Bristol in Stereo // HAAi

Live. Music. Culture August 2019

â„– 91 // Free

HAAi

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Mon 19th Aug • SOLD OUT

Mon 21st Oct

Wed 20th Nov

Fri 30th Aug • 6.30pm

Tue 22nd Oct

Fri 22nd Nov • 6.30pm

Wed 23rd Oct

Sat 23rd Nov

Skunk Anansie

Laura Jane Grace and The Devouring Mothers & Frank Iero and The Future Violents Fri 6th Sep • 6.30pm

Guns 2 Roses Sun 8th Sep • 6pm

Jason & The Scorchers / Dan Baird & Homemade Sin / The Kentucky Headhunters

Hot Chip Gary Numan Heels Of Hell Thur 24th Oct

The Selecter Fri 25th Oct • 6.30pm

Charles Esten Sun 27th Oct

MoStack Mon 28th Oct

The Cult - A Sonic Temple

The Steve Hillage Band The Macc Lads Happy Mondays Tue 26th Nov • SOLD OUT

Lewis Capaldi Thur 28th Nov

Electric Six Sat 30th Nov

Bjorn Again Tue 3rd Dec

Sigrid

Fri 13th Sep • 6.30pm

Tue 29th Oct • 6.30pm

Sat 14th Sep

Fri 1st Nov • 6.30pm

Wed 25th Sep

Sun 3rd Nov

Sat 28th Sep • 5.30pm

Mon 4th Nov

AURORA

Dan Reed Network / Gun / FM

Tue 1st Oct

Wed 6th Nov

Thur 12th Dec • 6pm

Wed 2nd Oct

Thur 7th Nov

Fri 13th Dec

Fri 4th Oct • 6.30pm

Fri 8th Nov

Sat 14th Dec

Sun 6th Oct

Sat 9th Nov

Sun 15th Dec

Thur 10th Oct

Mon 11th Nov

Mon 16th Dec • SOLD OUT

Fri 11th Oct • 6.30pm

Wed 13th Nov

Wed 18th Dec

Mon 14th Oct

Thur 14th Nov

Fri 20th Dec • 6.30pm

Tue 15th Oct

Sat 16th Nov • 10pm

Mon 27th Jan 2020

Thur 17th Oct • SOLD OUT

Sun 17th Nov

Tue 4th Feb 2020

Fri 18th Oct • 6pm

Mon 18th Nov

Mon 24th Feb 2020

Sun 20th Oct

Tue 19th Nov

Sat 14th Mar 2020

Pearl Jam UK Femi Kuti Fetty Wap Volbeat

New Hope Club Richard Hawley WAR

Hootie and The Blowfish Black Star Riders The Rasmus

The Divine Comedy Killswitch Engage Slowthai

Roachford

Kate Tempest

Refused + Thrice The Smyths Opeth

Kodaline Rival Sons Snarky Puppy Elvana: Elvis Fronted Nirvana Periphery Ezra Furman Metronomy Festival Of The Dead The Amazons Mahalia

Yungblud

Wed 4th Dec

Sam Fender Sat 7th Dec

Aldous Harding Mon 9th Dec • 6pm

The Wonder Stuff The Chats Motionless in White SLADE

The Libertines Shed Seven Alabama 3

Caravan Palace The Interrupters Beartooth

The Dualers

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Frogmore Street, Bristol BS1 5NA • Doors 7pm unless stated Venue box office opening hours: Mon - Sat 12pm - 4pm

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August • 2019

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0117 203 4040 colstonhall.org

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Colston Hall loudly and proudly presents great shows in venues across Bristol Fri 2 Aug

Sat 28 Sep

Sun 20 Oct

Terrace Sessions: Falling Up Presents

Murray A. Lightburn (of The Dears)

Brennen Leigh & Noel McKay

Colston Hall Terrace

Colston Hall Foyer

Fri 9 Aug

Tue 1 Oct

Terrace Sessions: RUN

Manu Delago Ensemble

Colston Hall Terrace

Fiddlers

Wed 14 Aug

Wed 2 Oct

Lee Fields and the Expressions

Jesca Hoop

Fiddlers Fri 16 Aug

Terrace Sessions: Tropical Tea Party Colston Hall Terrace Thu 29 Aug

Steve Gunn Exchange Fri 30 Aug

Terrace Sessions: A Guy Called Gerald Colston Hall Terrace Fri 6 Sep

John Paul White Bristol Folk House

Fiddlers Thu 3 Oct

The Album Leaf St George’s Bristol Fri 4 Oct

David Allred (Erased Tapes) Colston Hall Foyer Tue 8 Oct

Creep Show Trinity Centre Fri 18 Oct

Rising Up: Peterloo Bristol Folk House

Bristol Folk House Tue 22 Oct

Lambert Colston Hall Foyer Wed 23 Oct

Alasdair Roberts & Friends Colston Hall Foyer Sat 26 Oct

Birds of Chicago Bristol Folk House Sun 27 Oct

John Smith Bristol Folk House Sat 2 Nov

Charlie Cunningham Redgrave Theatre Tue 5 Nov

Deerhunter SWX Fri 8 Nov

Sinkane Trinity Centre

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Dear reader, Editor-in-Chief / Sales Loki Lillistone loki@instereomag.com

Welcome to August: summer’s last hurrah. With so much excellent new music out this month, much of it perfect for lazy park days and warm, boozy school nights, let’s make it count.

Deputy / Live Editor Jon Kean

On the cusp of her new EP, exemplary psych and techno aficionado, HAAi, hops onto our cover. Fresh from closing the final Beat Hotel at Glastonbury, we chat everything from the relentless amount of blistering sets she’s played so far this year, to her favourite house plants.

Online / New Music Editor Kezia Cochrane Features Editor Dave Rowlinson Local Release Editor Lor Nov Graphic Designer Larissa Matheus

Bedroom indie troubadour, Jay Som, is a personal favourite of mine, so I’m naturally more than stoked to have her in his month. She explains how the use of her own sacred space, along with some careful inner work, have helped to create an album that feels “more like [her]” than ever before.

Elsewhere, ((( O ))) discusses the Filipino identity and how to break away from the pack, while the sorely-missed Shura details making the kind of music she never thought she would. I guess that’s what happens when you suddenly fall in love.

HAAi

Contributors: Caitlin Clark, Charlotte Kroll, Emma Madden, Georgia Marsh, Simon Moyse, Robin Murray, Kelly Ronaldson, Stephanie Phillips, Gemma Samways, Katie Thomas, Sean Toohey, Danny Wright.

HAAi cover photo by Jenn Five, typeface by Lucas Le Bihan (Velvetyne).

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New Sounds

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((( O )))

Shura

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HAAi

Releases

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Events

Full Listings

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Live

Thoughts

61 In Bristol Shura

Staff on Repeat:

Loki: Dream Dali – Hurt Me Jon: Tennis System – Turn Kezia: Stefflon Don – Phone Down (ft. Lil Baby) Lor: Cultreams – Not My Generation Larissa: Szalazar – Pace 7

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SAINT-CLOUD AUGUST

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PARIS 2019

New Sounds

by Kezia Cochrane

Kaina

Top Ten: New Sounds Serpentwithfeet – Receipts (ft. Ty Dolla Sign) Kate Tempest – People’s Faces Bree Runway – Big Racks (ft. Brooke Candy) Vagabon – Flood Hands Rosalía – Milonària Sarahsson – Perennium Stormzy – Crown HIDE – Chainsaw Blanck Mass – No Dice Sui Zhen – Perfect Places

Get more new music from kezia cochrane every monday at: bristolinstereo.com 10

Serpentwithfeet

Kaina Exuding a glistening warmth and humanity, Kaina’s music draws on the rich sounds of her hometown, Chicago and her Latinx roots. Having released her debut EP, Sweet asl., In 2016, followed by 2018’s 4U, Kaina’s debut full-length record, Next To The Sun, came out last month. It purveys an earnest, richly-textured sound that blends soulful R&B with swooning, woozy electronica, sultry Latin rhythms, smooth jazz and more, resolutely floating between genres.

At the heart of Kaina’s songwriting is a sense of serenity and catharsis, as she reflects on her ancestry and identity, finding a distinct sense of peace and self-assurance by way of the sounds embedded therein. Across the nine tracks on Next To The Sun, Kaina crafts these vibrant, soothing soundscapes that alight on a certain frank humanity.

Repeatedly singing “I am so small, so vast” on the penultimate track, it feels like an uplifting mantra as it progresses towards the exuberant, overarching optimism of album closer, ‘Green’, which summarises the feeling of this record. A perfect, shimmering sonic accompaniment to summer, Kaina is an undeniably unique artist with an infectious radiance which is almost palpable.

Track: Ghost @kainamusic

@kaina

Tiva

Tiva When an artist drops a debut single as remarkable and affecting as ‘Make Me Pure’, you sit up and take note. Tiva, the Londonbased producer behind this track, used it to showcase an atmospheric and near-meditative pop sound that feels at once greatly introspective and reassuringly inviting.

With mental health the prevalent theme on Tiiva’s work, there’s a certain frank vulnerability they convey through their songwriting that carves out a unique space for sonic solace.

With their debut EP imminently incoming, this is an artist I’m super excited to hear more from and one you certainly shouldn’t sleep on.

Track: Make Me Pure @tiivamusic @tiivamusic 11

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“There’s something about the control in my home studio that just feels right.”

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Jay Som words: Stephanie Phillips photos: Lindsey Byrnes

When it comes to the mythology of music-making, there’s often no story more alluring than the raw, unfiltered display of creativity that is DIY bedroom recording.

For 25-year-old, Filipino-American Melina Duterte, who performs under the moniker Jay Som and has recorded and produced all of her releases in her room, DIY recording is her first love. “I love the comfort it brings me and the familiarity,” she explains. “I’ve been in large studios before and I’ve played with other people in different studios or home studios, but there’s something about the control in my home studio that just feels right.”

Duterte started out recording and uploading covers to MySpace in her room at 12. Using her DIY ingenuity and introspective, dreampop sounds she has become a driving force in American indie rock. Her latest album Anak Ko (a Tagalog phrase which translates to ‘my child’) released on Polyvinyl is a reverb-drenched, shoegaze fantasy. One where we can imagine being the most emotionally available, honest versions of ourselves all set in a hazy, Super 8 music video.

To guide her in the making of the album Duterte found herself drawn to the chaotic beauty of heavenly indie-pop trio Cocteau Twins, trip-hop pioneers Portishead, and 90s California indie band Pinback. For the first time Duterte reached out to her surround-

ing circle to work on her album bringing in Chastity Belt’s Annie Truscott, Justus Proffitt, Boy Scouts’ Taylor Vick, and Vagabon’s Laetitia Tamko.

Raised in the Bay Area in California, Duterte was surrounded by music from an early age.

Her house was filled with vinyl her dad collected from his time as a DJ while her mother, who sang and played guitar, taught Duterte how to sing. Her family’s love for music even played out in their favourite past time – karaoke, which Duterte says is hugely popular in Filipino culture. “I grew up with the karaoke machine at my house and every time we’d have parties, my dad would put it on and my mum would be singing a bunch.”

Duterte was given her first guitar at eight and began playing the trumpet at 10, beginning a long affinity with classical music training. She almost went to a jazz conservatory until she realized she wanted to focus on recording her own music. Combining her love for creating with her years of technical training she began to work on her own songs and eventually self-released in late 2015 on Bandcamp in the hope someone would listen. Someone did – online indie label Polyvinyl signed her up and re-released the demos as her debut LP Turn Into.

The release of her second album 2017’s Everybody Works saw her status continue to 15

“I feel more at peace with myself and I feel like I’ve done a lot of work mentally.”

ascend as the well-received album landed on copious end of year lists. For the quiet and softly-spoken artist the newfound attention was overwhelming at first, though she now feels better equipped to handle the intensity of those moments: “I feel more at peace with myself and I feel like I’ve done a lot of work mentally. I think that translates into my music and I just felt more like myself making this album this time around.”

The work Duterte put into herself allowed her to process her feelings on “wanting to care for people and wanting them to know”. The solemn Americana-influenced ‘Night Time Drive’ deals with her fears of drifting away from loved ones when demanding tours take you away from home. “Friendships change in that way but it gets pretty depressing sometimes and you start to really think about your place in life and why you deserve all these things and what did you do, are you lucky?”

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Though life on the road has its many downsides, Duterte had an inspiring experience seeing crowds of young women of colour at shows in 2016 when she went on tour with Asian American artists Mitski and Japanese Breakfast. Duterte describes the pair as “powerhouses on their own”. Recalling the tour, she says: “It was super eye-opening and it meant a lot to see that many girls at shows.

I’ve never seen that and I remember thinking I didn’t have this when I was younger. I didn’t know this could exist.” Now as a beacon of hope for others like her, Jay Som shows are packed with young women of colour waiting eagerly to sing her songs. She simply says: “It feels very good”.

Jay Som releases Anak Ko August 23rd via Lucky Number.

Live: The Exchange, Bristol. November 22nd. @jaysommusic

@jaysomband

The Gallimaufry

Snazzback Afro-funk & psych-jazz

1 Aug ~ Snazzback ft. China Bowls

Playing new & old songs of their original compositions & improvisations.

8 Aug ~ Global Groove Experiment: New York

Continuing their musical voyage around the world, Snazz dive into the rich melting pot of the New York music scene. Featuring music from artists such as Roy Hargrove, Medeski Martin and Wood, Miles Davis, Chic and John Zorn.

15 Aug ~ Open Stage / Opening the stage for collaborations.

22 Aug ~ BeatTape ft. Illiterate / Part of a group called concept of thought, Illiterate will be joining Snazzback for their mixtape jams.

29 Aug ~ presents: Piin / Expect floating melodies, ambient and experimental improvisation mixed with heavy jazz and rock-tinted outbursts. Piin is the fruit of James Fuke and Joe Hill’s musical expressions and ideas.

thegallimaufry.co.uk

((( O ))) words: Gemma Samways

“Woah, what I’m looking at right now is amazing!”

Sunbathing on a rooftop, overlooking a forest somewhere in the Philippines, the artist known as ((( O ))) is awe-struck admiring the shifting cirrus clouds overhead. “This is crazy! These murky cloud formations mean there’s going to be a fire rainbow, where neon colours start appearing in the sky. And they’re already starting to come out now! Oh my god, I love it!”

Conducting our interview in the midst of a natural phenomenon feels apt. Born in Dallas to Filipino parents, the singer-songwriter moved back to the Philippines on her own aged just 16 specifically to cherish the country’s rich natural resources and to pursue a more sustainable existence. Looking back now, she concedes that it was a brave decision to make so young, though one she vehemently stands by.

“My parents moved [to the USA] for a better life, but [Filipinos] have only been brainwashed by Americans to think that America is better when it’s not actually the case,” she laughs. “It’s like the grass is always greener on the other side, except it’s actually greener here. So I’m trying to spread a message, encouraging this decolonisation mindset.

“I’m not American and I’m not Filipino, and I don’t feel like I belong in either of those worlds.

I’m a bit of an outcast but that’s made me stronger and more independent. It’s the same in terms of my music: I just rely on myself and what I’ve come here to say in this lifetime.”

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“I’m not Amer and I’m not Fil and I don’t fee I belong in eit of those worl

The ultimate goal is to be totally self-sustaining, and she’s made good progress from her base in the jungle. Working from a hand-built treehouse studio, using a mixture of traditional and modern instruments, ((( O ))) is totally reliant on solar power to pursue her deeply spiritual strain of electronic soul, a limitation that she finds inspiring rather than confining.

“If there is sun then I have the gift to create,” she smiles. “But if I don’t have any sun that day, then it’s not meant to be.”

This zen-like patience bleeds into her compositions, manifesting itself in the spacious vocal harmonies and sparse guitar notes that power ‘Silence’, and the loose beats, languid brass and easy flow of ‘Yuyu’. These working methods inform the central philosophy of a project that she calls “The Sundrop Garden”.

Snippets of material - billed as “moondrops” are released every full moon, and a “sundrop” - or album - is due on her birthday - August 27th - annually for the next 12 years.

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“The mission statement for The Sundrop Garden is to change the way that we create everything.”

((( O ))) isn’t intimidated by the commitment, but then as is implicit in her deliberately unpronounceable and pretty much Google-proof moniker, this is an artist determined to pursue a radically authentic vision, rather than follow a formula. “I think it’s a form of self-sabotage to ground me,” she muses, considering the Big Bang-inspired symbol, adding. “But I can’t be rushed, or catapulted into the usual route for music careers.”

Certainly, her latest moondrop couldn’t feel further removed from the machinations of the music industry. A dreamy devotional in praise of fruit-bearing plant life, ‘Come Home O’Shawn’ samples a monologue from her Babaylan mentor (a Filipino shaman).

To counteract the potential negative impact of touring, she’s already proactively donating 20

a percentage of her record sales to preserve a forest in the Philippines. And at the “gatherings” or pop-up shows themselves, she plans to promote the importance of biodiversity, gardening and maintaining a deep respect for our surroundings.

In every sense, ((( O ))) is dreaming big: “The mission statement for The Sundrop Garden is to change the way that we create everything: art, music, shows, business, brands. To offer a new approach to all of that, in a more sustainable way.” ((( 1 ))) is released August 27th via The Sundrop Garden @thesundropgarden Website: http://thesundropgarden.com

Shura words: Danny Wright photography: Hollie Fernando

I’m chatting to Shura just a couple of days after her performance at Glastonbury. “It was great! I ran around trying to find a gaggle of nuns to be on stage with me, who didn’t mind like embarrassing themselves on the internet.”

If references to nuns seem somewhat confusing, just watch her video for the latest single ‘religion (u can lay your hands on me)’, featuring Shura dressed as the pope surrounded by a sisterhood of nuns (we think that’s the collective noun). “When I wrote ‘religion’ I’d just watched a few episodes of the Young Pope with Jude Law and I was obsessed with the costumes in it. So Chloe [Wallace] said ‘Let’s create this alternate universe where you are the fucking pope!’. The thing is, if this was a video for my first record, then I would just be one of the nuns but for this album it didn’t seem right to have that hesitation.” forevher (a mix of ‘for her’, ‘forever’ and ‘forever her’, if you were wondering) is certainly less hesitant, and more confident, in its outlook than her debut Nothing’s Real. It’s a brilliantly vivid record about falling in love. “If you’d asked me a year before if this was the record I expected to make, then the answer would have been no - but then I was single and I wasn’t expecting to fall in love.”

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It meant a new approach to songwriting after her introspective debut, encapsulated by ‘Touch’ – and its viral video in which she ended up alone. “I don’t think I’d ever written about being happy or in love in my life but it’s been so liberating. I’d assumed that just only talking about things where bad shit happened to me was the only way that someone could relate - but actually I’ve discovered that the opposite is also true.”

The record tells a classic NYC-to-London love-story, but a thoroughly modern one of dating apps or Skype chats too. Just take ‘The Stage’ a dreamy song which tells the story of their high stakes first date that saw her fly across the Atlantic. “‘It’s about my first date with my girlfriend which happened to be at a MUNA concert in New York. I had to DM them asking for guest list and they were like ‘Oh my God, yes. We love the concept of a first date at a MUNA gig!’”

“Orlando (from T-E-E-D) played me this song which had this element of musical theatre to it. It’s weird cos I hate musicals, but with this album I wanted to write this lesbian musical and ‘The Stage’ is the theatrical lynchpin to it. And I really liked this image of not really knowing whether or not this girl liked me until they took my hand and led me to a place in the room where I could see because I’m so short!”

“I don’t think I’d ever written about being happy or in love in my life but it’s been so liberating.”

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“There are so many more [queer artists] now… When I was growing up, all you could do was Google Tegan and Sara.”

Now they’re in love, has her girlfriend listened to the album? “I know she’s listened to it and I’m sure at first she was like ‘Oh Christ, what have i got into?’ but when you finish something it no longer feels like it’s about you anymore, so I think she can listen to a song like ‘religion’ just as a song rather than about her.”

This idea of art being separated from the artist who created it and meaning being imbued through the eyes of the listener runs throughout the record - from the songs and right through to the artwork, a reworking of Rodin’s The Kiss. “I was thinking about all those songs that I grew up singing and it didn’t matter that they were sung by straight people or had straight people in the music video snogging because in my brain I could easily change the pronoun. As queer people we’re so programmed to do that. I wanted to take something people would instantly recognise and 24

flipping it to be queer and seeing how people would react to that emotionally.”

Though she acknowledges how things like the ridiculous calls for a ‘straight pride’ show there is still a way to go, she does feel things are slowly changing. “Even in the four years since I released my first record there are so many more queer female, male, non-binary, gender non-conforming artists. It’s such a change from when I was growing up where all you could do is Google Tegan and Sara.”

Shura has created an album that openly and boldly shows that love is love is love: timeless and universal.

Shura releases forevher August 16th via Secretly Canadian LIVE: Roundhouse, London. November 14th @weareshura

@weareshura

HAAi words: Katie Thomas photography: Jenn Five

It’s no secret that Teneil Throssell, AKA HAAi, has an excellent collection of house plants. Their shiny, rubbery green leaves are all over her Instagram, and as we munch on salad and paninis in an East London café on one of those horribly muggy days in June, I’m after her best plant tips. “You know the ones with the big leaves, I’ll wipe them down and chat to them a bit, they like that.” Throssell moved to a new house a couple of months ago, and now her plants don’t seem so happy.

“Maybe I’ve neglected them too much lately, maybe I need to have a proper sit down with them,” she laughs.

when she landed a support slot warming up for Jacques Greene at Phonox, later being selected to take over from Jasper James as the club’s sophomore Saturday resident.

After two years honing her sound, making the Brixton booth her home and delving deeper into her love for weird and wonderful psychedelic techno, as well as releasing a string of singles and her debut EP Motorik Voodoo Bush Doof Musik, Throssell moved on from Phonox in October 2018. The year ended on a career-defining high as she was crowned with Essential Mix of The Year, beating the likes of Avalon Emerson, Ricardo Villalobos and Four Tet to the post.

Before lunch, I sat and watched as HAAi grinned and giggled her way through her first ever cover shoot (those yellow trousers are the same she later lent to best friend Daniel Avery for their raucous b2b, closing out the final Beat Hotel at Glastonbury). It might sound cliché to say an artist has an infectious personality, but with HAAi, the testament genuinely stands — her energy is as sun-drenched as her wardrobe, and, no doubt, she’s chatty enough to have a “proper sit down” with a plant.

Fast forward to mid-July 2019, and HAAi has already played 40 shows this year, racking up bookings at dance music’s most revered festivals — DGTL, AVA and Nuits Sonores to name a few. When we speak, Throssell is preparing for Dour Festival in Belgium where she’ll play after Solomun to a crowd of over 15,000, before heading to Barcelona for a set on Sónar’s main stage immediately after Skepta.

As we chat, she talks charmingly about the power of trusting your instinct, how to pronounce ‘garage’, and the importance of always retaining that little bit of silliness.

The last few years have seen HAAi on a supersonic trajectory from playing records at Dalston’s Ridley Road Market Bar, to taking the peak time helm on the Genosys stage in Glastonbury’s Block9 last month. It all began 26

HAAi grew up in rural Western Australia, in a household soundtracked by chart shows on the radio, and her mum’s fondness for Billy Joel, Roxette and Transvision Vamp.

“They weren’t really into music,” she says of her parents. “I didn’t even really know who The Beatles were until I started high school.”

Though she never had lessons, Throssell taught herself the guitar and spent her childhood singing around the house. “There wasn’t a defining point where I thought I wanted to make music, I think some people just have

“There wasn’t a defining point where I thought I wanted to make music, I think some people just have that musical bone they need to explore.”

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that musical bone they need to explore.”

Once she got to high school, HAAi listened to Nirvana and the The Smashing Pumpkins, before progressing to Nick Cave & The Bad Seeds, The Birthday Party, and Cat Power, who inspired her to write her own “silly folk songs”. A taste for electronic music didn’t come until much later. “It progressed like rock, psych, post-punk, krautrock” she says, “I think krautrock brought me closest to techno, just because of its repetitive nature.”

After moving to London in psych rock/ shoegaze duo Dark Bells, Throssell started playing at Ridley Road, spinning old afrobeat, disco, and Turkish psychedelic records. Dark Bells split up, and Throssell was devastated, leaning on her Ridley Road sets to keep herself busy and scratch that musical itch. A few months after the band split, everything changed, all thanks to a seminal experience in a club that’s renowned for seminal experiences — Berghain. Specifically, Ben Klock at Berghain, who opened her eyes to a more psychedelic side of techno. “I danced for so, so long,” she says, “I was captivated.”

room. I think that was a real turning point for my career.” There were disagreements along the way, but HAAi happily admits that Phonox changed her life, and her face lights up when she talks about the team there. Incidentally, some HAAi shows (including the upcoming Sónar show) now feature visuals produced by Insert, the burgeoning music and club culture platform co-founded by a former member of the Phonox team. It’s now been nine months since the end of HAAi’s residency; a gestation period that has given her the confidence to take control of her own sound, having faith in being “a little bit weirder”.

“It’s not about you…

It’s about helping people to enjoy themselves.”

While she’s in the studio, or producing on the road, HAAi makes a conscious effort not to get too caught up in what other producers are doing. “I think it can be a bit unhealthy,” she says. Throssell considers her own style to be a bit rogue, her music building itself without direct influence. But she’s a big fan of the likes of Minor Science, Rrose and Karenn, as well as the textured, hardware-heavy techno of Japanese artists like DJ Nobu and Wata Igarashi. When she’s in the booth, she finds most affinity with close friends Daniel Avery and Mall Grab, and mentions her first b2b with The Black Madonna, at Sunfall in 2017, as a pivotal moment in her career. Imogen and Bristol up-and-comer Manami Baba are on her radar, as well as Glasgow-based IDA, who Throssell says has “the right attitude. She’s really appreciative of the thing, which we all are, or we all should be.”

HAAi’s stepping up as Phonox resident was a big move for the club. Here was a DJ with little profile, from whom punters didn’t know what to expect. With a Saturday music policy that aims to be, on the whole, bright, upbeat and accessible, HAAi ran into some issues about a year in, as her style of playing had developed to a point that Phonox felt was too hard, and too dark. “I made an active decision to go with my gut,” she says determinedly.

“They might disagree, but I felt I was doing a good job. I wanted to keep people in the

HAAi is definitely appreciative of “the thing”.

She looks humbled as she tells me how many people reach out to her asking for advice on starting DJing. “I’ll always reply when I can,” she says. For Throssell, the key was learning to gauge the reaction of the dance floor.

“It’s not about you,” she explains. “It’s about helping people to enjoy themselves.” It might sound obvious, but HAAi also stresses the importance of having a deep, profound love for music, and not pursuing DJing on the basis you think it’s a cool job. “Otherwise what’s the point?” she says, matter-of-factly.

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Throssell grew up in a mechanic shop owned by her stepfather, and its mechanical whirring and car samples seep into her increasingly rave-leaning production. Her new project, the five-track Systems Up, Windows Down continues in this vein, though HAAi tasked herself with producing on the road rather than feeling tied down to her studio. “I wanted to test myself,” she explains, “It feels like the next sonic generation for me.” The track titles (‘Don’t Flatter Yourself Love’ refers to an in-joke between Throssell, her girlfriend and Avery, and ‘CHONKIBOI’ is, you guessed it, an ode to the chunky dog) are synonymous with Throssell’s light-hearted attitude. “I like to keep things a bit silly,” she says. “Lighten the mood for everyone a bit.” The giggle is back as we talk about the sonic that defines London for her (garage and jungle), and we have another silly moment discussing how to pronounce garage properly. “Right, okay, 30

this is helpful information for me,” she laughs.

“Garage? Garage? Garage?”

As our conversation begins to wrap up, it’s my chance to seek words of wisdom from the plant guru. “I’m always happy to share plant tips,” she smiles. If HAAi was a plant, what would she be? “Probably a creeper”, she says, cackling, “obviously not in a creepy way, but I’m always growing and branching out into different parts of the house. It could be a metaphor sonically too.”

HAAi’s Systems Up, Windows Down EP is due for release via her own label, Coconut Beats in early September FESTIVALS: Lost Village Festival,August 22nd-23rd @haaidj

@HAAiDJ

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SAT.10.AUG.19

THU.10.OCT.19

MON.02.SEP.19

FRI.11.OCT.19

THU.14.NOV.19

FRI.15.NOV.19

SAT.12.OCT.19 SUN.17.NOV.19 SUN.15.SEP.19

TUE.22.OCT.19 MON.18.NOV.19 SAT.28.SEP.19 MON.28.OCT.19 SAT.23.NOV.19

FRI.04.OCT.19 WED.30.OCT.19 SAT.23.NOV.19 TUE.08.OCT.19 WED.06.NOV.19 SAT.07.DEC.19 TUE.08.OCT.19

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THEKLA

LIVE LISTINGS

The Grove East Mud Dock Bristol BS1 4RB theklabristol.co.uk | thekla.club F L theklabristol | I X theklabris alttickets.com • gigantic.com • bristolticketshop.co.uk

SATURDAY 14TH SEPTEMBER

BREAKFEST FEAT. BIG JEFF, DOGEYED, EMILY ISHERWOOD, GORK, JAMIE CRUICKSHANK AND LOADS MORE SUNDAY 15TH SEPTEMBER

FEROCIOUS DOG TUESDAY 17TH SEPTEMBER

WHITFIELD CRANE FRIDAY 20TH SEPTEMBER

DIZRAELI

SATURDAY 21ST SEPTEMBER

MARIKA HACKMAN SUNDAY 22ND SEPTEMBER

WITH CONFIDENCE MONDAY 23RD SEPTEMBER

JOE NICHOLS THURSDAY 26TH SEPTEMBER

ICE NINE KILLS FRIDAY 27TH SEPTEMBER

GARDNA ALBUM TOUR MONDAY 30TH SEPTEMBER

ALLAH-LAHS TUESDAY 1ST OCTOBER

RALPH PELLEYMOUNTER WEDNESDAY 2ND OCTOBER

EARTHGANG FRIDAY 4TH OCTOBER

PIERCE BROTHERS SATURDAY 5TH OCTOBER

DEFINITELY OASIS

WEDNESDAY 9TH OCTOBER

KOVIC FRIDAY 11TH OCTOBER

HOLY MOLY & THE CRACKERS SATURDAY 12TH OCTOBER

WHENYOUNG SUNDAY 13TH OCTOBER

CHASTITY BELT MONDAY 14TH OCTOBER

PIP BLOM

THURSDAY 17TH OCTOBER

REAL FRIENDS FRIDAY 18TH OCTOBER

ROZI PLAIN SATURDAY 19TH OCTOBER

K. FLAY

SUNDAY 20TH OCTOBER

ADAM GREEN

MONDAY 21ST OCTOBER

STRIKING MATCHES & TENILE TOWNS TUESDAY 22ND OCTOBER

DURAND JONES & THE INDICATIONS WEDNESDAY 23RD OCTOBER

WINSTON SURFSHIRT THURSDAY 24TH OCTOBER

SOUP OF JURASSIC 5 PRESENTS FULLEE LOVE COLLECTIVE

- Record Label -

Record of the Month:

Sleater-Kinney

The Center Won’t Hold Danny Wright gathered Stephanie Philips and Gemma Samways to discuss the return of the legendary Sleater-Kinney, with a new album produced by none other than St Vincent.

How excited were you when you heard there was a new Sleater-Kinney album?

Stephanie: I’ve been a fan since The Woods and they’re one of my favourite bands so I was beyond excited. I didn’t expect them to release another album after the last one. And they were collaborating with St. Vincent - it felt like the ultimate indie band pairing.

Gemma: I was definitely surprised because I half expected the last LP to be a one-off. No Cities To Love was such a great comeback that I admit I was a little concerned as to whether they could keep up that standard. I shouldn’t have worried.

So I take it the record lived up to your expectations? (spoiler: I love it) Gemma: It massively surpassed them. I guess my pessimistic side thought that the idea of St. Vincent and Sleater-Kinney together 34

sounded too good to be true. In reality, the combination is as brilliant as it sounds on paper. I feel like Annie has really brought out a fresh new side to them.

Stephanie: I had high expectations and they were also working with an artist that I also love but I don’t know if it’s lived up to my expectations yet. The Center Won’t Hold sounds exactly like a St Vincent/Sleater-Kinney collab. There are other tracks that feel like they veered from their usual path. I can tell they’re enjoying themselves and trying out new styles and techniques, which is great to hear.

How much of an influence does St. Vincent have?

Stephanie: You can hear a lot throughout the album. The warped yelps and cut-and-paste style are traits from Masseduction. Also the industrial, bass-heavy rumble on songs like ‘Ruins’ is very reminiscent of St. Vincent.

Gemma: You can hear her in the really processed guitar sounds, that sort of caustic reverb. Also in the amount of obvious melody there is. It’s definitely S-K’s most straightforward record melodically. Again, ‘Ruins’ stood

out in that respect - and the title track.

Stephanie: Some of the tracks could be pop songs in their own right. ’Can I Go On’ for example has a mid-noughties Euro pop vibe We can’t go on without talking about Janet leaving. Is there anything here that makes you understand why she chose to leave?

Gemma: I mean, the last track has no percussion on it, but that feels far too petty a reason to leave a band after 25 years. The whole thing is very curious.

Stephanie: It was such a shock to find out she was leaving. It’s also a strange period in the release cycle to leave. The record is loaded with drum machine and often the drums are overwhelmed by the noise of the guitars or synths so they fade into the background. If it’s not something she was ok with at the start I can see how listening back it might have influenced her reasoning for leaving. You certainly can’t hear the driving beat that Sleater-Kinney records usually are known for. But she’s an amazing drummer and she’s still in a few bands. Who knows she could rejoin.

Gemma: The fact Janet’s left makes ‘LOVE’ feel especially poignant, what with it being a potted history of Sleater-Kinney. I love the way that song tackles the idea of being in a band at an older age, especially the lyric “There’s nothing more threatening, and nothing more obscene, than a well worn body, demanding to be seen”.

The record melds the personal and the political together well. What themes jump out at you?

Gemma: The title is a play on the line “the centre cannot hold” from W.B. Yeats’ poem ‘The Second Coming’, and throughout the record you can sense this idea of everything collapsing. Like you say, it blends the personal and political really well.

Stephanie: They seem to be tackling the state of politics right now and the Trump administration. There are also nods to feeling depressed with the state of the world. ‘Broken’ is a great song that really tackles how we’re all feeling right now.

Gemma: I like that it doesn’t deal in specifics, but captures a feeling. Yeah I love ‘Broken’ too: “She stood up for us, she testified / Me, me too my body cried out when she spoke those lines.” Referencing the #MeToo movement is about as specific as they get.

How do you feel this album compares to their past work?

Stephanie: It’s so hard to compare it. The Center Won’t Hold feels like a different band.

Both The Hot Rock album and The Woods were departures from their usual sound at the time. I don’t know if this album works to the band’s strengths in the same way their past work has though.

Gemma: Like you say, it’s really hard to compare but I think it’s laudable that they’re breaking new ground after 9 albums.

Out on Mom + Pop, August 16th @SleaterKinney @Sleater_Kinney 35

The Hold Steady Thrashing Thru The Passion Frenchkiss Records August 16th

Album Reviews Black Belt Eagle Scout At The Party With My Brown Friends Saddle Creek August 30th Surrendering your voice to your surroundings is a boldly quiescent choice for a sophomore album.

After a debut which introduced Black Belt Eagle Scout to the world with a neat assertion of her queer feminism and Native American upbringing, those facts have now been sublimated into a far softer, prettier sound. On At The Party With My Brown Friends, instead of using words, Paul’s more likely to use long, whooping notes; her voice now being used more as an ambient instrument. While on the surface, this album doesn’t do much to separate her from her friends and musical peers - Hayley Hendrickx, Jay Som, and Hand Habits come to mind - it’s clear that behind it, there’s a heart as large as the wide beaches and canyon-scapes that she conjures.

Emma Madden 36

The Hold Steady exist to dish out solace and solidarity to humans falling apart and getting fuckedup. Or, equally, those doing fine who live all speedy and vicarious through Craig Finn’s tales of killer parties, redemption and more killer parties. So, basically, they exist for everyone. Just as importantly (and it really is), The Hold Steady are the greatest band on the planet to see with one fist clutching a beer and the other fist pointing to the heavens and the fist with the beer pointing to the heavens too.

Thrashing Thru The Passion is very much here for the fists-to-the-heavens crew. The guitars just absolutely rip and Finn’s immaculate enunciation spits out every harsh consonant with the purest conviction. It might not quite touch the white-hot fury of the first three albums, but it’s honestly the best – the most alive – they’ve sounded in years.

Lyrically, though, it’s a new Hold Steady – or an older Hold Steady. Finn claiming “I don’t want to dick around, I just want to devastate”, feels a helluva tone switch. Literary references swap Sal Paradise’s exhilarating trips for Brick Pollitt’s apathetic, self-defeated alcoholism.

There’s irregular heartbeats, serotonin getting you glitchy, everything’s “brittle and falling apart”. The killer parties might not have killed us (yet), but they sure ain’t doing us any good.

For all that, though, there’s never any doubt that the solace and solidarity is still abundant.

Basically, when Craig Finn said “While you’re still alive, I wanna make you feel protected and high”, I felt that.

Dave Rowlinson

Whitney Forever Turned Around

Whitney’s gilded charms resulted in one of 2016’s standout debuts, and the group stick to that pattern on a wonderfully endearing follow-up.

Secretly Canadian August 30th

After embarking on some unfulfilling studio sojourns, the Chicago group – hinging on Julien Ehrlich and Max Kakacek – opted to finish the album in the same bedroom they laid down their debut LP. As a result, Forever Turned Around shares the almost-pastoral feel of its forebear – from the lilting Neil Young-isms of ‘Giving Up’ to the jaunty 70s strummer ‘Friend Of Mine’. There are surprises, too – take the country inflections of ‘Before I Know It’, while those trumpet flourishes find full light on jazz-leaning ‘Rhododendron’. Broadening and deepening their sound while remaining true to that initial ethos, Whitney may just have crafted another classic.

Robin Murray

Ezra Furman Twelve Nudes

Ezra Furman’s Twelve Nudes bleeds the hot, red blood of a man frustrated, confused and intensely pained by the state of our political and emotional dissonance. Opener ‘Calm Down’ (aka ‘I Should Not Be Alone’) screams of loneliness, desperation and horrible men in suits that crush us into submission. Punky, fuzzed-out guitars in ‘Evening Prayer (aka Justice)’ are reminiscent of the drug-fuelled, booze-induced songwriting of 90s Beastie Boys, and Furman’s edge-of-chaos shrieks in ‘Rated R Crusaders’ stretch the vocal cords like Germs’ frontman Darby Crash in the late 70s. There are moments of reflectivity, in the short and intense hangovers like ‘I Wanna Be Your Girlfriend’ that languish in surf-rock guitars, but very authentically, this is an album for losing your shit to.

Caitlin Clark

Bella Union August 23rd

Clairo Immunity Fader Label August 2nd

A star of the Internet age, Clairo didn’t have a Top 40 hit or smash streaming records. Instead, she quietly scored a viral YouTube win with ‘Pretty Girl’, and amassed over a million Instagram followers in the process. Although this breakout tune didn’t make the album cut, there’s plenty of other songs coddled in the same reassurance, all backed with celestial choruses and notes of longing. Squaring up to The Japanese House, her songs are as sweet as sugar, especially when matched with her butter-wouldn’t-melt vocals that infuse upbeat indie with DIY electronica: the kind of stuff her producer, ex-Vampire Weekend-er Rostam Batmanglij, is master of. Think fuzzy black noise, devastating percussion and twinkling ballads. It’s music made for pensively staring out of your car window.

Georgia Marsh 37

Slaughter Beach, Dog Safe And Also No Fear

Ride This Is Not A Safe Place

Big Scary Monsters August 2nd

Wichita Recordings August 16th

These indie-folk anecdotes and internal musings of a far-fromspotless mind showcase Jake Ewald’s enigmatic, wry and pathos-laden storytelling. The songs’ musicality – simple electric picking or swells of slide guitar – provides a lush, fertile soil in which these things of beauty can take root.

‘One Down’ acutely depicts life’s tendency to bring only partial success and ‘Black Oak’ is a cautionary tale about “eating household objects for a dare”.

Marking the sixth studio album since the band’s formation, shoegaze pioneers Ride return this month with an outstanding twelve-track release. This Is Not A Safe Place begins with a distorted three-minute instrumental, before the dream-pop haze of latest single ‘Future Love’ breaks through the chaos, embodying a sense of desire and infatuation. The drastic contrast of ‘Repetition’ and ‘Kill Switch’ comes next, layering echoes of heavy, post-punk influences with a burst of raw emotion, until ‘Clouds of Saint Marie’ brings the record back to a bittersweet sense of nostalgia. ‘15 Minutes’ reaches back into early-nineties territory, while the rest of the album expertly blurs the lines between The Cure’s Disintegration and Silversun Pickups’ entire discography, finishing with the beautiful, yet intensely emotional ‘In This Room’.

Kelly Ronaldson

Listening to the new Slaughter Beach, Dog album is like discovering a previously-unpublished set of Raymond Carver short stories.

You’ve not heard this album yet, so if you’ve never read Short Cuts, or seen John Altman’s 1993 film based on those stories, you have three things to add to your ‘To Do’ list of essential cultural learnings.

Jon Kean

The Minke Whales Cromarty Self-release August 10th

Bristol

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Back on the scene, Bristol’s Minke Whales bring a punk overtone to a collection of narrative-heavy folk musings. Painted in a palette of deep blues and blacks, Cromarty comes with an air of sea shanty sadness. Opener, ‘North Sea‘, holds a heartbreaking tale of self-destruction within its walls of mandolin and wiry guitars, while you’ll find wonderfully-produced gang vocals and dry, sarcastic wit on the later ‘Sandbags’.

Haunting declarations of war and perseverance echo throughout ‘Draw Your Gun’, pinned down by an impressive vocal performance that in itself becomes a recurring motif throughout the record.

Between its infectious melodies and strangely optimistic guitars, The Minke Whales have managed to pack a surprising amount of gumption into a short run-time, without sacrificing the fun of the genre they inhabit.

Sean Toohey

The St. Pierre Snake Invasion Caprice Enchanté

Self-Release Out Now

Bristol

Marika Hackman Any Human Friend AMF Records August 9th

Blanck Mass Animated Violence Mild Sacred Bones August 16th

Caprice Enchanté is not a train that you board calmly from the platform, but rather, one you jump on while it careens through the station at 100mph, before veering off onto a rollercoaster track towards its final destination.

This album is an incredible tour de force through the world of heavy rock, rolling effortlessly through different styles and tempos, often within the same song, notably on the brilliant ‘Carroll a.Deering’. It constantly surprises, never allowing the listener to get complacent, venturing into hardcore, mathrock, and on ‘Omens’, a spot of doom metal. TSPSI have always written great songs, and their clever, witty lyrics are clearly evident here, but the additional depth and heaviness of sound take this album to a whole new level. Masterpiece.

Simon Moyse

‘I’m Not Where You Are’, a pop rock jam with ‘80s synths – and the first release from Marika Hackman’s Any Human Friend – subverted expectations like her material did from two years ago. To recap: in 2015 Hackman released her debut album bristling with wistful folk before dramatically changing tack in 2017 for the grungey, garage rock-indebted I’m Not Your Man. Her new album is her most open and daring yet, lyrically and musically. Eleven songs play hopscotch with genre (see the krautrock-esque ‘Conventional Ride’ or traces of space rock on hilarious wank anthem ‘Hand Solo’). But really these creations surpass such signposting. Any Human Friend is a thick quilt of refreshingly varied sounds knotted by tumultuous turns of love, lust and fragility. Keep subverting, Marika.

Charlotte Krol

Before you immerse yourself in Blanck Mass’ latest offering (and trust me, it is an immersion, there is nothing passive about this record) make sure you brace yourself. A brutal but brittle assault on the senses, it continues where World Eater left off, though maybe lacks the nuance and variation in pace of previous efforts.

The influences are direct and stark, displaying Benjamin Powers’s talent for everything from pop (honestly there are parts of ‘Death Drop’ which sound like Tears for Fears), to screamo, ricocheting from one to the next in a single track. There’s no surprise, then, that the singles ‘No Dice’ and ‘House vs House’ are the most recognisable, fully-formed moments on an otherwise ambitiously-abrasive album. There’s a familiarity to them that help bring the record together. An enjoyable ball of energy and passion, that reveals what pop music would sound like if you put it through an organ grinder.

Jess Partridge 39

Events AfroFest August 3rd, Trinity Centre AfroFest showcases “the best of African culture” through music, art, fashion, dance and more, all outside at one of our favourite culture hubs, Trinity Centre. Organised by the people behind the formidable Afrobeats Fridays, expect two main stages, one of which being headed up by Ghanian afrobeat superforce, A-Star. Check out huge breakout track, ‘Balaya’, for a taste of his infectious flow and grooves.

Other music highlights include Congolese calypso band, African Ngwasuma, Spice The Rhythm and a smattering of DJs from both Bristol and London, including DJ Neyo, DJ Wally, Dancehall Generals and more. AfroFest is an opportunity to experience a world of African cultures in one day, and/or nurse your post-St Pauls Carnival blues with similarly joyous music and a community vibe.

Bristol Balloon Fiesta August 8-11th, Ashton Court You never get too old to enjoy the Balloon Fiesta. Whether you’re Bristol born-andbred, or new to the city, nothing is quite as life-affirming a ‘this is where I live’ moment as seeing the city sky littered with balloons of all shapes and sizes. Take the trip up to the Ashton Court Estate to be part of a launch, or find yourself a vantage point and simply watch it all float by. Multiple launches running Thursday to Sunday, at dusk and dawn.

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A-Star

Sequences Festival August 17th, Motion Since its launch in 2016, Sequences has been a highlight for anyone looking to get themselves Motion-bound in the thick of summer.

Known for hosting some of the biggest names in underground bass music, highlights this year include renowned garage purveyor, DJ EZ, Tottenham rapper, Headie One and takeovers from Critical Sound, Deep Medi and more. Critical’s line-up features Mefjus, Kasra Critical, Halogenix and DJ Levela, while Deep Medi bring Mala (two-hour set), Sicaria Sound and Bristol’s own Kahn.

DJ EZ

Two Years of Specialist Subject Records August 25th, Exchange Can you believe it’s been two years since the much-loved Specialist Subject Records relocated to Bristol, setting up shop (literally) above Exchange? Well it has, and there’s a party ‘n’ all. Taking shape as a punk-led all-dayer, it welcomes twelve DIY-exuding bands from Bristol and beyond, a (vegan) BBQ, a drunken karaoke after party and, of course, DJs. Bill highlights include Onsind, Woahnows, Charmpit and Witching Waves.

Join in celebrating one of Bristol’s most important hubs for independent music.

Woahnows

Bristol Vinyl Convention August 25th, The Lanes After kicking things off right, the Bristol Vinyl Convention returns for a second round of records, local booze and DJs at The Lanes.

Expect a growing list of sellers in attendance, including our pals from south of the river, Friendly Records. DJ sets this year come from DJ Format, The Allergies (Jalapeno Records), Boca 45 (Mass Appeal Records / 45 Live), Rob Life (Vinyl Veterans / Breakin Bread) and more.

A chance to find great records with more of a party atmosphere than your average fair.

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Full Listings KIRRIS RIVIERE BLUES BAND FREE / 11.00PM / NO. 1 HARBOURSIDE

TUESDAY 30TH JULY

DXP19 DRAG EXPLOSION £30ADV / 7.00PM / O2 ACADEMY

FRINGE JAZZ FREE / / THE BRISTOL FRINGE

WE USED TO SEE THE SKY £4ADV / 7.30PM / THE THUNDERBOLT

MARIE LISTER & JAMES LADD FREE / 9.30PM / THE CANTEEN

SUNDAY 28TH JULY

PEARS + THE DOPAMINES + THE RAGING NATHANS £10ADV / 7.30PM / EXCHANGE

Full Listings

SOVANTO FREE / / THE BRISTOL FRINGE LIVE MUSIC TBA FREE / 4.00PM / THE CANTEEN FORTH & BACK HIP HOP JAM HOSTED BY MADLY FREE / 9.00PM / THE GALLIMAUFRY

CAPTAIN JAMAICA & THE MELLOTONES FREE / 9.00PM / THE GALLIMAUFRY DAKHABRAKHA £12ADV / 7.30PM / THE LANES FRUIT MACHINE CYPHER £2 / 9.00PM / MR WOLFS

LUCINDA WILLIAMS £27.50ADV / 7.00PM / O2 ACADEMY

WEDNESDAY 31ST JULY

FLAMENCO LOCO FREE / 8.00PM / TOBACCO FACTORY

THE SCARLET MUSES FREE / 9.30PM / THE CANTEEN

MONDAY 29TH JULY

THE SOUND CUPBOARD DONATIONS / 8.0PM / CROFTERS RIGHTS

SONGWRITER SHOWCASE FREE / / THE BRISTOL FRINGE

FLIPPER + WE ARE THE ASTEROID £20ADV / 7.00PM / EXCHANGE

LIVE MUSIC TBA FREE / 9.30PM / THE CANTEEN

WALDO'S GIFT FT CHRIS HYSON (SNOWPOET) FREE / 9.00PM / THE GALLIMAUFRY

HAIRBAND + SWALLOW CAVE + GRANDMA'S HOUSE £5ADV / 7.30PM / EXCHANGE

OPEN MIC FREE / 8.00PM / GRAIN BARGE

OPEN MIC: HOSTED BY MIKE DENNIS FREE / 8.00PM / THE GALLIMAUFRY

WADE BOWEN £14ADV / 7.30PM / THE LOUISIANA

SONGSMITH FREE / 8.00PM / MR WOLFS

GIN JAM: OPEN STAGE NIGHT FREE / 9.00PM / MR WOLFS

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see bristolinstereo.com/live-listings for up-to-date events and more

Full Listings QUIT YR JOB RECORDS PRESENTS JOY + FOOTBALL FC + CHARIVARI + SAM GRUDGINGS £4ADV / 7.30PM / THE THUNDERBOLT

TERRACE SESSIONS 2019: FALLING UP PRESENTS FREE / 6.00PM / COLSTON HALL TERRACE

THURSDAY 1ST AUGUST

MCLUSKY + MILO'S PLANES + TWISTED ANKLE £17ADV / 7.30PM / EXCHANGE

STRUMMERJAM £5 / 7.00PM /

KIKO BUN & BAND + GARDNA £13ADV / 7.00PM / THE FLEECE

GUNDHI BROTHERS FREE / / THE BRISTOL FRINGE

UNDERGANG (DENMARK) + DEIQUISITOR + CRYPTWORM SOLD OUT / 7.00PM / THE GRYPHON

BLACK TONGUE + UPON THOSE DYING + URSUS + DRIFTED + GRIEF RITUAL £10ADV / 6.00PM / EXCHANGE

THE FOOL'S PARADISE £5ADV / 7.30PM / THE LOUISIANA

ROSALIE CUNNINGHAM + GOLDRAY £15ADV / 7.30PM / THE FLEECE

BLACK PEACHES + SOUL HOLE £3 / £4 / 9.00PM / MR WOLFS

SNAZZBACK: FULL BAND FT. CHINA BOWLS FREE / 9.00PM / THE GALLIMAUFRY

SATURDAY 3RD AUGUST

1000 SCARS + ISOLATION FREE / 7.00PM / THE GRYPHON SUPERLOVE £5ADV / 7.30PM / THE LOUISIANA KIN SOUND SYSTEM £3 / 9.00PM / MR WOLFS JAMES FUSSELL AND THE NORTH STREET BAND £4ADV / 7.30PM / THE THUNDERBOLT FRIDAY 2ND AUGUST DF: MITCH SANDERS + BEN COOLING + RY CURTIS £6ADV / 7.30PM / LEE + GUEST FREE / / THE BRISTOL FRINGE

CJ RAMONE + GHOST OF THE AVALANCHE £12ADV / 7.30PM / EXCHANGE SAGE FRANCIS & B.DOLAN £14ADV / 7.30PM / THE FLEECE ALL CONSUMED + AUTOCRACY FREE / 7.00PM / THE GRYPHON RIA PLAYS £5ADV / 7.30PM / THE LOUISIANA SEXY PRETTY THINGS + MIXTAPE SAINTS + ROLLERS OF BEDLAM + PONY BOY AND THE GOLDEN SOUND £3 / 7.30PM / THE MOTHERS RUIN SOL + PURAVIDA £3 / £4 / 9.00PM / MR WOLFS VESTIGAL AND WIZZARDING PROMOTIONS ALL-DAYER: TORPOR + CEGVERA + BLACK ASTEROIDS + PRISA MATA + SAIL BAND + KING BOLETE + OGIVES £5 / 5.30PM / THE OLD ENGLAND 43

see bristolinstereo.com/live-listings for up-to-date events and more

Full Listings LINDUP BROTHERS + THE PROLES + THE DISCONNECTED + REECE BANKS £4ADV / 7.30PM / THE THUNDERBOLT

TUESDAY 6TH AUGUST

SUNDAY 4TH AUGUST

INVISIBLE LLAMA PRESENTS: CAGEWORK + JUNODEF + SUN SPOT / 7.00PM /

PLASTIC TERRAS / 7.00PM /

OPEN MIC FREE / / THE BRISTOL FRINGE

JAZZ RENDEZ-VOUS / SPEL POETRY FREE / / THE BRISTOL FRINGE

AFTER THE BURIAL + FROM SORROW TO SERENITY + GHOST IRIS £13ADV / 7.30PM / EXCHANGE

JOHN MYRTLE / BENJAMIN SPIKE SAUNDERS / HAMBURGER £5ADV / 7:30PM / CAFÉ KINO THE JAZZ SESSIONS HOSTED BY CRAIG CROFTON FREE / 9.00PM / THE GALLIMAUFRY GRAMME / 7:00PM / ROUGH TRADE ANIMAL AS LEADERS £23ADV / 5.45PM / SWX AIR MILES + HAYDON £4ADV / 7.30PM / THE THUNDERBOLT JO SWAN & NICK PULLEN FREE / 8.00PM / TOBACCO FACTORY BLACKALICIOUS £16.50ADV / 7.00PM / TRINITY CENTRE MONDAY 5TH AUGUST OPEN MIC: HOSTED BY MIKE DENNIS FREE / 9.00PM / THE GALLIMAUFRY LIME CORDIALE £12ADV / 7.30PM / THE LOUISIANA SONGSMITH FREE / 8.00PM / MR WOLFS

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MICHALE GRAVES £15ADV / 7.30PM / THE FLEECE LEWIS CREAVEN'S DHARMA BLUES FREE / 9.00PM / THE GALLIMAUFRY FRUIT MACHINE CYPHER FREE / 9.00PM / MR WOLFS WEDNESDAY 7TH AUGUST FRINGE JAZZ: SISANDA £12 / / THE BRISTOL FRINGE WALDO'S GIFT: IMPROVISATIONS FREE / 9.00PM / THE GALLIMAUFRY OPEN MIC FREE / 8.00PM / GRAIN BARGE GIN JAM: OPEN STAGE NIGHT / / MR WOLFS THURSDAY 8TH AUGUST A TRIBUTE TO KATE BUSH £8 / / THE BRISTOL FRINGE DON STRAPZY & BERNA £10ADV / 7.30PM / THE FLEECE SNAZZBACK'S GLOBAL GROOVE EXPERIMENT: NEW YORK FREE / 9.00PM / THE GALLIMAUFRY

see bristolinstereo.com/live-listings for up-to-date events and more

Full Listings WAY BACK WHEN + MAJOR FRET £2 / 7.30PM / THE MOTHERS RUIN

SATURDAY 10TH AUGUST

ACTION FOR M.E BENEFIT FUNDRAIDER! THE DISORDERLIES + SONIC SUNRISE + MORE TBA £4ADV / 7.30PM / THE THUNDERBOLT

BREAKFAST RECORDS: SLONK + PORK PIE + IMMY / 7.00PM /

FRIDAY 9TH AUGUST THE LASTING DAYS / 7.00PM / OLINDER + TWEEN TRIO FREE / / THE BRISTOL FRINGE TERRACE SESSIONS 2019: RUN £5 INC BF / 5.00PM / COLSTON HALL TERRACE ED FORCE ONE (IRON MAIDEN TRIBUTE) £10ADV / 7.00PM / THE FLEECE ANT NOEL & THE PEABODY DRAKES £5ADV / 8.00PM / GRAIN BARGE DONUT RECORDS: BIRDMAN CULT FREE / 7.00PM / THE LANES AMUN RAMEN + DUBI DOLCZEK £3 / £4 / 9.00PM / MR WOLFS P.R.O.G (PEOPLE ROCKIN' OUT GRACIOUSLY): MUTANT THOUGHTS + LUNG MONEY + JAQDAW £5 / 7.30PM / THE OLD ENGLAND SAM FENDER £12.50ADV / 6.30PM / SWX VALENTINA + RADIO MAKERS + BUTANE COMETS + BADWOLF £4ADV / 7.30PM / THE THUNDERBOLT

STATION 2 STATION FREE / / THE BRISTOL FRINGE PHONSECA £7 / 8:00PM / CAFÉ KINO GO GO CHILDREN £TBC / 9.00PM / EXCHANGE H.R. (BAD BRAINS) £15ADV / 7.00PM / THE FLEECE THE BOLSHEVIKS £7ADV / 7.30PM / THE LOUISIANA THE MINKE WHAKES + JACK HUMPHRIES £3 / £4 / 9.00PM / MR WOLFS UNF! + LADY JANE'S REVENGE + PLAGUE UK + KITE THIEF / 8.00PM / THE OLD ENGLAND AMYTHYST KIAH / 7:30PM / ROUGH TRADE FRANKLIN MINT + BLACK WENDY + CONSPIRACY OF CHAPLAINS + DOOMICIDAL £4ADV / 7.30PM / THE THUNDERBOLT SUNDAY 11TH AUGUST CLT DRP + TRIGGER THUMB + DON JUAN + FOOTBALL FC / 7.00PM / FREE ASSOCIATION FREE / / THE BRISTOL FRINGE

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Full Listings HOLDING ABSENCE + PHOXJAW + RXPTRS + ZEPHER + KAMINO £10ADV / 6.00PM / EXCHANGE PHANTOM ENSEMBLE FREE / 9.00PM / THE GALLIMAUFRY MARIKA HACKMAN / 4.00PM / ROUGH TRADE LEWIS CREAVEN FREE / 8.00PM / TOBACCO FACTORY MONDAY 12TH AUGUST 1% OF ONE: WOKEN SOCIAL SCENE / 7.00PM / THE FALLEN DREAMS + INVISIONS + BORDERS £10ADV / 6.00PM / EXCHANGE BLACK MILK + REMI £15ADV / 7.30PM / THE FLEECE OPEN MIC: HOSTED BY MIKE DENNIS FREE / 9.00PM / THE GALLIMAUFRY GRAVY TRAIN & BLG: MINAMI DEUTSCH / 8.00PM / THE LANES SONGSMITH FREE / 9.00PM / MR WOLFS TUESDAY 13TH AUGUST OPEN MIC FREE / / THE BRISTOL FRINGE CHAPTER 13 £15ADV / 7.30PM / EXCHANGE SEEDLING SESSIONS: A DIFFERENT THREAD + THOMAS SHEPHARD FREE / 9.00PM / THE GALLIMAUFRY

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FRUIT MACHINE CYPHER FREE / 8.00PM / MR WOLFS WEDNESDAY 14TH AUGUST MEDICINE BOY + KIKI + CLWB FUZZ FREE / 7.00PM / FRINGE JAZZ: ORPHIC £10 / / THE BRISTOL FRINGE FANTASY £6ADV / 8.00PM / EXCHANGE LEE FIELDS AND THE EXPRESSIONS £21.80 INC BF / 8.00PM / FIDDLERS THE BLACK SEEDS £20ADV / 7.30PM / THE FLEECE WALDO'S GIFT: REWORKS: APHEX TWIN FREE / 9.00PM / THE GALLIMAUFRY OPEN MIC FREE / 8.00PM / GRAIN BARGE DON PIE PIE + TALL TALKER + CARL WHITE £5 / 7.30PM / THE MOTHERS RUIN GIN JAM: OPEN STAGE NIGHT FREE / 9.00PM / MR WOLFS THURSDAY 15TH AUGUST HCM: ILL WICKER + WAR AGAINST SLEEP / 7.30PM / BEAN PIGS PUPPETRY SCRATCH NIGHT FREE/DONATION / 7:30PM / CAFÉ KINO DORJA + NEUROMATIC £10ADV / 7.30PM / EXCHANGE SNAZZBACK: OPEN STAGE FREE / 9.00PM / THE GALLIMAUFRY

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Full Listings FAMILY JOOLS + TEMPLE KEYS + LUVIA + MORE TBC £5 / 7.30PM / THE MOTHERS RUIN FRIDAY 16TH AUGUST BRUTALLIGATORS + ALL BETTER + NERVOUS REX + BRIGHTR £7ADV / 7.30PM / MARK FEVEN: PIANOMAN FREE / / THE BRISTOL FRINGE TERRACE SESSIONS 2019: TROPICAL TEA PARTY FREE / 6.00PM / COLSTON HALL ULTIMATE 40 (UB40 TRIBUTE) £13ADV / 7.00PM / THE FLEECE

TWIN ARROW + SUPPORT £3 / 9.00PM / MR WOLFS SUNDAY 18TH AUGUST FANGS + SENTRY / 7.00PM / KAROLINA GRIŠKUTĖ QUARTET FREE / / THE BRISTOL FRINGE SYDNEY SESSIONS FREE / 9.00PM / THE GALLIMAUFRY MOLLY & THE KINGS FREE / 8.00PM / TOBACCO FACTORY MONDAY 19TH AUGUST

GRIM EXISTENCE + CAVE KILLER / 7.00PM / THE GRYPHON

PEACH CLUB + LILITH AI + DRUNKEN BUTTERFLY + NERVOUS REX £5ADV / 7.30PM / EXCHANGE

BLG: LA CHINOISE FREE / 7.00PM / THE LANES

OPEN MIC: HOSTED BY MIKE DENNIS FREE / 9.00PM / THE GALLIMAUFRY

HOWLING HERMAN & THE DWELLERS + KARYO £3 / £4 / 9.00PM / MR WOLFS

SONGSMITH FREE / 8.00PM / MR WOLFS

THE RAILS / 7.00PM / ROUGH TRADE SATURDAY 17TH AUGUST LEE + GUESTS FREE / / THE BRISTOL FRINGE BIG NIGE PARTY £16ADV / 2.00PM / EXCHANGE

SKUNK ANANSIE £27.50ADV / 7.00PM / O2 ACADEMY SHURA / 7:30PM / ROUGH TRADE TUESDAY 20TH AUGUST OPEN MIC FREE / / THE BRISTOL FRINGE

OAS-IS £13.50ADV / 7.00PM / THE FLEECE

MIDNIGHT PICNICS IN TEHRAN BOOK LAUNCH TBC / 7:00PM / CAFÉ KINO

DEPARTMENT S: DROOGS + THE ORANGE SKIES £3ADV / 9.00PM / THE LANES

TBC FREE / 9.00PM / THE GALLIMAUFRY

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Full Listings BLG & WP: TAU £5 / 7.00PM / THE LANES

JAKABOL + OGIVES BIG BAND £3 / 9.00PM / MR WOLFS

FRUIT MACHINE CYPHER FREE / 9.00PM / MR WOLFS

FRIDAY 23RD AUGUST

PUP / 7.30PM / ROUGH TRADE

WE ARE PARKAS + HUSH MOZEY + GETRZ / 7.30PM /

WEDNESDAY 21ST AUGUST

LEE + GUESTS FREE / / THE BRISTOL FRINGE

FRINGE JAZZ: ACT TBA TBA / / THE BRISTOL FRINGE

MOTORHEADACHE £12ADV / 7.30PM / EXCHANGE

NITRATE KISSES £5ADV / 7.00PM / EXCHANGE

CLOSE TO TEARS (TEARS FOR FEARS) + THE RIDDLE (NIK KERSHAW) £12ADV / 7.00PM / THE FLEECE

WALDO'S GIFT: OPEN COLLABORATION FREE / 9.00PM / THE GALLIMAUFRY OPEN MIC FREE / 8.00PM / GRAIN BARGE ALKAHEST *FAREWELL SHOW*+ EVIL OWL PWYW / 7.30PM / THE MOTHERS RUIN GIN JAM: OPEN STAGE NIGHT FREE / 9.00PM / MR WOLFS JADU HEART / 7:30PM / ROUGH TRADE THURSDAY 22ND AUGUST

CONTROL THE STORM / 7.00PM / THE GRYPHON OH THE GUILT + NORTH BY NORTH + SEEK WARMTH FREE / 7.30PM / THE LANES CHRISSIE HUNTLEY + THE MAY KINGS £3 / £4 / 9.00PM / MR WOLFS 3 DAFT MONKEYS £9ADV / 7.30PM / THE THUNDERBOLT SATURDAY 24TH AUGUST

AFTERNOON JAZZ £6 / / THE BRISTOL FRINGE

THE TRANSATLANTIC HOT CLUB + JACK CALLOWAY £15 / / THE BRISTOL FRINGE

MUGSTAR + SHOUN SHOUN £8ADV / 7.30PM / EXCHANGE

HULLABALOO MUSE TRIBUTE £12ADV / 6.30PM / THE FLEECE

PATENT PENDING £15ADV / 7.30PM / THE FLEECE

FOETAL JUICE + THY FLESH CONSUMED / 7.00PM / THE GRYPHON

SNAZZBACK: BEATTAPE FT ILLITERATE FREE / 9.00PM / THE GALLIMAUFRY

THE ROAD ALBUM LAUNCH PWYW / 7.30PM / THE MOTHERS RUIN

DOWNLAND £5ADV / 7.30PM / THE LOUISIANA 48

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Full Listings SNOG X GFOTYBUCKS: GFOTY + PET BITCH + COUNT BALDOR + SURATI + CHEMA DIAZ + CANDY HURTZZ / 8.00PM / THE OLD ENGLAND GRATEFUL DUDES (GRATEFUL DEAD TRIBUTE) £9ADV / 7.30PM / THE THUNDERBOLT SUNDAY 25TH AUGUST HOT CLUB DE CLIFTON + JACK CALLOWAY'S BAND FREE / / THE BRISTOL FRINGE SPECIALIST SUBJECT ALL-DAYER £15ADV / 2.00PM / EXCHANGE SPECIAL KINDA MADNESS £13.50ADV / 3.00PM / THE FLEECE FORTH & BACK HIP HOP JAM HOSTED BY MADLY FREE / 9.00PM / THE GALLIMAUFRY

TUESDAY 27TH AUGUST INTOKU / 7.00PM / SONGWRITERS SHOWCASE FREE / / THE BRISTOL FRINGE CAPTAIN JAMAICA & THE MELLOTONES FREE / 9.00PM / THE GALLIMAUFRY FRUIT MACHINE CYPHER FREE / 9.00PM / MR WOLFS WEDNESDAY 28TH AUGUST THE B-JS / 7.00PM / FRINGE JAZZ: TBA TBA / / THE BRISTOL FRINGE WALDO'S GIFT FT LYREBIRD FREE / 9.00PM / THE GALLIMAUFRY

ONE MILE RADIUS RECORDS PRESENTS: FOOTBALL FC + GRANDMAS HOUSE + ADAM VEASY AND THE HELLCATS + TS IDIOT AND THE HIDEOUS TREND FREE ENTRY / 6-10PM / THE THUNDERBOLT

GIN JAM: OPEN STAGE NIGHT FREE / 9.00PM / MR WOLFS

PAUL BRADLEY FREE / 8.00PM / TOBACCO FACTORY

MACHINE GUN KELLY £27.50ADV / 7.00PM / SWX

MONDAY 26TH AUGUST

THURSDAY 29TH AUGUST

LIVING BODY + HIGH CLIMBERS / 7.00PM /

OPEN STAGE FREE / / THE BRISTOL FRINGE

OPEN MIC: HOSTED BY MIKE DENNIS FREE / 9.00PM / THE GALLIMAUFRY

STEVE GUNN £12.50ADV / 7.30PM / EXCHANGE

SONGSMITH FREE / 8.00PM / MR WOLFS

STEVE GUNN £13.63 INC BF / 8.00PM / EXCHANGE

1% OF ONE: HAPPYNESS / 8.00PM / THE OLD ENGLAND

SNAZZBACK PRESENTS: PIIN FREE / 9.00PM / THE GALLIMAUFRY

WAND £12ADV / 7.30PM / THE LOUISIANA

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Full Listings SASAMI £10ADV / 7.30PM / THE LOUISIANA

HANGOVER CLUB FREE / / THE BRISTOL FRINGE

TEMPLES / 7:30PM / ROUGH TRADE

BRISTOL PUNX PICNIC £8.50ADV / 4.00PM / EXCHANGE

DRIFTWOOD £4ADV / 7.30PM / THE THUNDERBOLT

FIGHTERS FOO £12ADV / 7.00PM / THE FLEECE

FRIDAY 30TH AUGUST

SATARIAL (RUSSIA) 30TH ANNIVERSARY TOUR / 7.00PM / THE GRYPHON

LEE + GUEST FREE / / THE BRISTOL FRINGE TERRACE SESSIONS 2019: A GUY CALLED GERALD £5 INC BF / 6.00PM / COLSTON HALL TERRACE

FILAMENTS £5ADV / 7.30PM / THE LOUISIANA TAUNTS PWYW / 7.30PM / THE MOTHERS RUIN

HARD SKIN + SCRAP BRAIN + GIMP WORLD £8ADV / 7.30PM / EXCHANGE

THE ROSA GRAY BAND + THE GENIUS OF DAVID BOWIE £3 / £4 / 9.00PM / MR WOLFS

BLACKMORE'S BLOOD £12ADV / 6.30PM / THE FLEECE

MYST + SPECIAL GUESTS £5 / 7.00PM / THE OLD ENGLAND

ERADIKATOR / 7.00PM / THE GRYPHON

SUNDAY 1ST SEPTEMBER

GLITTERER £10ADV / 7.30PM / THE LOUISIANA

ROCK GODDESS + HEAVY PETTIN' £15ADV / 7.30PM / EXCHANGE

THE SCRIBES + GUNDHI BROTHERS £3 / £4 / 9.00PM / MR WOLFS

VALIS ABLAZE + DERANGE / 7.00PM / THE LANES

LAURA JANE GRACE £20ADV / 7.00PM / O2 ACADEMY

MONDAY 2ND SEPTEMBER

TOTAL REJECTION + THE SINICTONES + DAVEY WOODWARD £6ADV / 7.30PM / THE THUNDERBOLT

CROSSLIGHT + KITE THIEF + YOUTH ILLUSION £6ADV / 7.00PM / EXCHANGE

SATURDAY 31ST AUGUST

MARK MULCAHY £16ADV / 7.30PM / THE LOUISIANA

PUNKA PRESENTS: SHE MAKES WAR + THE EMPTY PAGE + FEY MILITIA / /

50

TUESDAY 3RD SEPTEMBER THE SPOOK SCHOOL + LEGGY £10ADV / 7.30PM / EXCHANGE

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Full Listings THURSDAY 5TH SEPTEMBER

THURSDAY 12TH SEPTEMBER

OFF WITH THEIR HEADS + THE MURDERBURGERS + THE RUN UP £10ADV / 7.30PM / EXCHANGE

TOMB MOLD + RITUAL NECROMANCY + OF FEATHER AND BONE £14ADV / 7.00PM / EXCHANGE

CHE LINGO £7ADV / 7.30PM / THE LOUISIANA

SPEAR OF DESTINY £18ADV / 7.30PM / THE FLEECE

RAUSCHENBURG +NOVEMBER BEES + LIGHTNING SHARKS £4ADV / 7.30PM / THE THUNDERBOLT

THE GALLERYS £5ADV / 7.30PM / THE LOUISIANA

FRIDAY 6TH SEPTEMBER JOHN PAUL WHITE £17.44 INC BF / 8.00PM / BRISTOL FOLK HOUSE STAYIN' ALIVE BEE GEES TRIBUTE £13.50ADV / 7.00PM / THE FLEECE GUNS 2 ROSES £13.50ADV / 6.30PM / O2 ACADEMY SATURDAY 7TH SEPTEMBER FLEETINGWOOD MAC £14.50ADV / 7.00PM / THE FLEECE GIA MARGARET £10ADV / 7.30PM / THE LOUISIANA SUNDAY 8TH SEPTEMBER INME + LEBROCK + OXYGEN THIEF £16.50ADV / 7.30PM / EXCHANGE JASON & THE SCORCHERS £25ADV / 7.00PM / O2 ACADEMY WEDNESDAY 11TH SEPTEMBER ACID DAD £6ADV / 8.00PM / CROFTERS RIGHTS

THE PROSIACS £4ADV / 7.30PM / THE THUNDERBOLT FRIDAY 13TH SEPTEMBER LAID BLAK £13.50ADV / 8.00PM / EXCHANGE DOREEN DOREEN £15ADV / 7.00PM / THE FLEECE SATURDAY 14TH SEPTEMBER EAT UP £5ADV / 8.00PM / EXCHANGE RUZZ GUITAR'S BLUES REVUE £8ADV / 7.30PM / THE LOUISIANA FEMI KUTI £25ADV / 7.00PM / O2 ACADEMY UK SACRED HARP CONVENTION TBC / 10.00AM / TRINITY CENTRE SUNDAY 15TH SEPTEMBER UNEVEN STRUCTURE + SCHIERMANN £10ADV / 7.30PM / EXCHANGE SUBCONSCIOUS SOUNDS PRESENTS: GLASS CEILINGS £6ADV / 7.00PM / THE MOTHERS RUIN

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Full Listings FEROCIOUS DOG / / THEKLA

PETROL GIRLS £8ADV / 7.00PM / EXCHANGE

MONDAY 16TH SEPTEMBER

THE BON JOVI EXPERIENCE £15ADV / 6.30PM / THE FLEECE

PAUL GILBERT £22.50ADV / 7.30PM / THE FLEECE

LUKE APPLETON (ICED EARTH) / 7.00PM / THE GRYPHON

ACORN TENANTS UNION BENEFIT GIG: FLUX CAPACITORS + HOLLY CARTER MUSIC + GRYM + CORKY & CLAYTON BLIZZARD £4ADV / 7.30PM / THE THUNDERBOLT

IST IST £10ADV / 7.30PM / THE LOUISIANA

TUESDAY 17TH SEPTEMBER

IAN PROWSE ( PELE/AMSTERDAM) £9ADV / 7.30PM / THE THUNDERBOLT

MALLORY KNOX £15ADV / 7.30PM / THE FLEECE

SATURDAY 21ST SEPTEMBER

ROUND MOUNTAIN GIRLS (AUSTRALIA) + WITCH DOCTOR BLUES BAND + LEON DAYE BAND + THE DUNBARS £4ADV / 7.30PM / THE THUNDERBOLT EDWYN COLLINS £20ADV / 7.00PM / TRINITY CENTRE WEDNESDAY 18TH SEPTEMBER ACRES + PARTING GIFTS + CAPTIVES £8ADV / 6.00PM / EXCHANGE LAGERSTEIN (AUSTRALIA) £9ADV / 7.00PM / THE GRYPHON THURSDAY 19TH SEPTEMBER CLEARWATER CREEDENCE REVIVAL £18ADV / 7.30PM / THE FLEECE FRIDAY 20TH SEPTEMBER NATALIE EVANS + BONNIESONGS + QARIAQ £6ADV / 8:00PM / CAFÉ KINO 52

DIZRAELI / / THEKLA

THE EX + ICEMAN FURNISS QUINTET + SLAGHEAP £13ADV / 7.30PM / EXCHANGE SUGAR HORSE + PUNCH ON! + THE ROAD £5ADV / 7.30PM / EXCHANGE T.REXTASY £17.50ADV / 7.00PM / THE FLEECE ALTERED BRIDGE / 7.00PM / THE GRYPHON MODERN NATURE £9ADV / 7.30PM / THE LOUISIANA MARIKA HACKMAN / / THEKLA SUNDAY 22ND SEPTEMBER JIM JONES & THE RIGHTEOUS MIND £12ADV / 7.30PM / EXCHANGE CREED BRATTON £13.50ADV / 7.30PM / THE FLEECE

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Full Listings THE CHESTERFIELDS £10ADV / 7.30PM / THE LOUISIANA CLEM BURKE ( BLONDIE) AND THE TEARAWAYS + RYAN HAMILTON AND THE HARLEQUIN GHOSTS + THE ORANGE SKIES £12ADV / / THE THUNDERBOLT MONDAY 23RD SEPTEMBER PEARL JAM UK £16.50ADV / 6.30PM / O2 ACADEMY JOE NICHOLS / / THEKLA TUESDAY 24TH SEPTEMBER FUR £9ADV / 7.00PM / EXCHANGE ALEX CAMERON £12ADV / 7.30PM / THE FLEECE STATIC-X £22.50ADV / 7.00PM / SWX WEDNESDAY 25TH SEPTEMBER BIG ZUU £8ADV / 7.30PM / EXCHANGE FETTY WAP £29.50ADV / 7.00PM / O2 ACADEMY

DEMONICAL (SWEDEN) + UBERON (NORWAY) / 7.00PM / THE GRYPHON SPIELBERGS £9ADV / 7.30PM / THE LOUISIANA ICE NINE KILLS / / THEKLA FRIDAY 27TH SEPTEMBER SUSPICIOUSLY ELVIS £16ADV / 7.00PM / THE FLEECE THE MONOLITH DEATHCULT / 7.00PM / THE GRYPHON GARDNA / / THEKLA SATURDAY 28TH SEPTEMBER MURRAY A. LIGHTBURN (OF THE DEARS) £10.90 INC BF / 8.00PM / COLSTON HALL FOYER THE ST PIERRE SNAKE INVASION + CASSELS £7.50ADV / 6.00PM / EXCHANGE THE SPECIALS LTD + 2 RUDE £14.50ADV / 7.00PM / THE FLEECE

THURSDAY 26TH SEPTEMBER

FETUS CHRIST + ATOMCK + INSTRUMENTS OF TORTURE + ORGANCHRIST / 7.00PM / THE GRYPHON

EMMA RUTH RUNDLE £14ADV / 7.00PM / EXCHANGE

GRAVY TRAIN & BLG: JULIE’S HAIRCUT / 7.30PM / THE LANES

CHON £16ADV / 7.30PM / THE FLEECE

VOLBEAT £32.50ADV / 5.30PM / O2 ACADEMY

DEMONICAL (SWEDEN) / 7.00PM / THE GRYPHON

THE NIGHT CAFÉ £13.50ADV / 6.30PM / SWX

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Full Listings SUNDAY 29TH SEPTEMBER

NONCY KOCHANEK £20ADV / 7.30PM / THE FLEECE

MARTIN TURNER (WISHBONE ASH) £17.50ADV / 7.30PM / EXCHANGE

BLG: PHOBOPHOBES / 7.00PM / THE LANES

TOUCHÉ AMORÉ £22.50ADV / 7.00PM / SWX

RICHARD HAWLEY £27.50ADV / 7.00PM / O2 ACADEMY

MONDAY 30TH SEPTEMBER

EARTHGANG / / THEKLA

RIVERS OF NIHIL £15ADV / 7.00PM / THE FLEECE TUESDAY 1ST OCTOBER PLASTIC MERMAIDS / 7.00PM / CROFTERS RIGHTS HIDE + KONTRAVOID £9ADV / 7.30PM / EXCHANGE RYAN + ROE £13.50 / 7.00PM / EXCHANGE MANU DELAGO ENSEMBLE £16.35 INC BF / 8.00PM / FIDDLERS SEBADOH £17.50ADV / 7.30PM / THE FLEECE NEW HOPE CLUB £18.50ADV / 7.00PM / O2 ACADEMY RALPH PELLEYMOUNTER / / THEKLA MIX MASTER MIKE £12.50 / £15 ADV / 7.00PM / TRINITY CENTRE WEDNESDAY 2ND OCTOBER MAN & THE ECHO £10ADV / 7.30PM / EXCHANGE JESCA HOOP £16.35 INC BF / 8.00PM / FIDDLERS

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THURSDAY 3RD OCTOBER MAISHA £11ADV / 7.30PM / EXCHANGE SEA GIRLS £12ADV / 7.30PM / THE FLEECE GEORGE OGILVIE £9 / 7.30PM / ROUGH TRADE THE ALBUM LEAF £20.17 INC BF / 8.00PM / ST GEORGE'S BRISTOL FRIDAY 4TH OCTOBER DAVID ALLRED (ERASED TAPES) £13.08 INC BF / 8.00PM / COLSTON HALL FOYER KIKAMORA + NIGHT LASER + ETHYRFIELD £7ADV / 6.30PM / EXCHANGE FREEDOM! A TRIBUTE TO GEORGE MICHAEL £17.50ADV / 7.00PM / THE FLEECE PIERCE BROTHERS / / THEKLA SATURDAY 5TH OCTOBER TUNGZ £8ADV / 7.30PM / EXCHANGE

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Full Listings THE EMPERIALS £11ADV / 7.00PM / THE FLEECE

WEDNESDAY 9TH OCTOBER

BLOXX £8ADV / 7.30PM / THE LOUISIANA

HOUSE OF PHARAOHS £10ADV / 7.00PM / EXCHANGE

SUNDAY 6TH OCTOBER

DAVID FORD £15ADV / 7.30PM / THE FLEECE

SLACKERS + CALL ME MALCOLM £15ADV / 7.00PM / EXCHANGE

KOVIC / / THEKLA

ORGANEK £25ADV / 7.00PM / THE FLEECE

THURSDAY 10TH OCTOBER

TIDES FROM NEBULA & TIDES OF MAN / 8.00PM / THE LANES

PLANET ROCK ROADSTARS + HANNAH WICKLUND & THE STEPPIN STONES + GORILLA RIOT + PISTON £14ADV / 6.30PM / EXCHANGE

THE DUNWELLS £10ADV / 7.30PM / THE LOUISIANA HOOTIE AND THE BLOWFISH £39.50ADV / 7.00PM / O2 ACADEMY SLEEP £22.50ADV / 7.00PM / SWX MONDAY 7TH OCTOBER THE MURDER CAPITAL £10ADV / 7.00PM / EXCHANGE TUESDAY 8TH OCTOBER SWIM DEEP + PHOEBE GREEN £10ADV / 7.00PM / EXCHANGE

BLACK PEAKS £13ADV / 7.30PM / THE FLEECE PEGGY SUE £9ADV / 7.30PM / THE LOUISIANA BLACK STAR RIDERS £29.50ADV / 7.00PM / O2 ACADEMY STONY SUGARSKULL + THE SWEET THINGS £6ADV / 7.30PM / THE THUNDERBOLT BARNS COURTNEY £13ADV / 7.00PM / TRINITY CENTRE FRIDAY 11TH OCTOBER

WALTER TROUT £25ADV / 7.30PM / THE FLEECE

CRAIG FINN £22.50ADV / 7.00PM / EXCHANGE

APRE £7ADV / 7.30PM / THE LOUISIANA

TANKUS THE HENGE £12ADV / 7.00PM / THE FLEECE

CREEP SHOW £19.08 INC BF / 8.00PM / TRINITY CENTRE

DARKFALL (AUSTRIA) / 7.00PM / THE GRYPHON

CREEP SHOW £17.50ADV / 7.30PM / TRINITY CENTRE

GRAVY TRAIN & BLG: THE COSMIC DEAD / 7.30PM / THE LANES 55

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Live Reviews curated by Jon Kean, Live Editor

The Cinematic Orchestra June 30th at Harbourside words: Jonny Pinches photo: Jessica Bartolini On a cool summer’s evening, there’s not much that beats time spent relaxing, listening to the jazzy electronics of The Cinematic Orchestra. Better still is one spent doing just that on Bristol’s Harbourside, to finish off the sensational Bristol Sounds.

The Cinematic Orchestra show their artistry from the get-go. Their opening instrumental track has it all: a backbone of drummed polyrhythm that soon segues into an expansive soundscape. It feels bright, new, explorational. Improvisation is firmly in charge—no studio version could provide the same experience as this. The band truly lives up to their orchestral moniker.

They swap between solos. Tom Chant on soprano saxophone conjures a witch-like feel, his sax laughing along, followed by Luke Flowers on kit. It’s very free form, and definitely jazz, but there’s an indisputably electronic element to it. The synthesised parts sound remarkably authentic, albeit with a plethora of effects transforming them.

The smooth and honeyed voice of Tawiah comes on for a stellar ‘Wait For Now / Leave The World’. It’s from the band’s comeback record To Believe, the first after a seven-year studio hiatus. Tawiah takes front and centre on the track, the orchestra forming a more 56

solid structure than before, perfectly accentuating her melody. Heidi Vogel, likewise, provides ample passion - and astonishing vocal depth on ‘Familiar Ground’ and ‘A Promise’. The latter strongly evokes an alien abduction: jazzy feel ceding to digital bleeps and heady effects.

The stand-out segment of the gig is far and away an inimitable version of their famous ‘To Build A Home’. Beginning so intimate and acoustic, the crowd is enveloped by a hush even the gulls quiet for the beauty of the piece.

Evolving, Heidi joins in for a duet, the piece building up to a lush combination of keys, kit and chorus, before again deconstructing for the denouement. The Cinematic Orchestra are a band that sparkle on record, but it’s live that they shine—a truly magical gig.

Kirin J Callinan June 7th at The Louisiana words: Max Baker photo: Laure Noverraz Kirin J. Callinan has the audience in the palm of his hand. He’s just ordered us out of the room and down to the bar of the Louisiana. He’s now leading the audience in renditions of his songs from atop the merch table. The endpoint of another of tonight’s many tangents, it’s a snapshot of Callinan’s brilliantly untethered stage persona.

A large part of Calinan’s artistic pull is his ability to generate deeper meanings from his reference points, whilst keeping his tongue planted firmly in his cheek. A master at taking the piss, his use of empty pop tropes and Guetta-style EDM synths on 2017 album Bravado showed Callinan drawing on material many artists would gag at. More humour than just big jokes, his albums are projects from which the former is a by-product not a focus.

Tour buddies Faux Real operate in similar territory. The humour in their music is not exclusive, it’s enmeshed with other levels of their

performance. Performing like two karaoke singers writhing forth from the imagination of David Lynch, they’re men possessed, intertwining as they throw extravagant shapes to their backing track. They’re a fit for Alex Cameron fans, directing eighties and country-inspired backing tracks down a path of flamboyant masculinity.

Following on, there’s a sleep-deprived delirium to how Callinan conducts himself tonight, frequently descending into stream-of-consciousness ramblings, indicative of a heavy touring schedule. Yet he does not lose the crowd. Callinan’s timing could rival Stuart Lee, who’s on stage in Queen Square. All that comes is further appreciation of the big, open personality on stage.

When he issues the crowd back upstairs and initiates the meme inspiring ‘Big Enough’, the scream on the track is bellowed by all inside.

It’s an incredible moment of catharsis and a fitting note on which to leave Callinan. It’s a joyous moment, which leaves those who join in empowered by its sheer ridiculousness.

Find full reviews and more at: bristolinstereo.com 57

Thoughts ...

by Leon Pattrick Noods Radio

Co

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Ra io i d

munit y

Now three-and-a-half years into broadcasting, we’ve moved from our living room sofa, to mates’ bedrooms, our favourite pub, and then above The Crofters Rights.

Most recently we’ve moved to our own spot on Stokes Croft – and onto the digital airwaves across Bristol via DAB. Whilst all the moving can be a bit of a pain, it’s proven that wherever we go, it will always still be the Noodio. It’s where friends meet up, where we share music with one another, and where we broadcast from. No matter where we’ve moved, the same ‘vibe~’ has transcribed, because where we are doesn’t matter – it’s the people that make it what it is.

It’s the volunteers who help out in the office and produce the shows, the artists that share their collection every broadcast, the listeners jumping in the chatroom and it’s the friends that roll through for each other’s shows.

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The station began as something to do for fun between friends and as we’ve grown and expanded, it’s been so great to see the friendships and collectives that have developed.

I’ve worked tons of jobs in Bristol, yet most of the people I know about town are through the station – and there is something seriously special about that. It’s the medium that can still produce this kind of community, one that translates both online and offline.

So, thank you to those who have lent us their hands along the way. Out to Ben Hazelden from The Surrey Vaults for taking a chance on us, Tommy from Blue Mountain for always sorting us with a rig in the early days, and Nick and the team from Crofters for helping when shit hit the fan and Nick for helping out with the DAB. Plus thanks to Franco & Fionn for being there since day one and to everyone else who’s ever tuned in, played on the station, volunteered their time, danced at one of our parties or bought some merch.

Radio is community.

Noods Radio is a Bristol-based independent station broadcasting around the globe. They’ve recently celebrated making the jump to DAB digital. Listen and more: noodsradio.com

Behind Every Musician

@WeAreTheMU

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ert.indd 1

10/05/2

the free Bristol label download 2018/19

bristolinstereo.com/newschool

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in Bristol

with She Makes War When did you move to Bristol?

I moved to Bristol in September 2012.

Who’s your top Bristol artist at the moment?

National Treasure - I’m delighted that Millie Phipps (ex-Jemima Surrender) is making more music. I’ve also had a sneaky listen to Emily Breeze’s album (due September). It’s the best thing I’ve heard in years.

Tell us your go-to places to eat and drink.

I love a good café - my favourites are Ruby Jeans in Shirehampton, Society Cafe (Harbourside), Tin Can (North Street), Little Victories (Wapping Wharf) and Girls Who Grind @Glitch (Old Market). Foodwise, Pizza Workshop in Clifton, or Tin Can for the best French toast I’ve had in any country. I alternate between The Louisiana and The Punchbowl for Sunday roast.

What’s the best way to spend a day here?

Mooching about in nature. There are so many hidden green spaces and I have two dogs who love exploring, whether around the Harbourside or further east out at Conham River Park. I’d spend the evening at Watershed watching a film.

What’s your favourite thing about the city?

Its size - having moved from a sprawling metropolis, I appreciate being able to get around easily. Bristol certainly punches above its weight.

And your least favourite?

I don’t think you can call yourself a developed city when some people don’t have a roof over their head. I’ve been disappointed with statements made by the Mayor on the issue of homelessness this year.

Any top venues?

I love playing at Crofters Rights. I’m playing a super-intimate show there on 31st August, which also happens to be my first wedding anniversary! I’d love to make that gig an extra-special night to remember. Punka have curated a really excellent line-up.

What’s next for She Makes War? I’ve nearly finished writing my fifth album, which will be out next year. I’ll be nipping out of the studio for festival slots in August at Siren Calling and Greenbelt. I’ll be announcing September tour dates soon and will spend October travelling with US “ugly pop” band, Skating Polly, including Sŵn Festival, 19th Oct. I also have two more instalments of this year’s Supersub Club to create - I share audio treats and a full-colour zine every quarter for members. It’s a much more satisfying way of sharing than fleeting social media posts, and I just love making things and keeping busy!

Full version at: bristolinstereo.com.

Get a free taster EP from shemakeswar. com and find out more about Supersub Club at shemakeswar.com/supersubclub.

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