Bristol Live // Chelsea Wolfe

Jul. 18 | 78

BRISTOL LIVE LIVE & NEW MUSIC MAGAZINE

CHELSEA WOLFE HOOKWORMS

C A P TA I N S Ü Ü N

AV E C S A N S

NEW RELEASES, LIVE LISTINGS & MORE 1

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Tue 10th Jul • SOLD OUT

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Skid Row

Fri 5th Oct • SOLD OUT

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Jorja Smith

Killing Joke

Fri 12th Oct • 6.30pm

Sun 11th Nov

Daughtry

Blackberry Smoke

Sun 14th Oct

Tue 13th Nov

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Rat Boy

Tue 16th Oct

Wed 14th Nov

John Butler Trio Wed 17th Oct

Toots and the Maytals Fri 19th Oct

The Used

Elvana: Elvis Fronted Nirvana

Sun 2nd Sep

Thu 25th Oct

Mon 27th Aug

Oh Sees Fri 7th Sep

Guns 2 Roses Fri 14th Sep

Xavier Rudd Fri 21st Sep

The Smyths Sun 23rd Sep

Jose Gonzalez & The String Theory

Darius Rucker Fri 26th Oct

Sigala

Wed 3rd Oct

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Shaun Ryder’s Black Grape Fri 30th Nov

Cast - the Greatest Hits Tour Sat 1st Dec

Wed 5th Dec

Thur 1st Nov

Young Fathers

State Champs

Fri 7th Dec

Mon 1st Oct

Glenn Hughes performs classic Deep Purple “Live”

Thur 29th Nov

The Feeling

Less Than Jake & Reel Big Fish

Tue 2nd Oct

The Cat Empire

Heaven 17 35th Anniversary of The Luxury Gap

Flatbush Zombies

Sun 4th Nov

The Magic Gang

Sat 17th Nov • SOLD OUT Sun 18th Nov

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Sat 27th Oct

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Halestorm

Jessie J

Mon 5th Nov • SOLD OUT

Leon Bridges Thu 8th Nov

The Decemberists Fri 9th Nov

MC50

Fireball – Fuelling The Fire Tour ft. Flogging Molly, Face To Face, Lost In Stereo Tue 18th Dec

Clutch

Wed 19th Dec

Bjorn Again Sun 10th Feb 2019

The Dead South

O2 Academy Bristol Frogmore Street, Bristol BS1 5NA • Doors 7pm unless stated

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LIVE INSTORE EVENTS CAFÉ / BAR OPEN BEFORE ALL EVENTS

@ROUGHTRADE 1ST JULY

Doc’n Roll present ‘Betty: They Say I’m Different’ (Betty Davis - Funk)

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Culture Abuse

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Let’s Eat Grandma

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Ruby Hinton presents a creative daytime workshop

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Snapped Ankles & Guests

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27TH JULY

Hookworms

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Fat Lip Festival

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ROUGH TRADE BRISTOL 3 NEW BRIDEWELL, NELSON STREET, BS1 2QD (OPPOSITE THE LANES)

Here it is, the groove slightly transformed, Just a bit of a break from the norm...

“Why don’t you guest edit July, Jon? It’s a quiet month,” they said. Must have seen me coming.

Bristol blatantly doesn’t do quiet. The focus may shift towards the sonic pick-and-mix of the festival, but one look at our releases and live listings shows that there is much shiny new music and plenty of splendid gigs to enjoy.

July’s cover star is Californian Chelsea Wolfe, whose Hiss Spun album was one of our picks of 2017. Kezia Cochrane picks Chelsea’s brain about the beauty and solace of abrasive noise.

Will Perkins catches up with Hookworms to talk Microshift, social media and being their own biggest critics. Avec Sans tell Gabriel Palmer why they’re coming out of hibernation for Bristol Pride and Rhys Buchanan hears from Bristol’s own Captain Süün about the genuinely big step from writing about beer to writing about burritos. Why not work on those lobsterish tan lines over a chilled beverage and a copy of BLM? Jon Kean Live Editor Sales: loki@bristollivemagazine.com Ed-in-Chief Loki Lillistone / New Music Ed Christian Northwood / Live Ed Jon Kean / Release Ed Lor Nov / News Ed Ross Jones

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GUEST PICKS:

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W H AT ’ S N E W ?

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C A P TA I N S Ü Ü N

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BRISTOL PSYCH FEST

HOOKWORMS COVER:

CHELSEA WOLFE

AV E C S A N S NEW RELEASES BRISTOL BECAUSE:

EXCHANGE DEAR DICK I N C A S E Y O U M I S S E D I T:

C O U RT N E Y B A R N E T T LIVE LISTINGS THOUGHTS:

F R O M F LY E R S T O F E S T I VA L S W / FAT L I P

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0117 203 4040 colstonhall.org

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Colston Hall loudly and proudly presents great shows in venues across the city Tue 10 Jul – Sun 5 Aug

Thu 19 Jul

Wed 25 Jul

River Town: Bristol’s Americana Festival

The Barr Brothers

Graham Nash

Thekla

St George’s Bristol

Tue 10 Jul

Fri 20 Jul

Thu 26 Jul

The Harpoonist & The Axe Murderer

Jimmy Cliff + Grandmaster Flash + Trojan Soundsystem (feat. KIOKO)

The Louisiana

Wed 11 Jul

The White Buffalo + Lukas Nelson & Promise of the Real O2 Academy Bristol

Fri 13 Jul

Josh Rouse The Redgrave Theatre

Mon 16 Jul

Quantic Live Trinity Centre

Wed 18 Jul

Steve Earle & The Dukes O2 Academy Bristol

Wed 18 Jul

Big Sandy & His Fly-Rite Boys 6

Loco Klub

Lloyds Amphitheatre

Sat 21 Jul

Jess & the Bandits The Wardrobe Theatre

Sun 22 Jul

Emily Barker, Holly Macve & Jade Bird St George’s Bristol

Sun 22 Jul

The Grahams The Wardrobe Theatre

Mon 23 Jul

Kelly Willis The Redgrave Theatre

Mon 23 Jul

Sam Palladio St George’s Bristol

Rosanne Cash St George’s Bristol

Wed 1 Aug

Mike Love The Attic

Thu 2 Aug

Jonathan Bree Rough Trade Bristol

Sat 4 Aug

An evening with Roddy Woomble, John McCusker & Friends The Folk House

Sun 5 Aug

John Moreland St George’s Bristol

Thu 16 Aug

Wye Oak The Louisiana

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Guest Picks

This month:

What our pals are into this month.

Al Studer, Bristol Psych Fest

Night Beats SWX Stage Night Beats are our headliners for this year and are obviously ones to watch. A Texas band who moved to Seattle, their first record was released on Austin label, Psych Fears (now doing Levitation Fest).

I’ve wanted them ever since we started the festival, so this is a pretty big deal for me. Five years in the making… They haven’t been to Bristol or the UK for a 8

while either, so it’ll be great having them back for some amazing psych, with heavy tinges of rhythm and blues.

Three albums down, they signed to Heavenly about a year ago and released maybe their best work to date - Who Sold My Generation - which they’ve toured extensively the world over. Clearly at the peak of their already formidable career, these guys are not to be missed.

Nebula SWX Stage I’ve been a fan of Nebula since I was about fifteen (but that’s not why I booked them). They are one of the best stoner rock bands around and they’ve just started playing again. There are many more people than just me that want to see this happen. Not only that but we get to reunite The Heads and Nebula again!

On top of that, we have Anthroprophh playing too. Their new record out on Rocket Records has got to be Bristol’s best record this year.

Fumaca Preta SWX Stage Fumaca Preta is my top pick for this year. I don’t know how many people out there know them, but if you had to take a gamble on one new band at Psych Fest V, this would have to be the answer.

South American psych, hip-hop, hard rock – it’s original and breathtaking, exactly what we need more of in life. That said, there’s so much original stuff this year, so go watch something new whatever you do.

Bristol Psych Fest takes place across three venues, SWX, Rough Trade and The Lanes on 7th July.

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What’s New?

Fresh tales from the BLM radar with:

Christian Northwood New Music Editor

Sun June Great music takes you away somewhere else.

Like a good book, or a VR headset, the best music lifts you out of the bed/bus/office/whatever you’re listening in and drops you somewhere else completely, despite what every other sense is informing you. For instance, after listening to Sun June for the first time, I closed my eyes, and when I opened them I was in the middle of a desert, with the sun

slowly setting in the distance, the sound of slow, calming, syrupy guitars washing over me.

Surprise, surprise, Sun June are based in Austin, Texas.

The five-piece have just released their debut album Years via Keeled Scales, and its languid, tranquil ten songs charm in every possible way.

The lightly-strummed guitars, with their hazy country twang, and splashing cymbals meander, never becoming overpowering, allowing the almost whispered vocals to wistfully sigh, with opener ‘Discotheque’ and the nostalgic ‘Records’ particularly standing out. Next time you yearn for somewhere a bit warmer, don’t start looking at holidays; spinning Sun June is just as wondrous.

Discotheque

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sunjune.bandcamp.com

Lumer

PHOTO: ROWAN ALLEN

I don’t know if you’ve noticed, but there is an absolute glut of fantastic bands from Yorkshire at the moment. The current political climate has stirred an uprising, with a lot of bands with a lot to say, usually very loudly. And with debut EP Blood on Suits, Hull’s Lumer have shown that they could well be the best of the lot. Jagged guitars and apocalyptically deep basslines are a staple in Lumer’s twist on post-punk, but songs like ‘Ours is Treason’ surprise, with the coarse vocals contending with shimmering guitars and humming synths.

Always unpredictable, always visceral, Lumer are a band to rally behind.

Burn/Bleed

Melancholy is a key ingredient to making the perfect pop song. Abba knew it, Robyn knows it, we all know it. Bristol’s RXC also knows it, and her infectious, atmospheric electronica is steeped with it. The handful of tracks that she has dropped online are icy cool, full of glittering synths and skipping samples, whilst her breathtaking voice is always isolated, longing and regret a constant presence. New single ‘Higher’ is driven by an addictive dub-infused bassline, with RXC conjuring images of lonely late-night dancefloors and addictive relationships. It’s the kind of pop that drags you away from reality to somewhere you’re truly lost in.

Higher

sc/lumeruk

RXC

sc/rxcmusic

Get more new music from Christian every Monday via Tracks of the Week at bristollivemagazine.com 13

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Wi l l Pe r k i n s

HOOKWORMS There are many reasons as to why Hookworms are far from your average band. Noticeably, their music is consistently excellent, something that seems even more remarkable upon understanding the obstacles that they have faced...

In 2015 their studio flooded, destroying much of their equipment and material. However, having spoken with the group’s synth-player, Matthew Benn, about their recentlyreleased third album Microshift, their upcoming October show at SWX and more, I discovered that what really sets them apart is their humanity and humility.

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“I think it’s the happiest I’ve come away from making an album,” Benn instinctively reflects upon the quintet’s third effort, which has gained critical praise to both match and exceed the rave reviews of its predecessors. Searching for reasoning behind this, he suggests it to be the result of a retrospectively detached analytical view: “It might sound a bit weird but I’m trying to listen to it as if I haven’t had anything to do with making it.” This is something that is perhaps a consequence of the four-year period it took to make the record, due both to the catastrophic circumstances and the fact that each member of the group is also occupied by various day jobs.

I query whether increasingly lofty expectations from fans and media to

that this is the case with the majority of the band’s interviews. However, it’s through hearing this being recounted that I’m able to understand the admirable dynamic within the Leeds-based group and how to them, music is often the secondary concern: “We put the band on hold; we were more concerned because it’s [vocalist and studio owner] Matt’s day job. We didn’t think ‘Oh shit, the band!’ We thought ‘Oh shit, this is Matt’s livelihood!’”

“It seems like it would be irresponsible to just talk about the shit that boring rock bands talk about…”

replicate the success and appeal of the sound of previous releases could have acted as a heavy burden upon the group.

Rather than running scared from these elements, Benn suggests that Hookworms instead seek to embrace them: “I think that if there is any pressure, it’s pressure that we’ve put on ourselves. It’s really natural to want to go in the opposite direction from whatever we did last.”

Expressing his initial trepidation: “I almost anticipated people disliking the new record,” he immediately reassures me that, much to his delight, this opinion has scarcely been found: “Either people have been a lot less vocal or a lot fewer people dislike it than I’d thought.”

Naturally, the conversation soon turns towards the flood incident. Benn submits

Also ripe for discussion is the band’s activity on social media which, whilst often satirical, is usually politically charged and used to address societally taboo areas. This is clearly something important to all five members, with Benn alluding to a collective standpoint: “It’s less that we’re a band getting involved in politics and more that we as individuals in the band have very strong views on political matters.” As if to demonstrate this point, he adds: “It seems like it would be irresponsible to just talk about the shit that boring rock bands talk about, like drugs and fucking people, when we have opinions on more important things.”

Having had to cancel their Rough Trade in-store in February, they have proven true to their promise (unsurprisingly) to reschedule, with a performance booked in for 28th July. It won’t be long before they’re back, either. Arriving in Bristol on 13th October, Benn asserts that their SWX show will: “Look and sound as good as it can; hopefully we’ll have our new audio-visual show by then and maybe even a few new songs.”

Hookworms play Rough Trade on 27th July (plus SWX on 13th October) with Microshift out now.

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The Gallimaufry

Snazzback Afro-funk & psych-jazz

12 July ~ Snazzback’s Global Groove Experiment - West Africa A musical exploration of music from around the world, (previously visiting The Caribbean and Scandinavia). This month, by popular demand, Snazzback are playing a set of West-African songs, including music by Bembeya Jazz National, Pat Thomas, Ebo Taylor and Fela Kuti.

26 July ~ Snazzback - full band show

Fresh ideas generally have a unique energy which can be lost through the formation of songs, so Snazzback are embracing the raw, rough, untidy, cuts with a night of experimental new tunes and improvised music.

thegallimaufry.co.uk 16

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CHELSEA WOLFE

“There’ve definitely been moments where I realise that I’m really embracing my feral and wild side...”

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rom hauntingly sparse and delicate arrangements to sonorous, heady swathes of droning rock, Chelsea Wolfe purveys an inimitable artistry. “I think a lot of it is really just instinctual,” she articulates. “I start writing really naturally, and suddenly I realise I’m writing a lot of songs and I’ll consider grouping them together and making the next record. After I released Pain is Beauty, I imagined I’d do more acoustic stuff, but then I did a lot of tours with rock bands like True Widow and Russian Circles, and we toured with Queens of the Stone Age. I think watching them play every night, and then feeling like I really wanted to write my own heavy songs that would be fun to play live, definitely started pushing me in the direction that I ultimately went with for Abyss and Hiss Spun.”

Speaking about sonic balance, Wolfe expresses, “I like to contrast heaviness with softness sometimes, and darkness with something hopeful,” adding “I’m constantly pulling together all of my various influences,” encompassing everything from stoner metal to trip-hop to old country, “so there’s a lot that goes into our sound, but then I think that my voice kind of makes everything consistent, in a way, because no matter what is surrounding it it’s always my voice”.

Crafting immersive soundscapes, there’s a certain physical quality evoked. Surroundings have influenced her: “I didn’t really realise that until I moved to L.A. and I wrote

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K e z i a C o c h r a n e P. K r i s t i n C o l f e r

Pain is Beauty there. There’re these direct reflections of how noisy and exciting and crazy the city is all the time, cause I was living right outside of downtown, so there was always a lot of commotion, a lot of helicopters and people and stuff. Even in the song ‘Feral Love’, I basically wrote that beat to emulate the helicopters that would be overhead every night.

Then after that I moved a couple of hours out of Los Angeles into the high desert, into this very desolate quiet area and it was such a big change.” On writing Abyss in this starkly different environment, she says, “I think I was just really kind of filling this big empty space with sound without realising it, ‘cause the songs just got heavier and heavier and louder and louder because I was trying to fill this void of sound that I was so used to”.

Discussing the solace to be found in abrasive noise, Wolfe considers, “That’s another thing I learnt from bands I was touring with. I played some shows with Swans and Sunn O))) and felt that comfort in complete, devouring, heavy white noise. That’s definitely another theme on Hiss Spun, finding that comfort in the chaos.” Wolfe elaborates: “Carl Sagan said that some small percentage of white noise and radio static and TV static is actually remnants from the Big Bang. So there’s this cool connection with hearing white noise

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“I played some shows with Swans and Sunn O))) and felt that comfort in complete, devouring, heavy white noise.” on the radio or something, and an understanding that comes from creation.”

Incorporating field recordings within her music, Wolfe believes that “using sounds that are surrounding you, whether it’s at home or on tour, or in the natural world, is definitely another way to make it more personal and to almost create a journal through these songs that you can look back on and remember where these sounds came from and the moment when we recorded them. My bandmate, Ben Chisholm, and I have been collaborating on this project for a really long time. We just sent found sounds back and forth to each other and we ended up using a lot of them as beats or layers to the songs. So many things in life are musical without meaning to be.”

Her most recent album, Hiss Spun conveys more personal elements than on previous releases; “I’ve definitely been getting more personal,” Wolfe affirms. “On Hiss Spun, a lot of that did come from my own life and looking back.

When I was starting to write this album, I moved back close to my hometown in northern California and was spending a lot of time with old friends and family again.

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That naturally brought up a lot of memories and relationships and friendships and situations that I maybe hadn’t dealt with before in my songs. I did finally confront a lot of my own life and put a lot of that into the songs.”

Alongside this, Wolfe emanates self-assurance and acceptance: “On my past couple of records, I’m in my early-to-mid thirties while writing this stuff, getting more comfortable in my own skin,” she divulges. “I’m becoming more confident as an artist, as a musician, and in my own skillset.”

“I think there’ve definitely been moments where I realise that I’m really embracing myself as a woman, embracing my feral and wild side and realising how much power there is in embracing the mess of yourself.”

Chelsea Wolfe plays SWX on 25th July. Her 2017 album, Hiss Spun ought to be etched into your subconscious.

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Rhys Buchanan

CAPTAIN SÜÜN “We experimented a little bit when we first started, but we were just fully taking the piss and writing songs about beer, really.”

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ow’s a pretty good time to be a psych fan in Bristol. We’ve got a host of promoters and bands pushing fuzzy sounds into our ears from every angle possible. A big name for that is undeniably Stolen Body, whose annual Psych Fest takes place this month. We caught up with one of their latest signings, Captain Süün, to chat about their new EP Beach Burrito and their slot at this year’s festival.

Drummer Nathan McLaren Stewart is humbled to be a part of the scene at the moment. “It’s been a long time coming for there to be a healthy psychedelic scene in this city, really. More people are coming down to the shows, more people are interested, more people are paying.

It’s all down to the bands that are making it happen and the amount of support they receive.” The influence these promoters (namely Stolen Body) have inflicted upon Captain Süün has been undeniable. Nathan continues, “I’m not just saying this because we’re signed to them, but I don’t think I could name a better label than Stolen Body with regards to how they treat their artists and how much effort they put into what they do. It’s been a massive push for us. We’re very blessed to be able to work with them.”

Captain Süün’s performance at last year’s Pysch Fest instilled a dramatic belief that they could make something of their informal project. Nathan casts his mind back, “We got such a big crowd; it was a great turnout.

Even though we were the first on, the room was packed and we made some really good friends that night. It was a big turning point and we realised we could actually do it.”

Before this somewhat pivotal moment, the band were just joking around in some respects. “We experimented a little bit when we first started, but we were just fully taking the piss and writing songs about beer really.” Nathan continues to detail how their first proper release Beach Burrito came to be. “We wanted to take it slightly more seriously. So we ended up doing a lot of writing last summer. Our sound was influenced by a vast mixture of different genres and bands we’d been listening to. We naturally ended up with that quite fuzzy tone which can be heard on the release.”

Armed with a fresh record, the band are set to perform at Rough Trade as part of this year’s Psych Fest. They’re naturally pretty buzzing to be a part of it again.

“We’re really excited. It’s our only Bristol show for a while, so we’re going to try our best to make it special. We’ve found more people are coming to our shows lately and we’re creating a bit of a fanbase. Psych Fest should be a good one, because hopefully it’s going to be a mix of new people coming down and supporting the bands and also our friends. We get to play with some of our favourite bands as well.”

The band have a relatively quiet summer on the horizon beyond the show this month. Nathan says they’re going to invest that time in penning some new material.

“Coming up to the end of summer, it will be a year since we recorded the Beach Burrito EP, so we’re eager to get back writing. We’ve got one or two festivals and that’s it, really. Beyond that, we’ll be heading out to Europe and doing some more UK dates to mark the end of the chapter. Then hopefully we’ll record something new and go all out with it.”

Captain Süün play Rough Trade at Bristol Psych Fest on 7th July. Their Beach Burrito EP is out now on Stolen Body.

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G a b r i e l Pa l m e r

AVEC SANS It’s now been two years since Avec Sans’ first album, Heartbreak Hi, boldly strode into the world; and after a 2017 that saw the synth-pop pairing traverse the North American continent for a nine-stop tour, Alice Fox and Jack St. James have been taking 2018 a little easier. Except for, however, a return performance at Bristol Pride Festival - the only show they’ve agreed to this whole year. I recently caught up with the duo to talk about this and more, including the world’s largest truck stop in Iowa, which sells medieval weaponry as well as fuel.

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“America is big, we really realised that,” says Jack when I ask about the tour. “A lot of bands plot [the tour] themselves, which is foolhardy,” Alice concurs.

When I ask whether they think the US audience connected with the immediacy and boldness of their sound, two things Americans tend not to shy away from, Jack does some thinking: “I think, over here, we’re definitely pop, but in America we’re alt-pop. In England, the bands that influence me, their fans don’t really come to our shows but the Americans, they got that a bit more.”

This alternative aspect that the Americans respond to comes from Jack’s punk background, I’m told, and it’s easy to see how this approach has shaped their vibrant live shows, which are about breaking down the barrier between the

“[Alice Glass’] music is very different from what we do, but my namesake has been one of my biggest influences, just because of that absolute wild-ness on stage.” the original; but Alice seems to agree when I mention that she channels a very similar magnetism to the legendary musician. “Yeah, absolutely. I would like to think so because she’s one of the people who I’ve grown up watching and listening to.” She then touches on a more recent source of inspiration. “Alice Glass, strangely enough - her music is very different from what we do, but my namesake has been one of my biggest influences, just because of that absolute wild-ness on stage.” artist and the audience that can be a problem with live electronic performance. “[Normally] you’re watching the bottom of a table while these creative geniuses are doing something incredible, not being able to see it. My main instrument is guitar, and I think not knowing anything about electronic music meant that I came at it from a different angle.” Electronica can, however, have its logistical drawbacks, as Alice points out when she tells of incredulous drunk people invading the stage and smacking the pads, “because they’re not convinced. They’re like ‘No! He can’t be doing that!’”.

Speaking of incredulity, some might be disbelieving if you told them that this humble duo pulled off a cover of Kate Bush’s ‘Running Up That Hill’ that perfectly distils the dramatic essence of

Avec Sans’ own brand of wild energy has got them invited to play a second consecutive Bristol Pride Festival, and I’m keen to find out what it is about the show that has coaxed them out of a performance hiatus. Alice puts it simply, “We’re officially in hibernation, but it was just so much fun last time.” When I ask if they feel there’s something that connects them to an LGBTQ audience more so than other artists, Alice delivers a considered response: “We make pop music that’s uplifting with a hint of sadness at its core, but ultimately it sounds fun live. We definitely feel an affinity.” These two are guaranteed to put on another riot of a show come July.

Avec Sans play at Bristol Pride on 14th July.

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New Releases

Records cut, pressed & out this month.

Lotic Power Tri Angle Records| 13.07

Visceral and mesmeric, Lotic’s debut fulllength release, Power is an opus of warped, staggering, unsettling beauty. Purveying the Berlin-based artist’s essence in corporeal electronic swathes, the record explores multifaceted notions of power, propelled by a formidable sense of empowerment pulsing throughout.

Opening with a myriad of spine-tingling, echoing chimes and shuddering, sonorous basslines, Lotic marks out their 28

territory from the inception. Whilst the producer’s idiosyncratic, abrasive sonic intensity, that’s earned them acclaim on previous EPs, is present throughout Power, so too is a raw tenderness.

And it’s as much in the moments of softness as in the harsh distortions that the record’s potency is projected. On ‘Hunted,’ Lotic confronts perceptions of femininity and masculinity as a queer poc through haunting, hushed vocals chanted over hypnotic, marching rhythms.

‘Distribution of Care’ melds cinematic, orchestral strings with an onslaught of thunderous clubbeats, drawing you into an undeniable trance-like state. Elsewhere, ‘Fragility’ offers celestial, twinkling melodies atop mechanical oscillations that call to mind the whirring of insect wings.

Imbued with emotive urgency and an authoritative dynamism, Power is an inimitable display of Lotic’s unwavering prowess. Kezia Cochrane

POISONOUS BIRDS DIRTY WATER Be Softly | Out Now

With our own Jon Kean designating Poisonous Birds as a ‘distinctive sound for 2018,’ this month’s companion release, Dirty Water is an impressive counterpart, complete with brand-new tracks, abstract re-works and enticing remixes. ‘Schwer II’ opens the EP with hypnotic ambient soundscapes, picking up some steady, entrancing drum beats around the halfway point, before fading into the boisterous guitars of lead single, ‘Tangle.’

A handful of electrifying, synth-fuelled remixes later – including that of ‘Tangle,’ ‘Big Water’ and ‘Little Puzzle’ – Dirty Water becomes a perfect representation of the band’s unique sound, fitting together scattered, broken remnants and experimental ideas, and twisting them into something both beautiful and mesmerising.

Kelly Ronaldson

DIRTY PROJECTORS LAMP LIT PROSE Domino | 13.07

Throughout its career, Dirty Projectors has remained a tumultuous and progressive outfit, transcending genre definitions. In recent times, its sole constituent, Dave Longstreth, has presented the project as more of a part of his innate personality than a collaborative and inclusive machine. On ninth album, Lamp Lit Prose, this most certainly comes to the fore once again.

Longstreth’s wide-ranging, personal topics aspire to be comprehensive and naturally cohesive. His messages are undoubtedly emotive, yet on the whole his melodies are jarring and forced, overwhelming the record with a contrived nature. Paired with Longstreth’s mawkish perspective, it ruins the sense of authenticity he endeavours to express. Ross Jones

BASS DRUM OF DEATH JUST BUSINESS RED Music | 27.07

Garage rockers, Bass Drum Of Death return with their fourth album, Just Business, this month and it’s very much business as usual for the band. They might have switched up life in the deep south for the New York City grind before penning this album, but not much has changed in the sound department.

Big, messy riffs are hurled around throughout and it’s as easy to get on with as anything else they’ve mustered up so far. It ticks all the boxes for a garage album with attitude, but ultimately just lacks any sense of direction. Bit disappointed to report that our faithful Bass Drum have displayed they’re not willing to take any risks with this album.

Rhys Buchanan

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JEALOUS OF THE BIRDS THE MOTHS OF WHAT I WANT...

Hand in Hive/Canvasback | 13.07

There is a certain maturity in the music Naomi Hamilton produces. At nineteen, she released her debut album, establishing a style and reputation which this EP builds on. Her literary background shines, combining poetic imagery with youthful wonderings. It swings between two genres - punkier tracks with distorted vocals are mixed with the rhythmic, downtempo folk ones. Highlights include the echoed riffs

of ‘Miss Misanthrope’, where melodies mirror dreamy lyrics. Darker meaning is hidden behind heavy guitars in ‘Russian Doll.’

‘Trouble In Bohemia’ combines both influences with punky choruses and hazy vocals. For this millennial from Belfast, it is an EP that firmly embeds her status as a talented and thoughtful musician.

Eloise Davis

ORCHARDS LOSERS/LOVERS Big Scary Monsters | 06.07

Brighton’s Orchards combine the caffeinated rhythms of the math-rock genre with the fizz of indie-pop. Lucy Evers’ vocals feel part Desperate Journalist, part Cardigans in their energetic heavy lightness. Imagine math-rock in its party frock, dancing at the jittery disco, amped on Haribo, cherryade and pickled onion Monster Munch.

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The band successfully rejects rejection.

If you don’t want them, you don’t deserve them. ‘Luv You 2’ leaves cobwebs behind, ‘Double Vision’ suggests that relationships mar your perception and ‘Darling’ learns to keep its heart out of reach. As the album title reminds us, there’s a fine line between a lover and a loser, a line that is frequently crossed over. Jon Kean

YEAR & YEARS PALO SANTO Polydor | 06.07

Knocking out catchy, synthy, R&B songs is an altruistic gesture for the summer season.

Yet Years & Years have gone miles and miles beyond such simple endeavour with Palo Santo. If you’ve seen the trailer on t’Internet, you’ll know that they’ve created a whole ruddy dystopian realm, and if that wasn’t enough, Judi Dench is its queen.

Olly Alexander’s voice is another world in its own right: transportive in its theatricality. The title track has the portentous loom of Sampha’s Progress. ‘Hypnotised’ sounds like the “perfect and blue place” in its lyrics.

Opener, ‘Sanctify’ booms and bristles with frisky tension. Creative, cerebral and commercial, this feels like the beginning of something huge. Jon Kean

RVG A QUALITY OF MERCY Fat Possum | 06.07

Melbourne’s RVG self-released A Quality of Mercy last year.

Now signed to Fat Possum, it’s getting more of the exposure that its conscience-baiting restlessness deserves on its wider re-release. According to Shakespeare, the quality of mercy should not feel strained. RVG are worried that modern-day mercy might have migrated to Mars, along with empathy and perspective.

The title track, from the viewpoint of a death-row convicted smuggler, focuses on a merciless regime.

Our damaging carelessness towards others underlies the track ‘Vincent Van Gogh’ and dehumanising computer love in ‘IBM’ reminds us that we don’t give ourselves enough mercy either. It’s Patti Smith meets Echo and the Bunnymen. It’s bonzer. Jon Kean

BODEGA ENDLESS SCROLL What’s Your Rupture? | 06.07

Phone faff now seems as distractedly instinctive to humanity as nose-picking or hair-twiddling. Adult life can become one endless smartphone scroll, where fake news and pictures of cats stupefy. We forget to question the world around us. Consequently, “Everyone is equally a master and a slave,” as Bodega state on ‘How Did This Happen?’

Ben Hozie and Nikki Belfiglio’s vocals spar energetically. Heather Elle’s bass is portentous. The sunnier strum of ‘Charlie’ warms you up, but for a most sombre tale, whereas ‘Jack In Titanic’ ought to kindle a smile. Like a postpunk, krautrock Beastie Boys, these Brooklyndwellers should shake you out of any complacency you may be harbouring.

Jon Kean

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MON.16.JUL.18

NATALIE MERCHANT BATH KOMEDIA

THU.26.JUL.18

DYLAN SCHNEIDER THE LOUISIANA

SAT.28.JUL.18

PETE TONG PRESENTS IBIZA CLASSICS CARDIFF CASTLE

SUN.29.JUL.18

CATFISH AND THE BOTTLEMEN CARDIFF CASTLE

SUN.02.SEP.18

OH SEES

BRISTOL O2 ACADEMY

MON.03.SEP.18

JOEY LANDRETH

BRISTOL THE LOUISIANA

TUE.11.SEP.18

CAMEL

BATH THE FORUM

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FRI.14.SEP.18

XAVIER RUDD

BRISTOL O2 ACADEMY

WED.19.SEP.18

BILL RYDER-JONES BATH CHAPEL ARTS CENTRE

MON.24.SEP.18

MICHAEL NAU THE LOUISIANA

SAT.29.SEP.18

MOLOTOV JUKEBOX THE FLEECE

SAT.29.SEP.18

OSCAR JEROME THE LOUISIANA

MON.01.OCT.18

THE MAGIC GANG BRISTOL O2 ACADEMY

TUE.02.OCT.18

MARK LANEGAN & DUKE GARWOOD BATH KOMEDIA

TUE.02.OCT.18

MEN I TRUST THE LOUISIANA

WED.03.OCT.18

JORDAN MACKAMPA

CROFTERS RIGHTS

WED.03.OCT.18

PALE WAVES

BRISTOL O2 ACADEMY

FRI.05.OCT.18

MIKAELA DAVIS THE LOUISIANA

SAT.06.OCT.18

ANNA CALVI SWX

WED.10.OCT.18

THE RIFLES THE FLEECE

THU.11.OCT.18

EVIL SCARECROW THE MARBLE FACTORY

FRI.12.OCT.18

WASUREMONO THE LOUISIANA

ALTTICKETS.COM FB.COM/ALTTICKETS @ ALTTICKETS

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 1ST SEPTEMBER

WEDNESDAY 4TH JULY

ODDISEE & MOONCHILD

THURSDAY 6TH SEPTEMBER

SATURDAY 7TH JULY

START TO END PERFORM JEFF BUCKLEY: GRACE MONDAY 9TH JULY

HANS CHEW

CHARLIE WORSHAM

+ AGS CONOLLY

THURSDAY 12TH JULY

LUCKY CHOPS SUNDAY 15TH JULY

AMEN DUNES+ CUT WORMS SATURDAY 8TH SEPTEMBER

YOUNGBLOOD BRASS BAND SUNDAY 9TH SEPTEMBER

STRIKING MATCHES MONDAY 10TH SEPTEMBER

GINGER WILDHEART

IMARHAN

THURSDAY 19TH JULY

FRIDAY 14TH SEPTEMBER

THE BARR BROTHERS MONDAY 6TH AUGUST

DEERHOOF TUESDAY 7TH AUGUST

DARLINGSIDE SATURDAY 11TH AUGUST

DAS EFX MONDAY 13TH AUGUST

SLUM VILLAGE FRIDAY 17TH AUGUST

RISING APPALACHIA SATURDAY 18TH AUGUST

KING CREOSOTE MONDAY 20TH AUGUST

PHOEBE BRIDGERS WEDNESDAY 22ND AUGUST

THE REVEREND PEYTON’S BIG DAMN BAND

THE REZILLOS

+ DEPARTMENT S

SATURDAY 15TH SEPTEMBER

ALBERT HAMMOND JR MONDAY 17TH SEPTEMBER

CATHERINE MCGRATH FRIDAY 21ST SEPTEMBER

BOSTON MANOR

+ MICROWAVE + DRUG CHURCH + WALLFLOWER MONDAY 24TH SEPTEMBER

THE NIGHT CAFE

+ CHAPPAQUA WRESTLING + PLAZA TUESDAY 25TH SEPTEMBER

SPRING KING THURSDAY 27TH SEPTEMBER

TELEMAN SATURDAY 29TH SEPTEMBER

DEFINITELY OASIS TUESDAY 2ND OCTOBER

ROSS FROM FRIENDS 33

THE OPHELIAS ALMOST Joyful Noise | 13.07

Named after a character pushed over the edge by a psychologically-abusive boyfriend and an endlessly-mansplaining Dad, the quartet is comprised of former ‘token women’ in Cincinnati ‘dude bands.’

You can hear the release and the powerful, collaborative creative spirit that their redefined musical identities bring. As soon as ‘Fog’ kicks in at the very start, you’re on

a baroque-pop/Belly/Breeders bed - the sort of bed you can’t bring yourself to leave. It gets restless at times. ‘General Electric’ reminds us that “Fun always comes at a cost.” Friday 13th? You lucky people. Let the day of superstitious dread turn to super-sumptuous delight with a summery blast of The Ophelias’ debut album. Jon Kean

LYDIA LIQUOR Weekday Records | 13.07

While Liquor’s distinctively cheerful pop flirts with dreamy synths and infectious guitar melodies, Arizona trio, Lydia never stray far from their signature style. Following up 2015’s Run Wild, the forthcoming release marks the sixth studio album from the indie-pop mainstays, opening with the uplifting beats of ‘Sunlight’ as it contrasts the unnerving complexity of the song’s lyrics.

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‘Let It Cover Me Up’ and ‘Goodside’ mark album highlights, as Leighton Antelman’s haunting piano melodies are woven throughout, while labelmate, Lauren Ruth Ward lends her immaculate vocals for the nostalgic echoes of ‘Red Lights,’ before closing track, ‘Way Out’ takes on an almost ballad-like approach, bringing an emotional end to a heartfelt record.

Kelly Ronaldson

SAVE FACE MERCI Epitaph | 13.07

Championed by Epitaph Records, a label renowned for unearthing future emo-rock heavyweights, New Jersey’s Save Face compound lofty ambitions with a comfortingly traditional approach on debut, Merci.

Spearheaded by lead singles, ‘Bad’, an unstoppable two minutes of riotous fury, and ‘Heartache,’ a creeping ballad, the album explores both the emotional and sonic spectrum.

The quartet also produce a satisfying thematic progression across the record, emphasised by the opening title track and the homophonous Mercy, fitting of the grand intentions of the fourteen-track effort.

Punctuated by Tyler Povanda’s controlled shrieks, the band successfully capture the nostalgia of early 2000s rock without reducing themselves to a pale imitation.

Will Perkins

DEAFHEAVEN ORDINARY CORRUPT HUMAN LOVE ANTI- | 13.07

Sunbather – like it or loathe it – was a watershed moment in experimental metal.

Over the course of a single, bittersweet record, Deafheaven defined the conventions of the blackgaze genre, earning seminal status almost overnight. It’s the kind of release which casts a long shadow, and 2015’s New Bermuda couldn’t escape the feeling of a retread.

Comparatively, Ordinary Corrupt Human Love sidesteps the issue with a flourish, as the San Francisco bruisers twist the formula even further. If Sunbather was longing, OCHL is pure love, trading in misty-eyed shoegaze for twinkling alternative and indie. It’s a fine fit, and a worthy evolution of a pioneering sound. Grant Bailey

JACK RIVER SUGAR MOUNTAIN I Oh You | Out now

In the UK, Australia is known primarily for its surf-rock, a perception Jack River, the alter-ego of Holly Rankin, challenges.

Hard to pigeonhole, it is a record that offers glimpses of dream-pop, with rock and punk influences. Acclaimed as the souvenir of her youth, it certainly holds some of the dark lyricism and dirgy influences reminiscent of growing up. ‘Her Smile,’ dedicated to her sister who passed away, is an atmospheric example of this. Meanwhile tracks like ‘Ballroom,’ ‘Confess’ and ‘Fools Gold’ are anthemic, catchy and powerful. Ballads like ‘Stardust and Rust’ showcase her voice, with piano chords building alongside echoing drumbeats. Emotive at every turn, it’s a great debut. Eloise Davis 35

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BRISTOL BECAUSE...

City chat with our fave people.

Iwan Best, Venue Manager

exchangebristol.com fb/InvisibleLlamaMusic When did you first move to Bristol?

Three years ago, starry-eyed because I’d just got a part-time bar job at Exchange!

Who’s your top Bristol artist at the moment?

I bet nobody ever answers that, ha! It’s unreal how good the Bristol music scene is right now - we’re really lucky to have worked with bands like Toodles & The Hectic Pity, Little Baby Sharks and The Plainviews. We also really really love Woahnows, Dogeyed, Kate Stapley and Heavy Lungs, to name just a few more.

What are your favourite eats around town?

Exchange café, obvs! Fi Real in Old Market and Pepe Nero are staples too.

What’s your favourite thing about the city?

It feels so alive. It’s not like anywhere else I’ve ever lived. You can be out doing something different every night.

And your least favourite?

You end up doing something every night!

What are you most excited for with Exchange at the moment?

It feels so exciting to be working at such a musical hub. The venue is going from strength to strength and it’s been amazing having Specialist Subject Records and Active’s anarchist book distro move in upstairs. Also having a recording studio and opening early as a vegan café - all that in one building is amazing. It feels like we’re building something really important here.

Exchange is home to various musical and creative residents, including a performance space, record shop, recording studio and local promoters and record labels.

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38

Dear Dick The best bad advice for your musical problems...

Dear Dick, I’m ready for the plunge into the digital production bubble bath, but with so many programs to choose, I’m confused about which to use...

Dave, Strokes Croft Your workstation says a lot about you.

Whether it’s a physical space covered in suspect stains and Peperami wrappers, or a digital one, cluttered with free reverb plug-ins and malware.

Each DAW caters to a specific type of user, so you need to figure out what type of user you are:

Garage Band - You have absolutely zero drive or ambition. You still use the earbuds that came with your 1st gen Zune. Your end goal is to be in a cover band with your wife’s friends’ husbands and call yourselves something like ‘The Dads’. You’re pathetic.

Ableton - Like a simple child, you need everything broken down into easilydigestible chunks. You enjoy brightlycoloured bricks, black t-shirts and really tidy desks that look messy. You thrive on contradiction.

Fruity Loops - You have way too much ambition in relation to your level of talent.

You have bedrock levels of self-esteem, but it’s totally your fault no-one likes you. You’re essentially Poochie from The Simpsons.

Logic - You are an unbelievably boring person. You enjoy maths challenges, not the ‘hairdresser-doing-sudoku-on-theirbreak’ level - a few levels above that one.

You are almost certainly on some sort of spectrum.

Cubase - You live with your parents in Doncaster.

Do you have a question?

Email dick@bristollivemagazine.com 39

In Case You Missed It

Live from last month.

Courtney Barnett @ O2 Academy, 5th June Words: Zander Sharp | Photo: Laure Noverraz It’s something of a convention that artists open their set with a familiar favourite before performing their latest release. But Courtney Barnett has other plans for her listeners, playing her new album, Tell Me How You Really Feel, in its entirety to the crowd at Bristol’s O2 Academy. Though she disappears into her hair during solos and introduces songs like the words are racing each other out of her mouth (“thisnextoneiscalledNamelessFaceless”), this rendition of her recent album is a mark of confidence. The audience rewards her by singing the lyrics to her new songs, Aussie accent and all.

With bright red stagelights replicating the washed-out glow of her album cover, 40

it is clear that Barnett has meticulously planned her audience’s experience. They are not shy with their praise. Halfway through her set, the shouts of admiration are practically paragraph-long. But she takes it all in her stride, with an impressively diverse set that plumbs her voice’s darkest depths in the gravelly ‘I’m not Your Mother, I’m Not Your Bitch.’

Meanwhile, during the lilting melancholy of ‘Depreston’, a security guard gazes at her as if on the verge of tears. Barnett is at a career high, selling out large venues like they’re living rooms. With this combination of quiet confidence and less quiet brilliance, it’s easy to see why.

Full Listings The Bristol Fringe 32 Princess Victoria Street, BS8 4BZ Café Kino 108 Stokes Croft, BS1 3RU The Canteen 80 Stokes Croft, BS1 3QY

Marble Factory / Motion 74-78 Avon Street, BS2 0PX Mother’s Ruin 7-9 St. St Nicholas St, BS1 1UE Mr Wolf’s 32, St Nicholas St, BS1 1TG

The Crofters Rights 117-119 Stokes Croft, BS1 3PY

No. 1 Harbourside 1 Canon’s Rd, Bristol BS1 5UH

Exchange 72-73 Old Market, BS2 OEJ

O2 Academy 1-2 Frogmore Street, BS1 5NA

The Fleece 12 St. Thomas Sreet, BS1 6JJ

The Old Market Assembly 25 West Street, BS2 0DF

The Gallimaufry 26-28 The Promenade, BS7 8AL

Rough Trade Bristol 3 New Bridewell, BS1 2QD

The Golden Lion 244 Gloucester Rd, BS7 8NZ

SWX Bristol 15 Nelson Street, BS1 2JY

The Grain Barge Mardyke Warf, BS8 4RU The Gryphon 41 Colston Street, BS1 5AP Hy Brasil 7-9 Baldwin Street, BS1 1RU

St Philips Gate St Philips Rd, BS2 0JZ Thekla The Grove, BS1 4RB The Thunderbolt 124 Bath Road, BS4 3ED

The Kingsdown Vaults 31 Kingsdown Parade, BS6 5UE

Tobacco Factory Raleigh Road, BS3 1TF

The Lanes 22 Nelson Street, BS1 2LE

Trinity Centre Trinity Road, BS2 0NW

The Louisiana Wapping Road, BS1 6UA

And more...

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Live Listings...

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Need more shows?

Look even further ahead, plus tons more great Bristol music content at: bristollivemagazine.com

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New School vol.1 the free Bristol label download 2017-18

Get it at:ewschool om/n

bristollivemagzine.c

Behind Every Musician

ol Vol 1 - one half page ad.indd 1

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@WeAreTheMU

22/03/201

Rehearsal Listings...

Dockside Studios Fully equipped in central Bristol. Free parking.

No fixed booking times. Equipment hire and storage facilities. Open ‘til 11pm (Sat ‘til 7pm). mail@docksidestudios.co.uk • 0117 934 9994 Albion Dockside Estate, BS1 6UT

Factory Studios Where music is made! Eleven practice rooms, a recording studio and great discounts for student and regular bands. Book by phone or online. info@factorystudios.co.uk // 0117 952 5655 Unit 23, Maze Street, BS5 9TQ

Firebird Studios By musicians for musicians. Friendly, helpful staff, six affordable rooms, onsite parking. Food and drink available. Book by phone or online. info@firebirdstudios.co.uk • 0117 972 1830 21-23 Emery Rd, BS4 5PF

Maverick Studios Rehearsal and recording (audio & video). Large 30’ stage, dedicated sound-booth and control room available. All rooms with PA and drum kit. maverickstudiosbristol@gmail.com • 07833 691 741 Office Tower, Foundry Lane, BS5 7UZ

RS Studios Largest independent rehearsal and recording complex in the Southwest. 18 individual, custom designed & built sound-proof studios. rsstudios@hotmail.com • 0117 971 1495 47-57 Feeder Road, BS2 0SE

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Thoughts From Flyers to Festivals by

Ian Chadderton, Fat Lip Festival

When I came to Bristol to attend UWE nine years ago, just like any student, I found it difficult to fit in.

I took a flyering job for a club night in my second year. I had found my true calling - the nightlife industry. I got my first paid DJ set alongside New Found Glory at the start of 2012. Finally, I could start to make my mark on the scene.

A few years on, I was offered a job managing a night. I was naïve back then. It seemed a huge opportunity, however the man in charge hugely took advantage and paid me pennies for months of graft.

Then everything changed. The Lanes and I decided to cut out the middleman and create something new. Fat Lip was born. It was built by the local scene, for the local scene. That was the whole point. We’ve been hosting silly pop-punk parties every month since.

The breakthrough for us was last year, when we decided to start the festival. It was always a dream to host an event that large, so I dove headfirst into it – and I’m forever grateful to my hard-working team for making it happen.

This year we’ve upped our game, added another stage and have a bigger main stage.

It’s an honour to host some of the best up-and-coming artists from across the UK. I believe it’s the sense of community we’ve built that has given people the same sense of belonging I now feel. Whether it’s attending our events or volunteering at the festival, it’s making our alternative scene feel inclusive that keeps it alive. It’s for this reason that even if I ever left our happy little Fat Lip bubble here in the Southwest, it would live on.

It’s bigger than one person, it’s about all of us.

Fat Lip has been a hub for rock and alternative music in Bristol since 2013.

The festival itself now in its second year, taking place on 28th July.

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