Bristol In Stereo // Maggie Rogers by Bristol In Stereo

Bristol in Stereo: 1

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Thur 1st Nov

Sat 24th Nov • 10pm

Sat 15th Dec

State Champs Fri 2nd Nov • 6.30pm

Foreverland Enchanted Forest

Bugzy Malone

Tue 27th Nov • SOLD OUT

The London African Mayday Parade Gospel Choir Present: & The Wonder Years Graceland Wed 27th Feb

Sat 3rd Nov • 10pm

Courteeners

DJ Soda

Wed 28th Nov

Sun 4th Nov • SOLD OUT

Bowling for Soup

Less Than Jake & Reel Big Fish Mon 5th Nov • SOLD OUT

Leon Bridges Tue 6th Nov • SOLD OUT

Shinedown Thur 8th Nov

The Decemberists Fri 9th Nov

MC50 Sat 10th Nov

Killing Joke Sun 11th Nov

Blackberry Smoke Tue 13th Nov

Rat Boy Wed 14th Nov

Jessie J Fri 16th Nov • 6.30pm

Kurupt FM Sat 17th Nov • SOLD OUT Sun 18th Nov • SOLD OUT

The Cat Empire Mon 19th Nov • SOLD OUT

Lil Pump Tue 20th Nov • SOLD OUT

Orbital

P.O.D. & Alien Ant Farm

Tue 18th Dec • SOLD OUT

Thur 28th Feb

Sun 16th Dec

Thur 29th Nov

Shaun Ryder’s Black Grape

Clutch Wed 19th Dec

Bjorn Again Fri 18th Jan • 6.30pm

Fri 30th Nov

Enter Shikari

Cast

Tue 22nd Jan

Hobo Johnson & The Lovemakers

Sat 1st Dec

Heaven 17

Fri 25th Jan • 6pm

Sun 2nd Dec

Skid Row

Tremonti

Tue 29th Jan

Inglorious

Mon 3rd Dec

Miles Kane

Fri 22nd Feb • 5.30pm

Wed 30th Jan

Ward Thomas Thur 7th Mar

U.F.O. Fri 8th Mar • 6.30pm

Maribou State Sun 10th Mar

Stiff Little Fingers Mon 11th Mar

Embrace Wed 13th Mar

Dodie Wed 20th Mar

Wed 5th Dec

Death Cab for Cutie The Wailers

Young Fathers

Fri 1st Feb • 6.30pm

Fri 7th Dec

Fireball – Fuelling The Fire Tour ft. Flogging Molly, Face To Face, Lost In Stereo Sat 8th Dec • 10pm

NAO

Wed 6th Feb • 6.30pm

Thur 28th Mar

Buckcherry & Hoobastank

Sat 13th Apr • 10pm

Fri 8th Feb • 6.30pm

Fun Lovin’ Criminals

Nicky Blackmarket & Fatman D Birthday Sat 9th Feb Gorgon City Live Bash - Casino 2 Mon 10th Dec

Mabel Tue 11th Dec

Slaves

Christmas Queens

Fri 23rd Nov • 6.30pm

Wed 12th Dec • SOLD OUT

Levellers

Blossoms

Tue 26th Mar

Dodgy

The Stranglers Party With The Greatest Showman Fri 19th Apr • 6pm

Sun 10th Feb

Love From Stourbridge 2019

The Dead South

Wed 24th Apr

Tue 12th Feb

Hollywood Undead

White Denim

Fri 31st May • 6.30pm

Cash Scott Bradlee’s Thu 28th Nov Postmodern Jukebox Electric Six Wed 20th Feb

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

ticketmaster.co.uk

o2academybristol.co.uk

Venue box office opening hours: Mon - Sat 12pm - 4pm

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

November • 2018

06 | 11 | 18

FIRST AID KIT MOTORPOINT ARENA - CARDIFF -

12 | 11 | 18

18 | 11 | 18

GRUFF RHYS

SEASICK STEVE

- SWX -

MOTORPOINT ARENA - CARDIFF -

12 27||02 10 || 19 18

WHITE DENIM SUNSTACK JONES O2 ACADEMY --THE ISLINGTON- -

20 | 11 | 18

24| 02 | 19

RY X

MY BABY

- HY BRASIL -

- TRINITY -

- THE FLEECE -

JEALOUS OF THE BIRDS

01 | 12| 18

30 | 01 | 19

DEATH CAB FOR CUTIE - O2 ACADEMY -

22 | 11 | 18

08 | 12 | 18

DINOSAUR PILE-UP

RAZORLIGHT - SWX -

- THE EXCHANGE -

27 | 01 | 19

03 | 02 | 19

28 | 02 | 19

SNOW PATROL

SWEARINâ&#x20AC;&#x2122;

BOURNEMOUTH - BIC -

SHE DREW THE GUN

- CROFTERS RIGHTS -

- THE EXCHANGE -

T I C K E T S AVA I L A B L E F R O M

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Bristol in Stereo: 3

LIVE INSTORE EVENTS CAFÃ&#x2030; / BAR OPEN BEFORE ALL EVENTS @ROUGHTRADE

1ST NOVEMBER

BC CAMPLIGHT

TICKETS AVAILABLE | DOORS 7.00PM

19TH NOVEMBER

2ND NOVEMBER

THE SCARAMANGA SIX

SWIMMING TAPES

TICKETS AVAILABLE | DOORS 7.30PM

10TH NOVEMBER

3RD NOVEMBER

TICKETS AVAILABLE | DOORS 7.30PM

SASAMI & HERBAL TEA

ALICE PHEOBE LOU

TICKETS AVAILABLE | DOORS 8.00PM

11TH NOVEMBER

4TH NOVEMBER

TICKETS AVAILABLE | DOORS 3.00PM

ELIZA & THE BEAR

THE BLINDERS

TICKETS AVAILABLE | DOORS 3.00PM

11TH NOVEMBER

4TH NOVEMBER

TICKETS AVAILABLE | DOORS 7.00PM

EMMA RUTH RUNDLE

TICKETS AVAILABLE | DOORS 7.00PM

KAGULE

14TH NOVEMBER

MAELEINE KENNEY

TICKETS AVAILABLE | DOORS 8.00PM

5TH NOVEMBER

AUDIOBOOKS

TICKETS AVAILABLE | DOORS 7.30PM

7TH NOVEMBER

BILL RYDER JONES

TICKETS AVAILABLE | DOORS 7.30PM

8TH NOVEMBER

FRIGS/H GRIMACE

TICKETS AVAILABLE | DOORS 7.30PM

9TH NOVEMBER

JOHN SMITH

TICKETS AVAILABLE | DOORS 7.00PM

15TH NOVEMBER

BANFI

TICKETS AVAILABLE | DOORS 7.30PM

16TH NOVEMBER

PHORIA

TICKETS AVAILABLE | DOORS 7.30PM

18TH NOVEMBER

77:78

TICKETS AVAILABLE | DOORS 7.00PM

TICKETS AVAILABLE | DOORS 10.20PM

20TH NOVEMBER

MARY LATTIMORE

TICKETS AVAILABLE | DOORS 7.30PM

22ND NOVEMBER

KISSISSIPPI & TANCRED

TICKETS AVAILABLE | DOORS 7.30PM

24TH NOVEMBER

BRIDGES

TICKETS AVAILABLE | DOORS 7.30PM

25TH NOVEMBER

TREVOR MOSS & HANNAH LOU

FREE ENTRY | DOORS 1.00PM

27TH NOVEMBER

RAKTA

TICKETS AVAILABLE | DOORS 7.30PM

28TH NOVEMBER

CHILDREN OF ZEUS

SOLD OUT

29TH NOVEMBER

FAREBROTHER

TICKETS AVAILABLE | DOORS 7.30PM

VISIT ROUGHTRADE.COM FOR FULL EVENTS CALENDAR ROUGH TRADE BRISTOL 3 NEW BRIDEWELL, NELSON STREET, BS1 2QD (OPPOSITE THE LANES)

welcome

Maggie Rogers Cover Story Page 26

November is here and we’re truly in the thick of it. The sun has disappeared, our faves are back on tour and our mates IDLES have played their big hometown show (see: p60), so the Bristol guitar contingent can remember that other bands do exist. On the cover this month is long-time In Stereo wishlist member, Maggie Rogers. The album heralding her return is due in January and answers the question: ‘where do you go after your debut track literally makes Pharrell cry?’ It turns out, lots of places. Bristol’s Vessel also talks to us about their new album, Queen of Golden Dogs, which builds on the idiosyncratic path they’ve been carving out, here fusing electronic and orchestral elements in a way only they can. Thirdly, Chicago’s Tasha stops by to talk music, activism and black positivity. All this, plus unmissable events for the upcoming month, full live listings for Bristol’s best venues, the most exciting new releases, guests and more!

Loki Lillistone Editor-in-Chief

STAFF ON REPEAT

the music we can’t stop listening to this month

Loki: IDER - Mirror Jon: Loyle Carner - Ottolenghi (feat. Jordan Rakei) Christian: Charli XCX & Troye Sivan - 1999 Lor: FIDLAR - Can’t you see Beth: Jus Now ft. Eva Lazarus - Hair Flip LOYLE CARNER

Ross: Cruelty - Disgraced Bristol in Stereo: 5

book

0117 203 4040 colstonhall.org

Colston Hall loudly and proudly presents great shows in venues across the city Sun 4 Nov

Tue 20 Nov

Sun 2 Dec

Jerron ‘Blind Boy’ Paxton

Alela Diane

Malcolm Middleton

St George’s Bristol

Exchange

The Folk House

Wed 21 Nov

Mon 3 Dec

Thu 8 Nov

Fatoumata Diawara

Hidden Orchestra

Georgia Anne Muldrow

Fiddlers

Trinity Centre

Fiddlers Wed 14 Nov

Seamus Fogarty The Crofters Rights

Wed 21 Nov

Wed 5 Dec

Jamie Isaac

Courtney Marie Andrews

The Crofters Rights Wed 21 Nov

Madeline Kenney

65daysofstatic: Decomposition Theory

Rough Trade Bristol

Band Film Studios

Fri 16 Nov

Fri 23 Nov

Wed 14 Nov

Phoria Rough Trade Bristol Fri 16 Nov

Marie Davidson + Not Waving Colston Hall Foyer Tue 20 Nov

Mary Lattimore Rough Trade Bristol

kraftwerk re:werk + Max Cooper Live AV Set The Marble Factory Sun 25 Nov

Chris Wood The Folk House Thu 29 Nov

Federico Albanese Colston Hall Foyer

Colston Hall Foyer Fri 7 Dec

Julia Holter Fiddlers Fri 14 Dec

Christmas Festiv-al ft. The Cuban Brothers Colston Hall Foyer Mon 31 Dec

Guilty Pleasures Presents: NYE feat. New York Brass Band Colston Hall Foyer

contents INTERVIEWS VESSEL

WHAT’S ON 18

TASHA

EVENTS

FULL LISTINGS

MAGGIE ROGERS

FEATURES 10

NEW SOUNDS 57

IN BRISTOL

THOUGHTS

REVIEWS 34

RELEASES 58

LIVE Editor-in-Chief: Loki Lillistone loki@instereomag.com

New Music Editor Christian Northwood

Live Editor Jon Kean

Local Release Editor Lor Nov

News Editor Ross Jones

Online Editor Beth Sheldrick

Sales loki@instereomag.com

Photography: Maggie Rogers cover story Mike Massaro (mikemassaro.co.uk) Contributors: Hassan Anderson, Rhys Buchanan, Kezia Cochrane, Geoff Cowart, Rhian Daly, Andrew Hannah, Thomas Hannan, Charlotte Krol, Eva Lazarus, George O’Brien, Stephanie Phillips, Kelly Ronaldson, Harriet Taylor, Lee Wakefield, Simone Scott Warren. bristolinstereo.com

@bristolinstereo

Bristol in Stereo: 7

we the curious After Hours 18+ WITCiH - ‘The State of Gender?’ In partnership with Watershed

From £7.95 22 November 6.30pm – 11pm

An evening celebrating creative technology and the women involved, curated by Bishi - Artistic Director and Co-Founder of WITCiH. Live Music | Performances | Talks | Workshops | Planetarium shows

wethecurious.org Bristol in Stereo: 9

YAEJI

TOP TEN: New Sounds INDIGOs - Breathe In Soccer Mommy - Henry Brockhampton - SAN MARCOS Yaeji - One More Noname - Don’t You Forget About Me Swimming Girls - Beneath You Anderson.Paak - Tints (feat. Kendrick Lamar) Jimothy Lacoste - Fashion Lynks Afrikka - Don’t Take it Personal La-Z-Eye - Since It All Fell Apart GET MORE NEW MUSIC FROM CHRISTIAN EVERY MONDAY AT BRISTOLINSTEREO.COM

new sounds by Christian Northwood Pip Blom Pip Blom’s new EP has felt a long time in the making. Blom, who’s from The Netherlands, has been plugging away at the project since 2016, and since its early conception it was clear that she had something different. A catchiness to her songwriting. A drawl to her voice that made her stand out. She dropped a steady number of singles last year via Nice Swan Records, but her new EP, Paycheck is a confident step forward. Combining Pavement’s rough guitars with an edge that often verges on the darker side of post-punk, the EP evolves from the discordant sludge of opener, ‘The Shed’ to the driving,

energetic ‘Pussycat’, an in-your-face standout that attacks from the off and never lets up. The razor-sharp guitars swirl around before Blom’s voice shifts gears into a forceful yell, the guitars driving along with it. It’s the centrepiece to a hugely addictive EP, one in which every song has a wildly different character. Blom and her band have already started reaping the rewards of their brilliance, finding themselves on tour with bands like The Breeders and Franz Ferdinand. Dark yet witty, Pip Blom is showing no sign of stopping. LISTEN TO: Pussycat LIVE: Clwb Ifor Bach (Cardiff), November 20th @pipblommusic

/pipblom

Radiators A gritty, garage rock five-piece that’ll give you whiplash before smothering you in a woozy psychedelic charm. Hailing from Bristol, Radiators mix crunchy, fuzzy guitars with shimmering vocals, quickly flipping from buzzing riffs to kaleidoscopic sludge in the blink of an eye. The group’s latest EP, Charmpit Classics, came out at the end of last month via Breakfast Records and is an absolute riot. But it’s ‘Hell’s Itch’ – possibly the only song ever about chronic sunburn – that stands out. Teetering on the edge of chaos, it just about reins itself in at the right moments; much like the band. LISTEN TO: Hell’s Itch @ radiatorsband

/radiatorstheband Bristol in Stereo: 11

Bristol in Stereo: 13

VESSEL word s : Ke z i a Co c h r an e p h otog r ap hy: Ch r i s t al la Fa n n o n

t’s curious how we’re often attracted to sensory experiences that unsettle or unnerve, yet simultaneously offer a certain intoxicating hedonism. Something which Vessel’s music has perpetually offered through the wealth of warped and disquieting arrangements they’ve crafted within their records, eliciting a kind of eloquently distorted reverence. “The only thing I ever really look for is to feel strange when I’m making anything,” Vessel, aka Seb Gainsborough, expresses, musing on the fusion of orchestral and electronic sounds on Queen of Golden Dogs. “It’s funny, I haven’t really listened to electronic music for years now. All I’ve listened to is classical music and that’s what I find really thrilling or exciting or strange, because I’m an outsider to it. I know experimental music and I know electronic music but, actually, I came to a point where none of that music was telling me anything new. So listening to classical music was like a whole new world of language and expression and feeling and, to me, that actually seems really punk.” Gainsborough continues “That seems really, really, really experimental – even the more conventional stuff – so I guess the desire to work with it wasn’t even a desire. It was just something that felt like the language I could use to express what I needed to express.” Further contemplating this organic way of composing Gainsborough adds “The sounds you’re drawn to, I think you can’t really choose them. We have an actual physical response to sounds and, as a musician, that’s your language.” At the core of Vessel’s music is an undeniable fascination with juxtaposition; experimenting with extremes to reach new sonic terrains. “I’m interested in this idea of the third thing. You can call it non-binary or you can call it the third thing,” Gainsborough details, “it’s this moment where you have two principal ideas and there’s actually this whole world of expression in between those two things, and it might feel kind of strange, or unnatural, or awkward, or painful, or joyous or whatever… but it comes about precisely because of this contrast. It makes this third point. Which, I guess, is why I feel like it’s the only thing I ever want to pursue”.

“...listening to classical music was like a whole new world of language and expression and feeling and, to me, that actually seems really punk.” BristolininStereo: Stereo: 15 Bristol 15

Inspired by the works of surrealist artist Remedios Varo, as well as a range of writers including John Ruskin, Dante, Tove Jansson and Maggie Nelson, Gainsborough elucidates, “I feel like there was a real thread connecting them. They were all talking about basically ways to not understand, to be okay with not understanding. Which I just found incredibly generous and liberating”. Whilst hesitant to say there are narratives as such within the record, Gainsborough notes, “the story behind the name is quite good: my lover and I were at a dinner party with some really nutty friends, about four years ago, and the conversation came up with this friend of ours – this mad Chilean poet – who said the three most used words in the English language are ‘queen’, ‘gold’ and ‘dogs’ because any product that has those words in sells more than any other, so that was actually the germ of the idea that kind of settled in my head. And obviously it was nothing to do with the idea of wanting to sell

more,” they add quickly, “but the combination of the words created a kind of image and a universe for me I suppose.” Having crafted the record in an extended period of solitude in rural Wales, Gainsborough contemplates, “I wasn’t ready to do it emotionally and spiritually. I think it was really, really difficult. Of course those are often the times to do that kind of thing, but it was incredible. I love the countryside and actually just having the space to go kind of insane was really amazing because you think differently. If you don’t see people, and you don’t talk to people then it feels to me like it’s a kind of short-cut to a certain kind of creative energy.” And the result born from this is, ultimately, a quite staggering, breathtaking record; a work of pulsating, visceral grandeur. Vessel releases their new album, Queen of Golden Dogs, November 9th (digital), November 23rd (physical) via Tri Angle Records. @vesselyoungecho

@TriAngleRecords

Bristol in Stereo: 17

events things happening soon that you don’t want to miss out on KRAFTWERK RE:WERK

KRAFTWERK RE:WERK In 1977, Kraftwerk released Trans-Europe Express, completing a trio of internationally-recognised albums that took them from obscure Düsseldorf experimenters to one of the most revered names in music. Now, four decades on, this iconic album is being ‘re:werked’ by a special set of musicians. The British Paraorchestra, as the name suggests, is made up of some of the country’s finest disabled musicians, who shift perceptions and break new ground, eschewing not just old ideas on disability, but of the stuffiness and pomp of orchestral music itself. Ps, yes they have plenty of Moogs. NOVEMBER 23RD, THE MARBLE FACTORY

IN:MOTION / LOVE INTERNATIONAL Summer may be over, but Bristolians never let something as silly as ‘facts’ get in the way of a good party. Fresh from their third and biggest year at it, Bristol’s Team Love plan to bring a tiny slice of their Croatian fest to Motion, with an expertlycrafted lineup of house, techno, disco and more. Expect house in the Marble Factory, with Todd Terje, Moodymann and Josey Rebelle, while the main room leans toward techno with Joy Orbison, Craig Richards, Nicolas Lutz and Saoirse. Love International residents will be bringing the sound of Futureboogie to the Tunnel, plus Pure Respect offer up an exclusive live performance. NOVEMBER 23RD, MOTION

THE STATE OF GENDER? The Women In Technology Creative Industries Hub celebrates women in creative tech and their like-minded friends. As part of their After Hours programme, We The Curious invite founder and singer-producer, Bishi to curate an evening of music, performance and workshops to do just that. As well as performing herself, Bishi is joined by an exclusive soon-to-beannounced lineup of local and national artists. The venue is also free to explore in full. NOVEMBER 22ND, WE THE CURIOUS

YOUNG MARCO

NOODS RADIO’S THIRD BIRTHDAY Noods Radio is a Bristol-based DIY radio station, broadcasting online the world over. Through their electronically-leaning but honestly very eclectic schedule, they celebrate everything from techno to jazz and punk to cooking, all the while broadcasting out of everywhere from bedrooms to parties. Their third birthday this month is something every Bristolian should celebrate, and you can do so in person at Easton’s Black Swan, with sets from Jackin’ Patz of DIRTYTALK and Young Marco. NOVEMBER 9TH, THE BLACK SWAN

WORTH THE WEIGHT

WORTH THE WEIGHT VINTAGE KILO SALE

LOVE INTERNATIONAL

Ever wondered what seven tonnes of handpicked vintage stock looked like? Well, now’s your chance to find out, as if you’ve never been to one of these pay-by-weight dealies before, then Worth The Weight is exactly as the name suggests. With everything priced at £15 per kilo, and with heavier items capped at a maximum of that, you could come out with an outfit for less than a round of drinks. Serious shoppers can get in an hour before everyone else for a humble £3, but don’t be afraid to come down later in the day as the racks are being restocked all day. NOVEMBER 4TH, MOTION

Bristol in Stereo: 19

events cont... THORNY

TRANS PRIDE SOUTH WEST 2018

Recent years have seen a surge in gender expression and a deepening of our collective understanding of who we are. To celebrate this, Trans Pride South West have pulled together a series of events as diverse as those in attendance. Parties of course but much more, including a clothes swap, meetups where trans people can connect and a vigil for those who’ve lost their lives this year. One standout is a cabaret collab with Bristol’s own THORNY, 22nd. The lineup includes comedy from Shon Faye, dancing from Markiscrycrycry, an appearance from Ellie Stamp and local drag sensation Oliver Assets, plus DJ Lexi on the decks. NOVEMBER 21ST-25TH

MACMILLAN FEST 2018

Remember in the 80s, when all those bands got together for charity? Well, Macmillan Fest is a bit like that, minus Bob Geldof and the patronising references to what a shit Christmas they must be having ‘in Africa’. This month, a slew of Bristolians are raising money for Macmillan – who offer support and advice to people dealing with cancer – in the way they know best: riffs. Split across The Fleece, Hy Brasil and Mothers Ruin, each venue’s lineup runneth over. Glasgow’s metalcore stalwarts, Bleed From Within, Kent-based hardcore five-piece, Feed The Rhino and Mancunian noise rockers Hyena Kill head up each respective venue. NOVEMBER 11TH, THE FLEECE, HY BRASIL, MOTHERS RUIN

OOWEE VEGAN OPENING

We all know Oowee: that legendary Bristolian diner with outlets in Southville and Stokes Croft. To don our Matrix meme glasses for one second – what if I told you, they were opening a vegan one? Yes, those recent menu changes were a bait-andswitch, as a dedicated eatery for vegans and the veg-curious alike opens this month on Baldwin Street, city centre. They promise the works, including burgers, dirty fries and cocktails. LATE NOVEMBER, CITY CENTRE

CRAFT & FLEA

BRISTOL CRAFT & FLEA

The Paintworks fly the flag for the cool end of Totterdown this month, with a platform for artisans, exhibitors of vintage, collectables and local produce, as well as unmissable food and drink in general. Bristol Craft & Flea takes place across the country in cities with a creative and independent streak, meaning that of course Bristol is on the map. Bring something unique home, support a starving artist or conversely eat something delicious in front of them. NOVEMBER 4TH, THE PAINTWORKS

OOWEE

10 TOTALLY TOTO CLUBNIGHT Have you ever had an idea that’s so mad, it might just work? Michael Savage of Bristol’s Prime Cuts has. The longstanding musician and record store owner will be playing Toto’s ‘Africa’ back-to-back for twelve hours at Exchange this month in aid of Temwa, supporting health and education in Malawi. “What started out as a really stupid idea, from a stupid drunken night out, has become a stupid reality,” says Michael. Those planning to head down are encouraged to collect sponsorships for their performance; that is, how many minutes or plays they can stand the heat for. How long will you last? NOV. 30TH, EXCHANGE

Bristol in Stereo: 21

here’s always a lightbulb moment in every artist’s life. For the Chicago poet, activist and songwriter Tasha VietsVanLear, known mononymously as Tasha, it was Nikki Giovanni’s poem ‘Ego Tripping’. “It was cool to read a poem from a black woman about her talking about how she's the shit,” says Tasha. Giovanni’s positive affirmations introduced Tasha to the majesty of language, with which she would create songs that contained worlds where black women could be fully themselves.

“We cannot save the world if we are burned out...”

Released on Father/Daughter records (whom she was introduced to by New York singer-songwriter Vagabon), Tasha’s debut release Alone At Last is a succinct seven-track album made up of delicatelycooed acoustic songs about love, healing and self-care. “I try to make music that will allow folks that respite for a moment,” says Tasha. “We cannot save the world if we are burned out.” Tasha was born and raised in Chicago with her mother and two brothers. As a kid she was involved in theatre and her mother taught her how to play guitar at the age of 15. Musical theatre classics and folk singers from her mum’s music library were the soundtrack to her early years. As she got older her stereo was taken over by Michelle Branch and eventually R&B and soul in high school. After studying at the majority-white liberal arts college St. Olaf in Minnesota, Tasha became more politicised but found her attempts at organising weren’t working, so she moved back to Chicago after graduating. There she organised around racial justice and police violence with Black Youth Project 100. For Tasha, politics and creativity are always intertwined and are based on her identity as a black queer woman.

Tasha words: Stephanie Phillips photography: Grace Coudal

Her sound is reminiscent of early Lianne La Havas or the sparser offerings of Laura Mvula. Though she takes cues from soul, she’s reluctant to allow it to define her musical output and aware of the racialised categorisation that can go along with the label. “If I were on a set of all soul singers I don't think I would fit.” She adds: “One of my biggest inhibitors comes from trying to fit into other people's expectations of what I should make.” Tasha is one of many young women of colour who are creating on their own terms regardless of genre. Her fellow Chicago musicians Jamila Woods (whom she toured with), electro R&B singer Kaina, and the neo-soul influenced Akenya all follow this path. Bristol in in Stereo: Stereo: 23 Bristol 23

Tasha’s first release the Divine Love EP (2016) was a far cry from her later musical explorations as she melded black positivity with relaxed neo-soul beats. Her musical interest shifted when she fell in love with the guitar again in late 2016 and focused on the soft sounds that would become her debut.

drummer for The O’My’s, Eddie Burns. Burns helped Tasha keep the lo-fi aesthetic of her early demos while adding a hazy, dream-like quality to each song.

Mostly written at her grandfather’s house in the woods of Wisconsin, Tasha took those early Alone At Last demos to Chicago producer and

have our exceptionalism

“It’s an amazing thing to praised and recognised in such a way but then it turns into a pressure...” The album’s message of healing is directed specifically towards black women, turning the term ‘Black Girl Magic’ on its head on ‘Lullaby’ to question why black women always have to be perfect. “It’s kind of a rebuttal almost to this expectation of black women to always be sharing their magic with people and using their magic,” explains Tasha. “It’s an amazing thing to have our exceptionalism praised and recognised in such a way but then it turns into a pressure.” As a black woman playing across indie circuits Tasha knows the power her identity can bring. “My presence in spaces and on stages will mean something different than a white man being on those stages or a white woman being in those spaces.” Though she has had to cut down the amount of organising work she took on, her activism can still be heard and seen on every stage she graces. She says: “If there's a young black girl who comes to a show and sees me playing guitar I want her to think that's something she can do. Whenever I see women leading bands or being on really big stages it makes a huge difference.” Tasha releases her new album, Alone At Last, October 26th via Father/Daughter Records. @wowtashawow

@wowtashawow

STONE FOUNDATION ‘wanderlust’ tour the fleece sunday 04 november

THEKLA FRIDAY 09 NOVEMBER

LONDON CALLING play

+ JUSTIN SERRAO

THE FIDDLERS FRIDAY 16 NOVEMBER

THEKLA SATURDAY 17 NOVEMBER

+ JIM RILEY’s BLUES FOUNDATION

THEKLA SATURDAY 24 NOVEMBER + THE RIFF THE FIDDLERS FRIDAY 23 NOVEMBER

AGMP.CO.UK

SEETICKETS.COM Bristol in Stereo: 25

M aggie R ogers words: Hassan Anderson photography: Mike Massaro

hen I was 18 I saw St. Vincent play on a small stage. I was on the second row and suddenly she made eye contact with me during the song ‘Cheerleader’ and held it for the entire song... I swear to god, at that moment, if she had told me to jump off a cliff I would have done it. It felt like she was daring me to look away.” On a sunny morning in a café on East London’s Brick Lane, Maryland-born Maggie Rogers tells me this awe-inspiring story as I try my hardest not to finish my tiny almond latte in one go. Fast-forward four years from this staring contest with Annie Clark and Maggie is gearing up to release her debut album, Heard It In A Past Life, to equallyadoring fans. The album, Maggie tells me, “mostly catalogues the period June 2016 to around the middle of 2017, which was my year of big change”. The catalyst for this change involves Maggie's single ‘Alaska’ and Pharrell Williams. In 2016, unbeknownst to Maggie and the rest of the students on her music course at NYU, Pharrell had been invited to their class to give feedback on tracks they were working on. As if that wasn’t terrifying enough, the students had to sit next to Pharrell while he reacted to their unfinished work, all while being filmed by the university for online content. BristolininStereo: Stereo: 27 Bristol 27

Thankfully for Maggie it went pretty well: Pharrell’s reaction to Maggie’s track is like one you hope your best friend will give when you play them a new song you’ve discovered (but sadly never does). Pharrell was totally astounded and essentially concluded: “I have never heard anything like this before”. Needless to say, Maggie was equally stunned, as were most people who saw the video when it was released in June of that year (the hype reached absurd levels when headlines were published stating things like ‘NYU Student Makes Pharrell Cry With Her Song’). The one issue with all the online excitement, however, was it sort of made it seem like Maggie had just had a quick go at songwriting and was now being carried away on a tide of Pharrell’s tears. “People just sort of assumed that was it, like it had happened instantly,” she explains. “Because of this video that was put on the internet – without me really even knowing – people were just like ‘OVERNIGHT SENSATION’, but I went to school for this and had been working on it for ten years. I didn’t just get lucky one day.” She pauses before countering herself, “but then also I did: I got really fucking lucky.” Work or luck or both, it was, at base, Maggie’s impressive song-writing that took her on a near two-year journey across the world where she played shows in “North America, Europe, Australia and Africa”. Stating it as plainly as if recalling a shopping list. Quite quickly it becomes apparent that Maggie is someone who takes a pragmatic approach to most things she’s involved in. She pauses and repeats herself if a loud car goes by to ensure my voice notes are clear. She tells me she does most of her recording at home to keep things quick and reduce studio costs, and I even find out that she steals hard-boiled eggs from hotel buffets before she leaves in the morning. “It’s to keep me going throughout the day!” she laughs, when I quiz her on this last point. “Sometimes food gets a bit overlooked when you’re on a busy schedule and so I just put a few up my sleeve before we leave and I’ll have them throughout the day.”

Being a practical person, Maggie describes being thrust into the limelight and zipped around the world not as her “dreams coming true” but rather as “graduating from college with a job” and pontificates that “being a musician kinda feels like being vulnerable as a sport”. Despite the fact that Maggie embraced the chance to move into the professional ranks of this sport, there was a hidden side to her success that she was not exactly ready for, and one she says was hard to express to anyone. “Suddenly here it is: the opportunity to do the one thing – the one impossible thing –that I always wanted to do, I mean it’s insane! But then at the same time it…” she trails off before explaining, “The reality of it was a lot less glamorous than it appeared to be. The irony of it was that being a musician meant I was too tired to make music. I felt really overwhelmed, really vulnerable, and there were times when I felt really lonely.” This lowness in the middle of all Maggie could have ever hoped for understandably led to a conflict, one both internally and externally, as she continues: "The thing is, I was incredibly grateful for it all, and the highs were incredibly high but at the same time I was labelled the ‘Happy Girl’ and people would be like ‘Happy Girl, why aren't you happy?’ and I was like ‘I am happy, but it's complicated.’” This sentiment is no more 0evident than on the song ‘Light On’. She pauses as she tries to recall the words out-loud without music, perhaps for the first time “Wait, hold on...” she says, more to herself than me: “Oh I couldn’t stop it/Tried to slow it all down/Crying in the bathroom/Had to figure it out/With everyone around me saying you must be so happy now”. Hearing the 23-year-old’s candid words without music makes them resonate in an even more personal way, and you could feel sorry for her, but sympathy is really not what Maggie is gunning for. She emphasises that the album is really about “me actively choosing all of this”, and elaborates: “Functionally this record is about me saying ‘yes’ to all of it. I went through all this conflict, I didn’t know if it was for me, but BristolininStereo: Stereo: 29 Bristol 29

“not for an entire song but for 30 seconds or so. It’s a much better way of connecting, especially in the big venues”. As we are talking about this, three girls come over to our table to tell Maggie how much they loved her show last night at London’s KOKO. She seems genuinely flattered and after taking photos with them chats about how it was one of her favourite headlines so far.

at the end of the day, the plan was always to make music, Pharrell or no Pharrell.” The joy of playing live to fans who are just as passionate about Maggie’s music as she is seems to have vindicated her decision, “It’s actually what the chorus of ‘Light On’ is about,” she says, “It’s a positive song for those people who believe in what I’m doing.” To connect with those fans, Maggie has now adopted the St. Vincent method of making eye contact with one person in the crowd

I catch Maggie back at KOKO that night, for her second sold-out show. I can’t make it close enough to the front to engage in a staring contest but her performance is captivating from every standpoint in the venue. Her voice and movement soar across the room and she delivers her songs with no trace of routine whatsoever. To use Maggie’s pragmatic phrasing: they’ve definitely hired the right person for the job. Maggie Rogers releases her new album, Heard It In A Past Life, January 18th via Polydor Records. @maggierogers

@MaggieRogers

Bristol in Stereo: 31

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The The Grove Grove EastEast MudMud DockDock Bristol Bristol BS1 4RB BS1 4RB theklabristol.co.uk theklabristol.co.uk | thekla.club | thekla.club F L theklabristol F L theklabristol | I X| theklabris I X theklabris alttickets.com alttickets.com • gigantic.com • gigantic.com • bristolticketshop.co.uk • bristolticketshop.co.uk

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ROBYN HONEY Robyn describes Honey as “this sweet place, like a very soft ecstasy. Something that’s so sensual, and so good...” And finally, to save us from god-awful acoustic covers of her finest moments, it’s here. Danny Wright sat down with Rhian Daly and Kelly Ronaldson to find out whether the wait was worth it. Spoiler: it was. It's been eight years since the last record so how excited were you for this? Rhian: SUPER EXCITED. I wasn't really into Robyn when the last album came out but that’s changed a lot in the intervening years. I’ve had a lot of moments that her songs have soundtracked and helped me through, so I was very ready for a new batch of music to do that. Kelly: It doesn't even feel like that long ago to me. After the success of ‘Dancing On My Own’ there’s been a lot of hype. She reached a new level of emotional depth with Body Talk, which is important to me when I hear a new album, so I was excited to see if this record could match up to that. Do you listen to an album in a different way when it has those expectations? Were you surprised by it on first listen? Rhian: Hype definitely can have some effect on the way I listen to things so I tried not to

photo: Mark Peckmezian

read anything about the album before listening to it. I was surprised on first listen but I also wasn’t, if that makes sense? I was expecting more heartbreak bangers but then I wasn’t surprised by the musical direction with more house/techno sounds because that kind of stuff has been present in Robyn’s work with La Bagatelle Magique, so it seems quite a natural progression. Kelly: I was definitely surprised. Even with stronger dance elements, this album feels more stripped-back than previous releases, focusing on more simplistic beats and her vocal work. She mostly worked alone during the writing of the album, and it's given her a chance to show off her own tastes, and it makes it feel so much more raw. ‘Missing U’ seems like a bridge into the album… Rhian: There's this arc to the album, both in terms of lyrics and sound, where it grows from the sad pop of 'Missing U' and gets warmer and brighter as it progresses. It feels very minimal in places where, like Kelly said, the focus is very much on Robyn's voice. There’s also a lot of subtle, Prince-y funk basslines - like 'Ever Again'. As a whole, it feels like a laid-back Ibiza record.

photo: Heji Shin

Kelly: I don't think the single releases are a fair indication of what to expect. 'Honey' and 'Missing U' have an infectious synth-pop sound, but the other songs all seem to have their own individual influences. 'Ever Again' caught me off-guard, I heard the Prince influence there too, but for me it was very Fleetwood Mac. I hadn't thought of Fleetwood Mac but that's a great shout. What's your favourite song? Rhian: That's tough - so I'm gonna choose three (sorry): 'Honey' is such a perfect pop song - it has this magical quality to it where it feels like you're floating. It makes me giddily happy. 'Beach 2k20' is a great, inventive, house-y track and I love the joyous, slightly naïve declaration in 'Ever Again' of "I'm never gonna be broken-hearted ever again". It's such an about-turn from songs like 'Be Mine!', so optimistic and beautiful. I also hadn't picked up Fleetwood Mac until you mentioned it, but I really hear it now! Kelly: All I could hear for the first few listens of 'Ever Again' was ‘Dreams’, haha. My favourite has to be 'Missing U'. It's such a heartbreaking track, but the synth-pop element gives it such an uplifting tone. It represents her journey towards overcoming loss and using music as a coping mechanism, essentially outlining the entire album. She’s obviously been through a lot since the last record, and talks of how she’s had to ‘reboot’. Can you hear that? Kelly: I can definitely hear that. There's such a strong theme of loss throughout the record, but it seems focused on her loss of self, more than anything. I loved how 'Human Being' came across as this musical embodiment of her trying to find herself again through dancing. The whole album seems to say "This is what I've lost, but I'm finding it again". Rhian: Yeah, on 'Human Being', it's almost like she has to remind herself that that's what she is - human - and, then, she's on this path to healing, for want of a better word. Has she managed to stay one step ahead with this album? Kelly: I think she's always been one step

‘Honey' is such a perfect pop song - it has this magical quality to it where it feels like you're floating. It makes me giddily happy. - Rhian Daly ahead, but with this record she hasn't been afraid to experiment a little more. With so many styles, I don't know if it's going to stand out as one of her more popular releases, but it's a significant contribution towards the kind of artist she's becoming. To me, it's a record that opens itself up to you the more you listen and gives you new things to love every time. Rhian: I think so. She could’ve come back with something more similar to Body Talk and it would’ve been amazing, but she's a musician who always wants to be moving forward. Maybe this won't be my go-to record when I'm crying over trash boys but I can definitely see myself coming back to it for a long time to come. Robyn releases Honey October 26th via Konichiwa Records / Island Records. @robynkonichiwa

@robyn Bristol Stereo:35 35 Bristol ininStereo:

JULIA HOLTER AVIARY

Domino October 26th

BAS JAN

INSTANT NOSTALGIA EP Lost Map November 23rd Post-punk meets art-pop on Instant Nostalgia, as Bas Jan suggests we frequently knacker our own well-being and relationships. We waste time, then say we’ve ‘No Time’. Sentient and sedentary isn’t a good mix, as ‘I Am Animal’ indicates. ‘Profile Picture’ satirises ‘life’-lacking Twitfacers, lusting for likes. And nostalgia isn’t what it used to be. That’s not even a crap play on words anymore. It’s true. We can have ‘Instant Nostalgia’, as the title track states. We record and recall things via digital, not mental images. Hopefully, you’re reading this in print, but you may read this via a phone. If so - Do you need that phone beside you? Find you’re unable to concentrate? Are you frequently with others, but not really present? Answered ‘yes’ to all three? You need Bas Jan. Jon Kean

I’ve never been quite sure whether Julia Holter is first and foremost an experimental musician with a preternatural gift for melody or a more traditional songwriter operating with a weird set of tools. Aviary certainly lands on the more ‘out there’ end of the spectrum, but don’t be surprised if she doesn’t stay there for long. ‘I Shall Love 2’ - the album’s lead single, and the only real candidate for the role - puts Holter’s poignant melodic gifts on display to their fullest, but the rest of Aviary prioritises atmosphere over accessibility, presenting over an hour and a half of mini epics of strings, piano and ghostly vocals to get lost in or tell to get lost, depending on your stomach for this sort of thing. Thomas Hannan

ART BRUT

WHAM! BANG! POW! LET’S ROCK OUT! Alcopop! Records November 23rd It’s been a bazillion years since we last heard Eddie Argos shout his diary over some blistering guitar pop, but HOORAY! Art Brut are back and there’s so much to catch up on. There’s been a break-up, documented with brilliantly bitter optimism on ‘I Hope You’re Very Happy Together’ (“and if you’re not, that’s even better”), an ill-advised one-night stand (‘Awkward Breakfast’), parties crashed, and a brand-new love that our hero Eddie is so excited to see, he can’t even wait for the ticket queue to dissipate in order to purchase a ticket. Chuck sweaty guitars, a bit of brass, and even some twee-less glockenspiel, and count the number of times you grin as you listen; I dare you. Simone Scott Warren

NAO

SATURN RCA/Little Tokyo October 26th “Saturn is the planet of karma,” a woman says over a crackly radio transmitter on ‘Love Supreme’, the centrepiece of Nao’s new album. “You will find yourself with spiritual realisations you couldn’t have even contemplated in earlier stages of your life.” It’s one of several references on the record to ‘Saturn Returns’, the concept that significant changes happen in one’s life after Saturn completes its 29-year orbit. Nao, now 30, certainly aligns with the trajectory: “I’d hit my late twenties and everything was in flux...I genuinely had to ask, ‘how do you make it out of here?’” The answer lies in the follow-up to her brilliant 2016 debut For All We Know. On Saturn, the east Londoner retains the hallmarks of her soulful ‘wonky funk’ but propels new sounds into orbit. There’s warped rumba rhythms on ‘Love Supreme’ and loungey ‘60s girl group-influenced ballads (‘Don’t Change’). Elsewhere, ‘If You Ever’ renovates the tiresome dancehall pop zeitgeist with opulent strings and peppy beats while Nao appeals for a brush with love. Subdued tracks such as the piano duet with Kwabs on ‘Saturn’ and the skulking ‘Orbit’ may fall short of the rousing, gravitational pull in Nao’s existential contemplations, but the propulsive Afrobeat of ‘Drive and Disconnect’, with its sunny guitar lick, is the perfect soundtrack for the escape the singer seeks. Nao’s command of a throughline on Saturn is impressive, as is the broadening of her musical palette. The sky’s the limit. Charlotte Krol

BOYGENIUS

OBJEKT

Matador Records November 9th

PAN November 9th

BOYGENIUS EP When an image of Phoebe Bridgers, Julien Baker and Lucy Dacus sat together on a sofa appeared online, the rumours seemed to good to be true; could three of the most accomplished new singer-songwriters on the planet really be collaborating? The answer an emphatic yes in the shape of boygenius, a flawless self-titled, six-track EP. Consisting of one original from each of the three artists - Dacus power on ‘Bite The Hand’, epic Baker emotion on ‘Stay Down’ and arguably Bridgers’ most complete effort to date in the form of ‘Me & My Dog’ - and three immaculate collaborations, which showcase how the trio’s work sits so perfectly together. They each sing on ‘Souvenir’, while the timeless, live-sounding acoustic closer sees them join in three-part harmony beautifully together. Genius, indeed. George O’Brien

COCOON CRUSH Cocoon Crush could be the name of a gimmicky new energy drink. But thankfully there’s nothing sickly sweet about the second album from English DJ and producer TJ Hertz. Since his PAN debut Flatland in 2014, he’s been perfecting his quixotic DJ sets in his adopted home of Berlin. His love of the unpredictable is on display here as he masterfully bounces between obtuse sound collages (‘Silica’) to dialled-in funky basslines (‘Deadlock’). Across its 11 tracks and 47 minutes, it’s painstakingly stitched together around a haunting central theme. Repeated spins reveal its tricked-out geekery, with moments of harsh distortion or woozy keys both charming in equal measure. It may be born on the dancefloor but offers a far more sophisticated and cerebral adventure. Geoff Cowart Bristol in Stereo: 37 Bristol in Stereo: 37

GORGEOUS BULLY CLOSURE

Breakfast Records November 9th Ever since the release of The Young Obese back in 2012, Gorgeous Bully’s Thomas Crang has been the ever-prolific auteur behind some of the UK's most underrated and honest songs. Now returning with Closure, Crang decants the most personal and succinct characteristics of his songwriting into his best record yet. The album is a forthright and tender affirmation on the anxiety of growing up, watching the world and its inhabitants turn as if you're frozen to the spot. 'Tripping' lingers with sullen self-depreciation, while 'Can't Give You Up' offers a glimmer of fight, Crang resolute and unflinching as he mutters "I know you don't want me". While the record's title may hint at finality, Crang continues to blossom into one of the most relatable of songwriters. Ross Jones

YOSHINORI HAYASHI AMBIVALENCE

Smalltown Supersound // October 26th Blurring lines between organic and synthetic (try stopping yourself playing “Sample or Not?” as you listen), Tokyo producer Yoshinori Hayashi’s debut album Ambivalence is a heady journey through jazz and club music. Playing and producing everything, Hayashi ties an eclectic record together through a red thread of jazz piano (Cecil Taylor is an influence) and echoing percussion that shifts from 4/4 house to narcotic dub. Highlights are the loose keys, woodwind and watery handclaps to be found on ‘Overflow’, the metronomic murk of ‘Bit of Garden’ and the hypnotic brilliance of thirteen-minute centrepiece ‘0208’. Ambivalence is an unpredictable listen that serves to highlight Hayashi’s class as a DJ, but also more than hints at a musician capable of turning in coherent and fascinating albums. Andrew Hannah

TOMMY GENESIS TOMMY GENESIS

Downtown/Kobalt // November 9th “I have always gone where other people don’t. It’s not to shock you, it’s just who I am,” Tommy Genesis proclaimed in her recent London in Stereo cover feature. After scrapped tracks and delayed releases, feverish anticipation surrounds Tommy Genesis, and it’s a remarkable snapshot of one of the most fascinating artists operating today. From the bubblegum pop of ‘You Know Me’ to the abrasive ‘Tommy’ and closer ‘Miami’’s effortless groove, it’s a breathtakingly multi-faceted listen. Production-wise too, Tommy Genesis sounds phenomenal, crisp beats and sleek rumbles of bass impeccably arranged to land Genesis’ lyricism with genuine explosiveness. Undoubtedly a phenomenal addition to the landslide of blistering pop records we’ve been blessed with in recent years, Tommy Genesis should reign somewhere near the top. Lee Wakefield

MR. MITCH

PRIMARY PROGRESSIVE EP Gobstopper Records October 26th Holding hands, a father and son walk away from the camera in the artwork for Mr. Mitch’s latest EP. The palette is rich, but the colours are blurring. It’s an ode to the strength of his relationship with his father, wavering in the face of him suffering from the rarest form of multiple sclerosis, from which the name of the EP - Primary Progressive - is taken. “Even though you’re here I still miss you”, Mitch sings in pensive cut ‘Show Me’. Inspired by the emotions surrounding his father’s illness, there’s hope, sadness, gratitude and reflection to be found across these five tracks: take the aching strings of opener ‘Restart’ and the melancholic high-pitched vocal loop on ‘Settle’, a sample from Brownstone’s ‘If You Love Me’. With elegant progressions and rumbling basslines, Primary Progressive cements Mr. Mitch’s position as the producer of softly aesthetic grime instrumentals. Katie Thomas

MIYA FOLICK

PREMONITIONS Terrible Records/ Interscope Records October 26th Clearing your mind of the bad stuff and living your best life lies at the heart of Premonitions, the debut album of Los Angelesbased Miya Folick; her candid world-view and polished indie-pop sensibilities set to capture the hearts and minds of many. Opener ‘Thingamajig’ clears the mental slate, as a call to take ownership and move forward from one’s past mistakes; ‘Leave the Party’, with its brassy, bold and infectious chorus sets the album’s blissfully cathartic mid-section between pre-release singles ‘Stock Image’ and ‘Stop Talking’ respectively; finally, ‘Baby Girl’, with its dreamy 90s tinge, and ‘What We’ve Made’ pair up for a rapturous conclusion. Ultimately, Premonitions implores you to be happy, loved, and to pay it back in like kindnesses – and is that so much to ask? Harriet Taylor

LAURA GIBSON GONERS

City Slang October 26th Grief can be messy and confusing to say the least, and with Laura Gibson tackling loss head-on with her fifth album, Goners, it’s naturally a teary affair. Gibson has always made music for time spent alone, and with her songs here offering a certain space for contemplation, the sounds are vivid and tinged with sadness, while tracks like ‘Slow Joke Grin’ and ‘Marjory’ showcase her technical language and songwriting ability. Despite the album’s gentle fragility, Laura manages to perfectly capture the spontaneity behind sadness as the listener surfs through bouts of her personal process in this album: you’re very much working through the murky times with Gibson here as her thoughts fall onto the page. Nothing short of an astounding songwriter, she’s proven once again just how masterful she is when it comes to excavating the beauty in life (and death). Rhys Buchanan Bristol in Stereo: 39 Bristol in Stereo: 39

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