Bristol in Stereo // Hot Chip

LIVE. MUSIC. CULTURE JUNE 2019

â„– 89 // FREE

Hot Chip

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Sat 1st Jun • SOLD OUT

Wed 25th Sep

Wed 6th Nov

Damian “Jr. Gong” Marley

Fetty Wap

Kodaline

Tue 1st Oct

Fri 8th Nov

Fri 7th Jun • 6.30pm

BA1 Records Showcase Sat 8th Jun

The Wedding Present - Bizarro Tour Thur 20th Jun

Taking Back Sunday Sun 30th Jun

The Mighty Mighty Bosstones Wed 3rd Jul

Nahko and Medicine for the People Wed 24th Jul

Puddle Of Mudd Sat 27th Jul

#DXP19 Drag Explosion Sun 28th Jul

Lucinda Williams Mon 19th Aug • SOLD OUT

Skunk Anansie Fri 6th Sep • 6.30pm

Guns 2 Roses Sun 8th Sep • 6pm

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

New Hope Club

Snarky Puppy

Wed 2nd Oct

Sat 9th Nov

Richard Hawley Sun 6th Oct

Hootie and The Blowfish Thur 10th Oct

Black Star Riders Fri 11th Oct • 6.30pm

The Rasmus Mon 14th Oct

The Divine Comedy Fri 18th Oct • 6pm

Roachford Mon 21st Oct

Hot Chip Tue 22nd Oct

Gary Numan Wed 23rd Oct

Heels Of Hell Thur 24th Oct

The Selecter Fri 25th Oct • 6.30pm

Charles Esten Sun 27th Oct

MoStack Tue 29th Oct • 6.30pm

Refused + Thrice Fri 1st Nov • 6.30pm

The Smyths

Fri 13th Sep • 6.30pm

Mon 4th Nov

Pearl Jam UK

AURORA

Elvana: Elvis Fronted Nirvana Mon 11th Nov

Periphery Sat 16th Nov • 10pm

Festival Of The Dead Tue 19th Nov

Yungblud Fri 22nd Nov • 6.30pm

The Macc Lads Sat 23rd Nov

Happy Mondays Tue 26th Nov • SOLD OUT

Lewis Capaldi Thur 28th Nov

Electric Six Wed 4th Dec

Sam Fender Sat 7th Dec

Aldous Harding Mon 9th Dec • 6pm

Dan Reed Network / Gun / FM Sat 14th Dec

Motionless in White Wed 18th Dec

Shed Seven Fri 20th Dec • 6.30pm

Alabama 3 ...A Celebration of Coldharbour Lane

O2 Academy Bristol ticketmaster.co.uk

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

ticketmaster.co.uk • seetickets.com • gigantic.com

o2academybristol.co.uk

June • 2019

book

0117 203 4040 colstonhall.org

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Colston Hall loudly and proudly presents great shows in venues across Bristol Sat 1 Jun

Mon 24 Jun

Tue 16 Jul

Yola

Sam Morrow + William Crighton

St George’s Bristol

Fiddlers Mon 3 Jun

Imperial Wax Rough Trade Bristol Thu 6 Jun

Dale Watson & His Lone Stars Exchange Tue 11 Jun - Sun 28 Jul

River Town 2019 Various venues Tue 11 Jun

River Town Launch with Truckstop Honeymoon

The Louisiana Tue 25 Jun

Jerron ‘Blind Boy’ Paxton The Winston Theatre Tue 25 Jun

BCUC Fiddlers Mon 1 Jul

Keb’ Mo’ + Martin Harley

Fiddlers Wed 17 Jul

k.d lang Bath Forum

The Amphitheatre, Bristol Harbourside

The Shires Tue 9 Jul

Robert Vincent + Ethan Johns with Black Eyed Dogs

The Wardrobe Theatre

Bath Forum

Tue 16 Jul

JD McPherson

Tue 9 Jul

Thu 13 Jun

The Mavericks

Trinity

Thu 18 Jul

St George’s Bristol

Thu 20 Jun

Tue 16 Jul

An evening with Cowboy Junkies

St George’s Bristol

Tower Belle

Fiddlers

The Hot Sardines

Gwenifer Raymond

New Order

Fri 19 Jul

Rob Heron & The Tea Pad Orchestra Bristol Folk House

Wed 10 Jul

Fri 19 Jul

Will Hoge

The Specials

The Crofters Rights

The Amphitheatre, Bristol Harbourside

S

on w summer locati Join us in our ne ub Cl raway at the Thekla Fa

or £5 ails f 0 t k c o Two c from £2.5 .50 Pints mixer £2 and Spirit

Thekla Faraway, 15 Small St, Bristol, BS1 1DE www.THEKLABRISTOL.CO.UK @theklabris

Welcome As you all enjoy the benefits of climate change – in the form of heatwaves that, frankly, no British person should experience – don’t forget about your old pal, music.

Gracing our cover this month are bona fide leftfield royalty, Hot Chip. Over the last twenty years, they’ve seen people come and go, and, with their seventh album now in hand, they remain a creative force to be reckoned with. In a huge step for the band, A Bath Full of Ecstasy is the first record working with outside producers, all the while remaining decidedly Hot Chip.

Elsewhere, we chat with young London grime artist, Yizzy. While he may be a highly-skilled and frenetic MC, he’s also a humble Lewisham lad who still considers himself “a student of the game”. Meanwhile, time spent with singer, rapper and NiNE8 collective founder, Lava La Rue sees us learn how to inject a sense of joy and abandon into politically-charged music.

All this, plus June’s best releases, must-see events, full live listings for Bristol’s top venues and more.

Loki Lillistone

Editor-in-Chief / Sales Loki Lillistone loki@instereomag.com Deputy / Live Editor Jon Kean

Online Editor Beth Sheldrick

Local Release Editor Lor Nov

New Music Editor Kezia Cochrane

News Editor Ross Jones

Graphic Designer Larissa Matheus

Also contributing this month: Hassan Anderson, Grant Bailey, Caitlin Clark, Geoff Cowart, Thomas Hannan, Charlotte Krol, Emma Madden, George O’Brien, Kelly Ronaldson, Harriet Taylor, Lee Wakefield.

Interviews 14 Lava La Rue 22 Yizzy 26 Hot Chip Features 10 57 61

New Sounds In Bristol Thoughts

Reviews 34

Releases

58

Live

What’s On? 18 40

Events Full Listings

photo: IDLES

photo: Lava La Rue

Staff On Repeat:

Music we can’t stop listening to this month.

Loki: IDLES – Mercedes Marxist Jon: Egyptian Blue – Collateral Kezia: Dorian Electra – Flamboyant Lor: Dinosaur Pile Up – Backfoot Beth: AJ Tracey – Ladbrook Grove

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THE BEST IN JAZZ, ELECTRONICA, HIP-HOP AND BEYOND.

14.05.19 18.05.19 21.05.19 28.05.19 29.05.19

KRS-ONE W SHAODOW TOO MANY ZOOZ BLANK BANSHEE CHALI 2NA & OZOMATLI ANEMONE & CORRIDOR

TRINITY SWX FIDDLERS THE FLEECE HY BRASIL

08.06.19 AMALGAM SHAPES

SWX

11.07.19

THE FLEECE

19.07.19 24.08.19

MASEG LEVAN KALI, MASEGO, FATIMA, OSHUN, MAISHA SUGARHILL GANG & THE FURIOUS FIVE THE BUG MADLIB KAMAAL WILLIAMS THE HELIOCENTRICS CARISTA

TRINITY MARBLE FACTORY

New Sounds

by Kezia Cochrane

photo: FKA Twigs

Top Ten: New Sounds Dorian Electra – Flamboyant Virgen María – Blex Fka Twigs – Cellophane BABii – Carnivore Stormzy – Vossi Bop E B U – Falling WIVES – Workin’ Lewsberg – Chances Kevin Abstract – Joy Ride Kap Bambino – Aldamaghia

Get more new music from Kezia Cochrane every monday at: bristolinstereo.com

Tami T Tami T is a true pop princess. On her utterly entrancing, poignant debut album High Pitched and Moist, the Berlin-based, Swedish-born musician delivers frank vulnerability in her songwriting, expressing deeply personal, intimate experiences with a particularly self-aware wit and acute directness.

Sonically, Tami T crafts infectious EDM bliss alongside graceful, glistening synth melodies, and trance-like hypnotism within which her bittersweet, ethereal vocoder vocals unfurl with an ardent, explicit lucidity.

Having collaborated with the likes of Fever Ray and GNUČČI, Tami T has already accumulated quite a cult following with her devastating, lustrous dancefloor anthems that surge with pure, euro-dance ecstasy.

Her high-octane sound is intertwined with an intrinsic, crushing emotional honesty that accumulates in a remarkable mix of sugary-pop and blunt realism. Known for her magnetic live shows, featuring a musical strap-on that she built herself, Tami T is a highly innovative, exceptional artist and the queer, electro-pop royalty we need. And luckily for us, she’s gracing Bristol with a performance at the upcoming, ever-wonderful Thorny – So you can witness Tami T’s vibrant, shimmering majesty for yourself.

Listen to: Princess Live: Thorny July 12th @TamiTMusic @_tami_t_

Kinlaw & Franco Franco With their visceral, dissident industrial trap, Kinlaw & Franco Franco have been rapidly making their mark, both within Bristol and further afield. Their dynamic, relentless performances have seen them captivate audiences at a wealth of seminal local shows, including Scalping’s EP launch, Illegal Data and Noods Radio’s recent bank holiday party to mention but a few. They also form part of the prolific Avon Terror Corps noise collective, and Kinlaw is behind experimental label, Ceramics. Having recently released the searingly brutal and brilliant LP, Mezzi Umani Mezze Macchine, the duo are an undeniably crucial sonic force right now.

Listen to: Cuore Molle Palle Mosce @kin40k @kin40k 11

“I’m so sick of songs that are politicallyfuelled and have this darkness to them.”

Lava La Rue words: Charlotte Krol photography: Betsy Johnson & Luke Nugget

One of the most striking things about Lava La Rue’s video for her recent single ‘Burn’ is the polarity between its playful energy and lyrics of political oppression. The West London rapper/singer details a revolution that’s “unelectable” with “demoralisation, predictable” but she’s going to learn how to fight the system anyway. “No human born a Conservative / Just a greedy method of conserving quid”, she raps elsewhere in breathy spoken-word as the camera cuts between her performing in inner-city estates, dancing at flat parties, and rapping outside a Costcutter. “I’m so sick of songs that are politically-fuelled and have this darkness to them,” the 21-year-old says over the phone. “I had written the lyrics – and they’re really heavy, really political – and when I was showing them to other people they were like, ‘Ah, you need like a really heavy beat and an abstract, Björk-esque video or something.’ I thought, ‘No. I want it to be loud. I want to dance around, I want it to be more towards being empowering and exciting.’”

minate the haters like we pesticide / So we can keep the vibe / No negativity.” ‘Touch My Mind’, meanwhile, hears Laurel ponder the proliferation of Black Mirror-style surveillance.

Empowerment is at the centre of what Lava La Rue does. The artist, whose stage persona is an anagram of her real name, Ava Laurel, addresses injustices in songs that are invariably warm in tone. Her creations are 90s-inspired R&B and rap ditties – flecked with jazz, dancehall and dub – that embolden listeners through love and comfort. On ‘Widdit’, an old school hip-hop jam lifted from her excellent 2018 EP Letra, Laurel raps: “Let’s unify, ter-

Much of Laurel’s shrewd character can be attributed to growing up on a council estate sandwiched between rich and poor in Ladbroke Grove. “The contrast when you walk down the street is literally insane – to the point where sometimes I’m walking down Ladbroke Grove and I’m like, ‘I don’t know if you’re genuinely, like, a crackhead or if you’re, like, just a really extravagant, super rich person that dresses absolutely crazy,’” she says.

If ‘Burn’ is about “uniting through love – platonic love”, Laurel explains, then she’s certainly practising what she preaches. The soloist is a member of NiNE8, a 15-strong underground collective of musicians, artists, producers and designers in West London with a DIY ethos (Biig Piig is among its members).

The creative group showcased their work at 2018 Men’s Fashion Week and hosted a Tate Late. Laurel also runs Hydration Studio, an independent label based within her local queer community. “It’s like a safe space in a studio where female MCs or queer or non-binary can just come and make shit,” she says.

“Because, honestly, when you get a studio in London and you’re trying to make stuff that’s within the hip-hop umbrella, you’re surrounded by a lot of toxic masculinity in guys.

Hydration is where people can talk about their narratives. It’s really fun and just wholesome.”

15

“I’m super vulnerable in some songs and in some I’m super defiant.”

Working-class communities in Greater London are “more segregated” than where she’s from. “With the inner-city ones, it’s all kind of mixed up; it’s almost impossible not to mix [with other classes].” Indeed, growing up, Laurel was friends with children of wealthy people – often being invited on fancy holidays – but she was also pals with kids of her background. “I think having that dual perspective gives you a really well-rounded view of society and how it runs. That’s really affected what I preach about in my music,” she says.

Moving ahead, what can listeners expect when her new mixtape, Stitches drops this

month? “It’s showing more sides of me: more of my capabilities. I’ve been a lot more handson with the production, playing guitar and bass,” she says. “I’m super vulnerable in some songs and in some I’m super defiant.”

West London dub has been “part of the sound that has inspired me” but she adds that the sonic palette is broader this time around. “It’s sounds and samples from the city I’m living in every day. It’s like getting audio extracts from diary entries.” Reader, we can’t wait.

Stitches is released independently in June @lavalarue @lavalarue

Events

Harbour Nights July 7th, 14th, 21st, 28th, Arnolfini Quay One thing that makes Bristol great its smattering of fab riverside spots – and for many Bristolians, there isn’t much better than enjoying warm weather while overlooking the water.

During the summer months, Harbour Nights returns to the Arnolfini Quay, bringing with it street food, craft beer, live music and DJs. Expect all manner of cuisine, from Japanese to tacos, and drinks by way of Bristol Beer Factory. The entertainment line-up for June is still TBA at time of writing, but last month’s appearances from Sip The Juice and Snazzback show the standard is always high.

Courtyard Cinema: Almost Famous & More

Dropout Disco & Farmfest’s Day Block Party

June 4th, 11th, 18th, 25th, The Lanes

June 8th, Lakota

Did you know there was a place called ‘outside’? And it’s not just for smoking, but also doing fun things that you like with other people? The Lanes’ Summer Courtyard Cinema Club is back just in time for the year’s more merciful months, kicking off with a cult classic, Almost Famous. Picture a teenage version of pretty much anyone who writes for this magazine, faking their way onto a tour in rock’s 70s heyday. Other showings this month include Good Will Hunting, excellent bad move, Child’s Play and increasingly-bizarre adventure in 80s attitudes to romance, When Harry Met Sally.

It’s no secret that we’re fans of boutique Somerset festival, Farmfest, and we’re certainly not the only ones. What if we told you they were throwing a party right in the thick of Bristol, with the legendary Dropout Disco?

Taking place at Lakota, they say to expect a party “with both its heart in the right place and hands generally in the air”. Headed up

by Young Marco, you’ll be able to bask in his painstakingly-honed selection skills and penchant for the unheard and the obscure. He’s joined by some of Dropout Disco’s favourite party DJs, many of whom are from the extended Farmfest family.

photo: Harbour Nights

Colston Hall Record Fair June 1st, Colston Hall Colston Hall’s is the biggest record fair in the Southwest. Going since 2010, it boasts seventy dealers over three floors, primarily selling vinyl, along with CDs, merch and other collectibles. Serious and casual collectors alike have become regular patrons, as you can expect to find everything from the ultra-cheap to the ultra-rare, or maybe both at the same time if you have a keen eye. You can even check out the records before you buy them, using various sets of decks around the fair, and the café is, of course, open to treat crate-digger’s exhaustion. It’s a thing.

Punka LGBT+ Clubnight June 23rd, Exchange One of the most satisfying things to happen over the last few years is the coming of LGBT+ culture into the broader public consciousness.

The simplified, monolithic images portrayed in old movies and sitcoms no longer fly, nor do the assumptions of what a ‘gay night’ should be like. Punka, as the name suggests, is an outlet for LGBT+ people in Bristol that leans on indie/alternative music, one that celebrates freedom of expression with a strong, defiant, fingers-up-to-you streak. This month they present Dream Nails, The Menstrual Cramps and Baby Seals live, drag king Isaac Dix and of course DJs.

photo: Punka LGBT+ Clubnight 19

The Gallimaufry

Snazzback Afro-funk & psych-jazz

6 June ~ Snazzback: Open Collaboration

Snazzback open the stage to collaborations of all kinds with some of Bristol’s finest.

13 June ~ Snazzback

Snazzback sew intricate arrangements together with a common thread of improvisation, odd-meter cacophony, hypnotic melodies and an infectious looseness.

20 June ~ Astral Tusk w/ ZeĂąel, AV Trio & DJ Notsoever 27 June ~ Snazzback Presents: Hippo

A future jazz vision buried in a nest of beefy electronics and bouncing rhythms. Saxophones, synthesisers and drums go in, hippo comes out.

thegallimaufry.co.uk

Yizzy words: Caitlin Clark photography: Eva Pentel

Yizzy is many things: a listener, a learner, a high-octane performer, a lover of grime, an incendiary MC and (as of now) a headliner. But when we speak over the phone, he at home and me cramped into the farthest corner of a coffee shop with next to no signal, he’s a determined young man from Lewisham, waiting patiently to tell his story.

“I’m still trying to find my way…I’m very much a student of the game,” he tells me very frankly. There are so many small niches of music, subgenres and cultures dotted across London, each one more enticing and exciting than the next, but Yizzy was drawn to lyrical ability, high-tempo rapping and raw passion.

“When you mix all of that together it’s like everything you could want from a genre.”

The 20-year-old pulls from the speed of Griminal, the depth of Ghetts and the quickwit of Dizzee, the soft revolution of reggae played at his mother’s home, the youthfulness of house and profundity of old school hip-hop to add something even fresher to a relatively new genre in UK music. Grime – or at least the re-imagining of it in the last five or so years – is the Gen-Z of genres. It’s one that has grown up with Snapchat and Instagram and feels more at home talking to strangers on Twitch than calling their own grandmothers.

And while I’m 90% sure Yizzy calls his grandmother at least once a week, his sound is the newest of the new.

Bursting onto the scene during his final year of GCSEs, Yizzy’s sound was impossible to ignore. S.O.S was an EP with bars that burned like white-hot coals on a barbecue, igniting a 20-year old genre with something a bit special. Within the same year, we heard the Lady Leshurr-esque ‘Hype Ting’ and ‘Keep Chasing’.

Almost overnight, the name ‘Yizzy’ spun webs across London. “When I was at school it was the same, when I was working 9-5 it was the same…A lot of late nights between 3 and 5am.”

This is what he eats, sleeps and breathes.

Yizzy found his feet on pirate radio stations across London. “It gave me the chance to hear my voice on radio through actual speakers, when I didn’t have an opportunity to, when I didn’t have the funds or access to a microphone.” Meanwhile, his EP racked up over a million Spotify streams. A feat almost unheard of for a small, underground grime artist at only 19 years old. Like wildfire, the word spread quickly, gaining traction every metre it made.

Now we’ve been served the icy offering ‘Freeze’ with Devilman – a first cut from forthcoming EP, Welcome to Grime Street and a signal of change for the young MC. While S.O.S may have appealed sonically to the grime community, 2019’s record delivers conceptually as well.

“I want people to understand me a bit more as an artist; the songs are a lot more mature. The concepts on the EP are very deep and meaningful to me. One of my favourite ideas on there is one about how much we as people take life for granted – it’s the little things in life that make it worth living.” Yizzy certainly hasn’t taken his opportunities for granted, grappling with the edge of the mainstream ahead of his headline show at the O2 Academy Islington. This is a kid who went from sitting in his bedroom, dreaming of being the next Wiley, to cutting a track with the man himself. “There’s a version [of ‘Freeze’] floating around in the cloud with me and Wiley, yeah. It might see the light of day…”

“I’m still trying to find my way…I’m very much a student of the game.”

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“...One of my favourite ideas on there is one about how much we as people take life for granted – it’s the little things in life that make it worth living...”

There are lots of little things that make up a great grime artist: dedication, drive, talent, a story to tell, and a sense of humility while still knowing full well you’re here to stay. As Yizzy closes out our chat, I’m pretty sure he has all of the above. “I sit in a place where I’m the new poster boy for grime. With the music I’ve got out, the live shows and the live energy…

All of it screams a breath of fresh air for grime and for the UK music scene.”

Welcome To Grime Street is released June 7th via DMY. Festivals: Field Day, Dr. Martens, June 7th-8th. @Official_Yizzy @OfficialYizzy

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Hot Chip words: Lee Wakefield photography: Mike Massaro

“We know how to make a Hot Chip record... but we don’t know how not to make a Hot Chip record, if you know what I mean.”

Very expensive, fine pastries. That’s what the best producers bring to the table, according to Hot Chip’s Alexis Taylor. “It seemed to go down well with the rest of the band,” he admits. And with that admission, I start to understand why the band opted to work with outside producers for the first time in their long career, specifically on their seventh album A Bath Full Of Ecstasy. It boasts all the shimmering hallmarks of a Hot Chip record, nine tracks of sublime kaleidoscopic pop, but it’s arguably the most immediate and leanest body of work they’ve recorded in some time.

The outsiders in question are Rodaidh McDonald (David Byrne, Sampha) and Philippe Zdar (Cassius, Phoenix), who, of course, brought more than just tasty baked goods to the process. While the latter lent a “great enthusiasm and energy to proceedings”, the former would push the band to craft better hooks and choruses for their arsenal of pop hits, leaving Alexis to reflect: “I think it was quite good having both producers involved as it gave us a new lease of life and got us out of some old habits.”

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“We know how to make a Hot Chip record, we’ve done it many many times before but we don’t know how not to make a Hot Chip record, if you know what I mean,” Al Doyle tells me. “So that was the idea with this: to recognise that, if we genuinely want to do something that’s a bit different, that requires a sense of letting go on our part, and it was quite freeing to do that. It’s a weird thing for a band that’s so deep into album seven to have never worked with a producer before.

It’s quite nice to be able to do that at this stage of your career and to experience what that feels like.”

“Every time we felt like we were recoiling from what Rodaidh and Philippe were doing, we had to remember that was actually a positive.

Feeling a little bit freaked out by that process is probably a good thing, so there was an element of trust. But it felt really good to come back to the room and hear something quite wild and be really excited by it ourselves because it made everything feel quite new and risky and dangerous. Letting go was very worthwhile in retrospect.” Fifteen years since debut album Coming On Strong, it feels natural for Hot Chip to be seeking something fresh. One of very few bands in modern times to be embraced by indie discos, underground dance-floor dwellers and pop aficionados alike, A Bath Full Of Ecstasy is no radical departure. It simply refines in meticulous detail what the band have been doing so well for so long, and sends it stratospheric.

Few artists craft singles as consistently bombastic as Hot Chip and the propulsive ‘Hungry Child’ continues that trend, but more understated tracks such as ‘Positive’ and the glitchy ‘Clear Blue Skies’ feel like the work of a band savouring a new beginning. It only clicks, Alexis feels, because of the band’s natural rapport.

“I think there’s always been a very intuitive approach to music-making, particularly between me and Joe [Goddard], but actually all of us. It’s not a discursive process, taking

apart the meanings and the ideas behind songs. It’s all understood. We all get where each other are coming from and don’t have to ask too many questions. And also maybe some of the things one of us is singing about are not always the easiest subjects to talk openly about, that’s why they appear in song, I think. There’s a bit of respect and breathing space for people to say what they want to say, lyrically and musically.”

“It’s not a discursive process, taking apart the meanings and the ideas behind songs. It’s all understood. We all get where each other are coming from and don’t have to ask too many questions.”

That sense of freedom amongst the band encouraged lengthy improvisation but also pushed the band to be “vicious with how many songs went on the record”. Al reveals: “We were doing huge, long jam sessions with a bunch of really interesting keyboards that Philippe had set up and generated a lot of material that way that then had to be sifted through and analysed, basically a grading of what was interesting or what could be discarded. That’s something we’ve got better at over the years, trying to figure out what is useful and what is a bit indulgent when it comes to that process. It can end up being completely endless and all of us can happily do that for days on end, so it’s good to try and get something that is useful and bring something different to the music. Luckily, there’s never been a shortage of that. We’re endlessly prolific people, it’s actually the ending process that’s a bit more difficult for us rather than the generation of ideas.”

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“Operating in different circumstances results in much more interesting music, rather than just being rigid in your work.

It allows Hot Chip to change.”

“Maybe we were quite excited to be making music together again because we’d had a bit of a longer break,” Alexis ponders. “Not everybody in the band does so much extra curricular activity so maybe there’s a desire to make the most of those times in the studio for some.”

“I’m a bit of a sucker for making albums and touring them, even if it’s not always the most fruitful thing to do in terms of being successful. I just enjoy it as a process and enjoy making those records and being creative and doing something different from one record to the next and playing with different people on stage. I can’t really get enough of doing that and I feel like that’s what I’m meant to be doing with my time,” he admits, having released several solo records since 2014. “But that’s not what everyone does, so there’s a real sense of coming together and enjoying and making something really special and capturing that enthusiasm in the studio.”

“That freedom to go and do things outside the band, and also not just being allowed to do that but wanting to do that, I think is quite healthy. Operating in different circumstances results in much more interesting music rather than just being rigid in your work. It allows Hot Chip to change.” While a continued urge to connect with each other and explore new musical territory feels significant and welcome, one constant remains: nobody writes a killer hook quite like Hot Chip. A Bath Full Of Ecstasy proves that.

A Bath Full Of Ecstasy is released June 21st via Domino.

Live: O2 Academy, Bristol, October 21st Festivals: NOS Alive festival, Lisbon, Portugal, July 11th and Bluedot Festival, Jodrell Bank, July 19th-21st @hotchip @Hot_Chip

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JAH JAHWOBBLE WOBBLE&&THE THE INVADERS INVADERSOF OFTHE THE HEART HEART

Record of the Month:

Carly Rae Jepsen Dedicated - Record Label -

Danny Wright gathered Emma Madden and Harriet Taylor to discuss the return of Canada’s ambassador to pop, Carly Rae Jepsen. How does her new offering, Dedicated, stand up? Read on to find out.

First off, what are your feelings towards Carly Rae Jepsen?

Harriet: I respect her place in the modern pop canon.

Emma: I like everything that she stands for: femininity, feelings before thoughts, making joy aspirational. My one concern - which is probably even too strong a word - is why she lingers on the tropes of teenage romance even into her thirties.

Harriet: Someone once sent me a playlist with ‘Boy Problems’ on it, so I’m not sure what they were getting at with that.

So what did you make of the lead singles from Dedicated?

Harriet: I loved the self-love and positivity in ‘Party For One’. I think the singles promised

more than the album lives up to, though.

Emma: I didn’t love them, but I’m a little wary saying that, especially when the odds are so stacked against her. Her last album was a masterpiece, and its greatness was exacerbated by the fact that no-one was really ha‑ ving a serious conversation about her previous stuff, like ‘Call Me Maybe’. E•MO•TION demanded serious conversations and I’m always going to hold her up to that impossibly high standard. In other words, if Louisa Johnson made this album, I’d like it a lot more.

In the period post-E•MO•TION, Jeppo collaborated with Danny Harle and Charli XCX on some less retro-leaning songs. Do you think she’s taken anything on board from those projects for this collection?

Harriet: 100%. I’m seeing a whole lot of those kinds of influences on the record.

Emma: I hear more of Owl City on Dedicated, I think, but overall, this sounds like quite a detached record compared to E•MO•TION, where I could hear the influences prominently.

Harriet: I got a bit of a Tegan and Sara ‘Love You To Death’ vibe from it, but I think that’s partly due to the subject matter in the lyrics.

Emma: Oooh yeah that’s a really good shout.

What are the standout tracks for you?

Emma: ‘I’ll Be Your Girl’ because I’m so confused by it. It’s dangerously close to reggae Carly Rae Jepsen.

Harriet: Carly “Reggae” Jepsen. ‘Everything He Needs’ is probably one for me. It’s very creepy, mind.

There were reportedly over 200 songs written for Dedicated. Do you have faith she’s picked the best ones, bearing in mind she left ‘Cut To The Feeling’, ‘Cry’ and ‘Higher’ off E•MO•TION? Harriet: It’s hard to tell without knowing what the other 190-odd songs were or how much development had gone into it. But maybe we’ll get a Dedicated Side B package in the near future.

Emma: This album has sort of had me questioning her taste level a bit, so I trust her less with how she chose to whittle down the 200 songs. I don’t believe there’s another ‘Run Away With Me’ among them though.

I think that was my problem with this album: nothing here has the magic of ‘Run Away With Me’.

Emma: I don’t think the songs are necessarily catchy, which is its biggest problem.

Harriet: I agree, Emma. A lot of them I found quite forgettable on the first listen. Even the second, if I’m honest.

Emma: Reading around the album, it seems like she didn’t intend to pack a punch. I read that she wanted this to be an album you clean your house to. So, mission accomplished.

The main criticism levelled at E•MO•TION was that you didn’t get a sense of Jeppo’s identity. Do you feel that you get a deeper insight on Dedicated?

Harriet: I feel like the themes explored of love and self-love are pretty universal, so not really. The most candid part is her readiness to

deal with the somewhat obsessive feelings that crushing provokes.

Emma: There’s definitely more colour in her depiction of herself, especially in ‘Everything He Needs’. It’s tender and creepy at the same time. It makes you understand how Carly loves.

E•MO•TION seemed to be capturing a single feeling, whereas this one seems to be drawing from a whole range and trajectory of feelings.

I can’t help but be sucked into Carly’s point of view.

Harriet: Yeah, she’s really likeable in that sense.

You find yourself on Team Jepsen.

Any final comments?

Harriet: People are going to be using these songs for their Tinder anthems.

Emma: I hate that I don’t love this album but I’m just going to have to stand by my boring opinion that this album didn’t astound me. Carly Rae Jepsen is not someone I want to feel lukewarm feelings towards, especially when she’s all about the most joyous, ecstatic feelings possible.

Harriet: I don’t think this album is likely to fall into the territory of being underrated, at least.

Live: Primavera Festival, Barcelona, May 31st @carlyraejepsen @carlyraejepsen 35

Album Reviews Freddie Gibbs And Madlib Bandana Keep Cool/Columbia June 21st Indiana rapper Freddie Gibbs and California producer Madlib can still bring out the best in each other. These 16 tracks arrive five years after their prized debut album, Piñata, and feature cameos from Pusha T, Killer Mike, Anderson .Paak, Yasiin Bey, Black Thought and Assassin. But it’s the interplay between Freddie’s versatile rapping style and Madlib’s mind-boggling array of lush beats that wins the day. Steel meets sugar. With Freddie carrying the weight, he kicks off the album with a freestyle – and one track later he’s celebrating with his lines in the microwave. It’s powerful stuff. The unlikely combo of Killer Mike and Pusha T show up on the cash-loving ‘Palmolive’. Mike opts for a few trippy singsong verses, while Push gobbles up all 16 bars with his gonzo Motel 6 tales. The mood turns more cerebral on ‘Education’ when Bey and Black Thought rap about empty schools and bulging prisons: “The puppeteer is playing you for spite/ And worldwide what we’re paying is the price”. Central themes of wealth and social mobility prevail. Yet this is largely an album about the visceral joys of hip hop, with Freddie’s potent shimmying a joy to behold. Geoff Cowart

photo: Luke De-Sciscio

Bill Callahan Shepherd in a Sheepskin Vest Drag City June 14th “You know I used to share a tailor with David Bruce Banner – that’s The Hulk”, sings Bill Callahan on ‘The Ballad of the Hulk’. His new album is full of lines like that; ones that wouldn’t have occurred to any other lyricist, bizarre non-sequiturs imbued with enough gravitas to make you reconsider your whole life.

Shepherd in a Sheepskin Vest is a 20-song indie-folk epic that finds Callahan not expanding his sound but significantly reigning it in. A record that sounds like it’s being whispered to you on a long walk, it’s both a lot to take in, and roughly two hours too short. In all honesty, I don’t really know what to make of it, but I’m relishing the years it’ll take to decipher.

Thomas Hannan

Luke De-Sciscio Goodbye Folk Boy Vinyl Moon Jun 31st

Over the last few years of his career, Bath-based singer-songwriter, Luke De-Sciscio has compiled a breathtaking and emotive discography. Yet, ever exceeding expectations, he returns this month with the dreamy and bittersweet, Goodbye Folk Boy - a touching record that glides easily into the top ranks of his musical portfolio.

With every intricate melody refined to near-perfection, De-Sciscio’s passion remains at the core of all his creative endeavours, a crucial factor that weaves together the emotional intensity of ‘I’m A Dream Fighting Out Of A Man’. The musician’s distinct vocals float effortlessly throughout the record, complimenting the gentle, heart-warming tones of ‘Smaller Flames’ and ‘I May Never Fall In Love With Everyone’, while recent single and album highlight, ‘Winsome’, rivals Jeff Buckley and early Cat Stevens. Kelly Ronaldson

Plastic Mermaids Suddenly Everyone Explodes

Isle of Wight quintet Plastic Mermaids really are something special.

Fusing together drastically contrasting genres, the band manage to pull an infectious masterpiece out from amongst the chaos every single time. Having honed their sound over the last few years, they return this month with their debut full-length album, Suddenly Everyone Explodes, combining futuristic electronic sounds and experimental beats with an impressive series of pop-heavy melodies and echoes of late-nineties alt-rock. Single release ‘I Still Like Kelis’ blends anthemic garage rock with an undertone of space-infused synths. Stand-out track ‘Throwing Stones at the Moon’ takes the form of an electro-pop beauty scattered with waves of emotional energy, while ‘Aquarium Acid Trip’ incorporates atmospheric vibes and orchestral elements, offering an insight to the band’s mesmerising imagination. Kelly Ronaldson

Flying Lotus Flamagra

It’s been an eon since Flying Lotus’s last album; the dark, DMTsplashed You’re Dead!. Flamagra, pieced together in the five-year interval between records, is a lighter work but no less devious, bringing the dancefloor onto the astral plane. This is a constructed Odyssey, more firmly grounded in hip-hop and jazz than the previous psychedelia. FlyLo sounds content to let his identity wash in the bright lights of his star guests this time around, with his distinctive bass runs and texture running through Flamagra like a pillar.

The weird and winding Tierra Whack and Denzel Curry – who pens part two of his own hit, ‘Black Balloons’ here – burn brightest, while David Lynch is aural set dressing, an indulgence of FlyLo’s avant garde filmmaker appetites. Grant Bailey

Sunday Best Recordings Out Now

Warp Records May 24th

37

Hayden Thrope Diviner Domino May 24th

It feels difficult to discuss a Hayden Thorpe solo album and not mention what came before. The two entwining voices that be‑ came such a vital component of Wild Beasts’ signature sound has potential to be sorely missed on Diviner, but Thorpe handles duties admirably; his soaring falsetto both intimate and quietly devastating across its slight thirty-five minute running time. Most notably, it finds Thorpe undoubtedly at peace with the breakup of his band.

With most tracks piano-led, arranged around subtle electronic touches, the approach is simplistic and uncluttered, best demonstrated on brooding standout ‘Human Knot’. There’s still room for sumptuous closer ‘Impossible Object’, leaving the hairs on the back of the neck standing and the mind cleansed. Hayden, we’ve missed you. Lee Wakefield

Wasuremono Are You Ok?

Bedouine Bird Songs Of A Killjoy

The Wilderness Records June 14th

Spacebomb 21st June

Wasuremono made Are You OK? in a shed. Sheds are often receptacles for cobwebbed crap. Mine has an underused Flymo, a dead bicycle and half a bag of compost in it. Sheds often house incurable tinkerers, as you could describe Will Southward, lead singer/guitarist/ songwriter/producer/mixer of Wasuremono.

The technical capacity of the average shed extends to a plug socket, a light switch and, just maybe, a digital radio.

Bedouine’s second album is a stunning work of floral folk-pop which builds on the promise of its predecessor. A self-professed killjoy, Azniv Korkejian nonetheless has an uncanny knack for charming springtime melody which blossoms above intricate instrumentation throughout.

‘One More Time’ is classic, romantic songwriting, while ‘Dizzy’ - complete with strings, funk-tinged rhythm and gently crunching guitar solo - shows-off an atmospheric, filmic quality to Korkejian’s work.

Wasuremono’s shed, is brim-full of eclectic instruments and classic analogue technology. Their shed has spawned a masterwork that sounds like the liveliest mix of Vampire Weekend, Belle and Sebastian and Groove Armada. The only significant thing to come out of my shed in recent memory had eight legs and scared the shit out of my wife.

Jon Kean

By combining this simplicity of acoustic artistry with Spacebomb orchestration - see Natalie Prass’ debut cut from the same label Bedouine is able to create the beautiful world of Bird Songs of a Killjoy. Far more bird song than killjoy, this record is an elegant, eloquent and blissful achievement from an artist of the highest quality. George O’Brien

Pip Blom Boat Heavenly Recordings May 31st

Hatchie Keepsake Heavenly Recordings June 21st

Crumb Jinx Crumb Records June 14th

Given the consistent string of slacker-pop earworms Dutch guitar outfit Pip Blom have churned out since 2016, you’d expect their debut full-length to deliver much of the same and then some. And it does just that.

Boat bursts open with sharp single, ‘Daddy Issues’, and like a reliable employee delivers big chorus after big chorus. Even on tracks like ‘Say It’, whose opening verse has a restrained Whitest Boy Alive feel, a catchy chorus is not far behind the sedate opening guitars.

It’s a standard that never lets up. From ‘Tired’ to ‘Bedhead’ to ‘Tinfoil’, Pip Blom takes nice verses and morphs them into mean choruses, as playfully as blowing bubbles in milkshake. “I think I’m hard to please,” Blom repeats on jerky banger ‘Don’t Make It Difficult’. With tracks as consistently strong as they are on Boat, this perfectionism can only be a good thing. Hassan Anderson

Cocteau Twins disciples’ ears pricked up when Hatchie appeared two years ago equipped with A+ dream pop songs. Singer/bassist Harriette Pilbeam may well echo the cult band’s ticks (Twins’ guitarist Robin Guthrie even remixed one of her songs, ‘Sure’) but Hatchie’s creations are sweeter overall. On Keepsake, the Brisbane artist retains the twinkling tones of her near-faultless Sugar & Spice EP but at points quarries deeper for trudging beats and lurching guitars. Album highlight ‘Unwanted Guest’, a track that recalls the snarl of David Bowie’s ‘Fame’, somehow unites funk-rock, industrial and shoegaze elements without sounding terrible. While Pilbeam can sometimes become too reliant on rehashing similar, gauzy three-chord progressions (‘Not That Kind’, ‘Keep’) songs such as lovelorn, washed-out dance track ‘Stay With Me’ renew the faith.

Charlotte Krol

Over the course of their previous two EPs, Crumb have carved out a particularly special space of solace with their gloriously dreamy sound. On Jinx, their debut full-length release, the Brooklyn-based four-piece expands this into even more hypnotic, enchanting realms as they saunter through a harmoniously hazy array of glistening guitar melodies, fuzzy drum beats and ethereal, tender vocals courtesy of singer Lila Ramani.

There’s a distinct feeling of nostalgia that permeates the record, as if transporting you away to a distant, sun-drenched memory or a slightly surreal, kaleidoscopic daydream. Floating between swelling psych-rock and sprawling jazz, Crumb’s soundscapes across these tracks offer a perfect, transcendental escapism from the outside world that you won’t want to leave. Kezia Cochrane 39

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Live Reviews curated by Jon Kean, Live Editor

Dave at O2 Academy words: Caitlin Clark photography: Kevin Tuyen “I used to hear a voice when I was praying / But nowadays, I don’t even wanna be saved,” the twenty-year-old spits over those iconic, chilling backing vocals and chiming keys. One minute into opener, ‘Psycho’ and the Gen-Snapchat crowd is almost at breaking point. That quick tempo flip hits at about two-and-a-half minutes and the entire audience erupts, shaking the foundations of the O2 Academy.

Dave is the conductor of his own orchestra on stage. His lyrics are cut from his breakthrough debut album PSYCHODRAMA; each word impregnated with a sense of bitterness, of lingering pain and unresolved personal issues. Deep, reverberating sub-bass gives his live rendition of ‘Streatham’ far more layers than on record and he delivers them individually to each member of his crowd.

The mid-section of Dave’s set goes deeper into an emotionally-driven narrative, firing ‘Black’ on all cylinders, giving us but a glimpse of oppression, both past and present.

“Look, black is beautiful, black is excellent,” he says frankly, shedding another layer of himself for our consumption. It’s a celebratory tale - he doesn’t try to box all black experiences into a short four minutes, but makes the most of every second to show us his core.

At first the O2 Academy felt like derby day in Manchester, each crowded fan scrambling to get but a faint whiff of the action. Die-hard fans from across the UK – all of whom seem to be present that night – chanted “Santan!” at any pause for breath. But as Dave’s set rolled on, he spent time with each member of his audience individually, satiating the listener’s desire to be seen and to be heard.

Dave ended his hour-long set with number-one single, ‘Funky Friday’. It’s the final burst of euphoria to end the perfect emo‑ tional rollercoaster.

Better Oblivion Community Center at O2 Academy words: Guy Marcham photography: Lee Ramsey An air of formidable darkness was cast across Bristol’s O2 Academy, as Better Oblivion Community Center prepared for their British live debut. The band offered no soothing indie-folk escapism, but instead dealt out a barrage of rage and emotional intensity.

Better Oblivion Community Center is the brainchild of two modern-day indie-rock icons. Conor Oberst, of Bright Eyes, is often regarded as an indie-folk legend, carving beautifully weather-worn tales. Singersongwriter, Phoebe Bridgers has found fame much more recently. Her 2017 debut album, Stranger In The Alps, catapulted her to stardom with a collection of whispered gems, perfect for moments of solitude.

This night was an entirely unique experience: to witness the pairing of two sublime artists, who both share an ability to craft sensitive songs that unfurl with raw melancholy. Yet, as Better Oblivion Community Center, the duo combined forces to create a relentless and surprisingly heavy brand of indie-rock.

Proceedings began with the delicate folk-infused ‘Didn’t Know What I Was In For’, a song that instantly struck an emotional chord as Oberst and Bridgers sang in unison - ‘I couldn’t save those TV refugees’. Proceedings swiftly saw the band race through a selection of sucker punches, including lead single ‘Dylan Thomas’ and ‘My City’. This culminated in a chaotic frenzy of feedback and impassioned shrieks that thundered through the floors.

Oberst and Bridgers too found time to delve back into their individual outputs – a fleeting glimpse of their formative careers. A duet of Bright Eyes’ ‘Lua’ brought the audience to an eerie silence, as thoughts were collected and tears were shed.

As Oberst ferociously attacked his guitar amid a drenched onslaught of feedback, Bridgers delicately glistened and looked deep in a haze of silent consideration. The duo perhaps offered a perfect allegory for today’s confusing and volatile political landscape. For all of today’s mayhem and chaos, a glistening sense of hope and thoughtfulness isn’t too far away.

Find full reviews and more at: bristolinstereo.com 57

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10/05/2

Thoughts ...

by Cam Atkinson

Try Not to Kill Yourself, Stupid.

In November 2017 I was fired, and all of my worst fears were confirmed to me. I had been dealing with pretty severe imposter syndrome since my first day at work – waiting to be caught out, and finally I had been.

The reason given was that there were a num‑ ber of high-pressure shows coming up through 2018 and management believed I wasn’t experienced enough to deal with the challenges we could face. I was shattered. I was asked to finish the last tour of the year and part ways thereafter, which I just about managed. That was a month of prolific drinking, emotional breakdowns and one notable, very noncommittal suicidal gesture in the back lounge of the tour bus.

I wasn’t in a great way, but the tour came and went, and I was unemployed and heartbroken. Certainly I would never work again, what idiot would hire me now? I took the last of my

wages, and went on a three-month downward spiral towards what is known in such circles as my ‘rock bottom’. I had a horrific overdose, and shortly after started a street fight I had no intent on winning, but instead of release or escape, found myself curled up in the foetal position on my apartment floor, crying and covered in blood, terrified to die, but terrified to keep going on this way. I had no clue how to stop this pain, I didn’t think I had a drinking problem, but I knew I couldn’t stop while life felt this bad.

On February 28th 2018, I reached out to the charity, Music Support, and was put in contact with someone there who had also been a touring crew member. He had also been fired and struggled, but had ultimately gotten sober.

He offered to take me to an AA meeting and I agreed to go along – despite my many reservations. I thought I had serious depression, and that I would maybe pick up some tips to kick the drink and get the clarity of mind to address the other stuff. I’d also considered that he might like me and give me a job. I’m not proud of it, but let’s be honest.

I think it was less than ten minutes in before I was in tears. I was sat with total strangers, all of whom I had pre-decided to hate, as I listened to them talk of my own fears, my own insecurities and my own poor solutions, from their own experience. No-one told me what to do, or how to do it, rather where they had come from and how they recovered. Within an hour I realised it was likely that I too was an alcoholic. Rather than a crushing blow, I found hope in the fact that programs and solutions existed to help me lead a life without drink.

Rather than address those fears head on, I drank to escape, to wind down and to keep going. Working hungover day in, day out, lead to more mistakes, and so the cycle continued.

A cycle that started long, long before I ever found myself in the music industry.

The conversation on mental health is gaining traction. More people are open about their struggles and understanding is growing.

Now that I see things a little clearer, I realise that I was not alone in feeling the way I did, nor was I the only roadie to seek recovery. I feel very privileged that I’m now able to help others as I once was – and am still being – helped. It takes great courage for someone to come forward when they’re struggling.

Showing weakness when you have hidden it for so long can seem unthinkable, but I implore anyone struggling to reach out any way they can. Organisations like Samaritans, Mind, Alcoholics Anonymous, Narcotics Anonymous, or industry-specific charities like Music Support or MusiCares can listen to you and get you to the help you need.

No matter how bad things get, there is always a way out of the darkness.

Music Support is a registered charity, founded and run by people within the UK music industry. They work with individuals in any area of music, suffering from mental, emotional and behavioural health disorders. More: musicsupport.org

I wasn’t explicitly fired for my drinking – it was a drink-heavy tour for all involved – but upon reflection and time, I see the tragedy of errors I made. From losing equipment and forgetting vital jobs, to failing to learn from those who were willing to teach, it was all a result of my fear. I was afraid I wasn’t good enough and never would be, that I would be exposed at any moment.

61

in Bristol with Tamu Massif When did you move to Bristol?

I was born here but grew up down the road in tropical Weston-super-Mare. I spent some time in London and abroad before moving back to Bristol about four years ago.

Who’s your top Bristol artist at the moment?

My good friend Harry Wright (fka Gary Wrong) is one of the most talented guys I’ve met. He releases music as Mun Sing, is one half of Giant Swan and one quarter of The Naturals.

Other personal faves include but are not limited to: Henry Green, Fenne Lily, Pet Shimmers / Oliver Wilde, Cousin Kula, Saaaz, Harvey Causon and Chaouche.

What are your go-to places to eat and drink?

We’re pretty blessed for food options in this city. I’m a big fan of a lot of the places around Gloucester Road. Eat-a-Pitta, Ramen Ya and Suncraft are three of my ‘go-tos’.

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

Usually for me, a perfect day means a successful day working on music. So maybe I finish a song in the morning and I’m feeling accomplished. Then good company on a long walk, or a ride on that bike I’m gonna buy.

photo: Hattie Ellis

What’s your favourite thing about the city?

There’s a lot going on if you want to get out and do stuff, but it’s also easy to find a quiet spot. I know lots of people hate on the hills but they do give us real nice views, and interesting buildings built into them.

And your least favourite?

Homelessness – which seems to be getting worse. It’s really sad to see.

Any top venues?

Ah there’s a bunch of good ones. I’ve been going to The Crofters since it was The Croft and it’s probably one of my favourites. The Louisiana and Thekla are up there too.

Can you you tell us a little about your new album?

I’m pretty proud of Little Death Summer. It’s inspired by that late-evening feeling when it’s still warm outside. I have more energy when the weather is good and I think that energy made its way into the songs – although it’s a pretty chill album, a hazy reflection of summers past and future.

Tamu Massif’s debut album, Little Death Summer, is out now. He plays Rough Trade in his first Bristol show with the new lineup on 7th June.

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METHYL ETHEL

KATE NASH

HATCHIE

- THE EXCHANGE -

-THE FLEECE-

- THE LOUISIANA -

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TOM MISCH + YUSEFF DAYES - HARBOURSIDE -

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THE CAT EMPIRE + IBIBIO SOUND MACHINE - HARBOURSIDE-

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CONFIDENCE MAN - THE FLEECE -

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ELBOW + VILLAGERS

CINEMATIC ORCHESTRA

- HARBOURSIDE -

- HARBOURSIDE -

26 |07 |19

+ GHOSTPOET

27 |07 |19

HANDS OFF GRETEL

THE MOON HOOCH

ADULT MOM

HAIKU HANDS

-THE LOUISIANA -

- THE LOUISIANA -

- CROFTERS RIGHTS -

- CROFTERS RIGHTS -

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THE BLACK SEEDS

EDWYN COLLINS

FANGCLUB

OLDEN YOLK

- THE FLEECE -

- TRINITY -

- CROFTERS RIGHTS -

- THE LOUISIANA -

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