Eleven: Spring 2016

ELEVEN I S S U E O N E : S P R I N G 2 0 16 @THISISELEVENMAG

BLACK HONEY DELIVERING SWEET, SULTRY INDIE ON THEIR TERMS

HELLO. Inside the Spring edition...

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14 BLACK HONEY

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GREEN CARS

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nown for their psychedelic pop, these four Brighton musicians are one of the most talked about bands upcoming. In the midst of recording new material, Black Honey speak to us about how they started out and their musical influences. They also talk about the struggles of songwriting, some of their wild live experiences, and what the future holds in store for the quartet.

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NEW VINYL

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ittle Green Cars have had a whirlwind couple of years since they released their debut album, Absolute Zero.

Having been through several relationship break-ups, non-stop touring and two close deaths, the Dublin quintet have much to get off their chest for their second record, Ephemera. Our profile on the band follows their journey as they prepare to release new music.

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urntablist James Kelly has been exploring the possibilities of vinyl cutting in a new exhibition. We spoke to James about how he first became interested in the practice right through to setting up this new project, what his experiments achieves, as well as his thoughts on the appeal of the medium and the nature of ownership in a society with "on-tap" musical access.

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INSIDE. IN BRIEF

NATIVE

LIVE

The latest in the world of music, including the latest additions to the Great Escape lineup, new records from Parquet Courts and Moderat, and some important dates for your diary. Oh, and did we forget to mention they've remixed Star Wars?

Vinyl is making a comeback - but how much of one? We investigate by talking to the owners of two longstanding record stores to discover the appeal of vinyl to their customers. Plus, we profile singer-songwriter Yoshe Watson about her exciting career.

This year's festival circuit promises to be big. With acts such as Radiohead and LCD Soundsystem resurfacing, and niche festivals booking some stellar artists, you'll be hard pressed to find a lacking lineup. Our festival guide picks the best from the bunch.

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ON REPEAT

VERDICT

We pick some of the best new music to get you through the season ahead, including Flume and James Blake.

In Records Revisited, we travel back to 2009 to discuss the groundbreaking debut of The xx. If that's not enough, we also preview upcoming records.

Jack Garratt is the hottest new act of the moment, and tipped for huge success in 2016. His debut album Phase faces huge expectations - does it deliver? Find out in our review, alongside verdicts on new records from Savages and Chairlift.

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WORDS FROM THE EDITOR

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elcome to the first issue of Eleven, our exciting new magazine which dives head-first into the vast, varied world of music. Thanks for taking the time to read these pages.

It's an exciting issue, for sure. You may have already stumbled upon our cover stars Black Honey, but if not, it's time to get acquainted.

We have a four-page interview with the Brighton band about all the crazy things they've been up to, and some of the crazier things they're about to embark upon.

We also have an in-depth look at the new record from Dublin quintet Little Green Cars,

documenting their journey from their acclaimed debut right up to the present.

That's not all - we've dug through a mountain of music to find you the best of the best to listen to, which you can read about in our On Repeat section, or head to our website to check out the goods first-hand. It's going to be a good few months for the industry.

If you're a vinyl fanatic, then you've definitely come to the right place! Check out our interviews with record store veterans, and a turntablist that's taking the medium to entirely new places.

Let us know what you think!

BEN GRAY

IN BRIEF

Photos (left, clockwise): Sophie Harris-Taylor, Polydor Records, Republic Records

THE GREATER ESCAPE EUROPE’S BIGGEST FESTIVAL FOR NEW MUSIC ADDS 100 ARTISTS TO BILL

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romising new talent from across the continent will descend on Brighton in May for the 11th edition of The Great Escape festival.

Over 100 new artists have been added to the bill, which already includes Oh Wonder, Mura Masa and Shura. This year’s festival which promises a massive total of over 450 performing artists across over 30 different venues - will take place on 19 - 21 May. The second spotlight show, held at Brighton’s Old Market, will be headlined by desert blues punk band Songhoy Blues. Supporting them will be Malian singer Fatoumata Diawara.

The Great Escape does not hold back in its genre diversity, and this year’s enormous lineup represents the organisers’ efforts to push this variety to new heights.

Among the new additions are

Sound of 2016 shortlisters Blossoms and guitar trio The Big Moon - who have just finished supporting The Maccabees on their UK tour.

Established rock talents Band of Skulls are expected to debut new material at the festival, and experimental pop act Lewis Del

OVER 450 ARTISTS AT OVER 30 VENUES FOR ITS 11TH YEAR Mar is “stoked to be a part of such a cultural festival and to travel places we’ve never seen before.”

Norwegian pop songstress Anna of the North and Bulgarian neo-soul act Ruth Koleva will also descend on the seaside city

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to deliver performances of their individual unique sounds.

Rising London band Inheaven who have caught the ear of Strokes frontman Julian Casablancas - will also play alongside Australian singer-songwriter RY X, who after finding success with his EP ‘Berlin’ is now expected to play material from his much-anticipated debut album.

Tickets are selling fast for The Great Escape festival - early bird pricing has already sold out.

Currently, a weekend ticket costs £59.50 plus booking fees.

The first spotlight show at the All Saints Church is also close to being a full house. Tickets are priced £15 for the show plus booking fees, which is headlined by London altpop duo Oh Wonder.

Having ran for over 10 years, Europe’s biggest and best festival for new music shows no signs of slowing down.

PARQUET COURTS ANNOUNCE NEW LP

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ew York rockers Parquet Courts, of Stoned and Starving fame, have announced a new LP, titled Human Performance.

Set for release on April 8th on Rough Trade Records, the band’s fifth full-length record includes the songs Berlin Got Blurry, Two Dead Cops and the lead single Dust.

Dust, a cruising post-punkish jam that grows agitated towards its climax, is accompanied by eerie office visuals that stutter and blur in time with a quickening, haphazard melody.

Parquet Courts will play several dates across the UK in June, including a slot at London’s Field Day Festival on June 12th.

(Photo: Ben Rayner)

JAMIE XX TO HEADLINE SUNFALL FESTIVAL

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he first headliner of the first edition of London’s new Sunfall Festival has been confirmed - Jamie xx.

Among the first wave of confirmed artists are Joy Orbison, Goldie, Kamasi Washington and Zomby. The festival takes place at Brockwell Park on Saturday, July 9th, and is “a celebration of the underground”.

The festival will span a variety of genres defining the underground including jazz, electronica, hip-hop, soul and disco. Sunfall is organised by the minds behind XOYO, Dimensions and The Nest.

The day begins at midday, but once London’s live curfew takes effect at the main venue in the evening, nearby clubs will take the baton with late-night club sessions. The event is strictly for ages 18+.

Tickets are available now from £55 with booking fees, and are a joint purchase with the club session of your choosing - including Jamie & Friends.

Photo: Jamie-James Medina

MODERAT RETURN ON III

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oderat the collaborative project of German musicians Modeselektor and Apparat - have teased their third LP III with the frenetic single Reminder.

The record is expected to drop on April 1st on Mute Records in the UK.

Reminder pits harsh, tribal drumming against blaring synths, resulting in an immediate, electronic sound.

The trio have also mapped out several UK tour dates for straight after III’s release. They will play St John’s Church in Hackney, London on April 2nd and Brighton’s Corn Exchange on April 7th.

(Photo: Olaf Heine)

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STAR WARS REMIXED

BY RUBIN AND CO.

DATES FOR THE DIARY BLACK HONEY LIVE

7 Mar @ Portland Arms, Cambridge, £6 Our cover stars prepare for the festival circuit.

Photo: Hollywood Records

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ast Christmas, Star Wars returned to storm the box office with The Force Awakens. Now the franchise is getting the remix treatment, courtesy of Rick Rubin and friends.

Star Wars Headspace is a compilation curated by Rubin, with featured artists making new

songs out of sounds from the films.

Among the artists involved are Flying Lotus, Baauer, A-Trak, Bonobo, Rustie, Röyksopp - even director J.J. Abrams is involved under the pseudonym Shag Kava.

The compilation is out on February 19th digitally, and on March 18th in physical formats via Hollywood Records. Fingers crossed that it will sound out of this world! ...I need a hobby.

CHAIRLIFT AT SCALA 09 Mar @ Scala, London, £16

In support of excellent new record Moth - review on page 27!

DIIV PLAY HEAVEN 18 Mar @ Heaven, London, £13

CHANCE THE RAPPER JOINS BEATS1 LINEUP

In support of their new record, Is The Is Are. Not to be missed!

BIG MOON HEADLINE 13 Apr @ 100 Club, London, £9.50

Rising guitar rockers embark on their first headline tour.

Photo: Pitchfork Music Festival

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pple’s Beats1 radio station continues to expand its lineup of hosts - this time adding the one and only Chance the Rapper to the roster.

Chance announced the news during an appearance on Pharrell Williams and Scott Vener’s weekly OTHERtone program on the station.

The show is expected to be called WorldWideChicago, but no details have been given as to when the show will air, how often it will air or what the show’s focus will be.

Since launching last July, Beats1 has pushed for more artists to host their own shows on the station, alongside existing personalities..

Recent additions include LA trio Haim, acclaimed producer Skrillex and chart-toppers Major Lazer.

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SHURA GOES BIG

26 May @ Shepherd’s Bush, £18

Set to play a huge London date and hopefully some new songs...

These are just a few of the many great gigs on this Spring. Find more in the Live section of this issue!

ON REPEAT

THIS SEASON IN FOUR SONGS

ESSENTIALS After a long hiatus, Rihanna returned in January with the surprise release of her eighth studio album ANTI. Perhaps a bigger surprise was the record itself - an expectation-defying listen that even managed to squeeze in a Tame Impala cover. Opening the record is Consideration, a punchy collaboration with songwriter SZA that boasts a heavy, assertive beat.

RIHANNA & SZA CONSIDERATION In late 2015, Chairlift threw a curveball with their upbeat, swaggering comeback Ch-Ching. Their new record Moth is much the same; vibrant, immediate and unashamedly pop.

One of the highlights from it is the warping, summers-day rhythm of Polymorphing, described by the duo as “that feeling of potential chaos and excitement”. An uplifting jam.

CHAIRLIFT POLYMORPHING Australian producer Flume impressed on his self-titled debut in 2012, and has since remixed Lorde and Arcade Fire. He now returns with the first single from his sophomore record Skin, which is out in April.

Never Be Like You sees Flume team up with Toronto artist Kai, and the result is a sprightly, contorting gem that begs to be played live.

FLUME & KAI NEVER BE LIKE YOU

WANNA HEAR THESE & MORE? Head to the Playlists section of our website, where you’ll find all these songs and more!

We’ll keep these playlists updated, so be sure to check back!

JAMES BLAKE MODERN SOUL Whilst everyone was distracted by Kanye West's album unveiling at Madison Square Garden, electro-soul mastermind James Blake quietly unveiled what may be the first taste of his forthcoming new record, Radio Silence, on his BBC Radio 1 residency. Modern Soul brings sparse piano and hazy drums together underneath Blake's unparalleled vocal, for a shape-shifting five minutes of music that rivals Retrograde in its wow factor.

Blake rarely fails to disappoint, and with a headline slot at Field Day Festival, we may not have to wait too long to hear more. Photo: Republic Records

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RECORDS REVISITED:

THE XX XX

THE MERCURY PRIZE WINNING, GROUNDBREAKING DEBUT

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anye West once told The xx, following an intimate performance in New York, that their music reminded him of Steve Jobs. It’s not an obvious comparison to make, but then he elaborated - Jobs “took something as big as the computer and put it in a cell phone”. In a sense, the London trio do just that.

Back in 2009, The xx delivered a debut record - simply titled xx - that said so much with so little.

Minimalism extended beyond their sound and into their artwork and

style. Their simple, distinct X symbol is now immediately associated with the band, and has adorned the covers of their two records to date - the second being Coexist. In the late 00’s, when chart music was increasingly concerned with being brash, loud and vying for your attention, the band’s subtlety was a needed refrain, and one that has come to influence many new artists ever since.

Romy, Oliver and Jamie were not reinventing the wheel. Instead they stripped away the baggage, in part due to their creative vision but also thanks to their as-yet lack of skill.

STEREO

Oliver once admitted in an interview with The New Yorker’s John Colapinto that they “couldn’t have done more complicated parts, even if we wanted to”. Ultimately, it played to their favour, and the band pinned down a sound that was sincere, immaculate and fresh.

Their debut record feels timeless with every returning listen. Songs such as Crystalised or Islands rarely grow tiresome to hear, and despite being simplistic in production are far from two-dimensional. xx stands out from the crowd as one of the best records this side of the millennium.

FEATURED SELECTIONS FOR ALL MOODS ON OUR WEBSITE

MELANCHOLIA

BOX OF INDIE

THE NEW TAPE

A SOOTHING MIX OF CONTEMPORARY R&B, JAZZ, ELECTRONICA AND PIANO.

HIDDEN GEMS AND FAMILIAR SOUNDS FROM THE WIDE WORLD OF INDIE MUSIC.

NOTHING BUT THE BEST IN FRESH, EXCITING MUSIC FROM ALL CORNERS.

INCLUDES SONGS

BY NILS FRAHM, CHROMATICS, WASHED OUT & MORE.

INCLUDES SONGS BY FATHER JOHN MISTY, CAGE THE ELEPHANT, GENGAHR & MORE.

INCLUDES SONGS BY GALLANT, LAPSLEY, SHURA, HONNE & MANY MORE.

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SPRING SELECTIONS THE MOST EXCITING RECORDS COMING IN THE MONTHS AHEAD.

THE 1975

I LIKE IT WHEN YOU SLEEP... ...For You Are So Beautiful, Yet So Unaware Of It. That’s the essay-length title of The 1975’s eagerly-awaited second record, the follow-up to the debut that scored them the massive legion of fans they possess today. In 2015, the band announced a reinvention of their old, monochrome aesthetic, now replaced with a boisterous, colourful look, reflected in the singles Love Me, UGH! and The Sound - all of which hit the bullseye on pop prowess. Their worldwide appeal continues to grow, following an appearance on Saturday Night Live in February. Expect tune after tune from this record.

LAPSLEY

LONG WAY HOME It feels a long time coming, but finally Holly Fletcher - or Lapsley as we know her - will release her debut record in March. It features many of the songs that propelled her as a promising talent to begin with; Station and Falling Short make the cut, even Painter (Valentine), alongside newer cuts Hurt Me and Love Is Blind - which she made her US television debut performing on Colbert. Lapsley herself describes the record as a reflection on the past few turbulent years of her life, which has seen her criss-cross the Atlantic. She’s back on our shores in March - so go get tickets!

BAAUER Aa

The long shadow of the Harlem Shake seems to have stopped looming over Harry Rodrigues. Those were dark times, back when every other YouTube share was that of a Harlem Shake dance, each one involving a greater number of participants. Eventually, Ylvis’ The Fox came along and put that meme to rest. Believe it or not, Baauer has produced more than just the Harlem Shake - and to prove it, his debut album Aa in March features an enviable entourage; M.I.A., Pusha T, Future, Rustie and Novelist are just a handful of names. It’s time for Baauer to shake off the ShakeTM.

YEASAYER

AMEN & GOODBYE Yeasayer first teased their fourth studio album Amen & Goodbye in true Yeasayer style - through a series of bizarre, cryptic snippets. Unlike the above records, there's little we've heard of this one - though the record isn't out until early April. Here's what we do know; the Brooklyn experimentalists appear to have boomeranged back to their earlier, melodic sound after the unusual departure from it on their last record, Fragrant World. First single I Am Chemistry starts punchy with an almost-oriental sound, before twisting into an electronic symphony. It's odd. It's good.

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BLACK HONEY BRIGHTON’S RISING STARS ARE ON THE EDGE OF SOMETHING BIG. Words: Ben Gray Photo: Antonia Marsh

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he last place you’d expect to find one of the UK’s most talked about new bands is in a barn in Normandy, but that’s where Black Honey called me from back in January, in the midst of writing and recording new material.

“It’s actually fucking beautiful here, man,” Izzy Baxter, lead vocalist and guitarist of the band, tells me over the line. “It’s really sunny and really crispy, and in every room of the house it’s freezing cold. There’s nobody that lives around here so we’re in complete abyss.”

There’s a small lake at the end of the garden, and nearby rests an old boulangerie. From what they tell me, it sounds like the perfect escape for what has been a whirlwind year for the band. “We’re having a great time, and it’s just nice to get out of the city, y’know?”

Black Honey’s blend of irresistible, dusty indie garnered instant appeal from the blogosphere when they first uploaded a series of demos back in the summer of 2014.

The band followed them up with two equallyas-infectious singles - the twangy, desert western ‘Madonna’ and the blissful ‘Corrine’, both of which also boasting exceptional b-sides. To top that off, BBC Radio 6 Music and Hype Machine charted them in first place as the most blogged about UK artist of 2015.

However, their fast ascent was a long time in the making.

“I knew Chris for like the whole of my life, since I was a young kid, as family friends,” Izzy says, “He was already mates with Tommy. We played in a band and then Tommy joined, and Tom joined after that.” The

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four bonded over a collective love of Nirvana and The Beatles, however their individual tastes were far-ranging. “Tommy showed me The Jesus and Mary Chain and then that became a massive thing. Then we went off on a Creation Records tangent for ages…” Which is unsurprising - their artist roster boasts Primal Scream, My Bloody Valentine and, of course, Oasis. “We got into a lot of 60s psych stuff and more obscure stuff from that era,” bassist Tommy Taylor adds.

Once formed, it was be years before the band would release their music to the world.

“We wrote really shit songs for like four years – probably the worst songs you’ve ever heard,” Izzy explains, “Sometimes when someone’s drunk, they think it’s really funny to whip out an old demo from years ago.”

“We just all looked at each other and were like -

HOW ON EARTH HAVE WE LANDED HERE?!”

Photo: Charlotte Patmore

Sadly, Izzy couldn’t remember the names of some of these fabled demos - perhaps out of choice. “I wouldn’t even tell you if I did, because of the fear of you finding them somewhere in the deepest, darkest depths of the internet!” Challenge accepted?

“We took fucking ages to learn to write.

Eventually we came up with one alright song, and then one alright song turned into two alright songs, and now we’ve got a couple of alright songs. We feel like we’re still learning how to do it now.”

Black Honey drip-fed those “alright songs” online over the course of a few months. By the time the last demo ‘Bloodlust’ was out in the wild, there was still an air of mystery surrounding the band. There were no faces to put to the music, only images of old television sets broadcasting curious artwork, designed by Olivia Savage. Was the band reluctant to go public?

“Pretty much,” says Tommy, “We put those songs out and didn’t really know what to expect. They went down pretty well, by our standards. We were always fans of people hearing music before they knew anything else, or saw anything else, other than the sort of artwork. It’s about getting your art across before it becomes about who you are.” To put out music you are proud of, whilst keeping your expectations grounded.

This sentiment, of letting the music do the talking, harkens back to the industry their influences thrived in - multi-million marketing campaigns were far less common, if nonexistent back in those days. The fanfare was natural, and unforced. They strike me as a band in control of their destiny.

“We have romantic views of the past and the way it was – but at the same time, it’s happened and that’s life. You’ve just gotta do

“It’s about getting your art across before it becomes about who you are.” what you wanna do,” Tommy replies, when I ask if they would prefer to be part of an industry more aligned with the past. “We like that we can control it,” Izzy adds, “We’re in touch with that.”

Black Honey have clearly shown their knack for penning no-nonsense pop melodies, but do they have some lengthier, left-field jams under their belt? “We’ve got hundreds

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of them, they just haven’t been released yet.”

Izzy proclaims to me. “We’ve got a cave full of psych jams – we will happily release them if you wanna hear them!”

“That’s more of an album thing, isn’t it?“ guitarist Chris Ostler notes, “We’re waiting for the right moment to release that side of us.”

In a live setting, the band has more room for manoeuvre. “There’s a couple of songs that we play in our set at the moment that have got big-ass jams at the end and they go really noisy and mental.”

“It’s just variety as well,” drummer Tom Dewhurst chips in, “I’d listen to the Beatles and pop stuff as much as I do listen to weird 70s German rock music or whatever. There’s a balance and I think that probably comes out in what we write. Some of it’s pretty immediate and quite poppy and some of it’s just fucking weird.”

One of the band’s most memorable live experiences to date was playing Netherlands’ Metropolis Festival. It was their first time playing outside of the UK, and they had absolutely no idea what to expect.

“We got there and you could hear the fans screaming from the dressing room – it was like 3000 people, this massive tent,” Izzy recalls, “We all just looked at each other and were like ‘what the fuck?! How on earth have we landed here?’”

BLACK HONEY DISCOGRAPHY DEMO EP

Released in 2014, includes the songs Sleep Forever and Teenager.

MADONNA SPINNING WHEEL Released Spring 2015 on Duly Noted Records.

CORRINE MOTHERSHIP Released Autumn 2015 on FoxFive Records.

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WHAT NEXT?

The band have plans to release a new EP later this year.

Images: Olivia Savage

“You go places you’ve never been before, and it always surprises me that people actually come,” Tommy says, “I think that’s the best feeling.”

Izzy also mentions their wild debut at Reading & Leeds, playing late morning sets and “by 4pm, we’d be absolutely wasted!”

Chris feels more nostalgic about the experience. “Izzy and I grew up going to that festival,” he says, “Just being on the other side of that barrier and on that stage was quite a moving moment for me. We kind of had a little moment where we looked at each other and said-” “We’ve done it!” Izzy exclaims.

“We’ve actually done it.”

“And look how far we still have to go!”

When I ask about the music scene in their hometown of Brighton, the band reminisce.

“Every other person has got a guitar on their fucking back,” Tommy notes, “Which is good, it’s creative. At times it can be a little saturated and claustrophobic, but it’s a cool place. I think it’s quite inspiring.”

So what would be the dream venue, festival, or country to play at? Their answers are optimistically vague. “Our dream is to go to Japan,” Izzy replies, “Glastonbury, America... American diners!” The list goes on, until Tommy caves in, “Just anywhere you’ve ever heard of, we wanna go!”

However, despite the aspirations to tour

the world, the band are in no rush to release their debut record. “We could release one now if we wanted to, but I think we’re gonna hold out,” Izzy explains, “We’re on such a massive roll, y’know? We’re just writing and recording so much... This year is going to be mental to what Black Honey is. We really wanna see what this has in hold for us this year before we start trucking out a fucking record that isn’t perfect.”

“We’re big perfectionists, which doesn’t help,” Chris adds. To tide fans over, the band will release a new EP in the next few months.

There’s one unshakeable feeling about Black Honey, and that’s their passion to deliver. They may label their perfectionist nature as a flaw, but it seems to play to their favour. Their sound, which sways from a sweet serenade to a raucous riot, has snatched attention for obvious reasons. This is a band with genuine promise, and have the willpower to take the world by storm.

“We’ve been in our bedrooms for five years being this band. For us, it’s all just so exciting looking at the world with fresh eyes and listening with fresh ears.” Izzy says, before they return to recording in their Normandy barn, and will soon have to depart to play more live shows. “We’ve got a very clear vision of what we wanna do, and we feel like the sky’s the limit at the moment for us. Why do it now?”

“We’re waiting for the right moment to release that side of us.”

LIVE! Black Honey will embark on a UK headline tour in the Spring, including stops in Oxford and Cambridge.

Tickets are on sale NOW! Photo: Charlotte Patmore

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LITTLE GREEN CARS In the face of love and death, the Dublin five-piece break past tough times for an introspective new record.

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aye, Stevie, Adam, Donagh and Stevie were plucked from late-teenage innocence when Glassnote Records signed their band, Little Green Cars, and released their debut Absolute Zero in 2013.

The Dublin quintet soon found themselves catapulted out of Ireland, following the success of their Markus Dravs produced record, who has since worked on Florence + The Machine's How Big, How Blue, How Beautiful and Arcade Fire's Reflektor.

Touring in support of Absolute Zero saw them travel the globe, from their home continent of Europe round to Australia and back- a journey they criss-crossed six times in the space of just three years.

In the USA, they played sets at Coachella and SXSW, as well as a television appearance on Jimmy Fallon. Preceding their debut, they were already being touted for success, having made the longlist of the BBC's Sound of 2013 poll. Over two years of touring for the band was nothing short of a rollercoaster.

In the present, Faye, Stevie and co are a group of changed faces. Having been thrust into the frenetic, non-stop life that comes with finding success, the years have been transformative.

Singer Stevie Appleby stumbled upon a poem called Ephemera whilst the band were deciding on a name for the follow-up to their debut. It clearly had a profound effect, as it now acts as the title of said record.

Part of the poem reads, "How far away the stars seem, and how far is our first kiss." It is told with hindsight, and it's not difficult to see why the band can relate to these words.

"It's a transitional album," says Stevie,

This introspective new record in informed by the band's travels, a few relationship breakups and - upsettingly - two deaths.

Lead vocalists and songwriters Faye O'Rourke and Stevie Appleby saw their own love lives fall apart. Stevie saw his grandmother pass away, and guitarist Adam O'Regan lost his father.

"It's an album that wants to be important to people," Stevie continues, "Importance can fade but the feelings should stay."

"Say you adore a song at 16 because it expresses exactly how you're feeling. Hopefully, the song won't always mean that much because you'll move on, but hearing it should bring those feelings back."

Now all in their early 20s, Little Green Cars have overcome personal challenges to see through a new collection of songs that perfectly capture the emotions and experiences they've faced since their breakthrough debut.

"We're a sturdier band than we were three years ago," says singer Faye O'Rourke, "We're closer than we've ever been. Our friendships have been tried and truly tested."

"We've been through this bizarre experience together," adds Stevie, "No one else knows what it was like."

“It's about change the end of some eras and new beginnings�

"Lyrically, it's about change - the end of some eras, new beginnings, learning from the past and looking to the future."

"Ephemera means things that are important to you, but only for a short time. That could apply to music or relationships or even a particular day. The poem sums up the theme of the album, which we only realised ourselves when we recorded the songs."

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“Our friendships have been tried and truly tested.”

LITTLE GREEN CARS ON THE ROAD

Wanna catch them live?

They play London's Village Underground on June 1st.

Tickets are on sale now!

Photos: M. Thompson

"We've been to places we never thought we'd see and we've watched each other change in different ways. So much happens, emotionally, in three years, although of course, no one notices they're changing at the time."

The five musicians returned to their home of Dublin back in 2014 to start recording the demos that would eventually evolve into the songs that make up Ephemera.

By the end of that year, they were ready to begin.

Rob Kirwan, whose recent work includes Hozier's debut and the last PJ Harvey record, collaborated with the band in his treasure trove studio - and coproduced the album.

Within the studio, they had the freedom to experiment, which at points included bringing in a cellist to contribute and learning to play the Omnichord - a toy-like electronic contraption used by musicians ranging from Joni Mitchell to Damon Albarn.

Ephemera reached completion in 2015, representing the myriad of emotions the band had experienced; restlessness, regret, love, heartbreak, and - restoratively - hope and acceptance.

"The album could be perceived as melancholic, but that's not how I see it," says Faye. "It's giving a perspective that people can relate to, but also offering hope because these situations always move on."

Sonically, there are hints of melancholy, such as on the lead single The Song They Play Every Night, a warm, acoustic-driven ballad that has a familiarity to Sufjan Stevens' latest.

sung by Faye. She sings, "As for me, when daddy died 'guess that I went crazy / was a hell of a ride, but lately I've been doing alright." Paired with a solemn instrumental, it's a clear highlight of the record.

Good Women Do brings out the band's electronic side, layering a hypnotic beat beside the thrumming of guitar. Faye is commanding on this song, singing with simmering intent as she squares up against an ugly truth; "I cannot decide / If it's you I hate, or something inside."

Ephemera also includes an old cut, Ok Ok Ok, which Faye wrote on an old casio keyboard at the age of sixteen - summoning past feelings with every performance.

Stevie reminisces on the inspiration behind closer The Factory, which is named after the youth club where he first played gigs. "The club was run by evangelical Christians, who used to get a kick out seeing this weird kid playing weird songs every Thursday."

Little Green Cars face their history on Ephemera, and come out stronger for it. The Dublin five-piece can now turn their eyes from the past and towards the future.

“It's giving a perspective that people can relate to, but also offering hope” It takes stock of past mistakes and sees the lead singer coming to terms with his identity.

Stevie tackles the collapsing of his relationship on You Vs Me, singing "It used to be, the whole world versus you and me / But now it seems, it’s just you versus me" to the backing of ghostly, airy oohing.

The passing of Adam's father was the inspiration for Brother - penned by Adam,

19

NATIVE

SPIRAL ARCHIVE RECORDS

ALEX NOVAK

THE COMEBACK OF VINYL

L

ong before the inception of streaming, downloads and CDs, vinyl records were the most sought-after format to get your music fix.

As new technologies emerged, sales of vinyl sloped towards the new millennium and many thought that they would become nothing more than antiques or collectibles... but now, records are back on the rise.

Vinyl sales are back on the rise so we spoke Alex Novak (above) of Spiral Archive Records and Chris Kent of Spun Out (right) to get a feel for the format’s appeal.

Whilst it’s not the complete turnaround that some make it out to be, it’s a matter of fact that vinyl sales have slowly started to turn from a decline to an incline.

In 2015 vinyl sales were up 50%, and whilst exact figures have yet to be released, the industry is expected to have sold upwards of two million records - which is a 20-year high. So what is it that’s brought people back to vinyl?

Alex Novak first opened Spiral Archive Records 15 years ago. Its location has bounced around the town of Northampton; first to Wellington Street, then to Abington Square, the Fishmarket and now to St Michaels Road, where it has been stationed for the past five years. The move to this location comes with good reason. “The problem with records is that you always need more space,” Alex says “Whatever space you have, you tend to fill it.”

Here at Spiral Archive, Alex has noticed record sales grow, not shrink. “Not only is there an interest in the secondhand market or collectors market but there’s a lot of reissues on vinyl now, and they appeal both to the collectors and those getting into it for the first time.”

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SPUN OUT

CHRIS KENT Looking around the store, the variety is overwhelming. Funk, soul, rock - but Alex says it’s the classics that sell, listing Bowie, the Beatles and Blur as just a few examples.

Alex sees records as more of a ritual - “an aesthetic thing”. “The big thing is you’ve got something tangible.” He also sees value in listening to a record as a whole. “An album is a whole thing, not just a group of tracks put together,” he says, “I think it’s more rewarding as the artist has put them in that certain order,” and to skip certain songs is akin to “watching only the beginning, end and a bit in the middle of a film, without all the quiet bits and the plot in between to tell you what’s going on.”

On the other side of the town centre on Gold Street is Spun Out, a family-run record store set up back in 2000. " It’s been a rollercoaster," says store owner Chris Kent, "but a very interesting time."

Much like Spiral Archive Records, Spun Out has a dizzying range of genres, which puts into perspective just how many records there are out in the wild. Before going on sale, Chris listens to each and every one.

"We try and stock all the big releases,

as well as all the underground stuff. I try to go through what’s forthcoming and make our minds up as to what’s best for our customer base."

"There’s a personal element to it – I know what certain people are into and if they might be up for that particular album, or whether they’re branching off into another thing."

"The big thing is you've got something tangible."

With Record Store Day approaching on April 16, the workload and preparation only grows more intense for the store. "It’s a big tossup and an expensive game to outlay all this stuff and potentially not sell any," says Chris, "I get all my regulars to tell me what they’ve read about forthcoming stuff, and whether or not they’re gonna be interested in

21

this, that or the other."

In the past, people have queued the length of the street to get their hands on exclusive releases. Spun Out also get bands and DJs in store to perform whilst customers browse what's on offer. "There’s always a good atmosphere."

The huge popularity of Record Store Day proves there's still big interest in vinyl. "Quite a few people want something they’ve actually got in their hands and they own rather than almost renting it.," Chris says, "You can look at that vinyl, stick the needle on it, hear the crackle - the sound of vinyl has got a little nuance to it that’s all of its own."

"The best thing to do is to get your turntable out, stick a bit of vinyl on it and crank it up loud!"

Whilst vinyl sales are unlikely to reach those great heights again, there is still an unquestionable desire for it, whether it be for the sound, the physicality, how it commands your attention. There's a clear sense that it can coexist alongside our modern ways of consuming music - so for the time being, the record is here to stay.

Record Store Day takes place on Saturday, April 16 - don't miss it!

PROFILE

YOSHE WATSON 22

Whether it's staying in the loop of the local music scene, organising a metropolitan festival, curating intimate cafe gigs or playing a set herself, Yoshe Watson sticks to an exciting, busy schedule.

"

The first time I'd really been hit by music in a big way was when I heard Life on Mars, when I was about six or seven" Yoshe tells me, when I ask what first provoked her to become a musician, "I heard this song and was like 'this is incredible', sat down in the middle of the floor and couldn't speak for about ten minutes and I thought, yeah, I wanna do this music thing."

notably a cover of Dolly Parton's Jolene, or rather, the White Stripes' interpretation of it. "Someone once described it as 'acoustic-punk', which I quite like. I get quite angry when I'm singing, on my little guitar."

Yoshe damaged her voice a little over a year ago, and has not had much chance to perform since. However, this has allowed her to concentrate

things that were almost art pieces in their own right." The cafe itself was an ideal environment, situated within the town's cultural quarter and directly above the art gallery.

"We had some weeks where we were literally turning people away because it was too cosy!"

"As a space, it was beautiful. I'm excited to see what somebody comes up with and does next with it."

Many of Yoshe's roles find her constantly invested in the local music scene - meeting artists, and staying in the loop. She hosts the Band Review Show on Inspiration FM and is a gig reporter for BBC Introducing.

With the former, Yoshe says she has an hour "where I can do whatever I want with". The night before we spoke, she played an entire album by local band Skybeard, interviewing the members in-between songs.

"When the mics are down and the songs are up, I'm always either singing really loudly or dancing away in the studios. It's always a party on the Band Review Show!"

She tells me that she enjoys how the two radio roles work in parallel. " It's a nice way of working because you do quite a lot of different things which all link together. You're just constantly in tune."

Yoshe Watson leads a busy life, but from meeting her in person, there's something undeniable - she's enjoying every single moment of it, and shows no sign of slowing down.

"I sat down in the middle of the floor and couldn't speak for about ten minutes."

Yoshe Watson is a singer-songwriter based in Northampton - or at least, that's one of her occupations. When she's not performing, Yoshe curates some of the town's most curious and intimate events, hosts a radio show which highlights exciting new local talent, and more prominently is one of the minds behind this year's Northampton Music Festival (read more about that below).

As a songwriter, Yoshe counts Patti Smith and the late David Bowie among her biggest influences.

"It's not just her songs, which are incredible, it's her whole stage persona and attitude as a female.

Watching her was one of the first times that I really remember thinking - fuck it, you don't have to be pretty, you can tear an electric guitar to shreds and have your hair all messy and shout across the stage at people and you don't have to be this nice, polite little girl that people keep telling you to be".

Her own set includes - alongside original material - several covers,

on other projects - notably the cosy, curated events SouNNd and Future Sound at the now-temporarilyclosed NN Cafe.

She first got involved when her university lecturers were looking for students to take over. "Back then, I was saying yes to everything, and that's why I was so tired all the time."

"You don't have to be this nice, polite little girl that people keep telling you to be."

With Future Sound, the initial plan was to do a few events. That quickly changed, once Yoshe realised their popularity with performers and giggoers alike. "We just kept going right up until NN shut." They ended up doing over 15 events, involving over 60 artists and many filmmakers.

She praises the cafÊ’s owners who "were so committed to putting on

NORTHAMPTON MUSIC FESTIVAL Besides the many projects we've talked about above, the big one on Yoshe's plate is Northampton Music Festival - which takes place from June 17th to 19th across a variety of local venues.

Before the festival in June, Yoshe and the organisers have been putting on the 365 Live Sessions - with artists on the bill performing in local venues, all shot by local filmmakers.

In the first two sessions - at the Pomfret Arms and The Victoria Inn, there have been performances from Burrowing Bees, Big Evil Grin, Jordan Mackampa and Velvet Engine. The third session, hosted at the Charles Bradlaugh on February 18th, will feature performances from the Jazz Colossus Big Band and Forest of Fools.

"We start introducing people through the local culture and music scene," Yoshe tells me, "We've got a real range of different musicians, from different genres, going on across all of these great local venues."

The sessions will continue through to the main event in June.

Currently, artist applications are coming in "thick and fast", and the team will soon have "the absolutely mammoth challenge" of listening to music from all the applicants, and dividing artists across the many curated stages throughout the town centre.

"It's quite challenging, but it's very rewarding," Yoshe explains, "It's a real community festival that's got that metropolitan thing going on. I think that's something really special."

"You can go out and be introduced to new parts of your town through music, and be introduced to new musicians through your town. It's a nice collaborative thing that the whole community can get involved with."

"It's really important to us that there's something for everyone, that it's inclusive and free to all. Whoever you are in Northamptonshire, we want people to find something that's there for them."

23

RECORD

THE ART OF MANIPULATION

Images: James Kelly / Avenue Gallery

J

ames Kelly, who has been a turntablist for the past 15 years, often makes music with existing records - but for his new exhibition, he explores the possibilities in the creation of vinyl itself.

"I started in hip-hop turntablism, and a big part of the practice there is crate-digging," James tells me, "which involves looking for old records, sampling elements and remixing them in performance scratching to create new music."

James became interested in ambient, electronic music and dub, which saw him sending off music to get it cut on vinyl. "I was detached from the process [of creating records], and I felt that in order to develop what I was doing, it would be interesting to explore vinyl cutting itself."

At first, James was only interested in composing new songs, cutting them onto vinyl and using them in performance. To do so, he used a rare lathe, which is only found in a handful of UK cutting houses. "It's made by a chap in the Black Forest in Germany who has very specialist knowledge - he builds these machines by hand."

Experienced turntablist James Kelly talks about his unique experiments with cutting vinyl, and the changing nature of the medium.

Through him, James trained to become a mastering engineer, and learnt the process of cutting records.

He began by cutting dub plates for soundsystems. "I was learning how to get the best record possible."

"There's a number of things the engineer is trying to avoid," James explains, "They're the limitations of the system." For example, you can't mix stereo frequencies with bass frequencies, otherwise the needle skips. You can't cut the record too loud, because it will jump and cause distortions. These limitations fascinated him. "I became interested in creating music which looked at the medium of vinyl and the systems of the lathe and using those as compositional tools - making them a part of the music itself."

This led James to present his experiments as an exhibition - Vinyl Record Cutting as a Compositional Tool, which had a two week stay at the Avenue Gallery in Northampton in late January. "We're presenting a range of different approaches to cutting records, which are all non-standard ways of doing it. It's methods that, for various reasons, the engineer wouldn't usually use."

24

James explains one of these methods. "Some of the records I'm cutting use a worn-out stylus."

Usually, a diamond stylus cuts the grooves into a record, but it wears out over time and needs to be replaced or resharpened. Without doing so, the frequency range it cuts is reduced and adds crackles.

"So the music I made and presented is very crackly in timbre. It adds a particular character to the sound, which even though it's brand new music, it sounds 40 years old."

In the gallery, the records James cut are on display and can be listened to through headphones. Some of the music I sampled had an eerie quality - like sonar, or as if it were submerged like a submarine. For the performance, a Turntable Symposium, James uses an intimidatingly large setup, with all manner of dials, buttons and wires attached.

To engage in such a deep exploration of the vinyl format demonstrates James' appreciation of it. "From a DJ perspective, it's the physicality of the medium. With vinyl, I can literally put my hands on the sound and manipulate it in real time. The fact that it's an analogue

medium is part of my interest in using it as a performance tool."

"There's also a pleasure in going to the shelf and pulling one out, sticking it on the deck, having a listen - it's a different experience to just putting on an MP3... it's a totally different way of experiencing music."

James has seen a transition since the late 90s of the younger generation opting to buy vinyl to have a collection and ownership of their music. "It's something I find interesting in terms of vinyl's resurgence - which is such a small part of the recorded music industry.

Despite seeing statistics saying vinyl sales have tripled, they've tripled because they were initially tiny."

"I think [vinyl's] here for the long haul - it's not going anywhere yet. It seems to have a longevity more so than other physical media."

"I don't think everyone should buy records, and I don't think it's the only way to listen to music. Everyone has access to music like a utility model - like you'd have a water bill or TV license. People have got it on tap but then they choose to buy records to claim ownership of that."

James hopes to continue to develop the artistic process of vinyl cutting.

"This here is a starting point. There's still plenty of things that could be done with vinyl from a performance perspective." Lastly, he plays me an original piece. It's haunting and wavering. "I call it ghost frequency."

SOME OF JAMES KELLY'S CUT RECORDS ON DISPLAY AT AVENUE GALLERY. MP3 PLAYERS AND HEADPHONES ALLOW VISTORS TO HEAR THE RESULTS.

25

VERDICT

JACK GARRATT PHASE

Photo: Daniel A. Harris

P

hase is a real mess of a record. That seems like quite a negative note to start on, but hear me out.

Over the years, Jack Garratt has cemented his place as a exceptional one-man band. His live rig is quite the contraption, and in most performances he'll be wielding a guitar, whilst simultaneously hammering out a melody on the keyboard and looping a beat on his synth pad. It's admirably tricky, and somewhat reflects the sound of this debut record.

Garratt explores a real breadth of genres here - the most obvious of which being electronic and all its little offshoots keenly utilized on the stop-start explosiveness of Fire, on which Garratt's vocal range is given space to flex as the pace constantly shifts.

Besides that, acoustic, bass and even trap have their place on this record - the palate of inspirations is intimidatingly large, which

can play both to Garratt's favour and detriment. When it works, it's an effortless piece of multiinstrumentalism, but when it doesn't, it nears incoherency.

Let's talk about the good examples, the real meat of Phase.

Old cuts like his catchy breakout single Worry or the building electronic stampede of The Love You're Given still shine as they once did, and are testament to Garratt's genremashing songwriting.

His vocals are often stunning in scope, outshining those in the same calibre the Ed Sheerans, the James Bays, whose own music appears bland and ordinary in comparison.

The record has its pitfalls, but they reflect an artist pushing the boundaries of his capabilities rather than slackness or a lack of originality. On the contrary, Phase is chock-full of experimentation.

On the whole, it's a satisfying end to the first chapter of his career, which shows untamed promise.

26

THE RISE,FALL & RISE OF JACK GARRATT Long before topping the BBC Sound of 2016 poll and winning the Brits Critics Choice Award, the 24 year old from Buckinghamshire was already making waves. After falling flat in the Junior Eurovision Song Contest back in 2005, Jack refocused his intentions by signing to an independent record label, recording acoustic blues music for a working album title Nickel and Dime. That didn't work out either - in an interview with the BBC, he reflected on those years saying that he wasn't "proud of the songs I was writing".

Shortly after, he dropped out of university and spent a year writing the material that would form the EP Remnants, released in late 2014.

Jack went on to headline the BBC Introducing stage at Reading & Leeds, release another EP - Synesthesiac all leading him to the release of his debut album Phase on Island Records.

Needless to say, it's not been a straightforward path to fame.

SAVAGES

ADORE LIFE J

ehnny Beth and co delivered a statement of unrelenting intent on their exceptional debut Silence Yourself in 2013. Returning now with the follow-up, Adore Life, this new record seems them loosening up a little, without losing their sharp, commanding edge.

There are no lack of thrills in these ten new songs. In fact, it immediately begins with one - head-thrasher The Answer is intense, with loud riffs and Jehnny's pace-matching vocals.

T.I.W.Y.G. is much the same, with its unshackled rhythm.

The record does have moments of restraint, such as on the brooding, life-affirming Adore, which ends on a trembling climax. Mechanics is slow and eerie, with near-gothic tinges.

Savages have delivered another visceral, provocative package.

Photo: Columbia Records

Photo: Tom Hines

HONOURABLE MENTIONS DAUGHTER

NOT TO DISAPPEAR

EDITOR'S CHOICE

Elena, Igor and Remi deliver a second record that deepens the solemn, folksy aesthetic they championed on their debut - so more of the same.

Numbers and How are stand-outs.

BLOC PARTY HYMNS

CHAIRLIFT

MOTH M

ost will know Chairlift - the Brooklyn duo of Caroline Polachek and Patrick Wimberly - as the minds behind the bittersweet Bruises or the rousing I Belong In Your Arms. Their past discography is composed of gentle, tempering left-field pop. Which is why the immediacy of their third record, Moth, comes as a big surprise.

Polachek, who between Chairlift's second and third records worked on solo project Ramona Lisa and wrote Beyonce's No Angel, has clearly channelled some of influences in those works into Moth. The record has a pop sensibility unlike their past albums, with each song possessing a groove and personality that shines.

Take for example the lead single

Ch-Ching - a swaggering, beatdriven anthem about grasping life's opportunities without hesitation, and being an individual. It's infectious with a capital I, all cowboy whistles and padlock combinations - the kind of song you'd gladly wake the neighbours up with.

Then there's Romeo, an upbeat song tying Greek mythology to the naivety of being in control of love.

Polachek sings "hey Romeo / put on your running shoes, I'm ready to go" on the pacey hook, backed by whirring synths and a shuffling beat.

From start to finish, Chairlift deliver intelligent, yet accessible pop - unashamed, brilliant pop - that cements Moth as one of the first great records of 2016. This is music than doesn't get exhausted, and has a summery energy that might have come six months too soon. It's a curveball of a comeback, and that only makes the first listen even sweeter.

27

Bassist Justin Harris and drummer Louise Bartle join founding members Kele Okereke and Russell Lissack to form the second coming of BP. A departure for the better.

DO YOU LIKE

THE SOUND OF

THAAAAAT?

Head to our website to hear our picks from these records plus more new releases on our handpicked Spotify playlist!

LIVE

WHAT'S ON? THE MUST-SEE GIG

SHURA

@ SHEPHERD'S BUSH EMPIRE LONDON, THURSDAY 26 MAY

T

his British singer-songwriter knows how to knock a song together. After hitting it out of the ballpark on her viral Soundcloud smash Touch, Shura pushed out record after record that was equally as exceptional. Indecision, 2Shy and White Light were all received warmly by new and existing fans - she even got an endorsement from Marcus Mumford, whose band covered 2Shy in the BBC Radio 1 Live Lounge. Still, it's been some time since we last heard from Shura, and with a debut album finally arriving this year, this gig will surely be the breakthrough we've been bracing for.

Photo: Polydor Records

THE LAST SHADOW PUPPETS

MURA MASA

AND THE REST...

@ Cambridge Corn Exchange Thursday 24th March

@ Oval Space, London Thursday 7th April

BLOSSOMS

A

lex Turner and Miles Kane have come out of the woodwork once more as The Last Shadow Puppets, with a new record titled Everything You've Come To Expect out in April.

Before the record is due, they're playing some gigs to get the engines roaring. If first single Bad Habits is anything to go by, then the duo will be firing on all cylinders.

Just take it from the girl who adorns the cover artwork of the new record, here on the right. She seems to be having a good time.

Take Chance the Rapper's advice, "dance like it hurts to stand still!".

M

ulti-instrumentalist Alex Crossan, better known to us by the moniker Mura Masa, has been putting a few jams under his belt - first with his mixtape Soundtrack to a Death and then with a first EP Someday Somewhere.

His vivid, melodic electronica has already seen him collaborate with fellow rising stars Nao and Shura - and who knows, one of the two may join him for this show at London's Oval Space.

Not to mention the fact that Crossan is now readying a debut record that's sure to make the Masa go MASSIVE! I need new jokes.

28

Scala, February 25th Supported by Inheaven.

GALLANT

Edition Basement, March 3rd LA R&B star making waves.

HER

The Islington, March 17th Sultry French duo are ones to watch.

SOAK

KOKO, March 22nd Mercury Prize nominee a must-see.

THE YEAR IN FESTIVALS 2016’s FESTIVALS HERALD BIG LIVE RETURNS AND PROMISING NEW TALENT. TO MAKE SENSE OF IT ALL, HERE’S OUR DEFINITIVE GUIDE.

Images (from left): Smabs Sputzer, Andy Sturmey, Carolina Faruolo

GLASTONBURY 22nd - 26th June, Worthy Farm, Somerset The muddy, wet king of British festivals.

Little is known about who's on the bill, but we can take an educated guess.

WHO IS, AND MAY HEADLINE? Coldplay have been confirmed to headline the Sunday night.

Radiohead and LCD Soundsystem are likely candidates to join them.

Beyonce and Adele stand at good odds to fill the pop slot. In the rock corner, AC/DC and Muse are top contenders. Some even suggest that Miley Cyrus has a shot. We'll believe that when we see it.

FESTIVAL NO. 6

GREAT ESCAPE

FIELD DAY

1st - 4th September, Portmeirion, Wales

19th - 21st May, Brighton, UK

11th - 12th June, Victoria Park, London

Taking place in the picturesque, coastal village of Portmeirion, it offers a real change of scenery.

Europe's biggest festival for new music - essentially our SXSW. If you want to see the future of music, it's here.

Often boasting a superb lineup of alternative artists, Field Day rarely seems to disappoint.

WHO'S ON THE LINEUP?

WHO'S ON THE LINEUP?

The first wave of artists have been announced, including a headline slot from Bastille - who are sure to debut new material live, after teasing their anticipated second record.

Norwegian songwriter Aurora also makes an appearance, ahead of a UK tour in the Autumn.

With a nauseating 400+ artists expected to perform across the weekend, there's almost too much choice. Oh Wonder lead the pack for the festival's first Spotlight Show, backed by Shura and Mura Masa.

RY X and Anna of the North will also perform, and are not to be missed.

HEADLINERS Noel Gallagher's High Flying Birds Hot Chip, Bastille

HEADLINERS Oh Wonder, Shura, Mura Masa, Songhoy Blues

OUR PICKS Aurora, Django Django, Lucy Rose, Oh Wonder

OUR PICKS The Big Moon, Inheaven, RY X, Anna of the North

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HEADLINERS James Blake, PJ Harvey OUR PICKS Beach House, Formation, Nao, Parquet Courts, Soak

WANNA GET

A TASTE OF THE

LINEUPS?

Head to our website to hear the artists performing at the Great Escape, Field Day and more on our Spotify playlists!