Bristol Live // Stevie Parker by Bristol In Stereo

BRISTOL LIVE LIVE & NEW MUSIC MAGAZINE

Bristol’s

STEVIE PARKER “I can’t write inauthentically...”

Jun. 17 | 65

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A live music charity event supporting Teenage Cancer Trust & Penny Brohn

Sat 10th Jun • £19.50 adv

2-Tone Tribute Tour Thu 15th Jun • £18 adv

The Wedding Present

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Dru Hill feat. Sisqo, 112 & Ginuwine

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MØ

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Busting out of Bristol... Bristol has always had a brilliantly diverse music scene, but some outsiders still attribute the city’s output to bands of 20-30 years ago. What they’ve missed is artists like cover-star Stevie Parker, who’s on the brink of superstardom with her bold admission into sombre-pop. Debut album The Cure could catapult her to new heights, and Robyn Bainbridge caught up with her before Bristol loses her for good. Elsewhere, Oliver Evans chats to new electro-bass project Kite Base while Ross Jones talks to Perth’s psych stalwarts, Pond. With the first events kicking off at the end of this month, Bristol Pride pick out the best acts to look forward to during their festivities, and Rife Magazine’s Nikesh Shukla tells us what makes him tick.

PICKS WITH: BRISTOL PRIDE

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BRISTOL BECAUSE: NIKESH, RIFE MAGAZINE

COVER: S T E V I E PA R K E R

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NEW RELEASES

DEAR DICK

IN CASE YOU MISSED IT

Sales: loki@bristollivemagazine.com

LIVE LISTINGS

Ed-in-Chief Loki Lillistone / New Music Ed Christian Northwood / Live Ed Mustafa Mirreh / Plus many more in print and online.

THOUGHTS: KEANOTHERAPY

New Music Editor Christian Northwood tackles the best new bands in our What’s New? section, while contributor Jon Kean speaks of how listening to music helped him get through his battle with cancer. Plus, we review some of the best new albums out this month, while also packing in all the live music listings you could ever want... Sammy Maine Managing Editor

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Guest Picks

What our pals are into this month.

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Guests:

words by: Daryn Carter, Director

Charlotte Church’s Late Night Pop Dungeon Pride Festival kicks off at the end of this month, with Pride Day itself closely behind on 8th July, and while there’s so much going on that it’s always hard to pick just a few artists, we’re very excited to have the incredible powerhouse that is Charlotte Church! She’ll be headlining the Pride Afterparty at the O2 Academy, with her amazing Late Night Pop Dungeon. Yes, that Charlotte Church, Voice of an Angel, singer to Popes and Presidents (but not Trump), bringing together glittering 8

moments from music across the decades, for one night only. With a setlist as diverse as Pride itself, expect En Vogue, R Kelly, Beyoncé, Black Sabbath, Britney and, well, probably whatever she fancies. It was such a massive hit at Glastonbury last year, with tickets for her tour flying out the door, that we know we’re in for something truly special this Pride Night, which also welcomes DJ collective Horse Meat Disco.

Jennifer Paige Guilty pleasure alert! Booking artists is hard work, booking artists for a festival attracting over 30,000 people with diverse tastes is even harder, but when I saw Jennifer Paige was back with new music this year, we knew we had to try and get her. Jennifer is responsible for the anthem ‘Crush’ which sold 11 million copies, #1 in 16 countries and was featured on Channel 4’s Queer as Folk soundtrack, making it massive on the gay scene. Now living in Nashville, her new sound shimmers with both country and electro-pop and has been on repeat in the office!

Busted With the icon that is Belinda Carlisle heading up our new Friday event, we’ve actually got two headliners this year, and while I am amazingly excited to be able to bring her to Bristol, c’mon, Busted! Yes, come Saturday we’ll have the 00s poprock boyband, with an incredible eight UK top-three hits and four number ones including ‘What I Go to School For’, ‘Year 3000’ and ‘Air’. They’ve won two Brit Awards, the 2004 Record of the Year and are back as their original line-up to close the main stage. Pride Festival runs from 29th June. All picks from 8th July.

STOLEN BODY RECORDS PRESENTS

08 july THE TRINITY CENTRE

07 july THE CROFTERS RIGHTS Vinnum Sabbathi | Dr Chan | Umi | Ghost Car Captain SUUn | Agarimo SYNDICATE OF PSYCH DJS T I C K E T S AVA I L A B L E AT

What’s New?

Fresh tales from the BLM radar with:

Christian Northwood New Music Editor

Chaouche Chaouche seemed to come from nowhere, with a fully-formed sound and perfectly-written atmospheric pop songs, as demonstrated on first single ‘I’ll Lose My Head’. She didn’t come from nowhere, however, Chaouche comes from Bristol, and right now, she is the city’s most exciting new act. Both tracks so far have been released via Late Night Tales’ artist imprint Night Time Stories, with more coming

in the next year. If the new material is anything like what we’ve heard so far, we should get ready for lush, atmospheric pop, rooted in piano and made great by Chaouche’s goosebump-inducing vocal and slick production. The Swansea-born musician said the overarching theme is healing: “Collectively my songs contribute to a greater understanding of particular issues I found overbearing and traumatising as a child and young adult. Each song is dedicated to a memory or experience that has come from a negative source and that’s ultimately been turned into a strength.” Chaouche’s destiny lies outside Bristol, because with a sound this stratospheric, the whole world deserves to hear her. My Friend (SC/YT)

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The Dolce Vita

PHOTO: ROWAN ALLEN

Music that is straight to the point can often be too simple, reductive and quickly lose its interest. Streamlining a sound into a slick, lean, pop-machine is not easy, but London fivepiece The Dolce Vita more than pull it off. Their tight, lean sound grabs influences from XTC, 60s pop and a little bit of John Lydon, twists them all up and spits them out in a way that’s more fun than you could ever imagine. The Dolce Vita are the perfect band for strutting around with your sunnies on, beer in hand, soaking up some rays. Outside (S.cloud)

If you like breezy, shimmering indie-guitar pop then look no further than Honeymoons. The three-piece rose from the ashes of a breakup, and have so far released two mesmerising tracks. The first, ‘Los Angeles’, juxtaposes easygoing guitars with a pining, lovelorn vocal, while latest single ‘Banff’ slowly creeps up on you with its lush melodies and slacker-pop sensibilities. The band describe their music as “sadly uplifting dream pop” and, to be honest, there’s no greater description than that. Charm for fans of Mac Demarco or Fake Laugh. Banff (Spotify)

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Honeymoons

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

Kite Base W.

M 14

ns O l i ve r E v a

ade up of bassists Ayse Hassan (Savages) and Kendra Frost, Kite Base is a brave new project, forging a path into electronic music – one bass at a time...

From the get-go, Hassan and Frost always knew they wanted to make music together. A simplistic origami fold was the perfect name for their project, with Frost chiming in that the fold, like the band, “started from a clean slate and you can go anywhere with it.”

came to writing, be it lyrics or melodies. “The whole point of the project was to bring anything to the table, and to explore any idea outside the box no matter how crazy it sounded,” Hassan explains. “We didn’t want to stifle something that potentially could be really interesting.”

Their open and honest relationship meant no idea was barred when it

Their debut album Latent Whispers features previously-released tracks

“We were conscious it could be muddy, we didn’t know if it would work to start off with,” Frost explains. “You couldn’t just run into playing, it required some kind of approach.” Being mindful in this way allows the pair to balance the high and low tones, and to be more selective about what gets used. “It was a great experience finding out what did work and trying to retain what we wanted to keep in that track, like being able to hear a certain melody,” Hassan adds.

‘Transition’ and ‘DaDum’, which both ooze with the industrial-electro influence that brought the pair together. On crafting ‘DaDum’, Frost says: “I was at this venue in London, waiting for the band to come on, then suddenly I got what became the bassline for ‘Da Dum’ in my head. It was a baby step, but I ran outside and huddled in a corner to record the sound in my head on my phone.” Their approach to writing is relentless, with both often waking up in the night to write down lyrics or harmonies to work on. “I find it really hard to rest. For me writing never stops,” Hassan adds. Yet even on tour, recording melds into the live experience, with Hassan recording sounds from the cities they find themselves in ahead of the show. “It’s a weird homage to the city we are playing in,” she says. There’s no doubt that the idea of two bassists, both playing bass in one duo, could present a big challenge soundwise, but that’s nothing they weren’t aware of.

Last year the band covered the Nine Inch Nails track ‘Something I Can Never Have’, which frontman Trent Reznor later described as “excellent” on Twitter. Hassan recalls fond memories of discovering the band: “I remember researching NIN at the back in biology class on my computer, I was so intrigued by their music... So it’s really bizarre knowing that Trent is happy with the cover. I can’t really put it into words.” However they’re not ones to take direct cues from such trailblazers, or even contemporaries – “I try not to listen to too much when writing” – surrounding themselves with entirely different output, if at all: “What I was listening to most when going out was hip hop. I remember listening to Missy Elliott’s last album in the car, because her beats are fabulous,” Hassan beams. Looking forward, Frost says it’s all uphill from here: “This was learning how to do it, we have certain techniques under our belts, now it’s what to add on to our sound to take it to the next level.” Kite Base may not be skilled in the art of origami, but it’s clear their methodical yet relentlessly creative process means there are great things to come. Kite Base’s debut album Latent Whispers is out now. They play The Louisiana, 14th. 15

I love ThisIsDA... BRISTOL BECAUSE... City chat with our fave people.

Rife Magazine’s Nikesh Shukla. When did you first move to Bristol? I moved here in 2011, from London.

Who’s your top Bristol artist at the moment? I love ThisIsDA. You can’t go wrong with boom-bap. And you can’t go wrong with dexterous wordplay.

How would you describe the music scene here? Working for Rife Magazine, we get so many pitches to write articles about Bristol’s ‘vibrant’ music scene, which always makes me feel sick in my mouth a little bit. So not that.

What’s your favourite thing about the city? The thing that charmed me the most when I moved here from London was hearing everyone say hello and goodbye to bus drivers.

And your least favourite? Actually riding on the buses. And the feeling, sometimes, that while this city is very multi-cultural, it’s not hugely inter-cultural.

What are your favourite eats around town? Tiffins. It’s a small Gujarati takeaway in Kingsdown. They make kichdi and kadhi like my mum used to make.

What’s been one of your highlights of the year? The response to The Good Immigrant has been incredible. As has the response to the crowdfunding campaign for Rife!

Anthology ‘The Good Immigrant’ is out now. Shukla’s latest project, ‘Rife: Twenty Stories from Britain’s Youth’ has just been fully funded – more info at: unbound.com/books/rife 17

STEVI E PA R KER W. R o b y n B a i n b r i d g e P. A d a m G a s s o n

“I don’t think I ever really had major ambitions to do music...” Stevie Parker is a picture of understated accomplishment: an oversized black velour jumper hangs about her frame, and strands of incandescent silver hair fall casually on her face as she talks about writing, gigging and her expectations for the band’s new album, The Cure.

bit of time because I think it’s reflective of my life, my youth. I’m not going to get the chance to write about that in that way again, and it’s good to have that sense of a journey to reflect on. Some people write diaries: it’s just another medium for conveying that.” Not having an extensive body of work behind them, the band haven’t been entirely sure what to expect as their debut met the world, and Parker admits that the sudden rush of interviews and gigs in the last couple of months has been “good but a little intimidating”. “It’s been like being on the precipice and looking over the edge,” – impossible at that point to tell what the band’s next steps would be with the then-impending album release. “I can’t write inauthentically” she declares, yet unfortunately, communicating said authenticity doesn’t come quite as easily between songs:

This modest attitude does her pursuit of music very little justice. Parker’s reputation may have snowballed in the last year or so, but while many of the album’s tracks were written in the last five years, this is a body of work which has been eight years in the making. With plenty of interviews and live shows cropping up in advance of their album release, the band is experiencing a prolific surge of success in Bristol.

“The talking bit is not my strong point,” Parker says. “I don’t really have the gift of the gab when it comes to speaking to crowds. I sometimes worry that I may come across as being rude or disinterested to people – but I just don’t actually know what to say.”

From opener, ‘This Ain’t Right’, to closing number, ‘This Time’, The Cure covers the story from a 15-year-old Parker, struggling with inner turmoil and making music in her bedroom, to a 23-year-old young woman co-writing tracks with Jimmy Hogarth. A lot has happened, and the album really works to convey this: “I like that it’s covering that

“Perhaps the more famous you get, the more ambiguous you have to be. For example, if I go to London, no one knows who I am. But back in Bristol I get the occasional person recognising me. That feels really sincere. I play a lot of gigs in and around Bristol, so I feel like I deserve it.”

Quite content with the band’s current state of affairs, Stevie Parker muses over her own trajectory, and the idea of fame is still a very distant one to her:

Nevertheless, Parker is still finding ways to overcome the issues that come with being in the public eye – censorship becomes a second nature: “Is this relevant? Who am I going to offend this time?” she poses, on writing new experiences into songs. For the most part though, she seems rather unconcerned with the idea of a second album, stating that, “it’s unlikely, but things could go awfully, and I might not get the chance to do another album.” Rather than worrying about what the future holds – “musicians: we’re

It should come as no surprise to us that Parker decided to leave University early to try her luck in music – and it paid off. Not four years on from there and she’d finished co-writing and producing tracks with none other than Jimmy Hogarth, famous for his work with Amy Winehouse, Paolo Nutini and Tina Turner, amongst many others. “The stuff that I was doing before I met him was more bedroom-y: I didn’t have all of the bells and whistles. Working with Jimmy enabled a lot more freedom, and

“It could be a nice little boost, or it could be something that changes my life.” pretty much all basket cases, so we’re quite likely to always have something to write about” – Parker talks passionately about her inspirations for creating music. She’s a massive fan of London Grammar and Hannah Reid’s incredible voice, but despairs at the lack of talent that’s required to become a musician nowadays: “what happened to all of the great singers? I think you’re allowed to be a singer, and not a good one, as long as there’s production or some other value there to make up for it.”

that’s what took it all from being acoustic and laid back to being more electronic.” It’s been a pretty good few years for Stevie Parker, and by the looks of it things are likely to keep getting better. But for the most part, Parker is still finding her feet: “I’m at a point where I don’t know what the future holds particularly. All I can really count for is the next three months and then it depends how the album does. It’s such a gamechanger. It could be a nice little boost, or it could be something that changes my life.”

Stevie Parker is just announced for the amazing Farmfest, near Bristol (28-29th July), with debut album The Cure out now.

O CTO B E R

D R I F T

W W W. O CTO B E R D R I F T. C O . U K

PON D.

s surprising as it may seem, Aussie wonders Pond are the most relaxed of acquaintances. Across seven records of zany transcendence and universe-reaching psychedelia, blues and garage, the band have never constricted themselves to one set of standards, consistently evolving wherever their enigmatic minds took them and ultimately being all the better for it. 24

w: Ross Jones p: Matt Sav

Their inexplicably-flamboyant live presence is as unanimous as the farreaching glamour of their music, as if youâ&#x20AC;&#x2122;re in the presence of shamanic majesties as they pull you inside a mind-bending amazon of music. Youâ&#x20AC;&#x2122;d be forgiven for expecting craziness, but upon reaching guitarist Joe Ryan in an unbeknownst cafe in Brooklyn, the group come across as a sincere bunch, simply cherishing their opportunities and the

pretty unconventional lives they lead through their fantastically wondrous band. The guys are in the midst of a world tour in support of The Weather, perhaps their boldest yet most succinct album yet, maybe even their most accessible. “I always felt like, with each album that we’ve done, each one has felt like a step above the last.” Ryan explains, sipping from his favourite Barry’s Irish tea. “The songs are very exploratory in the sound, it’s just a good representation of where we’re all at at the moment.” This is without question summoned within the indulgent pop of ‘Sweep Me Off My Feet’ and the stomp of ‘30,000 Megatons’. As a passion project made

It becomes “bigger something than

anything you can do by yourself, it becomes Pondified.

by close friends that are seemingly becoming even more practical together the more music they make: “With this one we started actually writing songs on our own and coming to the table with them. From there Jay added a riff, and then Nick would jump in. He’s a wordsmith, he’ll write these crazy lyrics, and then it just becomes something

bigger than anything you can do by yourself, it becomes Pondified.” This togetherness is perhaps such a significant element due to the way in which the album was created. Recorded together in the studio of good friend, Tame Impala’s Kevin Parker, the group all remained in their habitual city of Perth, and intend on remaining there for the near future. “We went down to Kevin’s studio and it was so close to the beach, so you’d get to go play some music, throw yourself into the ocean and get a pizza on the way home,” Ryan explains. “It was just very wholesome and easy, I don’t know if it was just the people, or the surroundings, or the combination of both, but whatever it was, it was very conducive. I think it’s reflected in the album.” This sense of settled focus that Pond had over the record is almost like a clever contradiction when considering the loose vibe of the record, which exudes a feeling of displacement and disorientation from a habitual world, especially with frontman Nick Allbrook’s lyrical approach. “Nick tied it together, not only to the world but how it feels in Australia to live in an isolated city. It’s the state of the world and it’s scary at the moment. Although the album is a little dark at times I think there is still the underlying good fun that comes from a couple friends making music. It’s an emotional album.” With The Weather, Pond have truly cemented themselves as their own band, certainly away from the geographical categorisations that critics made upon their breakthrough. The best thing they could’ve done was keep doing what they were doing, and they’ve gone and done even more. Pond play Thekla on 21st June, with The Weather out now via Marathon Artists. 25

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THU.08.JUN.17

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MON.12.JUN.17

TUE.12.SEP.17 SAT.07.OCT.17

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WED.13.SEP.17 SAT.14.OCT.17 TUE.24.OCT.17 FRI.15.SEP.17

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WED.20.SEP.17 WED.21.JUN.17

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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

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SATURDAY 3RD JUNE

SOLD OUT

COASTS

+ TILT

SATURDAY 27TH AUGUST

SATURDAY 10TH JUNE

ART IS HARD PRESENTS: HARDLY A PARTY

WHY? TUESDAY 13TH JUNE

BAT SABBATH

SUNDAY 20TH AUGUST

LONELY ROBOT

+ THE TEMPLE

THURSDAY 15TH JUNE

DAVID FORD

PAUL KELLY

FRIDAY 16TH JUNE

WEDNESDAY 6TH SEPTEMBER

KYLA LA GRANGE

GIRLPOOL

SATURDAY 17TH JUNE

WEDNESDAY 13TH SEPTEMBER

SWEET BABOO

CLAP YOUR HANDS SAY YEAH

SUNDAY 18TH JUNE

NICK MULVEY POND

SATURDAY 16TH SEPTEMBER

SOLD OUT

JARET REDDICK SUNDAY 17TH SEPTEMBER

THE VEILS

SATURDAY 24TH JUNE

METAL CHURCH

MONDAY 18TH SEPTEMBER

JAKE ISAAC

+ MESHIAAK SATURDAY 1ST JULY

FRIDAY 22ND SEPTEMBER

GOLDRAY

PAUL DRAPER

MONDAY 10TH JULY

+ ESTRONS

SATURDAY 23RD SEPTEMBER

PIERCE BROTHERS

MACMILLAN FEST 2017

WEDNESDAY 12TH JULY

SUNDAY 24TH SEPTEMBER

WILL HOGE

AQUILO

FRIDAY 21ST JULY - SUNDAY 23RD JULY

BRISTOL HARBOUR FESTIVAL

+ FRANKIE DAVIES TUESDAY 5TH SEPTEMBER

+ MICHELE STODART + JP RUGGIERI

WEDNESDAY 21ST JUNE

WEDNESDAY 30TH AUGUST

MO PITNEY

THURSDAY 28TH SEPTEMBER FREE ENTRY

SATURDAY 5TH AUGUST

HIT THE DECK ALL DAYER - MILK TEETH + MANY MORE TBA

TOM GRENNAN FRIDAY 29TH SEPTEMBER

VAN ZELLER MONDAY 7TH OCTOBER

THE DRUMS 27

New Releases

Records cut, pressed & out this month.

London Grammar

Truth is a Beautiful Thing 09.06 | Metal & Dust/MoS

It’s been four years since the release of London Grammar’s aptly named debut album If You Wait, but for fans of the dynamic trio from Nottingham, the long wait is finally over. One listen to Truth is a Beautiful Thing and it’s clear the band have gotten older, wiser and stronger than ever. The album sees them come out of their shell and start experimenting more with

instrumentation, tempo and chordal structures, but of course it’s Hannah Reid’s chilling vocals that take the limelight; soaring over the music and stopping you in your tracks with their poignant delivery. Dream-inducing highlights include ‘Rooting For You’, ‘Hell To The Liars’ and ‘Oh Woman Oh Man’, the latter of which tells the story of life choices made as a woman. Amidst its earnest message, it evokes a desire to let go and love yourself. They say good things come to those who wait, and Truth... is evidence of that. Let’s hope that we don’t have to wait until 2021 to hear more. Hannah Rooke Oh Woman Oh Man

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CHASTITY BELT I USED TO SPEND.... Hardly Art | 02.06

The third album from Seattle’s Chastity Belt sees the band in a more serious and reflective mood than before. The chiming guitars and slacker vocals are still there but the music is more downbeat than 2015’s poppier Time to Go Home. Also losing the irony of their previous output, the music takes a more honest approach, resulting in some quite affecting moments. The album’s highlight is plaintive ballad ‘What the Hell’, centred around acoustic guitar hushed vocals. The mood is not all downer though, as enough hooks and rockier instrumental moments appear to keep the band recognisable. A resigned record for these depressing times, I Used To Spend So Much Time Alone is a welcome distraction. Tim Ellis

PALEHOUND A PLACE I’LL ALWAYS GO Polyvinyl | 16.06

With bittersweet tales of bereavement and reluctant adulthood, the follow-up to 2015’s Dry Food finds Palehound more torn and fragile than Natalie Imbruglia circa 1997. Disconcerted by the untimely death of a young friend, the songs are steeped in harsh life lessons – too many things change, too quickly, too often. Palehound’s youthfully-cynical world feels abrasive, through scratchy, bleeding-heart guitar fuzz. Ellen Kempner’s reverberating vocals frequently make her sound weary, punch-drunk by piss-poor providence. Synths sneak in, first brooding and claustrophobic, then soothing and (finally) uplifting. On ‘Flowing Over’ Kempner sings, “Now’s not the best time for me.” The album may not signify peak form, but it’s a solid offering nevertheless. Jon Kean

TRUST FUND FT GARETH CAMPESINOS! I’LL SAIL THIS SHIP ALONE Art Is Hard | 02.06

Let me break this one down for you: Trust Fund + Gareth from Los Campesinos! + a Beautiful South cover = iconic. Uniting on record for the first time, this duet turns the tender, slick original Beautiful South track into a fuzzy garage-rock delight. Gareth and Ellis take a verse each before wonderfully recreating the beautiful harmonies from the original, with both’s love for classic 90s bands bleeding through onto the track. It contains the energy, excitement and passion of friends just recording one of their favourite songs in a room together, but with the seriousness and earnestness that the track deserves. Another excellent addition to Art Is Hard’s postcard series. Christian Northwood 29

MARIKA HACKMAN I’M NOT YOUR MAN Universal | 02.06

From the opening laugh of ‘Boyfriend’, it’s clear that Marika Hackman’s second album is not like her first. Gone is the static landscape of poised poetry and in its place, energy, excitement and a gang mentality. But when your backing band is The Big Moon, what do you really expect. Rather than a record to admire, this is one you experience. With a newfound desire for movement, I’m Not Your Man trades in polish and control for something a little more free-falling. There are whispers of the studio, echoes of conversations and a wicked

FLEET FOXES CRACK-UP Nonesuch | 16.06

Fleet Foxes are back, and dreamier than ever. Third album, Crack-Up journeys into melodic harmonies and perfect summer vibes. Opening track, ‘I Am All That I Need...’ breezes its listener into a collection of beautifully-curated symphonies. Lead single ‘Third of May / Odaigahara’ has already been met by unanimous appraisal and rightly so. Having not released an album since 2011’s Helplessness Blues, this one signifies a step in a new direction, with a new lineup to match. ‘Fools Errand’, a snippet of which has appeared on frontman Robert Pecknold’s Instagram, 30

Boyfriend marikahackman.com

sense of getting lost in the music as the full-band playfulness winks and grins throughout. ‘Boyfriend’, all impulsive desire and tongue-in-cheek abandon, starts a whirlwind romance that takes in the doubts of ‘My Lover Cindy’ and the cracks of ‘Time’s Been Reckless’ before the breakup of ‘Eastbound Train’. Blame is shared evenly but it’s never fair. Direct and wide-eyed, the record doesn’t try and hide the heart, instead using it to conjure a solidarity that never wavers. It’s rugged, real and sees Marika shine like never before. Ali Shutler

Fool’s Errand fleetfoxes.co

is characterised by its heartfelt lyricism and gravitating acoustics. ‘Naiads, Cassadies’ keeps to the band’s folksy laidback aesthetic, as does ‘I Should See Memphis’. Then there’s ‘On Another Ocean (January/June)’, a hypnotically-progressive track made up of drifting vocals and leisurely percussion. The album’s title track, inspired by F. Scott Fitzgerald’s essay of the same name, ties together their prevailing exploration of personal struggle through trademark wandering harmonies. With live dates to match, it’s good to see things moving once again for these indie-folk masters. Georgia Balch

MEADOWLARK POSTCARDS Believe Recordings | 30.06

Captivating pop melodies, sincere songwriting and lush production are at the heart of Meadowlark’s music. Having grown organically over the years through a string of EP releases, the Bristol duo finally present their anticipated debut album Postcards – collating all their experiences into one heartfelt and beautifullyhonest package. Strikingly balanced, the album pulls together old and new as familiar songs ‘Eyes Wide’ and ‘Fly’ sit comfortably alongside mesmerizing new additions ‘Sunlight’, ‘Undercover’ and ‘Pink Heart’. The understanding between singer Kate McGill and her counterpart Dan Broadley is impeccable throughout, especially so on the album’s title track, where delicate harmonies and exquisite guitar-lines shine, making Postcards a must listen for the summer. Mustafa Mirreh BODY CLOCKS STILL LIFE Chiverin | 16.06

In Bristol’s diverse but saturated electronic scene, producing an EP that truly captivates the listener can be pretty challenging. However, Still Life by Body Clocks is one of those EPs that really grabs you. The four-track EP truly scintillates the senses with droning synth, sporadic basslines and percussive guitar from start to finish. Track ‘Luna’ features haunting vocals from Rhain which really gives the album added depth, without detracting from the well-constructed instrumentals beneath. All four tracks are unique, forming perfect easy listening for fans of Bonobo or Darkside; this EP really hits the mark. Rosalind Grindrod

VENA CAVA ENTROPY Noctone | Out Now

You could easily rattle off a list of your favourite alternative musicians if someone played you this new EP from Vena Cava. They’re a band who have obviously listened to a lot of psych over the years and as a result take themselves rather seriously. The release is steeped in distorted guitars and a vocal from Christelle Atenstaedt which attempts to provide some sort of spiritual belonging. This is more effective in the noisier parts but kind of alienates the listener after a while in tracks like ‘Amygdaleza’. That being said, if you’re into the ethereal sound then you’ll adore this. It packs brilliant production qualities and the guitars are kicking. Rhys Buchanan

THE DRUMS ABYSMAL THOUGHTS Anti- | 16.06

Jonny Pierce may have just found his own place without any purposeful intention to do so. Through each record that The Drums have delivered, whether polished or otherwise, a sense of hapless melancholia has hinted at something pertinent, not quite reaching the next rope. With new record Abysmal Thoughts, a period of personal anguish for the chief songwriter has given him a sense of succinctness in writing. The songs hum like the best lo-fi records, yet have the tenacity and actual dynamism that could leave a longing mark. It’s calmly considered, heavily expressive in Pierce’s own way and most pleasantly, is unquestionably earnest. It’s a record of humbling lessons. Ross Jones

AMBER ARCADES CANONBALL EP Heavenly | 02.06

Though with a few harder edges, the Amber Arcades of the new Cannonball EP is largely the same Amber Arcades of last year’s fantastic Fading Lines. Few will be disappointed. ‘It Changes’ is a relatively upbeat number (upbeat for AA being a bit like a downbeat Alvvays), with an urgency that blows away the cobwebs of the hazy, lilting and intricate version of Nick Drake’s ‘Which Will’. Speaking of Nick Drake, Annelotte de Graaf’s songwriting here demonstrates a real step forward from previous records, with the utterly lovely Bill Ryder-Jones duet ‘Wouldn’t Even Know’ standing out as yet another highlight of the record – and of 2017 as a whole. Jon Clark 32

PORT ERIN OCEAN GREY Burning Shed | Out Now

This is a spacious and patiently-paced release, brimming with reverb and atmosphere. The vocals, delivered by Reuben Myles Tyghe, are reminiscent of Coldplay’s Chris Martin, but with a certain emotional credibility and, thankfully, without the nauseating smugness. In the vein of smugness, the guitar work touches on mideighties U2 and surf-rock, with its palm muting and pronounced plucks. Port Erin’s songwriting itself is characteristically measured and never puts a foot wrong; building the melodies and refrains gradually before revelling in crescendos as the wall of sound finally peaks. Title track ‘Ocean Grey’ feels instantly anthemic, and the EP overall creates an ideal, fresh and optimistic-feeling summer soundtrack. Stuart Tidy

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

Dear Dick, I’m constantly struggling for inspiration when it comes to music. I feel like i have plenty of ideas up there, but I can’t seem to get them out! What’s the best way to overcome writer’s block?

Sophie, Old Market.

Like something I’d rather not mention, inspiration can be slippery and confusing. When it’s present it’s the warming light of the universe, the arbiter of hope and beacon of enthusiasm. When absent it’s literally the opposite of those things, and that’s pretty crap. Inspo (as those in the trade call it) can come from many places, but can be induced more rapidly under perfect conditions. You didn’t state what kind of music you make, but i assume it’s one of the four most popular genres in the UK at the moment. So, see below for said genres and the best climate of inspo for each:

Grime: Years of systematic misrepresentation and persecution, preferably based on ethnicity or income, ideally both. Wear Adidas like you’re sponsored. Trap: Essentially the same as grime, but in the US, so with the added worry of being shot based on your ethnicity or income. Replace Adidas with ill-matching couture brands and heavy jewellery. Consider doing something stupid with your hair. Dancehall: Bash your head rhythmically against a steel oil drum until you feel aroused/lose all self respect. Feminists need not apply. Post-punk: Get an art degree.

Do you have a question? Email dick@bristollivemagazine.com