously fit atbehind random.

There of the of course meaning it now, but Iisprefer course meaning behind it now, but I prefer mystery. the mystery.

IDLES existed existed aa long having much to IDLES longtime timewithout without having forshow it in for terms traditional ‘success’, and show to much it inofterms of traditional you’ve suggested beforesuggested that you often feltthat pressure ‘success’, and you’ve before you often felt to pressure fromand outside callWhat it from outside call it quits ‘get a to job’. quits andwould ‘get ayou job’.give What advicethat would advice to bands are you in the give to bands thattoare position you used bein in?the position you used to be in?

JT: Don’t attention anythingbut but your your instinct Don’t pay pay attention to to anything when it when comes ittocomes your art.toWork than anyone instinct yourharder art. Work else. Don’t withelse. people who work are dead harder thanwork anyone Don’t withweight, people who weight, the ones the ones thatare can’tdead be fucked to turn up onthat time etc. can’t be be fucked turn onrespect time etc.

Always polite,toon timeupand thatAlways all crew beand polite, respect thatDon’t all crew staff on aretime partand of the show. concern and staff are part of the show. Don’t concern yourself with other people’s paths. Don’t wear yourself with other people’s paths. Don’t sunglasses onstage. wear sunglasses onstage.

Illustration by Joseph Talbot

THEFURNISS ICEMANQUARTET THE ICEMAN FURNISS QUARTET

(IMPROVISED NO-WAVE JAZZ COLLECTIVE)

I think it would be fair to say that Various members of Iceman Furniss Last year you released ‘18.07.16’, a 10 minute recordmost people seeing Iceman Furniss have also formed/collaborated with COLLECTIVE other ing of your live set on that date; will your next releases IMPROVISED NO-WAVE JAZZ for the first time find it a pretty unulocal projects, including Repo Man and also be improvised pieces, or will you be ‘writing’ Members: Harry ‘Iceman’ Furniss, Anthony Brown, Chris Langton, Thomas J Bryan sual experience.

In your experimentaFleshbarbie. How Members: do Harry you Furniss, see Anthonyyourselves Brown, Chris Langton, music in the future?

Illustration: Peter Heyes Heyes tion with elements of noise and postas fitting into the localIllustration: musicPetecommunity?

Last year you released ‘18.07.16’, a 10-minute recording Various members of Iceman Furniss have HF: Yeah, we are going to keep it improvised as that’s I think would be to say that most punk, I’ditimagine thatfaireven people of your live set on that date; will your next releases also be

collaborated with Art otherBlakey’s local projects, people seeing Iceman for the first AB:also with a much richer jazzFurniss background We’re like a noise Jazz “who we are” I’d prefer keep in-the-mopieces, or willtoyou be things ‘writing’asmusic in the improvised RepowayMan and Fleshbarbie. ment as possible. We don’t practice, just literally turn including with find itwould a pretty unusual timemine than find your experience. music ex- In Messengers less chops...meaning future? do you as fitting Howgreat traordinary.

How wouldwith you elements describe of all the andsee theyourselves good do their timeinto in up to the gig and play and that’s the way we apyour experimentation what you and whoI’ddoimagine you cite aseven thethe ranks. local music community? anddo, post-punk, that noise proached our studio recording session for our first alHF: Yeah, we are going to keep it improvised as that’s your main influences? with a much richer jazz background people bum (out next year). We struggled with that session as “who we are” I’d prefer to keep things as in-the-moment Since you’ve been going, Bristol has seen it felt like an unnatural setting, but have since found AB: We’re like a noise ‘Art Blakey’s Jazz than mine would find your music as possible. We don’t practice, just literally turn up to the Harry Furniss: We comeyou fromdescribe theMessengers’ rise of a fewwith more wayimprovisation-based less chops... meaning a good creative balance in the recording process and Howallwould extraordinary. gig and play and that’s the way we approached studio different backgrounds musically, so projects such as EP/64 and Fleshbarbie; have overdubbed/layered certain parts and our mixed in all the great and the good do their time in what you do, and who do you cite as your recording session for our first album when improvise with each other are the youranks. glad to see more improvisaweird ways.

The base-material and (out whatnext we year). work We with influences? mainwe struggled that session on as the it felt an unnatural it all kinda sticks together. It wasn’t tion-based acts appear, and do you see will alwayswith be improvised spotlike though, which setting, but have since freedom found a good creative balance in something we discussed or planned, yourselves as partially responsible for for me gives us more and imagination to try Since you’ve been going, Bristol has seen Harry Furniss: We all come from different thekinds recording process and have overdubbed/layered and it’s basically our version of free that? all of things. the rise of a few more improvisation-based backgrounds musically, so when we certain parts and mixed in weird ways. The base-material jazz, but because of all theitdifferent projects such as EP/64 and Fleshbarbie; improvise with each other all kinda sticks and what we you worklike withpeople will always be improvised on the influences it came out different (or AB:are When we started Macero there How would to react to your music/ you glad to see as more improvisationtogether. It wasn’t something we discussed spot though, which for me gives us more freedom and wrong ha).

On another tip I have part didn’t seem to be many improv bands shows? based acts appear, and do you see or planned, and it’s basically our version of synathesia when I listen to music, so around in Bristol, not ones who would imagination to try all kinds of things. yourselves as partially responsible for that? free jazz, but because of all the different when I play I see shapes and textures be playing the more ‘indie’ orientated HF: We’ve had varied responses over the years, it came out different (or wrong soinfluences try and replicate these through my gig circuit– there wasn’t a ‘scene’ as such. youexpected. like people to react your to feel How would which is to be We wanttopeople AB:Iceman WhenFurniss we started as Macero ha). On another I have part synathesia After horn, that’s how Itip approach things started there wasthere a something first and foremost as intensity and feeling music/shows? didn’t seem who to bevaguely many knew improv bands when I listen music, so when I play I see flurry personally andtothe abstract, more of bands each are the most important aspect to us, as well hopefully around in Bristol, not ones who would be shapes and textures so try and replicate textural side of music is really impor- other who started co-ordinating more and being musically interesting and over different.

Thewhich rest, is HF: We’ve had varied responses the years, playing the more orientated these through my horn, that’s how I promoting. tant to me.

Obviously though, we all Harry was‘indie’ involved in pro- gig like music, isWe up to interpretation really.

We are to beallexpected. want people to feel something first circuit– there wasn’tgigs. a ‘scene’ as such.a After approach personally have musicalthings influences.

For theand bandthe moting a lot of these Basically, lot lucky to have had people comment afterare a show that and foremost as intensity and feeling the most Iceman Furniss started there people was a flurry abstract, moreour textural side ofMiles music is of likeminded, from the start main being open-minded got of they haven’t seentoanything like it beforebeing and musically its not important aspect us, as well hopefully bands and whoworked vaguely together knew each really 70’s important to me. though, together Davis’ to early 80’sObviously period, the in other settingwho normally what they would see but loved it which is to interesting and different. The rest, like all music, is up co-ordinating more and promoting. we York all have musicalscene, influences.

New no-wave bands For like the up started their own gigs - an environment where ace (often youreally. don’t We everare seelucky themtoagain interpretation havehowever) had people Harry involved promoting a lot of but hopefully in some very small part we’ve helped bandand from the start being Miles bands Mars DNA and our a lotmain of jazz! andwas artists who in have an individual comment after a show that they haven’t seen anything like these gigs.

Basically, acan lot play. of likeminded, Davis’ 70’s to early 80’s period, the New outlook, like ourselves, There is changed that persons musical misconceptions. it before and its not normally what they would see but open-minded and York no-wave scene, like Mars and definitely Anthony Brown: We bands have termed a lot of people improv got and together experimenloved it which is ace (often you don’t ever see them again workedwho together setting upnow– their own gigs Chris Langton: I think when you feel like people are it DNA ‘punkand jazz’ before, tal bands haveinemerged some a lot of jazz!which fits to an however) but hopefully in some very small part we’ve extent as we are not all necessarily of who been previous or current - an have environment where bands and artists coming with you for the ride that is all we could hope helped changed that persons musical misconceptions. traditionally ‘schooled’ musicians of IFQ DSC, who started like for. who have an or individual outlook, Anthony Brown: We have termed it–‘punk members We don’t try and make it groovy or hypnotic and are which equal fits influences fromas we about the same Macero and share ourselves, can time play. as There is definitely a lot every time, sometimes it is, and people might be movjazz’there before, to an extent Chris Langton: I think when you feel like people are the worldallandnecessarily the worlds traditionally of some the line-up. of of improv and experimental bands who ing to it, but its really about what corners/turns we can arejazznot coming with you for the ride that is all we could hope for. punk/ no-wave/ noise.– Iand guess a strong have emerged now– some of who have make all together and hopefully reach an end point. ‘schooled’ musicians there are equal We don’t try and make it groovy or hypnotic every time, influence would be 70s Miles Davis, Harry has told me before that he’s rather been previous or current members of IFQ influences from the jazz world and the sometimes it is, and people might be moving to it, but its particularly the ‘Dark Magus’ eraI of for who manystarted peopleeven DSC, about thevery same time The Iceman Furniss Quartet’s support of The Old worlds of punk/ no-wave/ noise. guess a shy,orbut really about what corners/turns weorganisation can make all of together guitar squall and dense groove. accomplished musiciansnothing would England, particularly in Harry’s the as Macero and share some of the line-up. strong influence would be 70s Miles Davis, and hopefully reach an end point. be more intimidating than fronting a live, ‘Come Alt Jam’ nights, has been crucial to the venue’s particularly the ‘Dark Magus’ era of guitar Assquall a no-wave improvised-jazz group, improvised project. it difficult to rise to local acclaim since being taken over by the Harry hasmusic told me beforeIsthat he’s rather and dense groove.

The Iceman Furniss Quartet’s support of The Old you occupy a rather unique place in collect the confidence to do these shows? shy, but for many people- even very mighty Diego Rodriguez. Formerly a dealer-infested England, particularly in Harry’s organisation of the ‘Come Bristol’s live circuit. While the music accomplished musicians- nothing would be dive-bar, the pub is now one of the city’s best small As a no-wave improvised-jazz group, you scene is incredibly eclectic here, there HF: I wouldn’t say I’m shy, more intronights, has been crucial torange the venue’s rise tolocal local Alt Jam’ supporting venues, an eclectic of exciting more intimidating than fronting a live, occupy a rather unique place in Bristol’s still aren’t really any bands in Bristol verted. I don’t think personality really sinceartists. being How takendid over bybecome the mighty Diego acclaim and national you involved improvised music project. Is it difficult to live circuit. While the music scene is who are an obvious fit alongside you comes into it as your trying to play what’s Formerly dealer-infested pub is Rodriguez. with that venue and ahow would youdive-bar, describethe your collect the confidence to do these shows? still it’s aren’t in your onincredibly line-ups,eclectic so whenhere, I seethere you live head and also have to listen to relationship withcity’s it? best small venues, supporting an now one of the bands in very Bristol who are an everything around you closely so your really any generally with bands dissimilar eclectic range of exciting local and national artists. How HF:focused I wouldn’t say instance.

I’m shy,The more fit alongside you on Dad, line-ups, so pretty toobvious you (Milos Planes, Luxury in the first HF: Yeah I’m really pleased thatvenue its become anwould you become involved with that and how did introverted. I don’t think personality really I see etc.). you live generally bands performance whenCava Vena Doit’syou agree?with If so, side of it for me anyway important venue; it’s pretty muchalong with the describe your relationship with it? you comes into it as your trying to play what’s to such you a(Milos dovery you dissimilar enjoy having uniquePlanes, comes fromhead beingand thatalso focused andlisten to Surrey Vaults- the last bastion of true DIY venues in in your have to Luxury Dad, Vena Cava etc.). Do you expressing presence? thataround intensity feelingsoout.

Diego has turned around and he’s everything youI’mclosely your Bristol.

HF: Yeah I’m really pleaseditthat its become an had to agree? If so, do you enjoy having such a Your pretty focused in the first ainstance. always thinking before set that The get over many hurdles of all kinds, often at the his Surrey own important venue; it’s pretty muchalong with side and of fall it for mehaha, anyway risk. unique HF: Yehpresence?

I agree, we don’t really fit thisperformance could go wrong apart Allthe praise him. Ioffirst on venues a show inthere a last to bastion trueput DIY Bristol.

Vaultsbeingof that focused is and few into any obvious line-up. but at the butcomes for me,from a big part improvising years as had seen Ward do.

From Diego has ago, turned itI around andAron he’s had to get over many I’m feeling out.

HF: Yeh agree, we of don’t really fit into hurdles all kinds, often at risk.more All praise same timeI(because being a mix of any theexpressing ability andthat the intensity confidence to make on,ofDiego entrusted mehistoown put on gigs to Your always thinking before a set that this then him. Iand firstthen put on a show a few years ago, as I had obvious butreally at the same styles), we line-up. have been lucky to time anything unintended or perceived befor there asked methere to take over a previous could go wrong and fall apart haha,tobut seensession Aron Ward Fromconcept then on, so Diego entrusted me have beenofable to aplay a wealth good so itis doesn’t (because being mixwith of styles), we have wrong with do. another I came up with me, work a big or partsound of improvising the ability jam to put on more gigs there and then asked me to take over ofbeen different of have bandbeen fromable op-to play anymore, in some sense phases Come and theso confidence to nothing make anything really styles lucky to Alt Jam. I shortly after moved into the pub a previous jam session with another concept so I came up to down be wrong posite each other too much,orit perceived just comes howwork itself with aspectrums wealth of to different styleswhich of band youunintended which Alt made it seep intoafter my musical blood with Come Jam. I shortly moved into the even pub or musically sound goodyou so itcan doesn’t in more. is from unusual for most bands. Anything makeanymore, it soundsoand Aron made and myself a lot ofblood different opposite spectrums to each other good itself which it seepintroduced into my musical even some sense nothing phases you too much, cliquey makes myfor skin crawl so its well you can concentrate which has more. Aron introduced a lot ofand different to theand pubmyself in its early reincarnation guess which is unusual most bands.

Anything howit just comes down how good musically you people people pub inin itsmotion early reincarnation and guess that been bothmakes natural purpose resultsit ha.

Even I’veyou gotcan that set to thethewheels for more people to hear cliquey myand skinoncrawl so its been various can make sound andthough how well set theitwheels motion for more people to hear about it that I’venatural invitedand all kinds of people to this more over years,results playingha. about and soin forth. concentrate which hasthe various both on purpose that I’ve used and so forth. toinvited play with us and to to help stuff though would defo beused more intimidating I’ve got to this more over all kinds of tried people playnew with us set Even thehonest. years, playing set stuff would defo be bands in particular. and tried to help new bands in particular. to be more intimidating to be honest.

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3 KILL The destructive concept of

‘SCENES’

In which the natural kinship felt amongst artists is transmuted into a pernicious CLIQUE, or a hollow TOOL of PUBLICITY.

O Friends, what weak, mean creatures we are, that we REJOICE so in being part of a ‘club’; how different this is to a COMMUNITY. OFTIMES I SLIP, and refer to this moment in Bristol as a ‘scene’, but this is a DIRTY, INACCURATE Term.

A SCENE is a CLIQUE, membership to which relies on conformity; in music, this generally means adopting a uniform style.

BRISTOL DOES NOT HAVE A SCENE This community RESISTS uniformity (favouring diversity), RESISTS cliqueness (favouring inclusivity), and RESISTS categorisation (favouring a range of categories).

Spectres, Milos Planes, Giant Swan, Oliver Wilde, Jesuits etc. can’t be a ‘scene’, but they can be a ‘community’.

‘SCENES’ as we hear about them are typically a FAÇADE, ENGINEERED by artists’ MANAGEMENT in Concert with the MUSIC PRESS. A Clique of artists is presented, with the ultimate goal of turning each band in the clique into another arm of each other’s publicity.

This manipulates the PUBLIC DESIRE to see real community in the art-world, While squashing talented artists who are unwilling to join the circus.

JAMESHANKINS HANKINS JAMES (ECCENTRIC MUSIC-VIDEO DIRECTOR)

ECCENTRIC MUSIC VIDEO DIRECTOR

James Hankins with the BBC You’ve been making music videos for a diverse You apparently Illustration: got in a bit of bother range of Bristol artists for many years, including last year with the video you made for Spectres’ Spectres, and MXLX, andfor have risen range ‘This You’veScalping been making music videos a diverse You apparently For got inthe a bit of bother the BBC last Purgatory’. video, you with decorated to acclaim as both institution in Spectres, Geoff of Bristol artistsan foreccentric many years, including yearBarrow’s with the‘Invada video you made toforcreate Spectres’ ‘This Studios’ a perfect Bristol’s music and the to city’s most Scalping MXLX, andone haveofrisen acclaim as both mock-up For Lounge the video, you with decorated Geoff Purgatory’. of a Live session Spectres, and scene in-demand music-video How scene did you an eccentric institution directors. in Bristol’s music and one during Studios’ to create perfect mock-up Barrow’s which‘Invada the band murder Ferna Cotton and startofout? the city’s most in-demand music-video directors. resurrect John Peel.session How was videoduring to make?

Lounge withthis Spectres, which of a Live

You used to be in a popular local band called Olo Worms, for whom you made one of your greatest videos: ‘ICE ESC. all accounts, you did Olo a lot of You used to be in aBy popular local band called bizarre stuff withone thatofband, and your for creative whom you made your greatest Worms,and shows prettyByfull-on spectacle; didathat ‘ICE aESC’. all accounts, you did lot offeed videos:were into your filmmaking? and creative stuff with that band, and your bizarre shows were a pretty full-on spectacle; did that feed

From thefilmmaking? beginning of OLO Worms the idea was into your I moved to Bristol in 2000 but didn’t actually to try and be unlike any other band. Of course make any Hankins: music videos until that’s a hard thing to achieve yourtheinfluences I moved to around Bristol in2005 2000or but didn’t I’ve hated the Live Lounge all my life so this was James JH: From the beginning of OLO cos Worms idea was 2006.

I’d always to videos make until filmsaround and music will shine through but we did our best to confuse chance to do something about it.

The idea actually make wanted any music 2005 or a good to try and be unlike any other band. Of course that’s JH: Yeah this was one of my favourite videos to make. videos ever was really young it was Wetoweren’t band, I neverwillsaw us as in my while out shopping one 2006.

I’dsince alwaysIwanted to make filmsso and music videos popped a hard thing achievereally cos your influences shine I’ve hated thehead Live Lounge all my life so this wasday. a good people. onlyever a matter of time ‘til I snapped out of my one.

I think we were more a project.

We started The original idea was that a band would use being since I was really young so it was only a matter of through but we did our best to confuse people. We chance to do something about it. The idea popped in lazy time post-uni about an online makers. used Live while Lounge to get inside the The building in idea asweren’t ‘til I slump snappedand out set of my lazyactually post-uni doing slump and on the really radio band, Ishow neverand saw video us as one.

I thinkI we my head out shopping one day. original something.

So I formed a bandI guessed that to spend more time planning our costumes than order to try and take over the station.

They would set about actually doing something. So I formed a were more a project. We started as an online radio was that a band would use being on the Live Lounge to would be the best way start.be Youtube we would spend making music. At the heart of all the torture them a light I guessed thattowould the besthad way just to start. capture bandshow and video makers. I used to spend more time get inside theDJs, building in order to (in try and takehearted over the launched and that really excited me.

I made a the band were two songwriters who wrote nice, way) and hold the station ransom.

It was gonna be a Youtube had just launched and that really excited me. planning our costumes than we would spend making station. They would capture all the DJs, torture them loadIof random videos for my band and stuck but pretty straightforward songs, so me and my comical than it turned out but then when made a load of random videos for my band and stuck bit more music. At the heart of the band were two songwriters (in a light hearted way) and hold the station ransom. It themthem online, then live visuals for all the gigs, and did our best to ruin those songs and inject Spectres thecomical band, than it of itcourse a brother online, then live visuals for all the gigs, and then I asked who wrote nice, but pretty straightforward songs, so was gonna be a to bit be more turnedtook out but then eventually some more thought-through mu- slightly darker turn. It was important that it looked some weirdness. It was odd mix of characters all eventually some more thought-through music videos. me and my brother did our best to ruin those songs then when I asked Spectres to be the band, it of course sic videos. Around the same sort of time I was with different tastes. We didn’t make particularly and looked as much like the Live Lounge Around the same sort of time I was going out a lot to good and inject some weirdness. It was odd mix of took a slightly darker turn. It was important that it going out a lot to watch local acts like Safetyword, as possible. experimental music but I think it was the combinaGeoff Barrow and the guys at Invada watch local acts like Safetyword, SJ Esau, Freeze Puppy characters all with different tastes. We didn’t make looked good and looked as much like the Live Lounge SJ Esau, Freeze Puppy & Team Brick. I became were brilliant and helped us with the studio. Geoff tion of all the other things we did and the way we & Team Brick. I became a bit obsessed with Safetyword particularly experimental music but I think it was the as possible. Geoff Barrow and the guys at Invada were a bit obsessed with Safetyword in particular and presented ourselves that made us different to all seemed to love the idea- he loves pissing people in particular and made all these plans to do a load of combination of all the other things we did and the way brilliant and helped us with the studio.

Geoff seemed to made all these plans to do a load of videos for the other (pretty dull) guitar bands that existed in off ha.

The BBC introducing guys were very good for them but they never really happened which we presented ourselves thatThere made us different love the idea- he loves pissing people off ha. The BBC Bristol themvideos but they never really happened which set around that time. were a lot to of all good to let us use their studios but weren’t aware exactly set me back a bit. Eventually I ended up making one the other (pretty dull) guitar bands that existed introducing guys were very good to let us use their me back a bit. Eventually I ended up making one what we were doing so I kinda felt bad later how bands but I was always frustrated but the lack inof forEsau SJ Esau brotherwhich which was was the the first Bristol around that time. There were a lot of good but weren’t aware exactly what we were doing so for SJ withwith mymy brother firstmusic we’dstudios tricked them, but I don’t think they took it too effort they put into their videos, their live shows, made outside our band.

That felt like video we’d bands but online I was always frustrated but the lack ofpeople effort I kinda felt bad later how we’d tricked them, but I don’t and music video we’d made outside our band. Thata mini badly. their presence.

I love winding I tried to convince the band to travel to the victory and that spurred on spurred to thinking about they puttaking into their videos, their live shows, and theirway think they took it too badly. I tried to convince the band up felt like a mini victory andme that me on asking Radio and the piss so the band was a great 1 studios but we bottled it in the end. I really more local acts asking if they wanted videosacts making.

It was a I love winding people and taking to travel to the Radio 1 studios but we bottled it in the for to thinking about more local if they me presence. to do that.

Essentially I thinkupthat’s the wanted people to believe it so I studied loads of vid- online for a whileItthough andstop-start it wasn’t really bit stop-start the pissIsostarted the band a great me to experience do that.

I really wanted people to and believe so Ilook. studied reason wanted videos making. was a bit for auntil eos end. thewas band.

It way wasfor a good of past performances to try nailit the that Iand had it thewasn’t confidence really2010 go forthat it. I Essentially that’s of thethe reason I started the band. loads of videos of past performances to social try andmedia nail the and while2010 though reallytountil we hadI think fun most time.

I’m proud of I had plans to create a whole story on It was a goodEPs experience and we had fun most of the look.people I had plans to createita was wholehappening story on social had the confidence to really go for it. the album, and mixtapes we made.

I’m more leading to believe livemedia but I first met you at Velcro Hooks’ last ever show in time. I’m proud the album, EPsever and mixtapes people to Spectres believe it was that proud of the factofthat we didn’t do thingswethe thatleading fell apart after got happening in troublelive forbut some and remember finding you a pleasant, other made. I’m more of the that we fellnonsense apart afterso Spectres got inofftrouble for of some other normal I firstSeptember met you2015, at Velcro Hooks’ last ever show tried andproud tested way.factI view thedidn’t timeever in the they went the idea tricking mild-mannered sort of character.

The next spring, do things the normal tried tested way.after I view themy nonsense they was wentdisappointing off the idea of as tricking people band in September 2015, and remember finding you you people as good practice forand what I did with again.soThat it would asked me to help you make video forThe Scarlet haveagain. time invideos, the bandyes. as good practice for what I did after was disappointing it would a pleasant, mild-mannered sort ofthecharacter. beenThat amazing.

I think I’veasdone somehave funbeen music which you had nextRascal’s spring, ‘Strange’, you askedinme to help you Velcro make Hooks’ tricks amazing.

I thinkin I’ve pranks and pranks thedone pastsome withfun mytricks bandand and then with my music videos, yes.

Georgefor Garratt strip completely naked (save for a pair withinSpectres, the video Scarlet Rascal’s ‘Strange’, in which the past with thenit with Spectres, but You use a range of approaches including but my afterband thisand video felt like the right batVelcro wings) Hooks’ and violently hump a plastic swan and a timeafter you of had George Garratt strip (Oliver ‘Sad Sack’),animation humour You use a range of Wilde’s approaches including this video feltdupe like the right time to for quit now. trying to animation to quit tryingit to peoplewell, human skeleton for the three police completely naked (save for gratification a pair of batof wings) (Scarlet Rascal’s‘Sad ‘Strange’) and horror (Spectres’ Sack’), humour (Scarlet Rascal’s (Oliver Wilde’s dupe people- well, for now. and officers violently a plastic swan andbeing a human ‘Mirror’).

Do you regard yourself as having in hump a dystopian future, before shot with a ‘The Bristol Music Show’ had a segment interviewhorror (Spectres’ ‘Mirror’).

Do ayou ‘Strange’) and skeleton for the gratification of three police of-but you ing ‘The ‘style’, do you to avoid having bow-and-arrow.

You don’t seem very eccentric, yourself as try having a ‘style’, or doone? you try to regard or Music Show’ hadand a segment interviewing local Bristol music-video makers, you opted to ficerscome in aup dystopian before being shot without produce with a lot future, of seriously weird shit seemingly avoid having one? makers, and you opted to produce local music-video your own interview.

Instead of explaining a bow-and-arrow. don’t very eccentric, of thin-air; how You do you comeseem up with these ideas? interview.

Insteadtheofsegment explaining how you you No, no style! I really don’t want to be boxed in by howyour you own made your videos, shows but you come up with a lot of seriously weird shit walking anything orstyle! anyone.

I’ve always against frozenthe yoghurt shops in Bristol in JH: No, no I really don’t want fought to be boxed in bythat your videos, segment shows you walking madearound seemingly outwas of athin-air; I think I always will.

I hope think fun day how wasn’tdo it!?you ha!come Well, up I guess I a puffy JH: That hi-vis jacket, discussing anything or anyone.

I’ve always foughtpeople against don’t that and frozen yoghurt shops infrozen Bristol yoghurt in a puffyand hi-vis and around withhave thesea ideas?

I have a style.

I try and make each video different good imagination. I find it easy to dream up listening to Eiffel 65’s ‘I’m Blue (Da Ba Dee)’, ranI think I always will.

I hope people don’t think I have jacket, discussing frozen yoghurt and listening to Eiffel the laststuffeach onlyvideo happens when you with clipsrandomly from your music weird stuff. I’m quite lucky in that I have a constant domly a style.

I try good and make different to the last‘I’m Blue (Damuted Ba Dee)’, intercut with to 65’sintercut Thatstream was aoffun day wasn’t I guess I challenge yourself.

Keep it fresh.

I turned down videos.

It was genius, but why did you do it? nonsense going it!? on inha! myWell, head. I’m also lucky good stuff only happens when you challenge yourself. muted clips from your music videos. It was genius, but havethat a good find itit from easy leaking to dream aKeep few jobs recently cos I could I haveimagination. that filter thatI stops out and it fresh.

I turned down a fewfeel jobs myself recentlygetting cos I why did you do it? up weird stuff.

I’m quite lucky in that I have too cosy.

Wasn’t it obvious!?

I dunno really.

I had the idea entering real life. I like to behave quite normally in my could feel myself getting too cosy. a constant of nonsense my a note of making out itthat I was opening a chain of frozen an ideaon I’llin make every daystream life so whenever I get going JH: Wasn’t obvious!?

I dunno really.

I had the idea head.

I’m also lucky that I have that filter that Your video for Oliver Wilde’s ‘Perret’s Brook’ bars back wasopening creatinga visual stuff of it and save it for later. Sometimes when I’m out and yogurt Your video for Oliver Wilde’s ‘Perret’s Brook’ was of making out when that I Iwas chain of frozen stopsabout it from and entering life. I ha! for the OLO Worms album. Then it got put aside, was my first introduction to new music from BrisI doleaking get quiteout overwhelmed withreal everything first introduction to new music from Bristol; this my yogurt bars back when I was creating visual stuff for the like It’s to behave quite normally in my every day life tol; this video also featured The Naturals, Velcro then it was gonna be part of our last EP promo after hard to describe where ideas come from. I can’t video also featured The Naturals, Velcro Hooks and OLO Worms album. Then it got put aside, then it was so whenever I get an idea I’ll make a note of it Hooks and other artists I would later fall in love SportsbeDirect thing.

Back around 2012 I was really do sit down brainstorming sessions, or putting the gonna artists I would later fall in love with. Do you other part of our last EP promo after the Sports and aside save time it fortolater.

Sometimes when I’m out and with. Do you think much about how your videos more bands with brands try and think up ideas. That doesn’t work noticing think much about how your videos have drawn Directmore thing.and Back around 2012working I was noticing more about I do get quite overwhelmed with everything and being sponsored and doing deals that seemed have drawn attention to this city’s new music? for me. I need to be on the move with a pen or phone attention to this city’s new music? and more bands working with brands and being ha! It’s hard to describe where ideas come from. a little odd. I just wanted to take the piss really, and to note stuff down as I’m moving. If I know that I’m sponsored and doing deals that seemed a little odd. I I can’t really do sit down brainstorming sessions, imagine a time where bands would hardly mention I really love making bands/artists’ first videos. going to go ahead with an idea then I’ll sit down and try JH: I really love making bands/artists’ first videos. just wanted to take the piss really, and imagine a time or putting aside time to try and think up ideas.

Whatever happens I think I’ll always be into the music, they’d just surround themselves with Whatever happens I think I’ll always be into the idea and piece together what I’ve come up with while out theirwhere bands would hardly mention their music, they’d That doesn’t work for me. I need to be on the idea of making videos forcoming up andacts. coming other guff.

I dunno why I ended up doing it in that of making videos for up and I needacts. to beI and about and give it some kind of structure. As fun as just surround themselves with other guff. I dunno why need to be around new things and people with move with a pen or phone to note stuff down as around new things and people with different ways of interview?

Just seemed like I should do it while I it is to float around daydreaming, it’s worth nothing ended up doing it in that interview? Just seemed like different approaching New peoplethings. excite me in I’m moving.

If I know that I’m going to go ahead still Ihad waysthings. of approaching Newand people the chance, and also Bristol was filling up you can knuckle down and pull the puzzle pieces I should do it while I still had the chance, and also excite turn help work.

I lovehelp this city the people withunless an idea then I’ll sit down and try and piece memy and in turn myand work.

I love who this with new frozen yogurt and ice creams places.

I’ve together. live and and the make art here. likeand to think Bristol was filling up with new frozen yogurt and ice city together what I’ve come up with while out and people whoI‘dlive makeI’ve art made here. always loved that Eiffel 65 song. I wanted to use some things that people have enjoyed over the last few creams places. I’ve always loved that Eiffel 65 song. I about and give it some kind of structure. As fun like to think I’ve made some things that people something that sounded futuristic in a really crappy I‘d years. I’m an ambitious person so this feels very much use something that sounded futuristic in a have as it is to float around daydreaming, it’s worth enjoyed over theI’m laststill few years. I’m an like the beginning still. excited! way.wanted I was to thinking of that scene in ‘Back To The really crappy way. I was thinking of that scene in ‘Back ambitious person so this feels very much like the nothing unless you can knuckle down and pull Future 2’ where he goes in that 80’s cafe.

To The Future 2’ where he goes in that 80’s cafe. the puzzle pieces together. beginning still. I’m still excited!

Illustration by James Hankins How did you start out?

the band murder Fern Cotton and resurrect John Peel.

Yeah thiswas was of to mymake? favourite videos to make. thisone video How

BIG BIG JEFF JEFF

They always had James Hankins doing very Over the past 15 years, you have brilliant and odd stuff with Olo Worms; gone to at least five gigs a week. you must’ve heard one of his records Through this, despite never actively (without his permission haha)! They were pursuing any sort of fame, you have great fun. Around that time, I remember become a beloved and iconic figure (ARTIST, LEGENDARY AND LEGENDARY GIG-GOER, GIG-GOER SOUNDING-BOARD seeing one of their album launches at Rise in Bristol’s live music, and are conPROMOTER OF BRISTOL’S NEW MUSIC) Records where he was dressed in this Ming stantly cited by international artists FOR LOCAL PROJECTS, AND PROMOTER OF THE CITY’S MUSIC the Merciless-style costume which had this and the music press. Many regard When it comes to me as aJeffrey person, there’s Illustration: ‘Big Jeff’ Johns positives and hat which turned into a giant bowl full of you as possessing a sort of omniscinegatives. On the positive side of things, it has helped popcorn. So between songs he was taking ence over the city’s emerging talent, Over the past 15 years, you have gone to at leastme fivebreak always had James Hankins doing very Almost of the projectsthe I negative am covering someallsocial barriers; sideinofthis things JJ: They mouthfuls of popcorn from his hat, it was and promoters frequently book new actively gigs a week. Through this, despite never brillianthilarious. and odd stuff with what Olo Worms; must’ve within the past 6 years, but you first magazine started is that sometimes when I’m not feeling okay to talk to That’s Bristolyou used to be bands based on who you happen any sort of fame, you have become a pursuing heard one of his records (without his permission to Bristol in 2002.

Could you tell me what moved people, I get stopped a lot walking home through Stokes like, it had that tongue-in-cheek sense of good on Twitter. Perhaps to say is and and beloved and iconic figure in Bristol’s live music,Croft, They werewhich great some fun. Around time,these I was things like as an avid gig-goer Bristol’s it hasmusic also scene affected like how I’ve back never haha)! humour (not all that bands) most significantly, since you know cited byininternational the had are constantly their album launches atand Rise willthen? relationships beyond friendships. It has put remember daysseeing lack-one thatof kind of imagination every gig happening Bristol on artists any andreally press. artists Many regard youinasBristol possessing a sort of barriers up as well as taking some down. musicnight, Recordsingness where to hedo wassomething dressed ina bit this stupid.

Ming the some But given playing over theat city’s emerging omniscience costume which had like this hat which then there was also bands Zunzunegui, take your presence their show as atalent, and JJ: It’s amazing how much the city on the whole has Merciless-style all of the projects I amitcovering this magazine turned an intoincredible a giant bowlpsychedelic full of popcorn.

So between promoters bookgig new who outfit, which is changed!

Back then was a inmuch more stamp thatfrequently it is the best inbands town,based a onAlmost the pastplace, 6 years, but you to Bris-songs he thewas band Yoshino [from Yama Warashi] taking mouthfuls of popcorn from his to say is goodin onthe Twitter.

Perhaps started most within you happenput unfashionable and there was first only moved one festival sentiment to music Beans tolinin 2002. you tell whatCourt Bristol’s music scene hat, it was washilarious. in, alongThat’s with Matt Jones,used a phenomewhat Bristol to be since you know gig happening significantly, whichCould took place here-me Ashton Festival.

Apart on Toast song ‘Who is Bigevery Jeff?’. was like from as anGlastonbury, avid gig-goerthat back doing afro-beat psychedelia. like, it nal haddrummer that tongue-in-cheek sense of humour on any artistsyou playing in Bristol Bristol did When yougiven start night, to realise wasthen? pretty much the only One (not thing never of had in Bristol’s music? which some all Bristol’s bands) these daysbeen lack- short that kind yourclout presence at their show as a stamp that it is takethis music festival in the west country. What that festival how much the city on the whole has changed! its great drummers.

Qu Junktions turned of imagination and willingness to do something a bit theamazing the best gig in town, a sentiment put to music inIt’s did was give a cultural hub for everything: they had Back then it was a much more unfashionable place, and stupid. from promotions company IBeans guesson it first Toastreally song happened ‘Who is Bigwith Jeff?’. When did But being then athere was also bands into like a stages for music, they had stages for poetry, they had there was only one festival which took place hereAshton booking agency for leftfield world artists, the whole ‘Choke’ scene, going you start to realise you had this clout in Bristol’s Zunzunegui, an incredible psychedelic outfit, which is stages for theatre, and it was full of local acts. You’d Court Festival. Apart from Glastonbury, that was pretty but were also doing regular club-nights at back at least 10 years. Choke was a music? the band Yoshino [from Yama Warashi] was in, along often see local bands having a mini-competition much the only music festival in the west country. What the Croft and Zunzunegui would always kind of internet forum/local fanzine, Jones, a phenomenal drummer doing afroamongst themselves like ‘whose going to do the most that festival did was give a cultural hub for everything: with Matt be the headliner. They’d also have people and they put out fanzines about the Jeffrey ‘Big Jeff’ Johns: I guess it first really happened beat psychedelia. One thing Bristol’s never been silly thing to upstage the headliner?’: you’d get people they had stages for music, they had stages for poetry, they like Micachu and the Shapes, Rachel Daad, local bands, and I’d go to quite a with the whole ‘Choke’ scene, going back at least 10 stages its great drummers. Qu Junktions turned in fancy dress having battles with cardboard had for theatre, and itpretend was full of local acts. You’d short ofIchi…

There was a sense of them trying to lot of their nights. There’d be acts years. Choke was a kind of internet forum/local from being a promotions company booking robots and balloon explosions, and you’d get bands often see local bands having a mini-competition amongst do something special and into be aabit different; like Big Joan and Three Hoes, Two for leftfield world artists,very but were also doing fanzine, and they put out fanzines about the themselves local like Hacksaw who going got an entire kazoo orchestra up on to agency they like ‘whose to do the most silly thing also introduced interesting world Mexicans And A Tin of Spanners club-nights at the Croft and like Zunzunegui bands, and I’d go to quite a lot of their nights. There’d They also had bands Spiritualised, upstage stage. the headliner?’: you’d getlike people in fancywhich dress regular music, bringing over people Omar doing shows at The Croft and The always be the headliner. They’d also have be acts like Big Threehours Hoes, Two Mexicans people forget were from Bristol up until likeand ’98. balloonwould Souleyman. having pretend battles with cardboard robots Louisiana.

I’d Joan oftenand spend And A Tinthe of Spanners doing shows at The Croftexplosions, and and you’d get bands like Hacksaw who got anpeople like Micachu and the Shapes, Rachel Daad, analysing gig listings and notating There that was video, a sensethings of them to do up here on stage.

They bands Ichi… Since The Louisiana.

I’d often the kazoo Whenorchestra I first moved the Croft wasalso just had opening looktrying a bit different ‘Venue Magazine’, and spend I’d gohours to analysingentire like which forget wereStokes from Croft Bristol something gig listings notating ‘Venue IMagazine’, goSpiritualised, special and be a such bit different; they also in Bristol.

Projects as Giant Swan up. That area usedpeople to be really rough; shows theyand recommended. guess it and I’d likechanged ’98. so much. The place which is now The introduced and Jesuits have formed risen to to shows theyjust recommended. guess itout came fromup justuntil has very interesting world and music, bringing came from constantly Ibeing acclaim, we have more DIY labels, and we constantly out there, and things I’d have regular things over people like Omar Souleyman.

Love Inn used to be a really dodgy bar called Mackie’s there, andbeing I’d have regular When Ibar; firstI moved here wassee justpeople opening are seeing the emergence of a few brandI’d be be doing. doing. II wouldn’t saysay hello to people I’d wouldn’talways always used to go up the that Croft street and being up. Thatmugged area used be really rough; Croft has Since that newvideo, bands such as aScalping.

How do you hello to Ipeople because I was things look bit different in Bristol. because was quite withheld, but Iquite did start to notice right to in front of me.

It was Stokes a very tense area. changedSome so much.

Theofplace which ishave nowhad The Love InnProjectsfeel Bristol’s current scene? withheld, but I did to notice suchabout as Giant Swan and Jesuitsmusic have formed my name popping upstart online; the first time someone elements gentrification a positive used to be a really dodgy bar called Mackie’s bar; I used and risen Who are your here at my name popping online; to acclaim, we favourite have moreartists DIY labels, andthe mentioned me in theup media was the a review in Venue effect, but then it’s been over-gentrified, so it has had to go up that street and see people being mugged right we are moment? first time someone me missed out seeing the emergence of a few brand-new Magazine; they talkedmentioned about me but a some uneasy, negative effects. Something that’s crept in front of me. It was a very tense area. Some elements inband theinmedia was asoreview Venue bands such as Scalping. How do you feel about the review, I got in in touch to say ‘sorry, you back up is the sense of tension there, as there are a lot of gentrification have had a positive effect, but then it’s I’m kind of excited but also quite nervous Magazine; about me but Bristol’s current music scene? Who are your missed this they band!talked Instead of writing about me you of people’s voices which aren’t listened to, and which been over-gentrified, so it has had some uneasy, negative about losing it; the issues with gentrification missed out a band in the review, so I favourite artists here at the moment? should have written a couple of sentences about this have never been listened the up reason theysense stopped effects. Something that’s creptto; back is the of have meant a lot of the DIY spaces have got in touch to say ‘sorry, you missed band because they were really good!’. It is tension very St. Paul’s carnival theofgangland My there, as there arewas a lot people’stroubles. voices which closed. I do feel a bit apprehensive but this band! Instead of writing about kind of excited but also quite nervous about flattering though, and the ‘Beans on Toast’ songaren’t was listened general to, experience is that I originally foundlistened it a very to; JJ: I’m there’s and which have never been some phenomenal bands around me you should have written a couple losing it; the issues gentrification havelike meant amazing. creative place, and Ashton court was full of leftfield the reason they stopped St. Paul’s carnival was the ganghere at thewith moment, people youa lot guys, of sentences about this band because of the IDLES DIY spaces have closed.

I (who do feel a bit people;My I’d general finger through Venue isMagazine and go land troubles. experience that I originally and Kayla Painter records they were really good!’. It is very Does this inadvertent fame make you found feel it see there’sshe some phenomenal bands bands often just because theircourt name.was Back a very creative place, andI liked Ashton full ofapprehensive all thebut samples uses herself!). There’s flattering though, and the ‘Beans on or are you just proud to have helped uncomfortable, around here at the moment, people like you guys, then I was very awkward and reclusive, but gradually leftfield people; I’d finger through Venue Magazine and also a lot of things that go under the radar.

Toast’ song was amazing. you support and promote good music in the waygo and Kayla Painter records all the see bands justwith because I liked theirthe name.

Back IDLESThere’s I madeoften friends the door staff and bar staff Stolen Body(who bands like Yama then I was very they’d awkward but gradually have? this inadvertent fame make samplesWarashi, she uses herself!). also a lot ofboth thingstimes because find and ways reclusive, of communicating with me.I who leftThere’s me breathless Does made friends the dooratstaff the barwould staffshout becausethat go at under radar. There’s Stolen like BodyThought bands Thethe Arnolfini, and bands Johnny,with the doorman Theand Louisiana, you feel uncomfortable, or are you they’d find ways communicating me.engage Johnny, Forms whowho I’veleft been followingboth fortimes like JJ: Itproud has its upsides its downsides. like Yama Warashi, me breathless to me like of ‘alright Jeff!?’ and like,with forcibly with just to haveand helped supportThe downsides at The way.

Louisiana, shout me like 10-12 years; I think actually seewho their at The Arnolfini, and bands likeI did Thought Forms include being good overcrowded, thatdoorman me in positive I was alsowould in ‘Access Toto Music’ at and promote music inand thealso waythe factthe andand like,I forcibly engage in positiveI’ve been second everforgig! amazing seeIwhat’s following likeIt’s 10-12 years; Ito think did you have? people have quite a cartoonised version of me in ‘alright their Jeff!?’ the time, was in class with with Mattme Loveridge way. I was also inthough ‘Access Toa Music’ at theyounger time, and happening withgig!IDLES, themto supactuallybeen see their second ever It’s amazing see heads, so I often get people coming up to me saying [MXLX], he’s couple years thanI was class with Matt Loveridge [MXLX], though he’s a cou-what’s been porting Foo Fighters recently… it still makes It‘oh has itsget upsides downsides. happening with IDLES, them supporting you let in forand freeits everywhere don’t you?’inand me. There was a couple of bands in Bristol that nearly ple years younger than me. There was a couple of bands Foo Fighters me laugh how they get that The downsides include recently… it stillmanaged makes metolaugh how gig, I’m like ‘… no I don’t!

Norbeing would I ask to’. They say made it big, but they got screwed over by Bristol that nearly made it big, but they got screwed sending them a jigsaw puzzle of their bassist overcrowded, alsoparty the lots’ fact and thatagain I’minlike ‘oh I bet you goand out and they managed to get that gig, sending them a jigsaw mismanagement or label people. Mark, IDLES’ by mismanagement or label people. Mark, IDLES’ Dev in his pants! people haveI quite cartoonised ver- Ruinover ‘not really’might ago to The Mother’s and puzzle of their bassist Dev in his pants! in a band called Fortune Drive; I met manager,manager, was in was a band called Fortune Drive; I met him sion me in theirI’llheads, sobut I often otherofplaces where socialise I’m not… I guess him in Guildford, strangely enough, because we both in Guildford, strangely enough, because we both went to Suffering with Asbergers and occasional get people coming up to me saying with Asbergers and occasional bouts of I’m not that character people assume I am. When itAcademy went toof thePopular AcademyMusic, of Popular Music, both studying the both studying drums! Suffering bouts of depression, I can imagine the at‘oh you get let in for free everywhere depression, I can imagine the attention often comes to me as a person, there’s positives and drums! tention often becomes uncomfortable; you don’t you?’ and I’m like ‘… no I youkids are pulling no stranger to kids negatives. On the positive side of things, it has helped Over the years, several artists have asked you to feature inbecomes areuncomfortable; no stranger to at your shirt don’t! Nor would I ask to’. They at your shirt at shows and saying ‘hey look, pulling me break some social barriers; the negative side of the years, several artists have asked you to Over their music videos. The earliest of these which I can find at shows and saying ‘hey look, it’s Bigit’sJeff!’. say ‘oh I bet you go out and party in their music videos.

The earliest of these feature Has become easier to deal with with things is that sometimes not feeling okay to is James Hankins’ 2013 video for ‘Perret’s Brook’

by Ol- Big Jeff!’.

Has it itbecome easierororharder harder to deal lots’ and again I’m likewhen ‘notI’m really’I which I can find is James Hankins’ 2013 video for talk to people, I get stopped a lot walking home iver Wilde, which- in also featuring artists such as Velcro over time? over time? might go to The Mother’s Ruin and ‘Perret’s Brook’ by Oliver Wilde, which- in also through Stokes Croft,I’ll andsocialise it has also Hooks, featuring Towns and GuMMsort of a document of that other places where butaffected things artists such as isVelcro Hooks, Towns and time in Bristol’s the early daystime of Howling from from personperson to person and from dayfrom to like not… how I’ve neverI’m really It varies to person and sort of and a document of that in Bristol’sOwlJJ: It varies GuMM- ismusic I’m I guess nothad thatrelationships charac- beyond Records.

What was Bristol’sOwl music like? day- that’s can say aboutallit Ireally. friendships.

It has put some barriers up as well as and thethat earlyperiod days ofinHowling Records. music dayalltoI daythat’s can say about it really. ter people assume I am. taking some down.

What was that period in Bristol’s music like?

One of the things I admire most about you is your almost superhuman energy. You don’t drink or do One of the I admire most about yoursomealmost drugs, butthings almost every night you’reyou at isa gig superhuman energy.tirelessly.

You don’tIn drink or doto drugs, but almost where, dancing tribute this, The you’re at a gig somewhere, dancing tirelessly. In night every Fleece have your name on one of their flagstones. to this, Fleece have one of their tribute Doesn’t thatThe enthusiasm foryour live name musiconoccasionally flagstones. wain? Doesn’t that enthusiasm for live music occasionally wain?

Occasionally it might do a little bit; I think it kind

ofOccasionally ebbs and flows butdoitawon’t ever die, itbut there JJ: it might little bit; I think kind of ebbs willflows be some things I won’t as enthusiastic aboutI and but it won’t ever die, butbethere will be some things as other like hype bandspeople, such like as HMLTDwon’t be as people, enthusiastic about as other hype bands I might not be so enthusiastic themabout but Ithem such as HMLTDI might not be soabout enthusiastic know other people be. but I know other people will will be.

Butthere’s there’s nothing watching good live It’s But stillstill nothing like like watching a gooda live band. band. It’s helped me in so many ways; sometimes helped me in so many ways; sometimes going out to shows going out to shows when I’ve been locked in my when I’ve been locked in my flat an entire day has helped me flat an entire day has helped me break through that break through that locked-in syndrome. It has helped with locked-in syndrome. It has helped with things like things like going out and speaking to people, using it as a way going out and speaking to people, using it as a way of being in a room when I feel really safe, because I’ve never of being in a room when I feel really safe, because been good at parties.

Here isata parties. structuredHere socialissituationI’ve very never been very good a you know roughly what time the bands will be on and what finish. structured social situation- you know roughly Also, while I’d sameAlso, faces; after there awas timeafter the abands willstart be noticing on andthe finish. (and stillI’d is) astart gangnoticing of us whothe go out, likefaces; Johnnythere the doorman while same was from Louisiana and of Connell from (andthe still is) a gang us who goCrosstown out, like promotions; Johnny he used to have a saying all these guys show up you know the doorman from like the ‘ifLouisiana and Connell from you’re at a good show’, and wehe called ‘the front Crosstown promotions; usedourselves to havelike, a saying row photos seeatthe likesquad’ ‘if all haha, thesecause guysatshow upfrom you shows knowyou’d you’re a front and it and wouldwe becalled all our ourselves mugs! goodrowshow’, like, ‘the front row squad’ haha, cause at photos from show you’d

see year the you frontbegan rowlending and it would be allknowledge our mugs!

Last your musical to The Bristol Music Show on BcFM, giving weekly rundowns of Last yeargigs youinbegan lending your musical knowlthe city.

Many listeners, including myself, upcoming edgeimmediately to The Bristol Music Show on BcFM, impressed by your natural talents asgiving a radio were weekly rundowns in not theyet city. and I think of its aupcoming shame that gigs you’ve pursued presenter, listeners, including were immediately as a career.

Do you think you myself, will? itMany impressed by your natural talents as a radio presenter, I think its a shame that yet JJ: I’d likeand to, but I just don’t know how to.you’ve One of not my biggest pursued it as a career. Do you think you will? let-downs, and the biggest difficulty I personally have, is

communication. Face-to-face communication I’m quite good I’d like to, but I just don’t know how to. One of my at, but when it comes to like emails and that sort of thing I biggest let-downs, and the biggest difficulty I peractually quite struggle with it, and that’s always been a big sonally have, is communication. Face-to-face combarrier; I’m quite good at tweeting but when it comes to munication I’m quite good at, but when it comes professional emails I get so nervous, I get so much anxiety. I’ve to like emails and that sort of thing I actually quite only just really acceptbeen that I’m actually quite struggle withrecently it, andlearned that’s toalways a big barrier; good at some I wasbut brought being toquite I’m quite goodthings. at tweeting when itupcomes mollycoddled, I’ve Ialways quite Idownplaying professional so emails get sobeen nervous, get so muchof myself, butI’ve learning sayreally I’m actually good at something anxiety. onlytojust recently learned to is quite amazing… having that negative side-effect can be like… I accept that I’m actually quite good at some things. don’t quite how to explain but it has in part kept I wasknow brought up being quiteit, mollycoddled, so me grounded and been in partquite has caused me to have self-doubtbut and I’ve always downplaying of myself, anxiety andto that’s why I’ve not developed in some is ways, learning saypart I’mofactually good at something amazing… havingways that(asnegative side-effect orquite developed in different I think we all develop at can be speedslike… Iwho don’t know different knew that quite in the how space to of explain a year I’d go it, but it has part kept to meDJ-ing grounded and in part from DJ-ing thein Thunderbolt at Green Man?).

One me which to have and and ofhas thecaused other things hasself-doubt started to take offanxiety is my artwork.

that’s part of why I’ve not developed in some ways, or developed in different ways (as I think we all develop at different speeds- who knew that in the space of a year I’d go from DJ-ing the Thunderbolt to DJ-ing at Green Man?). One of the other things which has started to take off is my artwork.

How did you get into painting?

How always did you painted get into painting?

I’ve and written since my childhood really; about 10 years ago I joined an arts JJ: I’ve always painted since myThey childhood really; organisation calledand Artwritten and Power. specialaboutin 10people years ago I joined an arts organisation ised who had learning difficultiescalled and Art and Power.

Theyissues, specialised who had learning mental health so it in waspeople very much helping difficulties artists; and mental health issues, so amazing it was verystuff much disabled we got to do some which never reallyweknown howsome to explain helping I’ve disabled artists; got to do amazing stuff to people.

Wereally got involved intophysical which I’ve never known how explain totheatre, people. We painting, writing (we had little booklets got involvedcreative in physical theatre, painting, creative writing (we we My parents never had parents had self-published). little booklets we self-published).

My parents never had who turned up touptheir events really, parents who turned to their events really,and and II manmanaged aged to this dance perforto get to myget Dadmy to Dad come to to come this dance performance I did in mance I didand in Bath 2007,that andheI managed was so proud Bath in 2007, I was in so proud to make that to make itloved just it. in The timesilent and absoit justhe in managed time and absolutely kind of lutely kind of therapyphysicalthattheatre physicalloved theatreit.weThe did-silent the movement gave me we did- the movement therapy- that gave me a lot a lot of pride. Also I was volunteering with a disabled dance of pride. Also I was volunteering with a disabled group who sadly don’t exist anymore- a lot of them don’t exist dance group who sadly don’t exist anymore- a anymore. It happens, but we got to do amazing things. So lot of them don’t exist anymore. It happens, but that’s always kind of been there. That also runs in the family we got to do amazing things. So that’s always as my grandmother is one of the most respected tapestry kind of been there. That also runs in the family artists the UK- Pat Johns.

I remember when I was really as myingrandmother is one of the most respected young being sat up with her, gettingI up really early tapestry artists in atthe5am UKPat Johns. remember with her, and seeing her doing these weavings, some them when I was really young being sat up at 5amofwith wouldgetting be threeup needle, birds flying. her, reallywith early with her, and seeing her doing these weavings, some of them would Youthree are often asked to birds DJ at flying. gigs and festivals, but you be needle, with recently began putting on shows of your own in Bristol,

of and Yamafestivals, Warashi and including You are nights often played asked by to the DJ likes at gigs have you foundputting putting on on your ownofshows?

Jesuits. but youHow recently began shows your own in Bristol, including nights played by the likes of Yama and Jesuits. have JJ: I haven’t doneWarashi many. I did once try to How set myself up as a you found on the your own shows?issue got in the promoter, butputting once again communication

way. The Arnolfini thing was phenomenal- that’s not just me

Iblowing haven’t many. Iit did to setPamela myselfthe mydone own trumpet, cameonce abouttry through up as manager a promoter, oncehad again communievents there. but They’ve a lot the of their funding cut, cation got intothe way.

The with Arnolfini thingfor a becauseissue they failed really interact local artists was phenomenalthat’s not just me blowing my long time; they got in contact and asked if I’d like to program own trumpet, it came Pamela theand an event; I explained that Iabout have athrough lot of communication events manager there. They’ve had a lot of their anxiety issues and they were like ‘yeah we’ll book them for funding cut, because they failed to really interact you! Just send us a list of who you like!’. So I scribbled down with local artists for a long time; they got in on a page of A4 artists I really liked, and put marks next to contact and asked if I’d like to program an event; people like ‘100% get them!’ and I managed to get 2 of my 3 I explained that I have a lot of communication favourite bands- Yama Warashi and Thought Forms- and and anxiety issues and they were like ‘yeah we’ll then bands like Jesuits and Nugget who blew me away as well. book them for you! Just send us a list of who you Nugget’sSosetI was amazing, I hadon tears in myofeyes. believe like!’. scribbled down a page A4 Iartists she’s just finally physically released music on Breakfast I really liked, and put marks next to people like Recordsget on cassette, but I Ialso want herto to get do it2on ‘100% them!’ and managed ofvinyl my so I play it, because really Warashi really loveand her Thought voice. It was 3canfavourite bands- IYama amazing seeing how many turned up to Nugget it, and seeing Formsand then bandspeople like Jesuits and 11 year old little Brunoas doing set at 3 set in the afternoon, who blew me away well.a DJ Nugget’s was that was amazing. months I was doing myshe’s first night amazing, I had 8tears in before, my eyes.

I believe with my friend Gary at The Thunderbolt, was like my just finally physically released musicwhich on Breakfast Records cassette, but I also want her to do it third DJ seton ever! on vinyl so I can play it, because I really really love her voice. It was amazing seeing how many people turned up to it, and seeing 11 year old little Bruno doing a DJ set at 3 in the afternoon, that was amazing. 8 months before, I was doing my first night with my friend Gary at The Thunderbolt, which was like my third DJ set ever!

Photograph: Simon Holliday

Having been a sounding board for many projects in the city and Having been a sounding board for a tireless supporter of Bristol’s many projects the city and a new music, whatin kind of impact supporter Bristol’s newthe dotireless you think you of have left on what scene kind ofso impact music, city’s music far? do you think you have left on the city’s

It’smusic more likesowhat scene far? impact has it had one me, really! Overall I think been I think JJ: It’sit’s more likepositive, what impact has it that hadmaybe on me,like, really!sometimes Overall I think people havepositive, turned Iupthink to shows it’s been that because tweeting about maybe I’ve like, been sometimes people them, people up because to bands have or turned up toturn shows because I say I really like them.

I’ve been tweeting about them, or Maybe I should use my name as people turn up to bands because I like a selling point. say I really like them.

What would you like people to What would you like people to take away from what’s currently take away from what’s currently happening in Bristol’s music? happening in Bristol’s music?

I’d like people to celebrate what JJ: I’dgot likeatpeople to celebratethere what we’ve the moment; we’ve got amazingly at the moment; there are are some talented some and amazingly people sometalented of thempeople will be and some of them will beThere’s washed washed to the wayside. the wayside.

There’s so many sotomany underrated artists, and underrated artists,for andsome theretime, have there have been time, thing. it’s not Bristol just a it’sbeen notfor justsome a recent has had athing. history of being either recent Bristol has had a ignored by being the mainstream history of either ignoredmeby dia, It’s exciting theor downplayed. mainstream media, or indownplayed. recent history to see people It’s exciting in recent sitting actually taking historyup to and see people sitting up and notice; likenotice; someit’s oflike us some have actuallyit’s taking been our headsouragainst of usbanging have been banging heads a brick wall, andwall, there against a brick andhave therebeen have people more proactive than me, been people more proactive than like Connell, Mark, Howling Owl me, like Connell, Mark, Howling who for the past 5 or 6 years have Owl who for the past 5 or 6 years been knocking on doors, Stolen have been knocking on doors, Body Records etc. But I do think Stolen Body Records etc. But I do there’s something positive in the think there’s something positive in small pockets too, like Breakfast the small pockets too,there’s like Records, Body Clocks…

Breakfast Body Clocks… like a gangRecords, mentality, a little hub, there’s Ilike a gang mentality, a little though think most of them hub, though of them aren’t actuallyI think frommost Bristol! aren’t actually from Bristol!

4 PROMOTE The Rare Miracle of

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SHAPING THE NEXT CHAPTER IN BRISTOL’S MUSIC SHAPINGTHE THENEXT NEXTCHAPTER CHAPTER BRISTOL’S MUSIC SHAPING ININ BRISTOL’S MUSIC

LICE

SATIRICAL ART-PUNK

Members: Alastair Shuttleworth, Silas Dilkes, Bruce Bardsley, Gareth Johnson

LICE

You got to play with a lot of your heroes and favourite Aha! You rascal Alastair, you’ve only gone and put It depends how we choose to understand what being bands quite early on, such as The Fall, Psychic TV your own band in your magazine! How do you justify cohesive should mean in a band. As we currently are I ART-PUNK think weSATIRICAL are generally uninhibited in our individual and The Rebel. Has having gotten that gratification so this then, you self-serving, narcissistic piece of shit? parts.Alastair TheShuttleworth, whole song beBardsley, of a style all early altered how you see the band? What are you Members: Silasmay Dilkes,not Bruce Garethwe Johnson

working towards?

Alastair Shuttleworth: The personal gain of the artist choose to listen to regularly and there are certainly parts people in a style theyis isn’tAha! something you Alastair, consideryou’ve when only you gone put anyone in is,ofinsongs LICE manywhere respects, a verymay odd be fit. playing Your drummer Bruce Silas struggles with recurring hearing difficulties; You rascal enjoy,in but overall Ibut think do have a lot are of SD: While the bandyour to try and play rooted don’t stylistically metal/prog, yourwecurrent offerings do you thinkwe thisstarted has influenced favouring of music put yourmost ownofband in don’t your magazine! thisand magazine; them care about outside based inin trashy, In your liveplay. shows, If not, whattohas? otherwise trebly, you you justifyinclude this then, self- they’re How do but freedom whatearly we post-punk. each individually If your by in thesegrating artists’guitar style,tones? my goal wasn’t support them. recognition, themyou because Silas maintains space, while (typically guitaristcohesive serving, narcissistic shit? we his mean that weyour arebassist eachGareth individually I imagine this is partly because I never thought we’d great and they’re part piece of thisofcommunity, so the public in a red pest-control and cowboy naked, SD: Even hearing is them at its as best I don’t to fit withinjumpsuit the same style then hat) that strips is unlikely. even play awhen gig, somysupporting a goal would be should know about them. Why would this bedressed any choosing and throws crowd.

How from would thinkfar-fetched I can completely hear Supporting how I sound.

The Alastairbecause Shuttleworth: of At speakers what point does himself a soundintowetheare coming too to consider.

The Fall and different you areThe alsopersonal me? If gain anything, itclimbs just on thesecohesive contrasts?inDo lookfirst and place sound you explain desireFattoWhite mimicFamily Rowland Howard and10Keith the artist isn’ttwice something you consider when become its you ownthink rightyou’ll in the The within our first shows was means we have the journalistic integrity. or stay like are?fitting together our more cohesive Levene is definitely the door how my guitar you put anyone in this magazine; most of anyway?over If time, by cohesive weyou mean bizarre.

I guess achieving whatof we thought would be playing sounds, but I’m certain that my poor them don’t care about outside recognition, GUITAR-BASED LIVE TECHNO WITH VISUALS

sounds as a band to create a fluid whole, then I think our pinnacle after playing for a long time within such Yes, dear friend, LICE has indeed become a proud hearing has intensified this attempt and allowed but you include them because they’re great Silas Dilkes: Within our live shows I don’t think we have any a short lifespan did change our expectations of what partand of this community; our DIY shows with we are already cohesive and it will remain that way. me to play piercingly with blissful abandon. they’re part of thisbetween community, so the expectations ofwill eachchange other or how we should perform.

I our will never th What is the overall style.

While first type of gigs we could be playing and certainly made us local artists (including a Halloween gig in a 13 century public should know about them. Why would be as extravagant on stage as Gareth and I doubt he will ever be How would you describe Scalping’s music?

An important part of any Scalping show is the Like Giant Swan Silver employ songs were pointed (as you say) towards an early postmore confident towith message promoters and play crypt with Van Zeller), tour dates with IDLES and got to playand a lotWaves, of youryou heroes and more You this be any different because you are also subduedpunk as I may seem, I have issue with this.

Some When I alast saw you live, you elements ofbands the aesthetic create style,visuals.

I do but think that no as collection they can people seem big shows.

I’ve guitar-music alwaysearly seenon, thesuch band in terms Spectres, shows with quite as to The Fall, of the favourite me? If anything, it justHowling means weOwl have and twice Breakfast behind semi-transparent music; you see Has yourselves asthat partthat of never James Rushforth: The project ultimately grounded in confused. probably think I’mperformed a boring, upatwat with no passion for not electronic quite Whatstuck I hope will happen is thatscreen vision music choose to write though andgotten has Records and collaborations withis Harry ‘Iceman’ TV and do The Rebel. having Psychicwe the journalistic integrity. projected ontoaligns, itthink bywhile your wider trend in Bristol’s recent with electronic musicchiselled but we’reourselves trying to into reverse-engineer ideas our songs should sound overall weis a changed.

I so guess were towards getting an Furniss, we have this choosing city’s for early alteredworking how youexperimental see the band? gratification tohow run about onvisuals stage, while others probably Garth Jason Bakerhow did you like see more bands the collaborator andand sounds to perform as aindeed band. are you you working towards?

WhatWould are still able to our individual styles.

That isget the music? album together of ato consistent style.inSomething Yes, dearwe friend, LICE has music, are very proud ofsemi-traditional that.become rock a grim, preening, over theretain top prick for the way he chooses to present idea, and tastes why do still you value the visual side city and furtherand afield like yours? that a proud part of this community; between our unrelenting industrial and filled with abrasive way our individual remain separated. himself.

Being a guitar-based live band creating a kind of of things in your performances so much?

AS: Sharing the line-up with a band, no matter DIY with local artists a fit. Your noise.

LICE is,shows in many respects, a (including verybut odd music, straddle not only two genres, but two vinyl version/music-video for ‘The Human JR:how electronic important or influential is strangely Yes, but we’re definitely they late are, to the party.

Halloween gig in ayou thirteenth-century crypt The Bruce is rooted stylistically in metal/prog, drummer It depends how we choose to understand whatthat being cohesive democratising.

For a few hours, it actually feels like how with Van Zeller), tour dates with IDLES and disparate live circuits.

It seems to me that audiences pretty JR: We’re abundantly aware we’re all Obviously, we’re massively inspired by both those features a weird, industrial intro that doesn’t : Parasite’ AS Sharing the line-up with a band, no matter but your current offerings are otherwise based in should mean in a band.

As we look currently are I think are generally you’re same level, which is euphoric Spectres, with Owl and findshows you no lessHowling unusual enjoyable the context would at. Above itwehelps and placed it’s been amazing tothey see how they’ve streams to or on radio plays. all, Could you to tellget me acts appear onhorrible important oron the influential are, is strangely early post-punk.

In your or live shows,inuninhibited your trashy, in ourlost individual The with wholethe song may nottaken be of a developed but also wrecks the magic bit. My Breakfast Records night and collaborations with than at a traditional is thatabout part of a dance-music in it a parts. bit more attention their sounds overahours, the past few proper years. that?to listen For a few it only actually feels like Silas maintains his space, while your‘gig’; bassist guitarist styleto wedo? all choose to regularly and there are certainly parts democratising. lyrical ‘hero’ is Ben ‘The Rebel’ Wallers, the Harry ‘Iceman’ Furniss, we of have chiselled the concept?

What kind shows do you want of away from how you usually experience a live Whereas they have used a guitar music you’re placed on the same level, whichaesthetic is euphoric but Gareth (typically dressed in a red pest-control jumpsuit of songs where people may be playing in a style they don’t enjoy, but ourselves into this city’s music, and we are dedicatee of ‘Gentleman’s Magazine (Dear Ben)’, band.

We try by and change howNeubauten, to use the I directly within electronic we’re to also wrecks the magic amusic bit. usMy onlytrying Mainly influenced Einsturzende cowboy hat) strips naked, climbs on speakersoverall and SD: andvery I think we do have a lot of freedom in what we each within a proper year of lyrical so the fact same that he supported proud ofprobably that. visuals depending on where we’re playing so achieve the thing but with the intentional JR: That’s testament to all of our backgrounds. is proper Ben ‘The Rebel’ Wallers, the dedicatee of wanted to create free, industrial andare primal throws himself into the crowd. How would you explain individually play.

If by something cohesive we mean that we each ‘hero’ our first gig was a pretty psychologically we make the the most thethat space and of a Magazine band setup.

Electronic music Bristol is fortunate have a general ethos of open‘Gentleman’s (Dear thethe fact that to contrast thetocan regimented bass line permeating rest limitation contrasts?

Do you to think you’ll and sound these individually choosing fit within same styleof then is the unlikely. heavy experience.

The upside toBen)’, havingsohad The vinyl version/music-video forlook ‘The perform slightly differently each time. informs the way we play and write guitar music as mindedness when it comes to booking and attending sound we are cohesive he supported the does song.aI’m unsure if coming we got itfrom rightbecome that time, but within a year of our(or first proper gig cohesive over features time, orastay likeindustrial you are? At whatofpoint more ‘myth’ of these us artists become tarnished at least Parasite’ weird, Human Jason makes most of his screens to the other way aroundheavy - so for us it’s a The shows. Different venues and nights create entirely in itsdifferent own the first anyway?

If byown cohesive we and mean opposed I’mright sureinwe will tryplace again. was a pretty psychologically experience. altered) by actually meeting/playing with them is intro that doesn’t appear on streams or on puts a lot of time into working alongside us as constant dialogue two, of which is experiences and we wanted to be in a position where we fitting havingbetween had ripping thethe‘myth’ these that it hastode-glamourised these people off, artists Silasradio Dilkes: ourtell livemeshows don’t think we together our sounds as a band to create a fluid whole, then I upside plays.Within Could you aboutIthat? wecohesive develop theitmusic in rehearsals, sodohe’s our studio recordings.

At present, can be malleable to take advantage of all of thatthink rather than weSilas are already and will remain that way. What will influencing struggles with recurring hearing difficulties; you and forcedtarnished us to work(or (albeit very slowly) towards become at least altered) by itactually have any expectations of each other or how we should much a part thesongs band.were It would be(as cana more be challenging to findWhile right shows pigeonholed in any way from the get-go. At this point, we overall change is the style.

While ourof first pointed original sound. at the start SD: Mainly influenced Einsturzende thisvery has influenced your favouring of trebly, meeting/playing with the them iskind thatofI saw it the has deperform.

I will never be asbyextravagant on stage as think amazing topost-punk see morestyle, collaborations between to play so to have more actswith withthese a similar aesthetic want to testI out whatto we’re doing in as many waystowards as you say) an early I do think that as a honour of getting to play artists as Neubauten, wanted create something glamourised ripping these people off, andsome forced us Gareth and I doubt he will ever be subdued as I may grating guitar tones? If not, what has? and musicians it’s would definitely beforgreat to were encourage possible whilst leaning towards club shows; systems are collection they canvisual seemartists quite confused.

Whatwithin I hopeBristol, will happen kind of validation what we doing, itmore feelsoriginal free, industrial to contrast the the to work (albeit very slowly) towards a more seem, but I have and no primal issue with this. Some people that vision should overall aligns, while shows the our nextsongs logical stepsound for creating a totally that cater to people who enjoy club nights bigger, the bass venues are darker, people stay foris longer andfor how now like we’ll only really get that by making angetting regimented line permeating the rest of sound. While at the start I saw the honour of SD: Even when my hearing is at its best I don’t think I probably think I’m a boring, stuck up twat with no we are still able toimmersive retain our individual styles.

That is the experience - although it way doesour andalbum gigs. that is consistently and authentically ours. get song. more I’m fucked up - ifwewelike especially Jason. the unsure gotthat, it right to play with these artists as some kind of validation for completely hear how I sound.

The desire to mimic passion for not choosing to run about onthat stage, individual while cantastes still remain make us aseparated. nightmare to book.

When we do, it’s going to be a very weird record. what time, but I’m sure we will try again. we were doing, it feels now like we’ll only get that others probably think Garth is a grim, preening, over Rowland Howard and Keith Levene is definitely the feeling from creating an album that is consistently and the top prick for the way he chooses to present himself. door of how my guitar playing sounds, but I’m certain that my poor hearing has intensified this attempt and authentically ours. When we do, it’s going to be a very allowed me to play piercingly with blissful abandon. weird record.

SCALPING

VAN ZELLER (GARAGE-PUNK) VAN ZELLER You formed almost immediately after coming to Bristol University in late-

Many of the artists in Bristol’s music community are motivated by experimentation, but Van Zeller’s more accessible brand of garage-rock Members: Ben Hambro, NickisBerthoud, Charlie Alexcompleted ‘Bernard’ Callaghan seems to be motivated by a different set of released, youMeyrick, will have your first headline tour of the UK priorities. What would you say they are, and following thealmost release of your second Last year you put on a gig in your house played by yourselves, You formed immediately after Manyhow of the artists in like Bristol’s music community would you to imagine people reacting Willie J. Healey and Dead Pretties; could you tell our readers coming What to Bristol University in lateare motivated by experimentation, but Van Zeller’s single. advice would you give to to your music?

2015, andinterested by the timeinthis magazine is more accessible brand of garage-rock seems to be about this show? students starting bands a me different set ofdown priorities. released, you will have completed your motivated here?

I thinkbyfor it’s partly to theWhat music I you say to they are, andup, how would likesort to of first headline tour of the UK following wouldlistened Ben Hambro: We had the idea to put on a show in our house growing most of you it was release of your second single.

What people reacting to your music? the imagine with just us, but then it kind of spiralled out of control a bit, and The best advice we can give in our 60’s and 70’s rock and garage stuff, and that’s advice would you give to students then Willie and Dead Pretties said yes to playing so it was kind very short time as a band is to just do definitely influenced the way I write and the interested in starting bands here? of a happy accident, I think the floor actually fell in a bit at one BH: I think for me it’s partly down to the music I it. Go out to local shows and support waytowe play. Iup, also think mainly point. On the plus side, the police didn’t turn up, which was nice. listened growing most of itwe was sort ofwrite 60’s to play local bands and promoters and live,rock andand so that element definitely seeps into our garage stuff, and that’s definitely BH: The best advice we can give in our and 70’s introduce yourself, there music.the Forway me, musicand hasthealways been How important is this DIY ethic to your band, and how far do I write way we play.someI very short time as a band is toare justsodomany it. influenced amazing people in the putting thingwe that allows metotoplay escape fromsoday you see it elsewhere in Bristol? mainly write live, and thatto day Go out to local shows and city support local onalso think shows, andpromoters if you can’t anything,element life definitely for a bit. seeps I don’tinto think haveFor a certain our we music. me, set bands and andfind introduce put on your the amazing city has musicofhas priorities when it comesthat to allows our music; always been something me to we just yourself, thereown are show, so many BH: Having a DIY ethic is central to our very existence as a so many venues and spaces thatand can escape fromtoday to day lifethat for awe bit.enjoy I don’t think people in the city putting on shows, band, I’m not exaggerating when I say we handle everything want write songs and play live, of priorities to accommodate shows as thewe have if you can’t find DIY anything, putsuch on your ourselves. We have no manger, no booking agent and no record anda ifcertain othersetpeople enjoywhen it it’s itacomes real bonus. we just to write that weor enjoy own show, the city so many venues label, but I really enjoy it that way. We have total control over Old England, thehas Surrey Vaults and our music; Whether it’swant listening tosongs our music seeing us and ifmainly other people it’s a realto have and Crofters spaces thatRights. can accommodate DIY and play what do and I think, at the moment, it works really well for us. the live,live, I think we justenjoy wantit people Whether it’s listening to our music or seeing shows such as the Old England, the bonus.

In terms of elsewhere in Bristol, I think IDLES are the perfect a good time.

GARAGE-ROCK 2015, and by the time this magazine

embodiment of the DIY ethic, hard work, great songs and an amazing live show.

Aha! You rascal Alastair, you’ve only Aha! You rascal Alastair, you’ve only gone gone and put your own band in your and put your own band in your magazine! magazine! How do you justify this then, How do you justify this then, you selfyou self-serving, narcissistic piece of shit? serving, narcissistic piece of shit?

Alastair Shuttleworth: personal Alastair Shuttleworth: The The personal gaingain of of the artist isn’t something you consider the artist isn’t something you consider when whenanyone you put in this magazine; you put in anyone this magazine; most of them don’toutside care about outside themmost don’tofcare about recognition, recognition, but you include them but you include them because they’re great becausepart they’re greatcommunity, and they’reso part and they’re of this theof this community, so them. the public should public should know about Why would know them.

Why would this be anyabout different because you arethis alsobe differentitbecause you we arehave also me? me? any If anything, just means twiceIf anything, itintegrity. just means we have twice the the journalistic journalistic integrity.

Yes, dear friend, LICE has indeed become Yes,partdear friend, LICE between has indeed a proud of this community; our become a proud part of this community; DIY shows with local artists (including a between shows with localcrypt artists Halloween gigour in DIY a thirteenth-century (including a Halloween gig in with Van Zeller), tour dates with IDLES and a thirteenth-century crypt with Van Spectres, shows with Howling Owl and Zeller), tour dates with IDLESwith and Breakfast Records and collaborations withwe Howling Owl and HarrySpectres, ‘Iceman’shows Furniss, have chiselled Breakfast Records and collaborations ourselves into this city’s music, and we are with Harry very proud of that.‘Iceman’ Furniss, we have chiselled ourselves into this city’s music, we are very proud of that.for ‘The The and vinyl version/music-video Human Parasite’ features a weird, industrial version/music-video that vinyl doesn’t appear on streamsfor or‘The on intro The Parasite’ weird, plays. Could you tellfeatures me abouta that? radioHuman industrial intro that doesn’t appear on on radio plays.

Could you tell SD: streams Mainly orinfluenced

by Einsturzende me about Neubauten, I that? wanted to create something free, industrial and primal to contrast the Silas DIlkes: influenced regimented bass line Mainly permeating the rest ofby Einsturzende Neubauten, wanted the song.

I’m unsure if we got itI right thatto industrial and time,create but I’msomething sure we willfree, try again. primal to contrast the regimented bass line permeating the rest of the song. I’m unsure if we got it right that time, but I’m sure we will try again.

Surrey Vaults and the Crofters Rights.

us live, I think mainly we just want people to have a good time.

LICE LICE

SATIRICAL SATIRICALART-PUNK ART-PUNK Members: Alastair Shuttleworth, Silas Dilkes, Bruce Bardsley, Gareth Johnson Members: Alastair Shuttleworth, Silas Dilkes, Bruce Bardsley, Gareth Johnson

Silas struggles with recurring hearing LICEis,is,in inmany many respects, a very Your drummer LICE respects, a very oddodd fit. fit.

Your drummer Bruce is Silas struggles with recurring hearing do you think this has influenced Bruce stylistically is rooted stylistically in metal/prog, your offerings current aredifficulties; rooted in metal/prog, but your but current difficulties; do you think this has influenced your favouring of trebly, grating guitar tones? If are otherwise based in trashy, early post-punk.

In offerings otherwise based in trashy, early post-punk. In your live shows, your your favouring of trebly, grating guitar tones? not, what has? shows, your guitarist Silas maintains his space, your live Silas maintains his space, while your bassist Garethwhile (typically guitarist If not, what has?

Gareth (typically dressed a red pest-control your bassist in a red pest-control jumpsuit andincowboy hat) strips naked, dressed SD: Even when when my hearing is at itsisbest and cowboy strips naked, on speakers jumpsuit on speakers and hat) throws himself intoclimbs the crowd.

How would climbs SD: Even my hearing at Iitsdon’t best I think I can completely hear how I sound. throws himself into the crowd.

How would you explain and you explain these contrasts? Do you think you’ll look and sound don’t think I can completely hear The how I desiresound. to mimic andRowland Keith contrasts? youorthink you’ll look thesecohesive overDo time, stay like you are?and sound more more TheRowland desire Howard to mimic Levene is definitely the door of how my guitarthe cohesive over time, or stay like you are?

Howard and Keith Levene is definitely certain that sounds, my poorbut rootsounds, of howbut myI’m guitar playing Silas Dilkes: Within our live shows I don’t think we have anyplaying intensified allowedhas SD: Withinof our I don’t thinkperform. we haveI will anyneverhearing I’mhascertain thatthis myattempt poor and hearing expectations eachlive othershows or how we should play piercingly with blissful of each otherasorGareth how weand should perform.

I will this attempt and abandon. allowed me to beexpectations as extravagant on stage I doubt he will ever beme tointensified play piercingly with blissful abandon. subdued I may seem, but have as no Gareth issue with Somehe people never beas as extravagant onI stage andthis.

I doubt probably I’m a boring, stuck upbut twatI with for notYou got to play with a lot of your heroes and will everthink be subdued as I may seem, have no no passion issue with bands quite early suchheroes as The favourite to play with a loton, of your and You got choosing to run about on stage, while others probably think Garth is this.

Some people probably think I’m a boring, stuck up twat Psychic TV and The Rebel.

Has Fall, as The favourite bands quite early on, suchhaving a grim, preening, over the top prick for the way he chooses to thatPsychic gratification early altered gottenFall, with nohimself. passion for not choosing to run about on stage, while TV andsoThe Rebel.

Has how having present see thethat band?

What so areearly youaltered working you gotten gratification how others probably think Garth is a grim, preening, over the top you see the band? What are you working Itprick depends how understand what being cohesivetowards? for the waywe he choose chooses to to present himself. towards? should mean in a band. As we currently are I think we are generally uninhibited in our individual parts. The whole song may not be of aAS: Sharing the line-up with a band, no matter It depends howtowe choose to understand what being partshow AS important theya band, are, isno : Sharing ortheinfluential style we all choose listen to regularly and there are certainly line-up with should meanmay in abeband.

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YOUNG ECHO HIGHLY-PROLIFIC COLLECTIVE OF ELEVEN MUSICIANS, CREATING EXPERIMENTAL ELECTRONIC MUSIC, SPOKEN-WORD, GRIME ETC.

Members: Kahn, Neek, Ossia, chester giles, Ishan Sound, Vessel, Rider Shafique, manonmars, El Kid, Jabu (Amos Childs, Alex Rendall) Illustration: Harry Wright

The Young Echo collective's diverse projects in avant-garde electronic music, grime, spoken word etc. have left an indelible mark on Bristol's music community, and many other artists featured in this document have credited you as an inspiring, catalyzing force in Bristol’s experimental music and DIY industry. In future instalments of this periodical, we’ll explore the individual projects within the collective in the detail they deserve, but how would you explain what Young Echo is, and how did you originally form?

Amos Childs (Jabu): It kind of started through Myspace in a weird way, some of the group already knew each other and were working together: Joe (Kahn), Sam (El Kid) and Seb (Vessel) were all in a band together as teenagers, and me and Cris (Ishan Sound) would make tracks together as Zhou and message the others over Myspace and swap mp3s etc. Me and Alex (Jabu) had been making music together for a long time too - weird Dr. Dre type knock offs on my mum’s computer. It all really solidified at Sam (Neek)’s night called Sureskank when he booked us all to play- it was November 2010 and a week later we all met up at Seb’s Mum’s house and did the first radio broadcast.

Joe (Kahn): Yeah in the beginning it was basically two groups of friends joining together through a mutual appreciation of each others work. It was just before any of us had really put any records out and we were still kind of relatively on the peripheries of the Bristol music community at the time, although as Amos mentioned Sam (Neek) had been running parties in Bristol for a few years and some of us in the group had been honing our skills as DJs at parties around the city.

To my knowledge it was Amos (Jabu) who originally came up with the name ‘Young Echo’.

After a couple of radio broadcasts from Seb’s (Vessel) bedroom with just the original 5 members, I remember Alex (Bogues/Jabu) coming along to a broadcast and doing some lyrics over the music we were playing and it was amazing. From then it just felt like the natural step to include Alex as part of this collective that was emerging. Over the following years we’d go on to invite more artists into the group, usually individuals that one or a number of us had already been working with on other projects but that we felt were aligned with what Young Echo represented artistically.

I think the most attractive aspect of the collective to us all, and the thing that’s really bound us together over the years, has been the desire to create a platform for ourselves away from the often rigid and conformative nightclub environment. A space where we could just play whatever we wanted, mix up all different kinds of music that we liked.

Although it can sometimes get quite chaotic in the broadcasts and live events when we’re playing music from across such a wide spectrum, it’s a really liberating environment to be in creatively.

Seb Gainsborough (Vessel): I would liken the group to a fruit salad. If you don’t like grapes, there’s always the satsuma segments or the chunks of pineapple. And the juice at the bottom is the net result of our collaboration. Hard to distinguish any particular flavour, but always sweet and delicious.

Producing an account of Young Echo’s work since 2010 is no straightforward task.

The collective currently includes eleven members working in a variety of genres: Kahn, Neek, Ossia, chester giles, Ishan Vessel, Rider Shafique, Sound, manonmars, El Kid and Jabu. In addition to your solo-projects, there are numerous projects involving two or more of you (such as ASDA, Gorgon Sound and Baba Yaga) and you have also created a radio show, a series of club-nights and several record labels. Even before we include outside collaborations, features and remixes (such as Ossia’s stunning remix of Silver Waves’ ‘VI’), you have produced a combined body of work in music in this past 7 years which is genuinely staggering. Is there a ‘plan’ to what Young Echo do as a group, or anything you hope to achieve as a collective through all this work? What motivates you to release/create stuff so incessantly?

AC: I can only speak for myself but I find it really interesting to kind of encourage people to connect the dots between all these different styles of music- no one only listens to one type of music, and I think it’s good that our output as a group can reflect that. It’s definitely changed a lot now which is good but I feel like when we started the group things were a lot more separate - it’d be a Dubstep night or a Drum n Bass night or Techno or whatever - we just wanted to play music we like.

In terms of the collective output there’s never been a plan - I think the reason that there are points of overlap between things in the group is the same reason that we all gravitated together, which is that we all basically get on as people and in some vague way have similar aims with our own separate music, even if they’re not immediately obvious. Aside from that is the fact that we all work together in lots of different smaller groups and pick things up from one another all the time - I would definitely be lying if I said I’ve never taken inspiration from Joe or Seb or Sam or anyone in the group. We still send each other music and find samples for each other and all of that.

Young Echo began irregularly broadcasting a radio show in 2010; what motivated this, and what do you enjoy about doing this show?

Vessel: We wanted a platform to play the music we enjoyed without having to witness people leaving the dance floor. It’s still an inspiring thing to do, given that there are so many of us and our taste in music has become even more eclectic over the years.

In 2013 you began putting on monthly clubnights. While these typically acted as a ‘testingground’ for new material, they were notoriously anarchic, largely involving blasting unsuspecting dance-music fans with abrasive, discomforting noise (leading some punters to ask for refunds). What kind of reaction do you want to get from your nights/ live shows?

Kahn: Initially I actually didn’t want to do any proper club nights. I thought that having the pressure of a paying audience would mess with the dynamic of what we were all trying to do musically. By 2013 we’d been doing the radio broadcasts from our good friend Gareth Turner’s (The Big Naturals/ Anthroprophh/ Kuro) underground studio complex, where I also have my own studio.

Because we were in a bigger space it allowed for more and more of our friends and family to turn up each time we did a session down there and the radio shows naturally turned into a sort of secret club night. Those sessions were amazing and I think we’d all agree that they were some of the best shows we’ve ever done. So when we eventually moved from that space to an actual club environment it felt like a pretty big change but it did allow us to reach more people and invite guests from out of town to the events.

We’ve tried to hold true to the original ethos of Young Echo where we just play anything we want, with almost no regard for how the audience will react, and there’s usually mixed reactions as you can imagine! On a particularly manic night you might have some militant, stripped-back dub reggae one minute, then into some old soul record Amos found in a charity shop played at the wrong speed, into some hardcore 90s rave tune then into a post-punk banger. We intersperse a lot of our own music in there too and the occasional live set but on the whole it’s very improvised and free-form.

I’ve been sat on the door and had people demand their money back but I’ve also had people come up to me at the end of the night and say it’s the best club night they’re ever been too. And I think that means we’re doing something right.

Vessel: Although I can’t deny we probably took some pleasure in disrupting the dance floor, that was never the point. When you play what you want and not what the audience wants, or expects, then some people will inevitably be disappointed. I think we always hoped that the audience would enjoy the fact it wasn’t structured like a regular club event.

Dan Davies (Ossia): Yes, exactly what Seb said. I think we always felt that these events shouldn’t compromise our diversity in tastes and ideas for what kind of music can play in a club setting, but at the same time I think it’s not fair to paint the events in a way that makes them out to be purely based on pushing people to their taste’s limits. It was more of an invitation to listen, to find something new. And the same would go for each of us taking part. I think a lot of people really appreciated this format and the wealth of people it brought along. Probably coming back to the fruit salad comparison with this one. Except that you may have to swallow the walnuts too, if you’re in the same building as us.

On the last episode of your radio show I heard, you played ‘We Are All Prostitutes’

by The Pop Group, an important band in Bristol’s musical canon; what kind of affinity do you see your music as having with Bristol’s music-history?

Kahn: The great thing about Bristol is that artists are generally very supportive of each other and the sense of community here is one of our strongest assets. I’ve actually known Mark Stewart from The Pop Group since I was a kid and he’s always been really supportive of what we’re doing, as have all the musicians from other generations that I know from the city. I think it’s fair to say that the community approach to presenting our music and the independent, DIY attitude of past generations has been a significant influence on how we do things today.

I am a massive fan of chester giles’ spokenword performances, which have featured alongside music by fellow-members such as Jabu, Ossia and Vessel. How did you become involved in Young Echo chester, and how was Asda formed?

chester giles: Thanks man! I started going to Young Echo during the radio sessions at Frank’s studios, ‘cause I work with Dan and Ossia, so we’re just friends. We’d hang out and play records and I’d just shak out and dance. That’s how I met everyone; I’m a fairly large presence when I dance haha, it’s difficult to ignore me! I’d always written for myself with the intention of having it published, but just as poetry- I never intended to put it to music.

I spent a lot of time hanging out with Seb and Amos, who lived together in Bedminster, and I’d show them my work all the time; I remember the first thing we’d recorded as asda was ‘Universal Themes’.

I was really gassed on it so I went round there and showed Seb and Amos like ‘I’ve just written this thing, it’s fucking mad’, and Seb was like ‘oh we should record that’, so we just started recording bits and pieces.

I’d been doing spoken-word performances and open-mics and I was involved in the Bristol poetry scene but I like… I never felt a part of it, it didn’t make sense to me. A lot of what contemporary poets talk about is just other poetry, which seems like a very small world.

I guess it means that our - excuse these horrible, horrible terms - product is less marketable. But in a way that is exactly what creates a whole new freedom for us as creative people. There is less individual pressure as a group. We all have our own things going on that we can treat however we feel the need to, and then we have our own beings within the group, which can break loose from our solo-aliases within the anarchic comforts of Young Echo. In a way, for me that is the most valuable part of being in this group, aside from the friendships and the inspiration that we feed each other.

In 2013 your original five members released a combined Young Echo LP entitled ‘Nexus’. You suggested at the time that the album hoped to showcase the ‘shared aesthetic’ you believed your individual projects to have, despite sounding so different to each other; how would you describe that ‘shared aesthetic’, and how do you think it has changed since then with the addition of new members?

Ossia: I think it’s best for the listener to make up their minds on this, but I suppose we can say that the aforementioned widened stylistic disparities between us, mean that this record draws on a few extra angles, and I think it makes for an even more involving listen due to this fact.

AC: With Nexus I think I’d say it was some shared way that we all used space in our tracks - if that makes any sense. I think as the group has evolved it’s become more of an even balance of expression between the words and the music, and in our own kind of way I’d say it’s become more political maybe a sign of the times or something.

Joe: Nexus was a great way for us to affirm ourselves as a proper collective. It felt important to present music from all of us that contrasted with each other but still had what we felt was a running theme or mood that connected the music together somehow. Personally I’m really excited for people to hear the new album, it’s taken a long time to get together but with the addition of more artists to the group the sound of the collective has really expanded and diversified. To me it’s a bolder, richer offering than anything we’ve put out before.

Vessel: Our tastes have become more diverse but we remain connected by our attitude towards music and performance. I don’t believe the group, as a whole, really has a shared aesthetic now. I’d be a bit worried if we did after all these years.

Because of that, for me, it’s more interesting now than ever before.

Ossia: I guess the thread runs much deeper now, but it’s also less visible. I think the idea that our individual approaches and sonics that are farthest from each other, may still find a way to cross-pollinate, is quite exciting actually. I guess in a way we have embraced more of this anarchy, and perhaps we are making an effort to be even less restrained as a unit, really allowing us to operate completely freely, individually and as a group.

I understand that you are putting out another Young Echo album on your new label; in what ways do you expect it will be different?

Like several others I know, I have been principally exposed to your music through your appearances/interactions with artists from the ‘live-band’ side of Bristol’s circuit. My first time seeing a full Young Echo set was on the same bill as Spectres (for that Fringe 6 Music event in 2016), my first time seeing Asda was at NYNN straight after my own band LICE, and the artists I’ve heard most about you from have been people like Silver Waves and Giant Swan, who kind of straddle those two different forms of live music (‘club-nights’ and ‘gigs’). How do you see your relationship as being with that ‘live-band’ side of Bristol’s scene? Do you listen to/watch many guitar-bands here?

chester giles: Personally, growing up I used to just dig guitar bands- I think a couple of the other guys are the same. I was really into hardcore and punk, that was like my life haha. But I figured by this stage that if you like forward-thinking music and you’re into the progression of ideas, then you have to recognize and understand that like, innovation stopped a while ago for guitars. There are obviously exceptions, but it became boring I guess. With electronic music, the possibilities become literally infinite- you’re dealing with raw sounds as opposed to the limitations of instruments, so what you can do and where you can go becomes infinite. I go to a lot of shows and I think there’s few ‘bands’ that do something that’s unique, but when I do see it, I love it, it blows my mind: you guys, Jesuits… that’s what you want to see. The Naturals as well, where they’re going now is incredible.

I’ve noticed something in this cross-pollination between the live-band scene and club music/dance music: it’s as if (I was recently trying to explain this to Robin from Giant Swan) people are starting to actually take back the guitar. It’s like, rock music came along and turned the guitar into this huge, ridiculous, really macho phallic symbol, and now some people are actually using it as an instrument again: you don’t have to play these riffs, you don’t have to be part of this massive lineage, you can do your own thing with the same tool.

Kahn: I think there’s some amazing live acts coming out of Bristol at the moment. I’ve been kind of on the outside of that particular scene until recently but all the groups I’ve seen in the past year or so have been amazing and it’s great to see a proper community forming.

Across your various projects and labels, your music is usually released physically; in fact, in the case of Ossia and chester’s ‘Shackles/Anpao’, it seemed to only come out physically, there not being a proper digital release save for selected clips. Why is this so?

chester giles: We just like physical things.

Personally I exist in the physical world- I don’t use the internet a lot. I prefer artefacts, like I buy books and records; I like to ‘have’ it. I also like the object- playing records physically is a lot of fun and you engage with it. I remember growing up, and around my house we always had records, and Dad used to always play records on his days off and it was a lot of fun.

Dad worked a lot and when he was letting off steam he’d come home and drag out his record collection and we’d have so much fun playing records… I guess that’s part of the reason I’m so attached to physical music, it’s the act of using it. I feel a greater connection with the physical entity than when it’s some disposable ethereal thing on a device.

Young Echo Records was established last year, but record labels have already been set up by various members of the collective. These have included Kahn & Neek’s vinyl-only grime label Bandalu Records (founded in 2012), and Vessel & Ossia’s label FuckPunk (2014). Why is now the right time to finally have a label run by (and representative of) the entire collective? What do you have in the pipeline?

AC: It felt like a natural progression as the group has developed, we aren’t all in the same city anymore or even the same country, so it’s a way to keep things moving as a group and hopefully to be able to give other artists a leg up as so many people back in the day did for us Pev, RSD, Pinch etc. It’s a way to solidify ideas as well and hopefully spread them further afield - especially with records like Rider’s, every time someone puts it on there’s a chance for making a small change in the world for the better if it really reaches someone.

Your first release on the label was Rider Shafique’s ‘I-Dentity’/ ‘Freedom Cry’.

This was two tracks (produced by El Kid and Jabu’s Amos Childs) featuring powerful spoken-word pieces about racial identity, and the feelings of alienation and exclusion Rider experienced growing up with dual-heritage. How did these pieces come about?

Rider Shafique: The I-Dentity pieces started as pieces for a theatre play. I was given the opportunity to explore different ways of performing and writing but was mindful to write to my strengths so I explored spoken-word. Over time the pieces grew into a 45 minute theatre performance which I have toured in theatres around the South West and also in schools. I will hopefully be touring with I-Dentity across the UK in the new year.

I’m just following in the footsteps of the many lyricists and musicians that came before me. It’s our job as vocalists to speak about the world around us, to make social commentary of the things we see in our communities.

In the shared values and ideals Young Echo have as a musical collective, do you see yourselves as a having a political/social identity, and- if so- what kind of impact would you like to have?

chester giles: That’s a good question manit’s difficult to answer. I feel like we all come from more or less the same political standpoint, otherwise we wouldn’t all work so closely together and align ourselves with each other’s work. I personally feel like any artwork shouldn’t be overtly political, because then it limits itself, but I also think being political is inescapable; everything is political if you want to look at it like that, so our output does have a political slant to it. As a group we don’t have an agenda but we can’t avoid being political people, so that comes across in our music.

I first heard about Young Echo two years ago from Robin Stewart (Giant Swan/ The Naturals), who I remember suggesting- albeit very tentatively- that Young Echo has been responsible for quietly engineering a new Bristol 'sound'. This is a notion that many artists here seem to shy away from, citing Bristol's lack of a unified 'sound' as what makes the city’s music scene so rich, eclectic and inclusive. However, most of the local electronic/experimental artists I’ve spoken to also claim that their music has been influenced heavily by other new stuff from this city, and some have similarly alluded that there are indeed some new, unique, definitive ‘sounds’ coming out of Bristol.

Would you agree with that? How far do you think Young Echo has helped push out music which is unique to this city, and new in British music generally?

Ossia: That’s a really tough question to answer. I guess we have all contributed to a range of sounds that have emanated from this city, and likewise are inspired by sounds from our vicinities - it’s fairly unavoidable.

For me there is definitely no one Bristol sound or anything, but it’s a mesh of sonics that combine to a wider output which people inevitably stick in the Bristol bracket, especially when living outside of the city. In a way, Young Echo further embraces this undefinable ‘Bristol Sound’ by exhuming all these different sonics without restrictions.

More than anything, I think Bristol can be noted for a notoriously high output of creativity… But there is no one style here, unless you confine yourself to only one avenue.

What kind of influence would you like to regard yourselves as having had on Bristol’s music?

AC: All praise be to massive attack portishead and tricky the holy trinity and to banksy the mortar with which every brick in the city has been laid amen Vessel: I want free burgers at cafe kino in recognition of my achievements. And a star outside the Odeon. And the central library to nullify my late return fines from 2007.

THE BEGINNING ENDS

(THOUGH IT IS STILL, OF COURSE, JUST THE BEGINNING)

AN ISSUE CAN ONLY BE SO LONG. These projects are just threads in a larger, grander tale.

There are many, many more to show ye.

THE BRISTOL GERM WILL INDEED RETURN, for a glorious second issue, exploring more ARTISTS, LABELS, and PROJECTS from this GREAT EPOCH. THIS HISTORIC MOMENT IN AVANT-GARDE MUSIC Will indeed, finally, be delivered to the masses, chiselled into the popular consciousness, and marked in the annals of history.

THE STARS ALIGN; Eyes turn to the city as several Bristol projects (IDLES, Giant Swan etc.) break through on to the national stage, and new projects emerge at a startling pace.

The Landfill can’t obscure it much longer. The junkyard prepares to be re-shaped.

AND WHAT OF YOU, DEAR

READERS?

LISTEN to these artists, for this epoch must be

heard to be understood. Writing, good as it can be, is always a compromise for the first-fact of musical/aesthetic beauty; only in encountering it firsthand will you know its dazzling brilliance.

PROTEST the cultural treason of complacent music journalism, and hindrances to the promotion and experience of great art.

SPREAD the news of this community, and SPREAD THIS GLORIOUS DOCUMENT!!!

THE NOBLE CRUSADE CONTINUES!!

CREDITS Artists/Projects: Howling Owl Records / Giant Swan Oliver Wilde / Spectres IDLES / The Iceman Furniss Quartet Breakfast Records / Jesuits Milos Planes/ Thorny James Hankins/ Silver Waves LICE/ Scalping Van Zeller/ Big Jeff The Young Echo Collective

Created, Written, Designed & Edited by: Alastair Shuttleworth

Illustrators: Harry Wyld / Adrian Dutt Harry Wright / James Hankins Peter Heyes / Joseph Talbot Phoebe Phillips / Sam Greene Sophia Jowett / Jeffrey Johns Hannah Sunny-Whaler Alastair Shuttleworth Simon Holliday

FRIENDS, FIGURES & PARTISANS IN THIS NOBLE CRUSADE ADRIAN DUTT, JOE HATT, HARRY WRIGHT, ROBIN STEWART, FELIX DRAKE, KY WITNEY, OLIVER WILDE, STEPHEN BARNES, JAMES HANKINS, HARRY FURNISS, ANTHONY BROWN, THOMAS J. BRYAN, CHRIS LANGTON, PETER HEYES, ANDY CAME, DOM MITCHISON, HARRY WYLD, JOSEPH TALBOT, ADAM DEVONSHIRE, LEE KIERNAN, MARK BOWEN, JON BEAVIS, MARK BENT, JAMIE CRUIKSHANK, JOSH JARMAN, DAN ANTHONY, HANNAH SUNNY-WHALER, ARTHUR BROWN, LILY COOK, MILES HASTINGS, PHOEBE PHILLIPS, JOE SHERRIN, HARRY SHERRIN, SAM GREEN, CHARLIE HORNE, JO BLIGH, SOPHIA JOWETT, JEFFREY ‘BIG JEFF’ JOHNS, DYLAN MALLETT, AMOS CHILDS, SEB GAINSBOROUGH, RIDER SHAFIQUE, JOE McGANN, SAM BARRETT, CRIS EBDON, DAN DAVIES, ALEX RENDALL, SAM KIDEL, CHESTER GILES, MANONMARS, JAMES RUSHFORTH, ALEX HILL, JAMIE THOMAS, ISAAC JONES, ALFIE TYSON-BROWN, JASON BAKER, ROBBIE KESSEL, MATT BUCKINGHAM, BEN HAMBRO, NICK BERTHOUD, CHARLIE MEYRICK, ALEX ‘BERNARD’ CALLAGHAN, SILAS DILKES, BRUCE BARDSLEY, GARETH JOHNSON, JOE GROVES, SUNNY-JOE PARADISOS, MATT ROBBINS, EDWARD PENFOLD, GEORGE CHARLES GARRATT, OWAIN JONES, BEN SAUNDERS, DARREN FROST, MIG SCHILLACE, FRANCIS MURPHY, FAT PAUL, DIEGO RODRIGUEZ, DANNY LE GUILCHER, ALEX STUDER, ALED CHIVERS, LINDSAY SHUTTLEWORTH, STEPHEN ‘THE PROF’ SHUTTLEWORTH, RACHEL SHUTTLEWORTH, RICHARD HOWARTH, DAVE HIBELL, EMILY ISHERWOOD, RHYS BUCHANAN, MAT KNIGHT, ROBYN BAINBRIDGE, HARRIET ROBINSON, MICHAEL ROBERTSON, ALEXANDRE HURR, RICHARD PITT, SAM BONHAM, ROB POTTER, SAM COATHAM, GUY PUGH, TOOM PARRY, ALIESHA KUMAR, HENRY REES, WILL OLIVER, ANNA POPE, ELEANOR RALPHS, TIM BAILEY, NICK MEADOWS...

O Friends! Look ye in HORROR

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REACTIONARY MUSIC MUSIC JOURNALISM REACTIONARY JOURNALISM

REACTIONARY MUSIC JOURNALISM

1) A constant, nostalgic lamentation of the ‘state of guitar music’ (the knackered horse!), which propagates lazy, insipid four-chord rock, along with the lightweight ‘fuck thatcher’ pop-political ramblings and leather-jacket misogyny of its flabby, aging evangelists.

1)2) A The constant, nostalgic lamentation the ‘state of music’ propagation of talentlessofindustry for whom ‘state‘sleeper of guitar guitarprojects’, music’ (the (the knackered horse!), which propagates lazy, insipid four-chord rock, insipid four-chord rock, in music magazines is essentially pre-booked.If the music’ discovery of 1) space A constant, nostalgic lamentation of the ‘state of guitar (the along with theislightweight ‘fuck thatcher’ pop-political ramblings and pop-political ramblings and new talent simulated, how authentic can new talent be? rock, knackered horse!), which propagates lazy,the insipid four-chord misogyny of its flabby, aging evangelists. evangelists.to use their resources to 3) leather-jacket The of mainstream alongfailure with the lightweight music-publications ‘fuck thatcher’ pop-political ramblings and 2) The propagation of talentless industry ‘sleeper projects’, for whom ‘sleeper projects’, for whom adequately review music played/produced further than 10 miles from leather-jacket misogyny of its flabby, aging evangelists. the discovery discovery of space in music magazines is essentially pre-booked. pre-booked.IfIf the their London offices 2)new propagation ofhow talentless industry ‘sleeper projects’, for whom talent is simulated, authentic cancan thethe new talent be?be? of The new talent is simulated, how authentic new talent 4) A patronising, purely-relational style of reviewing which promotes inofmusic magazines is essentiallyto the to discovery space 3) The failure mainstream music-publications use music-publications topre-booked.If use their their resources resources derivation (which is easy to explain) over experimentation (which isn’t) adequately review music played/produced further 10 miles from to new adequately review music played/produced further than 10 miles talent is simulated, how authentic canthan the new talent be?

London offices from their London offices 3)their The failure of mainstream music-publications to use their resources 4) A patronising, purely-relational style of reviewing promotes reviewing which which promotes adequately review music played/produced further than 10 miles fro (which is easy to explain) over experimentation derivation derivation (which is easy to explain) over experimentation (which (which isn’t). their London offices isn’t) 4) A patronising, purely-relational style of reviewing which promotes derivation (which is easy to explain) over experimentation (which isn

Has committed many against ye…ye…

But nonemany so heinous Has committed heinouscrimes crimes against Has committed many heinous crimes against ye…

great as to But none none so so But hide from ye But none so great as to awful the glorious great to ye hideas from ye from hide news of… the glorious glorious hide from ye the news of… of… news the glorious THE HISTORIC EPISODE IN UNDERGROUND news of…

MUSIC WHICH IS OCCURING IN BRISTOL: THE HISTORIC HISTORIC EPISODE IN UNDERGROUND UNDERGROUND THE EPISODE IN An Inspiring, Dramatic and Strange MUSIC WHICH IS OCCURING OCCURING INCoalescence BRISTOL: MUSIC WHICH IS IN BRISTOL: THE HISTORIC EPISODE IN UNDERGROUND An Inspiring, Inspiring, Dramatic and Strange Strange Coalescence Persuasion of ARTISTS of Every into a An Dramatic and Coalescence MUSIC WHICH OCCURING IN BRISTOL: EveryIS Persuasion of ARTISTS ARTISTS of Every into aa COMMUNITY. Persuasion of TIGHT-KNIT of into AnDIY Inspiring, Dramatic and Strange Coalescence Heroic Labels, TIGHT-KNIT COMMUNITY. TIGHT-KNIT COMMUNITY. Heroic DIY Labels, Labels, DIY Persuasion ofHeroic ARTISTS of Every into a and ART of Bold Promoters & The MUSIC Bold Promoters Promoters && ArtistsTIGHT-KNIT Bold The MUSIC and ART of The and ART of COMMUNITY. Ground-Breaking ThisMUSIC Historic Moment is shown in Ground-Breaking Artists Ground-Breaking This Historic Historic Moment Moment isis shown shown in in Heroic DIY Labels, (Noise-Rock, Post-Punk, Dub,Artists Psych, This THE BRISTOL GERM: (Noise-Rock, Post-Punk, Dub, Psych, (Noise-Rock,Industrial-Techno, Post-Punk, Dub, Psych, Garage-Rock, Jazz THE BRISTOL BRISTOL GERM: GERM: THE Bold Promoters & Garage-Rock, Industrial-Techno, Jazz Garage-Rock, Industrial-Techno, Jazz The MUSIC and ART of An Inclusive, Eclectic and Honest etc. etc.) ABOUND! An Inclusive, Eclectic and Honest Inclusive, Eclectic and Honest ABOUND! Artists An etc.)ABOUND! etc.etc.) etc.

Ground-Breaking This Historic Moment is shown in Document of this Community, Document of this Community, Document of this Community, (Noise-Rock, Post-Punk, Dub, Psych, Down with the Landfill, Down with the Landfill, THE BRISTOL GERM: made ENLIGHTEN Down with the Landfill, made toto ENLIGHTEN andand Garage-Rock, Industrial-Techno, Jazz made to ENLIGHTEN and Down Downwith withComplacency, Complacency, INSPIRE with Complacency, Down INSPIRE MASSES. An Inclusive, Eclectic and Honest INSPIRE thethe MASSES. the MASSES. etc. etc.) ABOUND! And And(yes, (yes,dear dear friends)… friends)…

Document of this Community, And (yes, dear friends)…

Down with the Landfill, made to ENLIGHTEN and ON WITH THE NOBLE CRUSADE!!!

UPwith ON WITH THE NOBLE CRUSADE!!!

Down Complacency, INSPIRE the MASSES.

And (yes, dear friends)…