Bristol Live // Django Django

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BRISTOL LIVE LIVE & NEW MUSIC MAGAZINE

DJANGO DJANGO DREAM WIFE

GENGAHR

BRISTOL GERM

PLUS NEW RELEASES, LISTINGS AND MORE

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Fri 2nd Mar • £12 adv

Cash - A Tribute to The Man In Black Tue 6th Mar • SOLD OUT

Tom Misch

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Feeder ‘The Best Of’ Fri 9th Mar • £16 adv

Moose Blood

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Sat 7th Apr • £16 adv RESCHEDULED DATE

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Walk The Moon

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Dodie

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Elvana: Elvis Fronted Nirvana

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The Gallimaufry

Waldo’s Gift

Out of this world musicianship combines Hip-hop, Math, Jazz, Groove & Electronica

7 March ~ Waldo’s Gift Trio

Alun Elliott-Williams – Guitar, Harry Stoneham – Bass, James Vine – Drums

14 March ~ Reworks: Cinematic Orchestra

Paying tribute to an artist, producer, composer or label

21 March ~ Feat. Zeitgeist

Apocalyptic groove trio from Leeds join Waldo’s Gift

28 March ~ Open Collaboration

Waldo’s Gift opens the stage to musicians who wish to join them in the spirit of improvisation and the free flow of ideas

thegallimaufry.co.uk 4

PARQUET COURTS, P12

Say hello to March in all its leftfield glory.

Three of our fave acts in one issue? Yes please.

Gracing the cover this month are Django Django, who tell Will Perkins all about their musical process and general discontent with the current state of the world.

Next up, it’s only bloody Dream Wife. We get deep into their patriarchy-smashing, safespace-championing art-punk ahead of their Bristol date this month. Finally, and completing our trifecta of underground excellency, Gengahr talk difficult second album and how their sound is evolving with a mind of its very own.

All this, plus a rather overflowing release section, guest chats with The Bristol GERM and Tap The Feed and, lest we forget, plump live listings for the upcoming month and more.

Loki Lillistone Editor-in-Chief

Sales: loki@bristollivemagazine.com Ed-in-Chief Loki Lillistone / New Music Ed Christian Northwood / Live Ed Jon Kean / Release Ed Lor Nov / Plus many more.

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GUEST PICKS:

12 14 18

W H AT ’ S N E W ?

22 24 33

GENGAHR

35 36

DEAR DICK

37 54

LIVE LISTINGS

THE BRISTOL GERM

DREAM WIFE COVER:

DJANGO DJANGO

NEW RELEASES BRISTOL BECAUSE:

TA P T H E F E E D

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

T H E W E AT H E R S TAT I O N

THOUGHTS:

USING MUSIC TO P R O C E S S F R U S T R AT I O N 5

book 0117 203 4040 colstonhall.org

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Colston Hall loudly and proudly presents great shows in venues across the city Tue 6 Mar

Fri 11 May

Dent May

Laucan

HMLTD

The Exchange

The Crofters Rights

The Station

Tue 6 Mar

Tue 10 Apr

Fri 11 May

Caro + Youth

The Little Unsaid

Madeline Kenney

The Wardrobe Theatre

Rough Trade

Fri 13 Apr

Wed 16 May

The Crofters Rights Fri 9 Mar

Karl Blau The Station Fri 16 Mar

sir Was Rough Trade Bristol Sun 25 Mar

Kathryn Roberts & Sean Lakeman The Station Wed 28 Mar

Calexico Trinity Centre Fri 30 Mar

Leafcutter John + Sugai Ken 6

Tue 3 Apr

The Exchange

Anushka

I’m With Her

Rough Trade Bristol

The Station

Fri 20 Apr

Wed 6 Jun

The White Buffalo

The Exchange

The O2 Academy Fri 20 Apr

Born Ruffians Fri 29 Jun

Ought

The East Pointers

The Exchange

The Folk House

Sat 28 Apr

Sun 23 Sep

The Dead South

José González & The String Theory

Anson Rooms Wed 2 May

Mexrrissey Trinity Centre

The O2 Academy

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Guest Picks

What our pals are into this month.

OLIVER WILDE

This month:

Oliver Wilde Rejoice, dear friends! This document’s heroic crusade to enlighten the masses intensifies with the launch of Chapter II, headlined by local legend Oliver Wilde and his new full band.

The fame-shy bedroom producer became an unlikely breakthrough act with 2013’s A Brief Introduction to Unnatural Lightyears, debuting an imaginative, singular brand of electronic folk that draws on elements of found-sound and 8

Alastair Shuttleworth, Founder

glitch music. Following this up with his heartbreaking Red Tide Opal In The Loose End Womb before the urgent, electrifying Post-Frenz Container Buzz, Wilde’s career is laden with genuine masterpieces, dazzling and affecting at every turn.

On a personal note, his song ‘Perret’s Brook’ was also my first introduction to this city’s music, initiating a period of discovery which led to my first work in music-journalism. The Bristol Germ is one of many things that would never have happened without the inspiring, transformative power of Wilde’s music. And frankly, everyone deserves the chance to see it played as a full band.

MXLX Chameleonic high-priest of the Bristol avant-garde, MXLX will, rather poetically, be the main support. Readers of Chapter I may recall Wilde’s account of how seeing MXLX (then as Team Brick) crucially influenced him when he first moved here. Confrontational and bewildering, MXLX draws noise and industrial electronics into bizarre and electrifying new forms. Since releasing his masterpiece Kicking Away At The Decrepit Walls…, he’s been on a long hiatus. As a figure of unparalleled importance to the past decade of Bristol’s experimental music, his return should not be slept on.

Kayla Painter A dazzling force in Bristol’s experimental electronic scene, Kayla Painter draws on strange rhythms and textures to weave an immersive world of her own. Her recent EP Auriga is a captivating listen, dealing with themes around space and time, created quickly and released in newspapers.

She will be performing her full AV show, accompanied by breathtaking visuals on diaphanous cinema screens. While some people dance at her gigs, some watch in slackjawed awe and others simply lie on the ground. Everyone at a Kayla Painter show is truly transported.

The Bristol GERM is a quarterly illustrated magazine focussing on underground music in the city. They launch their second issue at Exchange, 24th.

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What’s New?

Fresh tales from the BLM radar with:

Christian Northwood New Music Editor

Why Bonnie I’m a sucker for bands that make me feel like it’s summer. It could be dead winter, rain whipping down outside, but there are certain bands – and as you may have guessed, Why Bonnie are one – that can make me feel like it’s 30 degrees outside, all the time.

Maybe it’s Why Bonnie’s lush harmonies. Maybe it’s because they reside in the considerably hotter climes of Texas. But let’s be honest, the best music 12

is never completely sunny. The best music has a touch of darkness, and Why Bonnie find that balance perfectly.

The four-piece released their debut EP In Water via Sports Day Records, and it’s a beautiful, immersive journey. While the shiny exterior evokes the blissful summer we all crave in these dark months, underneath, particularly on songs like ‘Practice’ and ‘Bright Boy’, there is a sadness that haunts behind the glittering guitars.

Longing and heartbreak haunt Blair Howerton’s vocals, but the cinematic swirl created by the guitars, synths and splashing cymbals give everything a shoegaze-like sheen. Truly, Why Bonnie are a band for all seasons.

Practice

whybonnie.bandcamp.com

Nicholson Heal A lot of music gets made here in the Southwest, but folk has always been one of the area’s strongest suits. Nicholson Heal originate from here in Bristol, and though folk remains at the root of their sound, it’s much bigger than that. Led by singer Nicholson Heal (who lends his name to the band), the six-piece blend crushing lyrics with warm, swelling brass, making the kind of music that is simultaneously uplifting and heartbreaking.

On single ‘Sullen Comfort’, out via Breakfast Records, the group push this sound to its full potential, creating a beautifully rich yet raw sound. Euphoric and heartfelt, Nicholson Heal are here to make everything better.

PHOTO: ROWAN ALLEN

Sullen Comfort

This Brighton three-piece have already kicked off 2018 pretty well. At the beginning of the year the band announced that they had signed to Big Scary Monsters – a label where their fuzzy yet fragile punk will find itself right at home. Newest single ‘About Her’ embodies their sound and mixes big guitar licks with expressive lyricism. The song’s measured verses break into a torrent of guitar come the chorus and the yell of “let’s go somewhere quiet and I’ll tell you what I think about her” will run around your head for a week. With an impressive live show under their belts as well, 2018 looks set for Gender Roles.

About Her

fb.com/genderrolesuk

sc.com/nicholsonheal

Gender Roles

PHOTO: CHIARA GAMBUTO

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

DREAM WIFE

W. Ke z i a Cochrane

“We’re all fire symbols. The power of three will set us free…” United by astrological signs and their empowering attitude, this trio of selfproclaimed ‘bad bitches’ mean business. Dream Wife have been defiantly smashing through the still very male-dominated world of rock and challenging stereotypes to great acclaim.

“Flipping the script and smashing expectations, we’re well up for that mission”, they enthuse. “Getting pigeonholed and not taken seriously because of your sex is so tiresome. We 14

play around with expectations during shows to a crowd that has maybe a sexist idea of what we sound like, then we drop the song FUU. Oh, their faces…” Rakel quips, “they’re not sure if they should run or stay, if they’re entertained or frightened.”

Dream Wife recently released their powerful self-titled debut, and have come a long way since the band’s origins as an art college project; “we learned valuable lessons from uni that have filtered into this band and into writing our debut album; to enjoy making and be present in that process. Not to judge right away, just let creativity happen. Then step away,

these empowering portraits. During the set she would rally up the bad bitches, with her unbeatable dance moves, to the front and it became this gang of amazing girls.”

“Flipping the script and smashing expectations, we’re well up for that mission.” give it space to breathe then come back into the space and make the changes you want. That’s how we write songs”, Rakel details.

The band have nurtured a strong community around them, establishing their Bad Bitches Club with friend and photographer Meg Lavender. “There’s this line in our song FUU – ‘I spy with my little eye bad bitches’, it’s about supporting and empowering the women in your life – the bad bitches,” Rakel explains. “Meg came on tour with us about a year ago, and did a photo series of people, mainly women, she met at shows. She would ask them what it meant to be a bad bitch and take

Their song ‘Somebody’ is a pertinent statement and holds a certain precedence at shows: “During our last UK tour we had just released ‘Somebody’, that has the line ‘I am not my body I am somebody’ in the chorus. The song is about smashing gender roles, victim blaming and how society has treated rape and sexual assault cases. During the shows it was incredible seeing the reaction to that song,” Rakel emphasises.

“It was amazing seeing all these women come forth and scream the lyrics, and stay at the front for the rest of the set! It was magical!”

Ensuring Dream Wife gigs are safe spaces is vital for them: “Playing more shows that have 14+ or 16+ entry we started noticing a lot of young girls and boys in the crowd and it made us think about what it was like when we were going to our first shows as young teens,” they express, “we realised we didn’t feel that welcome or safe. Especially when it came to rock gigs, we had to deal with some messed up stuff that was just normalised. Nobody should feel that way, ever.”

With Dream Wife’s upcoming UK tour they assert, “declaring safe spaces at shows is important to us. Every artist, promoter, venue on this tour should be thinking about how to make the gig environment safe and enjoyable for all.”

Whoever you are, you’re welcome at a Dream Wife show – all the more reason to dance to their punk rock bangers this month.

Dream Wife play Exchange, 20th, with their self-titled debut out now.

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DJANGO DJANGO To be innovative within your art is by no means easy. Without it, you cannot remain relevant, interesting or remotely inspiring, yet try to force it and your work can quickly become false, vacuous and insubstantial. An abundance of innovation is what makes Django Django so incredible; after three albums and numerous remixes, their work is still consistently and curiously fascinating.

Cut into any one of the band’s songs and it bleeds uniqueness, while managing to retain a cohesive sonic direction that correlates across their work. A great deal of this can be attributed to the genius of David Maclean, the group’s drummer, producer and spokesman, who recently spoke to me about the processes behind recording, manipulating and performing their work.

With third record, Marble Skies, having been released to both critical acclaim and commercial success last month, the quartet could have 18

been forgiven for taking some time off to revel in their success.

However the modest Maclean assures us that this hasn’t been the case: “We’ve just been practising; playing the new songs over and over again so we can get them really good.” This is, of course, preparation for their upcoming UK tour which sees them visit SWX on 24th March, with the promise of new versions of their established material for this outing: “It’s a bit louder, a bit more bombastic, a bit faster and a bit longer than on the records.”

The band’s latest recorded work is certainly concise, oscillating effortlessly between genres. From acid house to jazz-fusion, via dancehall, their breadth is such that their common umbrella term of ‘indie’ really doesn’t seem at all a fitting description. Title track ‘Marble Skies’ packs a notable punch, as does further standout, ‘In Your Beat’, soaked with mesmerising allure. However the record as a whole has a unique flow, albeit shorter than its predecessors. Reflecting on his band’s work, Maclean acknowledges: “On the first album we put a lot of effort into making it flow well, especially with the first half, but the second album we just sort of chucked all the songs together.” Laughing, he continues:

“With this one we wanted to go back to the idea of an album to listen to from start to finish, with a concise A and B side; we wanted it out on one vinyl, not a double.”

Despite possessing the ultimate power of decision in the production stages, Maclean reminds us that each member of the group (vocalist-guitarist Vincent Neff, bassist Jimmy Dixon and synthplayer Tommy Grace) are of equal importance and downplays the significance of his own role: “I just try to channel everyone’s ideas into one track, otherwise there can be all kinds of chaos going on.”

He does, however, express gentle unease at relinquishing creative control of the band’s videos, which have gained significant praise 19

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from fans for their quirky approach, seeming to deftly capture the essence of each song: “I get quite frustrated because I’d like to have the time to make my own videos, but I just don’t; you just put it in someone’s hands and hope for the best,” before questioning “how popular even are music videos anymore?”

soon turns towards such topics: “At the end of last year I’d just had enough of all of it. Trump, Brexit, I just couldn’t deal with it anymore,” explains a clearly frustrated Maclean, before offering his wise advice: “I made the decision at the start of this year to just stop paying attention because it was making my blood boil.”

The band are renowned for their political commentary across various social media platforms. Just the other day they tweeted a picture of a certain Mr Rees-Mogg, captioned simply with the appropriately snappy ‘This Prick’, and the conversation

Maclean ensures that the band’s music remains separate from this murky world, appreciating that whilst it is crucial to voice an opinion on the matter, it is just as important to flee to music for comfort: “The world is run by

“I just try to channel everyone’s ideas into one track, otherwise there can be all kinds of chaos going on.”

money, by corporations, by power, but you can’t let all these people make you feel like life’s not good”; subsequently summarising perfectly: “That’s why music is great, it’s going back to basics and it’s escapist, it can’t help but be escapist.”

In Django Django, we are graced with a band willing to challenge their own creative boundaries in the search for sonic satisfaction.

It would have been easy for the Londoners to stick to the pattern of the sound that saw their first album nominated for the Mercury Prize, but they’ve rather taken the opportunity to test their art, time and

again. It’s truly difficult to pinpoint where their next album may take them – equally plausible that it will be to the moon as to their studio in London – but herein lies their intriguing beauty, and long may it continue.

Django Django play SWX on 24th March, with Marble Skies out now via Because Music

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G

engahr unassumingly dropped their honeysweet debut album just a couple of years ago. It was a rare type of pop music that pulled you straight into their dreamy world. After a significant chunk of time away, the band are now back with follow-up, Where Wildness Grows. I caught up with frontman Felix Bushe ahead of the release, to see how it all came together.

W.

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Rhys Buchanan

“I guess I’m probably a little more apprehensive than last time,” says Felix about the release process, “after seeing how it all works I’m a bit more aware of how things come about.” But judging from the singles there’s very little to be concerned about. The band do believe in the record they’ve created though: “I’m pretty confident in the music we’ve made, I think that’s the most important thing. But I’m also aware that it takes a bit more than that to help your music filter out across the world.”

From here it feels like something of a waiting game, as Felix continues, “I feel like I’ve done my bit now and I’m just excited to see what happens with everybody else, how they take it on board and whether they like it or not.”

While the sound hasn’t shifted dramatically, it’s clear that the band haven’t made the same record twice.

“You’ve got to be aware that you don’t want to rely on tricks that have worked in the past. We didn’t want to feel like we were retreading old ground.” With this said, it’s still unmistakably Gengahr. “It’s really important to have your own sound,” continues Felix. “It’s crucial in a way. I think creating our own sound was something of an effort at the beginning but once you feel certain about what you should be doing it begins to feel natural quite quickly.”

The developments this time around came quite organically to the band. “There was no real clear-cut idea about what we wanted to change. I think it was very much a natural thing that came from playing live and writing more songs.” And it’s been a very collaborative process, too. “When you have actively creative members, naturally

you’re always going to change as you develop and play more. So you’re going to instinctively find new paths to walk down.

We didn’t really think about it too much.

We didn’t write ‘She’s A Witch’ again and we didn’t try to. It’s the nature of being an artist and musician, you’re always drawn toward doing new things.”

Playing live has also made a big impact on the direction of the band. “The important thing for us has always been the live show.” Felix continues, “The first album was very much a case of what four people could achieve playing at the same time.

The new one was also recorded in a very live state to capture that energy.” In a sense, there’s no hiding behind studio tricks here. “I think when it comes to the production of the records we’ve made, there’s never been a huge emphasis on changing things afterwards, because we do a lot of work with the effects and so on as we’re playing them.”

Now the band are just excited to get back out there on the road. We’re lucky here in Bristol, as they happen to be playing twice in the coming months, at both Rough Trade and Thekla. Felix says, “It’s great to connect and see the people who buy the record and tickets because they keep it going. We do our best to make these nights really memorable and special. We’re looking forward to getting back into the clubs again, getting sweaty and loud.”

Gengahr play Rough Trade on 13th March and Thekla on 28th April, with Where Wildness Grows out this month.

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New Releases

Records cut, pressed & out this month.

Gengahr Where Wildness Grows Transgressive | 09.03

With their second album, this London group present an effort that is anything but wild, instead embarking on a musical odyssey of controlled emotional precision.

Whilst retaining the fundamental jangling intimacy of their debut, the funky beats of ‘Is This How You Love’, the serene urgency of ‘I’ll be Waiting’, and the lyrical gravity of the title track – “Shit gets dark when I

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lose” – see the band bring a new and cinematic cohesion to their work.

It’s on lead single ‘Carrion’ that the four-piece push their limits with most successful results.

Casually falling mid-record, it’s a song so bold in composition that it could have easily become a complete mess, but instead acts deftly as a standout moment that ties the album together, epitomising the band’s lofty ambitions.

Lead singer Felix Bushe’s unique and alluring vocals ensure in and of themselves an encapsulating listen, however it’s the expansion upon their sonic depths and complexities that has allowed Gengahr to produce an irresistible and multifaceted beast. Will Perkins

SUNFLOWER BEAN TWENTYTWO IN BLUE Lucky Number | 23.03

Twentytwo in Blue, the second album from New York trio Sunflower Bean, harnesses a matured and more direct sound than their debut Human Ceremony. Looking out on a world in near constant dilemma, the group attempt to personify growing into adult life at this time, and with success.

When they’re at their sharpest, they can provide an infectious call like ‘Crisis Fest’ or the fuzzy psych pop of ‘Puppet Strings’, all bright melodies as Julia Cummings’ voice bellows with tenacity. With each listen, the development of their songwriting ability becomes more apparent – a simplicity may ring through their lyricism but it’s outweighed by the definition of their increasingly succinct songs.

Ross Jones

TURBOWOLF THE FREE LIFE So Recordings | 09.03

Bristol rock juggernauts Turbowolf are back with their third full-length The Free Life.

It’s everything you’d expect from the band; big riffs, eerie synths and vocals primed for stirring up mosh pits. Most importantly though, it’s not just a barrage of noise; there’s light and shade and witty shifts buried within, a prime example of this attention to detail being the rather freaky guitar breakdown in ‘Cheap Magic’.

With guests including IDLES’ Joe Talbot, we’re reminded of how central Turbowolf have been to the Bristol scene for so long. This is truly another great record from a band unafraid to turn over a few stones.

Rhys Buchanan

PALE WAVES ALL THE THINGS I NEVER SAID Dirty Hit | 16.03

The debut EP from these Mancunians showcases little depth to their sound, but upon first listen a saying about fixing something that isn’t broken comes to mind.

Sure to make crowds dance on their upcoming tour, each song carries with it a buzz of energy which is near-irresistible.

It feels reductive to call Pale Waves the female 1975, but the influence from them is certainly evident across the release. And while it does well to sate the current appetite for an album from core fans, there’s also enough sparkle here for a passing listener to add it their personal playlists. Good early work for a promising future.

Callum Stevens

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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

alt-tickets.co.uk • gigantic.com • bristolticketshop.co.uk

THURSDAY 1ST MARCH

ELLI INGRAM FRIDAY 2ND MARCH

K.FLAY TUESDAY 6TH MARCH

MAHALIA THURSDAY 8TH MARCH

SOLD OUT

THURSDAY 29TH MARCH

ELIZA AND THE BEAR SATURDAY 31ST MARCH

GOAN DOGS TUESDAY 3RD APRIL

SUNFLOWER BEAN THURSDAY 5TH APRIL

SHAME

THE DIY CLASS OF 2018 TOUR

FEATURING: PALE WAVES + OUR GIRL + BLOXX

SOLD OUT

FRIDAY 6TH APRIL

THE QUIREBOYS

+ BLACK ACES

FRIDAY 9TH MARCH

INSECURE MEN SUNDAY 11TH MARCH

THE WORLD IS A BEAUTIFUL PLACE & I AM NO LONGER AFRAID TO DIE

SATURDAY 7TH APRIL

BLACK FOXXES

+ BLOODY KNEES + EMILY ISHERWOOD TUESDAY 10TH APRIL

GIRL RAY WEDNESDAY 11TH APRIL

ALEX CAMERON

FRIDAY 16TH MARCH

KRISTIAN BUSH

THURSDAY 12TH APRIL

NOT3S

SOLD OUT

MONDAY 19TH MARCH

THE GARDEN

FRIDAY 13TH APRIL

THE SEX PISSED DOLLS

WEDNESDAY 21ST MARCH

ZAK ABEL SOLD OUT

MONDAY 16TH APRIL

WIKI

THURSDAY 22ND MARCH

TOM WALKER

TUESDAY 17TH APRIL

FENNE LILY

FRIDAY 23RD MARCH

MARY SPENDER SOLD OUT

WEDNESDAY 18TH APRIL

AQUILO

SATURDAY 24TH MARCH

MYLES KENNEDY

THURSDAY 19TH APRIL

ALFA MIST

TUESDAY 27TH MARCH

SOLD OUT

THE MAGIC GANG + OUR GIRL + BOY AZOOGA

FRIDAY 20TH APRIL

NERINA PALLOT

+ CATTLE & CANE

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GOAN DOGS ROLL THE DICE Self-release | 30.03

Blending smooth indie rock with bursts of psychedelic pop, Roll the Dice marks the brand new four-track release from the captivating and ever-evolving Goan Dogs.

The past year has seen the Bristol quintet creating, playing and recording music non-stop, announcing now that 2018 is “all about getting that music into your ears.”

Departing somewhat from their earlier sound, the EP has a much more seductive

tone to it, scattering a delightful helping of Bowie-esque vocals throughout. Record opener ‘Hotbox’ boasts exceptional guitar work and ‘Brother (From Another Mother)’ combines cheerful tones with a much darker lyrical theme, while potential highlight ‘Passing Through’ is a wellfunked guitar-pop creation all of its own.

Kelly Ronaldson

GWENNO LE KOV Heavenly Recordings | 02.03

The second solo album from former Pipette, Gwenno Saunders, is sung entirely in the Cornish language. Opening with strings and breathy vocals, Le Kov takes musical influences from 60s psychedelia and gives them a present day electro-pop sheen. The album’s lush instrumentation and hummable melodies give Le Kov a timeless quality which fits with the album’s historical, mythical and futuristic themes.

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Lyrics deal with Gwenno’s ancestry, drowned cities and summertime traffic, but thankfully you don’t have to be fluent in Cornish to appreciate the album. Gruff Rhys makes an appearance on ‘Daromres Y’n Howl’ and hopefully Le Kov will do for Cornish what Super Furry’s Mwng did for Welsh language music. Tim Ellis

PREOCCUPATIONS NEW MATERIAL Jagjagwar | 23.03

Preoccupations (prev. Viet Cong) find themselves on slightly slippery terrain heading into the release of their third album. The Canadian post-punk band’s return, complete with name change, a few years ago pleased some fans but left others feeling underwhelmed. Although from the self-titled opener ‘Espionage’, it’s clear they’re going for something nearer the knuckle this time.

There’s no self-indulgent splurge of sound, instead it feels methodical and calculated like their first as Viet Cong. While their sound could often be seen as stark and cold, tracks like ‘Disarray’ showcase a more emotive and meaningful side to the band, which makes for a really refreshing listen. Definitely something of a return to form. Rhys Buchanan

RAF RUNDELL STOP LYING 1965 Records | 02.03

‘Choose Life’ was an aspirational 80s t-shirt slogan. Raf Rundell offers 2018’s alternative: ‘Stop Lying’. It’s his “Fat, white family man” post-truth-pop philosophy, born of shouting the album’s title at the telly throughout the last election, of new-dad sleep deprivation and of despair at the world his kids stand to inherit.

He sings like a non-Welsh Euros Childs; he speaksings like a hip-hop Ian Dury. ‘Falling Out’ channels the Pet Shop Boys, with off-the-scale ‘West End Girls’ social alienation. Camp disco banger, ‘Sweet Cheeks’, provides a funky interlude. Stop Lying is big-hearted and quick-witted. It portrays a world made in our image and, according to Raf, we’re looking pretty damn rough. Jon Kean

HENRY GREEN SHIFT Akira Records | 30.03

Our perception of atmosphere is what encompasses Shift, the first full-length from Bristol artist Henry Green.

While Green has been forthright about the record’s informed theme of tangible change, the music that he creates deftly explores something more ambient and impressionistic. The title track, cuddled by its leisurely pace is gracious and vulnerable, while ‘Without You’ simmers under the surface, pensive as it flutters. ‘Shift’, however, really blossoms when Green is able to channel these instrumental flutters into something sharper, with ‘Another Light’ a succinct balance between mellow notions and darker instrumentals. None the less, it’s a hypnotic listen, one that embraces its tranquil aesthetic while not being afraid to venture.

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SUPERORGANISM SELF-TITLED Domino | 02.03

Superorganism sounds like a supergroup comprised of Christine and the Queens, Jain, Gwen Stefani, Beck, Fazerdaze, The Go! Team and assorted characters from Mario Kart. It contains none of the above, but Superorganism’s self-titled debut album has all of the eclecticism and spirit that the album’s honorary forebears exemplify. It’s inherently playful.

‘It’s All Good’ commences proceedings

by checking that we are awake. ‘Relax’ mixes in as many discombobulating sounds as it possibly can. ‘Night Time’ ends with a ringtone, clearly designed to get all and sundry lurching for their mobiles. Album highlight ‘SPRORGNSM’ informs us that, “Everybody wants to be a superorganism.” On this evidence, you wouldn’t blame them. Jon Kean

LUCY DACUS HISTORIAN Matador | 02.03

Oh, but what a time to be alive! The second album from Lucy Dacus tracks the inner histories of the mind, played out across the physical territory of the road and the body.

From ‘Night Shift’ on, it’s a record born in the dark: bruised in its melancholy, diaristic in its voice, swaying between bitter and hopeful in its tone.

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More than anything, Historian is a rock record (listen to ‘Nonbeliever’ and watch yourself kick down every door in your path that day), swirled through with St. Vincentesque fuzz and a gusto that’s all her own.

The centuries are marked by successions of average men; today belongs to Dacus.

Matthew Neale

THE BREEDERS ALL NERVE 4AD | 02.03

Laced with Kim Deal’s frivolity that occasionally punches you in the face, this is an album full of bite-sized tracks where the bass tends to lead from the back. The production has a close natural ambience which feels a touch industrial and not dissimilar from Pixies’ Surfer Rosa.

However the fine-pressed nature of it all tends to remove from the grunge sound they’re trying for.

Despite being perhaps slightly retrospective, the songs are fun and listenable, but rather forgettable in equal measure. ‘Spacewoman’ and ‘Dawn: Making an Effort’ are the exceptions though, being far more immersive and mixing the noise-rock wall-of-sound with Deal’s wholly textured vocals to spine-tingling levels.

Stuart Tidy

ARREST! CHARLIE TIPPER THE ASTONISHING RISE OF...

Breaking Down Recordings | 20.03

Following a transformation that those lucky enough to witness have deemed ‘inspirational’, the newly-named Bristol outfit Arrest! Charlie Tipper treat listeners to a brand new compilation album this month. Leaving behind their previous ventures, the record showcases the last four years of the band’s career over 22 impressive tracks that effortlessly rival the indie-folk style of The Decemberists.

The real masterpiece here is the band’s haunting cover of The Velvet Underground’s ‘Femme Fatale’ with Helen McCookerybook (originally released as a Christmas charity single), while other highlights on the album include early Tipper Experiment favourites, such as ‘Ride Out’ and ‘You Made Me Homeless’, and more recent Conspiracy releases like ‘Cross Country’.

Kelly Ronaldson

CAR SEAT HEADREST TWIN FANTASY Matador | Out Now

Twin Fantasy is the reissue (and rerecording) of CSHR’s 2011 album, which Will Toledo originally recorded solo on his laptop. It’s an unusual album in many ways; with the oddly fascinating ‘Beach Life in Death’ and contrast-y ‘Famous Prophets Minds’ touching fourteen and sixteen minutes respectively.

Both of these tracks sound at times like multiple tracks strung together, highlighting the patchwork nature of his writing at large.

Toledo does have a knack for a luscious chorus, however, made all the more impactful by his tendency to phone in his teen-y verses, before ramming home a massive chorus or two.

Quite an enjoyable ride, that. Robert Pally 31

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BRISTOL BECAUSE...

City chat with our fave people.

Mustafa Mirreh, Editor Tap The Feed

When did you first move to Bristol?

Born and bred in Bristol, whoop! But I did live up in the Midlands over a short period for uni, so technically I did move (back) to Bristol.

Who’s your top Bristol artist at the moment?

Oh man, this question gets me every time! There are so many Bristol artists smashing it at the moment; IDLES for me are on top right now, so proud of them.

Then there’s Fenne Lily, Harvey Causon, No Violet, Heavy Lungs, Swimming Girls, just so many!

What are your favourite eats around town?

I’m on the gym mindset at the moment so a cheeky Nandos is a must (gains, ha!) but there are some great little spots.

My personal favourite right now is Ronak Café on Gloucester Road. Hands down the best food and smoothies in Bristol!

What’s your favourite thing about the city?

For me, it’s the people here. There are so many creatives doing so many awesome

things at the moment and it’s great to see. I’m always finding something new and interesting to check out or follow.

And your least favourite?

I’m really happy in Bristol but it has become overcrowded to some degree due to its popularity. House prices going up as well when you’re trying to save towards one is not good, and the aforementioned gym – don’t get me started!

What are you most excited about for TTF this year?

Firstly, a massive shoutout to everyone for all the support with Tap The Feed since the relaunch at the start of last year; the feedback and progress have just been unbelievable and we’ve been going from strength to strength. This year has kicked off to a great start; new team members, working on our next showcase and some really exciting projects in the pipeline which I can’t wait to announce in due course, so watch this space!

Tap The Feed (previously The Flux) has been shouting about Bristol music for over six years.

Find them at: tapthefeed.com

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

Dear Dick, So, me and my partner have finally got one in the oven! I’ve heard that playing music to the little one pre-birth can help with temperament and even intelligence.

What kind of music should I be playing my belly?

Sophie, Redland

First things first, congratulations. You are now part of a smaller world. You’ll go through changes. No-one believes they’ll be the type of parent who who just looks on as their maniac child throws a stick through the spokes of your bike, it just happens naturally. That self-entitled smugness that comes from thinking your child is special must feel good, so make the most of it.

Anyway, here are some tunes to make your sprog more likeable...

Eminem & D12 - Sh*t on you: Potty training can be a true ordeal. If babies are like dogs, which I imagine they are, they need discipline and to know who’s the leader of the pack. Reminding the

little terror that you hold all the poop cards will make them quake in their little booties.

Carl Orff - O Fortuna: Classical music is good for the soul. Sometimes that soul may need to be banished to the underworld. This covers all bases.

Finally, why not try drumming on your abdomen? Your swollen belly is at the perfect height now. The little terror is going to bash everything in sight when it’s released anyway, get your fun in while you still can.

Do you have a question?

Email dick@bristollivemagazine.com

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In Case You Missed It

Live from last month.

The Weather Station @ Crofters Rights, 2nd Feb Words: Ross Jones | Photo: Rowan Allen “I mine for fear and worry,” laughs Tamara Lindemann with her audience, now deep into her warm and encompassing set at a sold-out Crofters Rights. “If I find happiness, I find it’s good to peel back the layers and find the pain.”

This may sound slightly destructive, but perhaps it’s an important lesson in selfpreservation. Lindemann’s music as The Weather Station rewards its audience with such personal qualities.

The Weather Station, performing as a four-piece across this tour, have a patient, considered live sound, one that cuts the air with poise and striking intimacy. It’s a beautifully warm sound, the Crofters Rights ensuring each inflection rings throughout the room.

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Tamara and her band are animated and stirring throughout, embracing a much bolder and more guitar-orientated sound than on record. Yet they also possess a calm grace, especially as Lindemann performs more sorrowful numbers, and it’s this seamless array of feelings that makes their set so absorbing.

Tamara’s vocal is deservedly the centre of the performance, wide in range and lingering with emotion. Her lyrical flow is comprehensive, fast and unique, embodying the concise and to-the-point mood that embraces the set. It proves they don’t mess around with impulsive phrases, allowing the songs to stay sharp and striking. It’s all-consuming, and presents a singular songwriter in a terrific stage of her career.

The Bristol Fringe 32 Princess Victoria Street, BS8 4BZ The Canteen 80 Stokes Croft, BS1 3QY Colston Hall & Lantern Colston Street, BS1 5AR The Crofters Rights 117-119 Stokes Croft, BS1 3PY

The Louisiana Wapping Road, BS1 6UA 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

Exchange 72-73 Old Market, BS2 OEJ

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

The Fleece 12 St. Thomas Sreet, BS1 6JJ

O2 Academy 1-2 Frogmore Street, BS1 5NA

The Gallimaufry 26-28 The Promenade, BS7 8AL

The Old Market Assembly 25 West Street, BS2 0DF

The Golden Lion 244 Gloucester Rd, BS7 8NZ

Rough Trade Bristol 3 New Bridewell, BS1 2QD

The Grain Barge Mardyke Warf, BS8 4RU

SWX Bristol 15 Nelson Street, BS1 2JY

The Gryphon 41 Colston Street, BS1 5AP Hy Brasil 7-9 Baldwin Street, BS1 1RU

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 37

Ti c k e t s f r o m W e G o t Ti c k e t s . c o m

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Ti c k e t s f r o m W e G o t Ti c k e t s . c o m

Need more shows?

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

W e G o t Ti c k e t s . c o m | S i m p l e , h o n e s t t i c k e t i n g

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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 The Sound & The Fury: Using Music to Process Frustration by

Grant Bailey, BLM Cont.

Just as countless men before me – old at heart, cantankerous beyond their years – time and age have made me salty. From daily displeasures to all-out rancour, anger on some level finds its way into my routine more often than I’d like. Some forge through life with a clear, level head. Mine, meanwhile, clouds with a pinkish mist.

This might come as a surprise to people who know me. I’m not big or loud or quick to violence, and there are household pets which cut a more malevolent figure. I put this (relative) outward calm down to being able to find the right emotional outlet.

Music has always offered a way to vent, but as life twists and changes, working at my psyche as a blacksmith works red-hot scrap, the music I choose has had to deliver heftier blows to work me back into shape.

There is no denying the cathartic power of the right music at the right time. A wallow heals. The day brightens in the closing strains of an indulgent ballad, just as simmering blood cools in the wake of a crushing instrumental breakdown.

My hunt for this catharsis has led me on an excavation ever deeper towards the impenetrable bedrock of heavy music, where the heat and pressure of the abyss is only assuaged by guttural screams and choking riffage. If the day must be challenging, its soundtrack must be doubly so. The hunt is bleak, malevolent, and glorious – the music a necessity to process how I feel.

It would be valid to argue that gorging on these gnarlier frequencies is counterproductive, with their ability to provoke and rile. For me though, heavy, angry music provides a salve for anger when the hot wound threatens to crackle to the surface.

Find Grant’s writing in Bristol Live Magazine, London in Stereo and more.

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New School vol.1

the free Bristol label download 2017

t: hool Get ei.ct oa c m/news

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