Bristol in Stereo // Kim Gordon

Live. Music. Culture November 2019

â„– 94 // Free

Kim Gordon

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Dear reader, Editor-in-Chief / Sales Loki Lillistone loki@instereomag.com Deputy / Live Editor Jon Kean Online / New Music Editor Kezia Cochrane Features Editor Dave Rowlinson Local Release Editor Lor Nov Creative Director Larissa Matheus

At time of writing, I have no idea (does anyone?) if we’ll be living in post-Brexit Britain this month or not. Either way, it seems very fitting that issue #1 of new family member, Berlin in Stereo hits streets on 31st October. In these strange and divisive times, it’s comforting to dwell on the fact that, whatever happens, music truly unites us all.

I’m not using the word lightly when I say we have a legend on the cover this month. Kim Gordon talks to us about how, years on from Sonic Youth and various other projects, her debut solo album finally meets the world.

We also invite personal faves of mine, Girl Ray, in for chats. They continue the current trend of indie kids turning pop, while eschewing the need for their identity as young people or women to overshadow their music.

Elsewhere, Anna of the North talks rebooting the project without her partner in crime and Sudan Archives likens her record to a long-overdue number two. In the best way, of course.

All this, plus live listings, albums of the month, new acts, guests and more!

Girl Ray

Contributors:

Geoff Cowart, Georgia Evans, Rachel Finn, Thomas Hannan, Philip Hiscocks, Charlotte Krol, Simon Moyse, Lorenzo Ottone, Stephanie Phillips, Ari Sawyer, Caitlin Scott,Francisco Gonçalves Silva, Harriet Taylor, Danny Wright, Andrzej Zajac Kim Gordon cover photo by Parri Thomas, typeface by Lucas Le Bihan (Velvetyne).

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New Sounds

Sudan Archives

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22

Girl Ray

Anna Of The North

26

34

Kim Gordon

Releases

40

42

Events

Full Listings

56

58

Live

Thoughts

61 In Bristol Kim Gordon

Staff on Repeat:

Loki: Carla dal Forno – Push On Jon: Kiwi Jr. – Salary Man Kezia: Urias & Maffalda – Rasga Lor: Liz Phair – Good Side Larissa: The KVB – Submersion 7

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New Sounds

by Kezia Cochrane

Top Ten: New Sounds Loraine James, London Ting – Dark As Fuck ft Le3 bLACK 33EMYBW – Arthropods Continent ft. Li Jianhong Blue Hawaii – On A High BAAST – Kill Yr Landlord Clipping. – Blood of the Fang Brooke Candy – Drip ft. Erika Jayne Bea Pelea x Suave44 – Dudas Doja Cat – Bottom Bitch Princess Nokia – Sugar Honey Iced Tea (S.H.I.T.) Bodega – Knife On The Platter

Get more new music from kezia cochrane every monday at: bristolinstereo.com 10

Brooke Candy

Bea Pelea Bea Pelea is on a pure hype right now – and if you’re not already on board, you need to get involved. Earlier this year, she released the infectious and anthemic single, ‘Si No Te Vuelvo A Ver’; one of those tracks that instantly feels familiar. You may have heard without realising, especially if, like me, you have a penchant for a sweet, sweet reggaetón groove. Part of a burgeoning underground scene in Barcelona that sees artists shaping their own new wave of reggaetón, fused with a wealth of other sounds and inspirations, Bea Pelea combines the flamenco of her childhood with trap and warped pop elements to create rich, sensual jams.

Last year, she released her debut mixtape, Reggaetón Romantico Vol. 1, which saw her collaborate with a whole host of creative peers. She’s just released two searing new singles, her most recent featuring La Zowi and Florentino, undoubtedly pointing to more exciting things to come. Channelling the traditional, dembow-infused rhythms and infectious essence of reggaetón, while purposefully moving away from the typical macho mentality, Bea Pelea is at the core of an undeniably exciting creative community that we can’t wait to hear more from.

Track: Si No Te Vuelvo A Ver @beapelea @beapelea

Fever 103o “Glacial, gothic techno from the abyss” is an apt initial introduction to the darkly hypnotic tones of Fever 103o. Having played their debut show alongside Sister Iodine and Ben Vince a little over one year ago, the duo have been entrancing audiences with their warped soundscapes ever since. Combining moments of spectral sparsity with a heady fusion of ominous techno beats, eerie, otherworldly vocals and mesmeric, oscillating melodies, Fever 103o offers a spellbinding sonic experience.

Having recently released their debut track on the inimitable Avon Terror Corps’ latest compilation, Bristol’s favourite French duo are very much here to steal your soul – and probably sell it to Satan.

Track: Cult Leader Live: Exchange, December 4th @fever103_

Gloo 11

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Sudan Archives words: Charlotte Krol

“I feel really good, but I also feel weird and anxious because it’s like, ‘I didn’t poop all the way’.” Sudan Archives is using bowel analogies to describe how she feels about her debut album Athena dropping (sorry) this month. “Until it’s out, I’m not going to be fully relieved,” she adds, giggling.

“There’s nothing I can do right now. I can’t take a laxative.”

At least Sudan can take some comfort in knowing that Athena is worth the wait. It hears the 25-year-old Cincinnati native (real name Brittney Parks) retain her violin-meets-drum machine creations, but flesh them out with grander orchestral sonics. If her 2017 debut self-titled EP and its 2018 follow-up, Sink were the bones of her oft soulful, experimental violin music, then Athena is the meat.

This has arisen partly by working with others for the first time. Sudan, who’s lived in LA for the last five years, says the main goal for her debut album was for everything to sound “bigger”. She enlisted producers, including Washed Out and Rodaidh McDonald (The xx, Adele) and set about crafting a record that would allow for new ideas to surface.

“I think sonically [Athena] has more depth,” Sudan says over the phone. “I wanted to make sure the album has the cool texture that the EPs have, but to be really full. One time, when I was at the studio, there were like 10 cleaning ladies there and I asked them all to come in and clap. I was just trying to get a bigger sound. This album is more of a representation of all of my musical influences.”

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“It felt really to collabor And if it suck blame it on t

McDonald, in particular, imbued Sudan with a more classical violin-playing style. He would ask her to play melodies on her instrument “for a long, long time” to help develop “a crazy arrangement” that she may not have thought of – especially for album track, ‘Down On Me’.

“It felt really good to collaborate,” Sudan says, “because doing stuff alone gets boring. It’s great to be like, ‘Oh, I have all these people that are part of the vision.’ And if it sucks, just blame it on them,” she says, laughing.

‘Down On Me’ is also the song that introduces more open and autobiographical stories. It’s in stark contrast with Sudan’s often oblique lyricism. On the track, she sings about a reallife situation in which a man only became romantically interested in her once he’d learnt that she was an artist. “All I’ve ever sung about is love, but just very vaguely about it,” Sudan says. “Maybe just how I feel and how I love and how love makes me react. But on the album, I’m speaking about how others perceive me – how they love me.”

y good rate… ks, just them.”

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She continues to explain that this lover had originally “bluntly” told her that he didn’t like to date black girls. “But he felt a connection with me,” she says. “It’s weird because he’s black too. I felt like I had something to prove, like I had to, like, reinforce some values in him. The song is almost me as a praying mantis; I wanted to reel him in and then bite his head off.”

Song lyricist, James McCall encouraged her to write about the experience in ‘Down On Me’. While Sudan admits it’s actually her least favourite song on Athena (because of the music’s “romantic Disneyland vibe”), she appreciates that it’s “kinda badass” because “I had that twist to it lyrically mapped.”

In truth, she prefers to come up with “a crazy concept and code everything” to make her songs open to interpretation. “But here I’m bringing up issues about colourism and stuff that I normally wouldn’t want to talk about.

I feel like ‘Down On Me’ probably was a 16

situation where – if I wasn’t working with other people – that wouldn’t have happened.”

Beyond that song, what is the album’s overarching theme? “The key message is that you have to embrace the light and the darkness within you. It’s how it is with superheroes, goddesses, influential people. That’s probably what it takes to really make something of yourself: to be able to just embrace all parts of yourself, have it there on the frontline instead of trying to hide one part or the other.”

It’s no wonder, then, that Sudan is both excited and apprehensive about Athena’s release. She’s exposed more sides of herself than before. Surely, it’s for the better.

Athena is released 1st November via Stones Throw. @sudanarchives

@thesudanarchives

Girl Ray words: Ari Sawyer photography: Laura McCluskey

Fronting an all-female band in 2019 comes with expectations. With hundreds of records released every month that centre around political concepts and social commentary, it’s only right to expect Girl, the second album from North London trio, Girl Ray, to follow suit. Yet, as frontwoman, Poppy Hankin explains, music doesn’t have to be about making a statement. Sometimes finding a great record that you can dance and have fun to might be all you need.

Taking a break from the band’s DJ set at Headrow House in Leeds, Poppy leaves drummer, Iris McConnell and bassist, Sophie Moss in charge, heading outside to discuss their love of pop, their upcoming tour, and the importance of enjoying a great record. “We’ve said in the past it should be all about themusic, and we don’t really want people to focus on if we’re all girls or if we’re younger. People should take what they want to take from the music. We didn’t want it to be an album for any particular ‘in crowd’, or whatever. We wanted it to be accessible for everyone and not be too exclusive about it.”

United by their love of music and a desire to create, the three-piece came together during sixth form, obsessed with the idea of starting a band. “We’d get together during school holidays and play guitar terribly together.

When we were about sixteen or seventeen, we thought ‘right, we’ve actually got to make this happen somehow’.” Despite their drive and enthusiasm, the trio maintain their everyday, 18

twentysomething lives alongside band commitments almost effortlessly. Between working day jobs in pubs, restaurants and record stores, Girl Ray focus their creative energy and pour it into their musical endeavours, neatly side-stepping the pressure of a follow-up and allowing inspiration to come naturally. “We’ve taken our time with [this album], and now is the right time to put it out there.”

Fuelled by an appreciation for mainstream pop, the band’s latest offering, produced by Ash Workman (Christine and the Queens, Metronomy), marks a breezy, laid-back tribute to some of the biggest female names in the music industry. “There’s so much exciting stuff going on in pop at the moment,” says Poppy, “especially with women in pop. I’ve personally been listening to a lot of Rosalía, Lizzo, Dua Lipa, Ariana… all the big hitters.

I’ve been just watching them in awe as they have grown super successful and keep releasing bangers.”

Marking the halfway point on the record, R&B track, ‘Takes Time’ features a vocal collaboration with London rapper PSwuave. “There are so many cool London MCs popping up who are women. I was trying to write a melody for the instrumental in the verses of the song, and it just wasn’t coming. It’s such a sparse beat, and it was hard to find a vocal melody that would fit well with it. We started looking around for London MCs and by coincidence, our manager knew PSwuave, and her sound was exactly what we wanted.”

“We’d get together during school holidays and play guitar terribly together…

We thought ‘right, we’ve actually got to make this happen somehow’.”

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“I kind of wanted to go a bit off-piste and write some stuff that wasn’t all just diary entries, you know?”

Tired of playing their old songs hundreds of times, Girl moves away from the lo-fi vibes and teen angst of their debut album, Earl Grey, and branches out into a fresh, beatheavy pop sound, while giving themselves a chance to experiment with new concepts of love, life and growing up. “[With this album] I felt free to write about things other than my own personal life. I kind of wanted to go a bit off-piste and write some stuff that wasn’t all just diary entries, you know? The first songs that we released were quite naive and raw.

Because we were putting out songs at such a young age, they were kind of unfiltered - and I guess that was kinda cool. Your teens are such a transitional time, so that definitely impacted on how we sounded and what we were writing about.”

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Later this month, Girl Ray will be supporting Metronomy on their UK tour, including a show at London’s Roundhouse on 8th November.

“If there’s a good feeling in the audience, then it’s so contagious,” says Poppy, “and it feels amazing to play for them. Especially if they know your stuff - that’s the best feeling ever.

We’re such fans of Metronomy and we have been for a while, so being part of that gig experience will be really fun.”

Girl is released 8th Nov. via Moshi Moshi Live: 12th Nov. 2019 at Rough Trade, Bristol @g1rlray

@girlraylondon

Anna of the North words: Rachel Finn

As anyone who’s ever been hurled unexpectedly into a stressful life situation will be able to tell you, sometimes you’ve got to be thrown into the deep end to figure out whether you’re going to sink or swim.

For Anna Of The North’s Anna Lotterud, that moment came shortly after the then-duo wrapped up the campaign for their debut album, Lovers. Anna parted ways with her producer/partner Brady Daniell-Smith, who’d made up the second half of Anna Of The North since the pair met in Melbourne in 2014, and faced the prospect of making her second album alone.

“It felt really scary. Me and Brady worked together for three years or so, and he was my producer part, doing the things that I don’t,” she admits, thinking back today from Oslo, where she’s currently based. “I play piano and guitar and sing, and I’ve produced a little, but that’s not my strongest side. It was like losing that part of me, so I had to find that again. You just have to start over.”

A lot had happened since making that album.

The breakup-inspired dream-pop of Lovers had become an unexpected hit, one that had allowed Anna to travel the world playing her songs and even caught the attention of Tyler, The Creator, who invited her to appear on his 2017 album, Flower Boy. But, despite all their success and the benefits of working as a duo, it had sometimes been limiting; making new album, Dream Girl as a solo artist allowed her to explore a new sound without so many preconceived notions of what 22

her music could be. While Lovers was full of glossy synth-pop, Dream Girl feels more raw or, as Anna describes it, “more organic,” and has given her more of a belief in her abilities as a musician.

Trying to gain a bit more clarity about herself and where her life was going, Anna saw a psychologist after the campaign for Lovers ended. “It put it more in perspective, in a way,” she says on how the experience helped her music. “I think we’re all quite similar. We’re really complex and our brains are working in ways we don’t understand.

“It’s nice just having a person letting us know that it’s absolutely normal to be like that - to be human. Talking to strangers sometimes can be really good because they don’t have any expectations from you. It’s the closest thing to meeting yourself for the first time.”

This new-found confidence and clarity is found all over the new record, which Anna describes as “the moving on album”. On ‘Leaning On Myself’, Anna explores the experience of breaking out into a new situation on your own and feeling out the limits of your own independence, singing: “Lately, I don’t need nobody else/ Just trying not to feel the way I felt.” On ‘Playing Games’, she addresses the pain you sometimes need to go through to come out stronger in the end, with the punchy chorus: “If it’s hurting, then it’s working, Oh my god!”

“It was like losing that part of me…

You just have to start over.”

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“I think we’re all quite similar. We’re really complex and our brains are working in ways we don’t understand.”

It also spills over into the album’s title.

The Dream Girl featured on the title-track and album art, Anna explains, is fictitious, representing a standard that can’t be reached.

A real-life ‘dream girl’ is not perfection in someone else’s eyes, but someone who’s good enough in her own.

“The ‘Dream Girl’ is like ‘OK, shit, he doesn’t love me! I love him! That sucks, but okay, I’ll survive,’” she laughs. “It doesn’t have to be about breakups. If you go through something shit, whatever you wanted to happen, or 24

whatever you were longing for that you couldn’t have, it’s about being strong and open-minded, being like, well, something’s out there, something else will come along.

“It’s not meant to be about being pretty but about saying in your head, in my world, I’m good enough.”

Dream Girl is out now via [PIAS] @anna_ofthenorth

@ annaofthenorth

Your Music Career Starts Here Join the most exciting industry in the world bimm.ac.uk/bristol/open-days

bimm.ac.uk/bristol

Kim Gordon words: Robin Murray photography: Parri Thomas

Kim Gordon never really slows down. Since the end of Sonic Youth – and her marriage to Thurston Moore – she’s moved to Los Angeles, held art exhibitions, toured and recorded as one half of Body/Head, and written her outstanding memoir, Girl In A Band. Amidst this multi-disciplinary whirlwind, it could be easy to overlook another milestone: her first true solo LP, the challenging, visceral, and utterly inspirational No Home Record.

“It just hadn’t really occurred to me,” she says. “I mean, I have my art practice, and that’s something that is basically solo. I just started playing around with my guitar at home and borrowed a drum machine from a friend.

It’s always nice to strip down to something basic.”

A West Coast kid in a New York band, the closure surrounding Sonic Youth freed Kim Gordon to re-settle in Los Angeles, exploring a city dominated by its dichotomy of twinkling cinematic mythology and broken down dystopia. Somehow, it’s both the Partridge Family and the Manson Family.

“As one does in LA, you drive around a lot,” she chuckles. “I’ve always been interested in how LA is sort of creepy. I mean, outwardly it’s beautiful... but underneath that, it’s dark.

Which makes it. Otherwise it would be kind of boring.”

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“I like to think of the songs as little mini movies.�

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No Home Record is constantly shadowed by LA - ‘Get Yr Life Back’ was a phrase Kim saw on a chalk-board outside a hipster cafe, while ‘Sketch Artist’ was prompted by the complex homeless communities that proliferate areas of the city. “I felt like I was invading their privacy in some sort of way,” she says.

The caustic, noise-drenched rocker ‘Air BnB’ is a playfully subversive salute to the rent-alifestyle ethos. “I mean it’s not like I am passing judgement so much...” she says, her voice tailing off. “OK, I am doing that a little bit!” The song has a debt to a less-than-satisfactory trip to a remote Californian canyon, sharing a property with some friends. “My friend picked it because it reminded her of Columbo!” Kim laughs. “We found the house and it was sort of dead, and it had these weird wind chimes... and we thought it was kind of creepy. It had shades of Charles Manson about it”.

The Air BnB by rote design aesthetic floods through her press shots, hilariously asinine pictures that both celebrate and puncture the mundanity of online group-think. “Things that start out as a good idea often turn into something else when they proliferate,” she warns. “I was kind of mesmerised by how it looked like ready-made art to me. You can rent a lifestyle, which is essentially what is appealing, I guess.

It’s sort of utopian.”

moving from glacial chimes to frenetic cyberpunk via Cramps-esque rockabilly and punk rock rage. The two would chop and change, making these deep incisions into the songs, re-arranging them in surreal and striking new ways.

“I am kind of a minimalist,” she points out. “I like to think of the songs as little mini-movies.

It’s not that unlike rap music and hip-hop: it’s more about building up layers in the studio.”

From the outset, Kim wanted to create music that was somehow different from what she had done before. “It’s just like when I was writing the memoir,” she explains. “My biggest fear was that it was going to be conventional and I didn’t want that. It had to be something that I could relate to. I didn’t want it to be boring and I didn’t want it to be conventional.”

“It’s hard to make political music. I think people want some leadership in a cultural way because the world is so fucked up right now.

And I am not that person.”

Engaging with the city that enveloped her, Kim Gordon began to collect these blasts of noise, before linking with producer, Justin Raisen in the studio. A real powerhouse – he’s worked with Sky Ferreira and is locked in legal action with Lizzo – he summoned Kim into his life by using her name as a daily mantra. “He is a character,” she exclaims, her eyes darting around the room. “I mean he just seemed really open and I knew whatever I did, he would elevate or make into a song.”

Kim Gordon is anything but conventional.

A female musician of rare prominence in an underground still dogged by patriarchal mindsets, she’s always stood out. Take the lascivious ‘Hungry Baby’, a song that exposes sexual harassment by flipping the debate, and skewering the male viewpoint.

It’s a partnership with a unique sense of balance. No Home Record is a spectacularly taut, ill-disciplined project, but it’s also one constructed with enormous precision –

“Things obviously haven’t changed,” she grimaces. “It has to start when people are young, and it has to deal with this greater inequality, in both culture and in the world.”

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Making large-scale statements of that nature isn’t something she finds easy. “It’s hard to make political music,” Kim points out. “I think people want some leadership in a cultural way because the world is so fucked up right now.

And I am not that person.”

No Home Record is a true solo album – it’s expressive, it’s the aural equivalent of Kim Gordon thrusting things down on canvas, and seeing what sticks. What with the memoir and now this, we point out, it’s almost like she’s writing herself back into her own story.

“When I was writing the book, I actually felt like I had to really confront things instead of living in some sort of narration,” she explains, choosing each word carefully. “I still feel like a young girl when I’m writing and playing music, but I have so much more confidence now that I didn’t have back then.”

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The process of making an album isn’t something that worries her, she points out.

“I’m only anxious in my daily life,” Kim adds with a gentle shrug. “I mean, there’s a lot of hand-wringing but then at a certain point, I say ‘fuck it, I can’t worry about this shit any more! I just have to do something.’ That’s just part of my process.”

Having spent 40 years making music, the release of Kim Gordon’s debut solo album doesn’t phase her. “It’s a funny feeling, putting this object out in the world, even though music isn’t really an object any more,” she points out, before she smiles this long, infinite smile: “I suppose I feel kind of divorced from it.”

No Home Record is out now via Matador. @KimletGordon

@KimGordonOfficial

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DHP PRESENTS

MON.04.NOV.19

Declan Welsh And The Decadent West THE LOUISIANA TUE.05.NOV.19

A.A. Bondy CROFTERS RIGHTS TUE.05.NOV.19

Swimming Tapes

SUN.10.NOV.19

Cousin Kula

SWX

CROFTERS RIGHTS

WED.13.NOV.19

Langkamer

O2 ACADEMY

THE LOUISIANA

WED.13.NOV.19

SWX WED.06.NOV.19

Loving

W.H. Lung

ROUGH TRADE

BATH MOLES

FRI.15.NOV.19

Some Bodies THE LOUISIANA

Bridges THE LOUISIANA SUN.17.NOV.19

The Amazons 02 ACADEMY

THE LOUISIANA

MON.18.NOV.19

FRI.08.NOV.19

Mahalia

Glass Caves THE LOUISIANA SUN.10.NOV.19

Himalayas CROFTERS RIGHTS

32

SAT.23.NOV.19

Low Island

SAT.16.NOV.19

Half Moon Run

THU.21.NOV.19

Ezra Furman

THE LOUISIANA WED.06.NOV.19

WED.20.NOV.19

Yonaka

02 ACADEMY TUE.19.NOV.19

China Bears CROFTERS RIGHTS

WED.27.NOV.19

Fat White Family CARDIFF THE TRAMSHED WED.27.NOV.19

Pixx THE LOUISIANA THU.28.NOV.19

The Wood Burning Savages THE LOUISIANA SAT.07.DEC.19

Aldous Harding 02 ACADEMY

A LT T I C K E TS .CO M F B .CO M /A LT T I C K E TS @ A LT T I C K E TS

08.11.19

26.11.19

11.11.19

27.11.19

ELLES BAILEY

TOKIO MYERS

JAMIE LENMAN

BC CAMPLIGHT

13.11.19

30.11.19

14.11.19

01.12.19

BLANCO WHITE WILDWOOD KIN 15.11.19

BLOOD RED SHOES

BAND OF SKULLS 04.12.19

HEAVY LUNGS

JINJER

17.11.19

05.12.19

SPORTS TEAM

SAN HOLO

ORLA GARTLAND 20.11.19

SUNSET SONS 21.11.19

TOO MANY T’S & GRIEVES 22.11.19

RHYS LEWIS 23.11.19

STONE FOUNDATION 25.11.19

PUMAROSA

MEMPHIS MAY FIRE 02.12.19

16.11.19

18.11.19

SHIHAD

07.12.19

WASUREMONO 10.12.19

RA RA RIOT

HEATHER FINDLAY 17.01.20

BOARDS OF CANADA PLAYED

BY BYRON WALLEN’S GAMALAN ENSEMBLE 19.12.19

CHASE RICE 25.01.20

THE MILK CARTON KIDS 26.01.20

INSOMNIUM 28.01.20

TWIN TEMPLE 30.01.20

UNKLE FRANK

11.12.19

ENVY

31.01.20

13.12.19

HOT SNAKES 23.11.19

HISS GOLDEN MESSENGER 15.12.19

KOSHEEN 16.12.19

RUSS MB

THE GROVE EAST MUD DOCK BRISTOL BS1 4RB

11.01.20

THEKLABRISTOL.CO.UK THEKLA.CLUB FT THEKLABRISTOL IY THEKLABRIS

JAH WOBBLE & THE INVADERS OF THE HEART 04.02.20

IDER

05.02.20

3TEETH 07.02.20

POLIÇA

14.02.20

(SANDY) ALEX G 16.02.20

TWIN PEAKS 25.02.20

BOY & BEAR 26.02.20

X AMBASSADORS 02.03.20

WINSTON SURFSHIRT 03.03.20

THE SHERLOCKS 11.03.20

GEORGIA 13.03.20

WOLF PARADE 01.04.20

KOJEY RADICAL 04.04.20

WILLE & THE BANDITS 09.05.20

L DEVINE

FKA Twigs Magdalene Record of the Month

Danny Wright sits down with fellowcontributors, Thomas Hannan and Stephanie Phillips to discuss one of the most highly-anticipated records of the year, FKA Twigs’ Magdalene.

So are you both big Twigs fans?

Tom: After the first record, I was convinced she was pretty great. But after seeing her at Alexandra Palace earlier this year, I think she might be one of the most talented artists I’ve ever seen.

Steph: I got really into her just before LP1.

After that, I listened to ‘Pendulum’ at least once a day for months. I loved that she was a black British female artist who had the freedom to be as weird as she wanted, which is, unfortunately, fairly rare in the mainstream.

I saw her at Roundhouse and she had the most powerful subwoofer I’ve ever heard.

Bass was rumbling up to my middle. It was honestly one of the best gigs I’ve ever been to.

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So, fair to say your expectations were high for this record?

Tom: Actually, being honest, I hadn’t listened to her much in a while. Part of what I’ve enjoyed is how much this has taken me by surprise.

Steph: I expected her to pull out the stops, but after hearing her follow-up EP, I assumed she’d be going in the same direction as LP1. I was surprised by this sudden left turn sonically. On reflection, it makes sense that she’d need to explore other sounds, though.

Tom: To me, it improves on the first record.

It makes that emotional connection more directly. It’s a real kick in the guts.

How would you describe the new sound?

Steph: It’s far more expansive than the first record. I love how many avenues it takes you down. In some areas it feels like a trap score to a performance art film; in others, it wanders into electronic, post-industrial noise.

Tom: It’s like she’s found a completely new way to speak about love and heartbreak, the two most clichéd topics in pop, and that’s hugely admirable in itself, never mind the fact that in some of its best moments sonically, it sounds like an IDM version of Kate Bush’s The Red Shoes, which is a GREAT THING. Steph: I suppose it sits in the experimental R&B chair, but is reaching out to other genres throughout.

Tom: It is really experimental, but then you get something like ‘Sad Day’, which is just a straight-up, gorgeous pop song... it goes everywhere this thing.

I definitely heard Kate Bush in it…

Steph: Especially in the second half of ‘Home With You’ and definitely in the experimental nature of the whole record.

Tom: The intro to ‘Thousand Eyes’ as well. It’s similarly daring in spirit to Kate Bush.

Steph: It takes risks, and plays with the ugly and grotesque sounds in the same way the best Kate Bush records do.

She’s obviously been through a lot. Does that come through?

Tom: It certainly doesn’t hide the fact that it’s a heartbreak record. But there’s a sense of struggle and overcoming hardship to it that goes beyond that, into something more universally relatable.

Steph: It comes through in interesting ways. I love the ending of ‘Home With You’, when the choir of voices and instrumentation rise to a volume that feels almost unbearable. It feels like a comment on how what may seem like a beautiful sentiment of wanting to be with someone can be unhealthy or chaotic.

Tom: At times, it seems like she’s tearing her hair out at the futility of her situation. It sounds really exasperated in moments, in a really revealing way.

Do you think Nicolas Jaar and Noah Goldstein were good choices for producers?

Steph: They brought together a complex body of work and made it flow, so they clearly did

a great job. Whoever she worked with, though, the essence of Twigs would still shine through.

Tom: You certainly don’t doubt that this is her vision and it sounds this way because that’s exactly how she envisioned it sounding. Jaar and Goldstein have brought that to fruition.

I’m surprised the album didn’t have a visual element to it. Are you excited to see the album live?

Tom: I will buy FKA Twigs tickets the minute they go on sale from this day forward. She dances with fuckin’ SWORDS for chrissakes.

But I guess not having that aspect makes the live performance even more of a special event...

Steph: Whatever she’s doing, it’s always surprising, which is why she’s such a great pop star. Or maybe she’s no longer solely a pop star now.

Her artistic vision seems to go beyond the music…

Steph: Which is fascinating. It’s always inspiring to see people working light years ahead of anything you could conceive of.

Tom: Quite fun to wonder what, like, the tenth FKA Twigs album might sound like…

Anything else to add?

Tom: Just that this is a real album of the year contender for me.

Magdalene is released 8th November via Young Turks Recordings @fkatwigs

@fkatwigs 35

Lucy Dacus 2019 Matador November 8th

Album Reviews Deccan Traps Terminal Self-Release November 1st Named after one of the largest volcanic features on the planet, Deccan Traps’ latest offering is as explosive and immense as you’d hope. Featuring five tracks of instrumental prowess, Terminal marks the band’s second and loudest release to date, just two years on from their self-titled debut.

An eerie electronic distortion opens the record, only to be torn apart by an influx of progressive guitar work, moving through a series of intricate soundwaves before highlight, ‘Drazic Park’, takes centre stage. While ‘I Am Quentin Bespoke’ moves toward a more aggressive, stormier atmosphere, ‘Tuvok’ lightens the tone somewhat, blending the same emotional intensity with more uplifting melodies and soaring guitars, before crashing into the heavy industrial influences of album closer, ‘Danalog’.

Ari Sawyer 36

When thinking about how to make a follow-up to her 2018 album, Historian, Lucy Dacus chose to opt out of the ‘normal’ way of releasing music. Sharing her new songs slowly throughout the year as a series of standalone singles, each loosely themed around a holiday or a season, 2019 is an eclectic mix of both original songs and covers that took an entire year to be revealed. It’s something the Virginia-born musician has called ‘slow music’, an attempt to release music as-andwhen, in a low-stakes way that doesn’t have to adhere to any grand album release plan or concept.

It’s an approach that shows in the sheer variety of songs on the EP. Of Lucy’s own songs, ‘Forever Half Mast’ is a gentle, country-esque song released for Independence Day, exploring the complex guilt of being an American citizen in the contemporary age and ‘My Mother & I’, written for both Mother’s Day and Taurus Season, is a sparse, poignant song that contemplates what mothers pass on by genes and what they pass on through nurture.

But this feels strongly like a covers album, with Halloween, Christmas, Valentine’s Day and the technically-not-a-holiday of Bruce Springsteen’s birthday being celebrated via Lucy’s guitar-driven renditions of Phil Collins’ ‘In The Air Tonight’, Wham’s ‘Last Christmas’, Édith Piaf’s ‘La Vie En Rose’ and Bruce Springsteen’s ‘Dancing In The Dark’.

Though it doesn’t sound coherent enough to seem like she’d planned to release the project as a full-length album, as a side-project, it’s given Lucy more space to experiment and she sounds all the freer for it.

Rachel Finn

Punch On! Harm Passes Forward Self-Release November 23rd

For a minute and four seconds on Harm Passes Forward, Punch On! present you with the most soothing solo guitar. There’s a slight crackle. A wee bit of reverb. You might start to imagine being the first to break ice on puddles, early one crisp January morning. Play it to a restless baby and you know that they would sleep. It has the heavy lightness of Explosions In The Sky. Then you’re reminded that they’re a screamo band, when it all kicks off.

Thereafter, apart from twenty-five seconds of quiet feedback seven minutes in, there’s merciless, relentless, shrieking bile, with guitar and drums reminiscent of the bombing of Baghdad in 2003. Play that to a restless baby and you can guarantee they’ll never sleep again.

Jon Kean

Young Guv Vol. II Run For Cover October 25th

If you heard Young Guv’s Vol. I in August, you’d already be expecting another voluminous onrush of jangling indie-pop in the style of Teenage Fanclub, Sugar, The Charlatans or a non-Mancunian-non-lairy early Oasis on Vol. II. You’d be partly right. There are tambourines and sweet harmonies. There’s a Lemonheads moment on ‘Can I Just Call’, a whole lotta cowbell on ‘She’s A Fantasy’ and slightly fuzzed-up Fannies on ‘Try Not To Hang On So Hard’.

But aligned with the recent experimentation of Fucked Up, from whence Ben Cook metamorphoses into Young Guv, there’s saxophonic 80s chartbusting on ‘Caught Lookin’, dark disco on ‘Trying To Decide’ and the cabaret kitsch of ‘Can’t Say Goodbye’, which sounds like a tribute to the now-defunct travel agent, Thomas Cook.

Jon Kean

Turnover Altogether Run For Cover November 1st

Dubbed the band’s “most collaborative and connected work to date,” Turnover’s latest offering evokes their signature dream-pop haze, detailing stories of change, love, loss and rediscovery. The aptly-named Altogether opens with a blur of jazz instruments and distant vocals, portraying a subtle, hushed intimacy from the very start of the record, before ‘Still In Motion’ dances through echoes of synth-fuelled guitar-pop.

Single release, ‘Parties’ embodies the uplifting transition between self-consciousness and self-acceptance, while ‘Ceramic Sky’ marks a sultry and soulful commentary on the process of falling in love.

For every melancholic masterpiece scattered throughout Turnover’s back catalogue, Altogether has a track to remedy it. With an uplifting sound and fresh new perspective on the world, the album brilliantly highlights the importance of human connection and experience.

Ari Sawyer 37

TR/ST The Destroyer - 2

Jeffrey Lewis & The Voltage Bad Wiring

Grouch/House Arrest November 1st

Moshi Moshi November 1st

It’s been a prosperous year for Robert Alfons and his journey towards deconstructing his rooted notions of shame and loathing. TR/ST’s The Destroyer, in its two-part release, has proven to be a valuable testimonial of strength, while showcasing Alfons’ versatility as a songwriter and performer.

Should songs tell a story?

If you’re nodding, Jeffrey Lewis is your man. He’s a tongue-in-cheek New Yorker who draws comic books by day and is an energetic songwriter by night. While his tunes may appear shambolic, feisty and disjointed, they’re much more like three-minute masterpieces than mere doodles.

Where pulsating synths and devious lyrics elevated the maturity across the first half of the record, The Destroyer - 2 drowns itself in melancholy, as TR/ST strips down to the core while exploring new dynamics with instruments, allowing his freedom and creative expansion to thrive. Musical direction differs from that of his past, but by incorporating raw, truthful elements into his music, Alfons has created an inspiring record – and his most consistent to date.

Francisco Gonçalves Silva

Giant Swan Giant Swan Keck November 8th

Take the charming autobiographical track ‘LPs’: it chronicles the gateway drug of cheap 60s rock albums that fed his teenage vinyl obsession. Or ‘My Girlfriend Doesn’t Listen’, with its bizarre shopping list of irrational fears that don’t bother his partner, including Charles Manson and agrarian reform. Lewis is ably supported by Mem Pahl (bass) and Brent Cole (drummer) as they make the fantastic real. And who could ask for more in a song?

Geoff Cowart

I recall a time in recent memory when those in the cool indie circles turned their noses up at dance music, as though it could bear no true artistic merit, and was consequently snubbed publically in favour of some very bland guitar rock. How the tides have turned, and with it, a Giant Swan drifts into view.

The Bristol-based duo has been making the rounds for a few years now, but 2019 sees them drop their debut, self-titled release on the newly-minted Keck Records. The Giant Swan name conjures an image of something monstrous and beautiful, which would also aptly describe the album’s sound.

These are capital B.I.G. anthems, which effortlessly meld disarming post-industrial clamour and tweaked vocal loops into the fold of more familiar white-label grooves.

Harriet Taylor

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Sea Change INSIDE Shapes Recordings November 15th

Greentea Peng Rising EP Different Recordings November 1st

Trading the hectic life of Los Angeles for new thrills in the German capital, Norwegian producer, Ellen Sunde, found in her new home the missing creative element to patch together the best of her experiences while sketching Sea Change’s second album.

INSIDE is dominated by a feeling of precision, whether in its thoughts on loneliness and empowerment or with the throbbing, club-ready synths and beats. Be it for indulgence in nocturnal pleasures or dwelling in self-reflection, Sunde’s eye for detail while layering soundscapes and creating spiralling atmospheres is an asset that benefits her vision – and one reason why INSIDE has the potential of becoming one of the greatest albums of 2019.

Francisco Gonçalves Silva

I’ll be the first to admit I judged Greentea Peng by her Shoreditchvia-Bali-via-Whole Foods stage name. But when ‘Risin’’, the lead single from Rising, started filtering through my headphones, I realised how wrong I was. Her tone is conflicting. The production is jumbled but simple, her lyrics melodic yet uncomplicated enough to mesh into one blissed-out version of itself.

‘Saturn’ is where she feels most authentic, “floating naked with you” on a calming synth wave and muted hi-hats that are reminiscent of Solange’s ‘Cranes in the Sky’. There are sexy saxophones slithering in and out of ‘Mr Sun’, nods to hazy summertime afternoons with friends and an air of sophistication wrapped around the EP that’s extremely promising for such a new face on the scene.

Caitlin Scott

Vegyn Only Diamonds Cut Diamonds PLZ Make It Ruins November 8th

25-year-old London producer, Vegyn may have reached recognition through his work with Frank Ocean, but his debut, Only Diamonds Cut Diamonds, feels distinctly personal. A bold sonic exploration into melancholia, the album darts between deft vocal samples, swift tempo shifts and sublime key changes for maximum impact, keeping listeners clinging on throughout the 16-song collection.

Standout tracks include ‘Nauseous / Devilish’, which pairs the grit of JPEGMAFIA’s rambunctious rapping style with erratic percussions, showcasing the producers hip-hop tendencies at their finest.

Another moment of brilliance comes from a collaboration with Jeshi, a soothing blend of buttery vocals and gliding, computerised sounds on ‘I Don’t Owe You NYthing’, as well as the erratic choppiness of ‘Cow Boy ALLSTAR’, proudly displaying Vegyn’s comfort in experimentation.

Georgia Evans 39

Events

by Caitlin Scott

Trans Pride South West Nov. 18-24th at Various Locations Trans Pride South West is back for another instalment of events, parties and talks from Monday 18th to Sunday 24th November. To commemorate the fourth year of celebrating transgender, non-binary, intersex and gender -variant individuals, Trans Pride will encompass a full week of exciting happenings that will encourage awareness, openness and interaction.

Previous years have seen remembrance vigils, nights of cabaret featuring Shon Faye and Travis Alabanza, a wealth of stalls and talks hosted by local and national LGBT organisations, and workshops on gender, inclusivity and fashion. That’s not to mention the formidable after-parties littered with sparkle from the likes of Katy Willow, D-Justine and DJs from the local area. This year is set to be even bigger and even better.

Daft Punk

In:Motion Tenth Birthday Nov. 9th at Motion To celebrate an entire decade of incredible performances, DJ sets and raves, as well as begin the In:Motion farewells, the city’s most infamous club series is celebrating in true style. Joining the godfather of house music Lil Louis are one of Amsterdam’s fastestrising DJs, Carista, and Manami. Expect mixes more dangerous than a swim in Bristol Harbour and basslines dirtier than your student hall sink.

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Lil Louis

An Orchestral Rendition of Daf t Punk Nov. 15th at Marble Factory

Trans Pride South West

Prepare to catapult yourselves Around The World and into Interstellar 6666 just One More Time, and finally become one of the Crescendolls. Together with an immersive, kaleidoscopic visual and lighting performance, a live orchestra will rework Daft Punk’s signature style of house, electro, funk and synth-pop to celebrate some of their finest hits. From Human After All to the TRON Legacy soundtrack, the Marble Factory is the perfect setting to celebrate an iconic, decades-spanning double team in a unique and memorable way.

Totterdown Front Room Arts Trail

Bristol’s Big Drag Pageant

Nov. 15-17th at Totterdown

Nov. 28th at The Spiegeltent

The Totterdown Front Room Arts Trail returns for another year of constructed, painted or even sewn masterpieces between 15th-17th November. This year’s trail is focussed around the theme of engineering, with artists’ pieces celebrating the art and science of nuts, bolts and screws in the comfort of the front rooms of friendly Totterdown residents. The long weekend will also be packed with music at the Oxford, challenges and games for all of the family, clowns and music TBA.

After the success of their Brighton Fringe show, the Drag Pageant is coming to Bristol’s Christmas at The Spiegeltent for the very first time. It’s set to be one of the most ferocious spectacles of the year - an ultimate showdown of queens, kings, club kids and exhibitionists.

Each and every expression of drag is welcome and on display via over 30 of Bristol’s most talented performers, best-known judges and special guest stars. Get ready to lip-sync for your life.

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Full Listings SNAZZBACK PRESENTS FREE / 9.00PM / THE GALLIMAUFRY

THE SMYTHS £15.00 / 6.30PM / O2 ACADEMY

POISON CROW + SMILE MORE + MOON REAPER + SWINE £5 / / THE GRYPHON

ME AND MY FRIENDS + WAGGLE £10ADV / / OLD MARKET ASSEMBLY

Full Live Listings: WORKING MEN'S CLUB £9ADV / 7.30PM / THE LOUISIANA NO ME COMAN / 7:30PM / ROUGH TRADE

BRUTAL WOUNDS "EP LAUNCH" + THE BLUNDERS + REMNANTZ £4ADV / 7.30PM / THE THUNDERBOLT FRIDAY 1ST NOVEMBER LIVE MUSIC WITH LEE + GUESTS FREE / / THE BRISTOL FRINGE KNIFEDOUTOFEXISTENCE X BEHEADING £4ADV / 7.30PM / CAFÉ KINO PONS AELIUS FREE / 9.30PM / THE CANTEEN 1%: EMPATH £7ADV / 7.30PM / CROFTERS RIGHTS SUPERSONIC £5ADV/4FOR£15 / 11.00PM / EXCHANGE AMY WINEHOUSE TRIBUTE £12.50ADV / 7.00PM / THE FLEECE ONLY THE POETS £10ADV / 7.30PM / THE LOUISIANA THE WORRY DOLLS £8ADV / 7.30PM / THE MOTHERS RUIN THIS FEELING - BRISTOL WITH: THE ROTANAS, THE EXTONS + THE DLX £5 / 7.30PM / THE MOTHERS RUIN CAPTAIN ACCIDENT & THE DISASTERS £3/£4 / 9.00PM / MR WOLFS

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JOY CROOKES (SOLD OUT) / 7.30PM / ROUGH TRADE FEVER 333 £16.50ADV / 6.30PM / SWX THE ICICLE WORKS £21ADV / 6.30PM / THEKLA THE REACHAROUNDS: 'THE REUNION' £5ADV / 7.30PM / THE THUNDERBOLT SATURDAY 2ND NOVEMBER SCARLET MUSE FREE / / THE BRISTOL FRINGE MIKE EVIN £10ADV / 7.00PM / CAFÉ KINO TOWN OF CATS FREE / 9.30PM / THE CANTEEN HARRISON STORM £8ADV / 7.00PM / CROFTERS RIGHTS NUTTYNESS £12ADV / 7.00PM / THE FLEECE DEPT S HAMMER HORROR PARTY: THEE MOBILE BLACK OUTS £5ADV / 9.00PM / THE LANES AIRWAYS £8ADV / 7.30PM / THE LOUISIANA EVEREST QUEEN + SAIL PWYW / 7.30PM / THE MOTHERS RUIN ARCADIA ROOTS + STANLÆY £3/£4 / 9.00PM / MR WOLFS ESKIMO DANCE 12/15/18/22/25 / 10.00PM / O2 ACADEMY

see bristolinstereo.com/live-listings for up-to-date events and more

Full Listings TROPICAL TEA PARTY FT. HIPPO & JIBBERISH TWIG £8-£12ADV / / OLD MARKET ASSEMBLY CHARLIE CUNNINGHAM £15.80 INC BF / 8.00PM / REDGRAVE THEATRE EMILY AND MICHAEL EAVIS 'GLASTONBURY 50' BOOK SIGNING BOOK AND TICKET / 1.30PM / ROUGH TRADE FOREGROUND MUSIC: A LIFE IN 15 GIGS WITH GRAHAM DUFF FREE ENTRY / 5.30PM / ROUGH TRADE PICTURE THIS £15ADV / 6.00PM / SWX COCO AND THE BUTTERFIELDS £12ADV / 7.00PM / THEKLA FRUITS DE MER / MEGAMO £20ADV / 7.30PM / THE THUNDERBOLT SUNDAY 3RD NOVEMBER TREBLE JAM FREE / / THE BRISTOL FRINGE MARTHA HILL + THE GOOD BOYS + CEITIDH MAC / 7.30PM / CAFÉ KINO FFTP FREE / 4.00PM / THE CANTEEN BLG & IT: CUT GLASS KINGS + SUPPORT FREE / 7.00PM / CROFTERS RIGHTS IMPERIAL TRIUMPHANT £10ADV / 7.30PM / EXCHANGE LAVA LA RUE £9ADV / 7.30PM / EXCHANGE MARTIN KEMP - BACK TO THE 80S PARTY £25ADV / 7.30PM / THE FLEECE

SYDNEY SESSIONS FREE / 8.00PM / THE GALLIMAUFRY DUSTBOWL REVIVAL £14ADV / 7.30PM / THE LOUISIANA OPETH £30.00 / 7.00PM / O2 ACADEMY SEAN O'HAGAN FREE ENTRY / 1.30PM / ROUGH TRADE REX ORANGE COUNTRY SOLD OUT / 6.00PM / SWX OSCAR JEROME £9ADV / 7.30PM / THEKLA MONDAY 4TH NOVEMBER OPEN MIC FREE / / THE BRISTOL FRINGE CANTEEN JAZZ SESSION FREE / 9.30PM / THE CANTEEN BLG & WP: 10000 RUSOS £8ADV / 7.30PM / CROFTERS RIGHTS INTER ARMA £10ADV / 7.00PM / EXCHANGE WARMDUSCHER £12ADV / 7.30PM / THE FLEECE OPEN MIC: HOSTED BY MIKE DENNIS FREE / 8.00PM / THE GALLIMAUFRY DECLAN WELSH & THE DECADENT WEST £8ADV / 7.30PM / THE LOUISIANA GIN JAM - OPEN STAGE NIGHT FREE / 9.00PM / MR WOLFS AURORA £18.50 / 7.00PM / O2 ACADEMY SLEEPING WITH SIRENS £20ADV / 7.00PM / SWX

43

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Full Listings KIESZA £17.50ADV / 7.00PM / THEKLA

SISTERAY £8ADV / 7.00PM / CROFTERS RIGHTS

TUESDAY 5TH NOVEMBER

BIG BUSINESS + TUSKAR + MADE OF TEETH £14ADV / 7.30PM / EXCHANGE

FRINGE JAZZ FREE / / THE BRISTOL FRINGE TOO STRONG LOLLIPOP FREE / 9.30PM / THE CANTEEN A. A. BOND £12ADV / 7.30PM / CROFTERS RIGHTS TROLL BRIDGE £DONATIONS / 7.00PM / EXCHANGE DHARMA BLUES PRESENTS: PINK FLOYD NIGHT FREE / 9.00PM / THE GALLIMAUFRY MR KITTY + HUNDREDMILLIONTHOUSAND £10ADV / 7.30PM / THE LANES SWIMMING TAPES £10ADV / 7.30PM / THE LOUISIANA JAZZ FUNK SOUL SOCIETY FREE / 9.00PM / MR WOLFS SALON Y | AN EVENING OF ASSEMBLAGE, PROVOCATIONS & AUTO DESTRUCTIVE SOUND ART CURATED BY THE POP GROUP ALBUM AND TICKET / 7.00PM / ROUGH TRADE DEERHUNTER £20ADV / 7.00PM / SWX THE REGRETTES £12ADV / 7.00PM / THEKLA WEDNESDAY 6TH NOVEMBER KEITH CHRISTMAS FREE / / THE BRISTOL FRINGE THE CHIFFCHAFF TRIO FREE / 9.30PM / THE CANTEEN

44

NEDERVEEN + INTOKU + RONNIE MAURICE £FREEENTRY / 7.30PM / EXCHANGE INJURY RESERVE + JOCK STRAP SOLD OUT / 7.30PM / THE FLEECE WALDO’S GIFT REWORK: RED HOT CHILLI PEPPERS FREE / 9.00PM / THE GALLIMAUFRY LOVING £8ADV / 7.30PM / THE LOUISIANA FRUIT MACHINE - LIVE HIP HOP CYPHER FREE / 9.00PM / MR WOLFS KODALINE £29.50 / 7.00PM / O2 ACADEMY HALF MOON RUN FREE / 1.00PM / ROUGH TRADE BEVERLY GLENN-COPELAND £19.08INC BF / 8.30PM / ST GEORGE'S BRISTOL HALF MOON RUN £17.50ADV / 7.00PM / SWX THURSDAY 7TH NOVEMBER JAMES SAKAL FREE / / THE BRISTOL FRINGE STARLINGS FREE / 9.30PM / THE CANTEEN JAKABOL + HEXCUT + QARIAQ £5ADV / 7.30PM / CROFTERS RIGHTS YAK £12.50ADV / 7.30PM / EXCHANGE

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Full Listings ACID ARAB £17.99INC BF / 8.00PM / FIDDLERS

THE RUN UP £DONATIONS / 8.00PM / EXCHANGE

MICHAEL MONROE £22.50ADV / 7.30PM / THE FLEECE

THE RIN TINS + PUNCH THE SKY £8.50/11ADV / 8.00PM / EXCHANGE

SNAZZBACK PRESENTS: TBA FREE / 9.00PM / THE GALLIMAUFRY

GUANA BATZ £15ADV / 7.00PM / THE FLEECE

HUMAN CULL + CREATURE + HACK JOB £5 / 7.00PM / THE GRYPHON

BONNACONS OF DOOM £8ADV / 7.30PM / THE LANES

ONE TRUE PAIRING £12ADV / 7.30PM / THE LOUISIANA

GLASS CAVES £10ADV / 7.30PM / THE LOUISIANA

ILL WILL SINGLE LAUNCH W/SUPPORT TELEVISION VILLAIN £3/£4 / 9.00PM / MR WOLFS

JOHNXMCCLANE + NO PULSE £5 / 7.30PM / THE MOTHERS RUIN

RIVAL SONS £22.00 / 7.00PM / O2 ACADEMY DOC'N ROLL BRISTOL - WHERE DOES A BODY END? SWANS FILM £3 / 7.00PM / ROUGH TRADE CAPTAIN GAS + SUPPORT £4ADV / 7.30PM / THE THUNDERBOLT PORTICO QUARTET 18.50 ADV / 7.30PM / TRINITY CENTRE PUNKA PRESENTS: SINK YA TEETH + STEVIE & THE MASQUERADES + MAUWE £8ADV / 7.00PM / ZED ALLEY FRIDAY 8TH NOVEMBER JAMES SAKAL FREE / / THE BRISTOL FRINGE ROBERT RIDLEY-SHACKLETON SWEET 17 £4OTD / 8.00PM / CAFÉ KINO GUY CALHOUN BAND FREE / 9.30PM / THE CANTEEN PATAWAWA + SUPPORT £10ADV / 7.30PM / CROFTERS RIGHTS

DELIGHT A THIEF + LYLE £3/£4 / 9.00PM / MR WOLFS SNARKY PUPPY £24.50 / 6.30PM / O2 ACADEMY THE UNDERCOVER HIPPY + DJ CHRIS ARNOLD £14ADV / / OLD MARKET ASSEMBLY THE BOTTOM LINE + JUNIOR £13.10 / 7.30PM / ROUGH TRADE THE HEAVY £22.50ADV / 6.30PM / SWX ELLES BAILEY £12ADV / 7.00PM / THEKLA DAVEY WOODWARD AND THE WINTER ORPHANS £4ADV / 7.30PM / THE THUNDERBOLT SINKANE £11ADV / 7.30PM / TRINITY CENTRE SATURDAY 9TH NOVEMBER SHANGAI SHUFFLE FREE / / THE BRISTOL FRINGE CUT THROAT FRANCIS £5ADV / 7.00PM / CAFÉ KINO 45

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Full Listings ILU AXE FREE / 9.30PM / THE CANTEEN

SUNDAY 10TH NOVEMBER

SEBASTIAN PLANO £12.09INC BF / 8.30PM / COLSTON HALL

GUTHRIE KENNARD (TEXAS) AND FRIENDS FREE / / THE BRISTOL FRINGE

FUNKE AND THE TWO TONE BABY £10ADV / 7.00PM / CROFTERS RIGHTS

SPIDER QUINTET FREE / 4.00PM / THE CANTEEN

EAT UP £5ADV / 8.00PM / EXCHANGE

HIMALAYAS £8ADV / 7.00PM / CROFTERS RIGHTS

MACMILLAN FEST £15ADV / 1.00PM / THE FLEECE

MILK TEETH £10ADV / 7.00PM / EXCHANGE

REIGN OF FURY + MORTI VIVENTI + EXCURSIA £10ADV / 7.00PM / THE GRYPHON

HENGE £13ADV / 8.00PM / THE FLEECE

GRAVY TRAIN & BLG: SWEDISH DEATH CANDY £8ADV / 7.30PM / THE LANES RAUSCHENBERG £5ADV / 7.30PM / THE LOUISIANA MACMILLAN FEST BRISTOL - 2019 VARIOUS / 12.00PM / THE MOTHERS RUIN THE NAVARONES £3/£4 / 9.00PM / MR WOLFS ELVANA- ELVIS FRONTED NIRVANA £20.00 / 7.00PM / O2 ACADEMY

PHANTOM ENSEMBLE FREE / 8.00PM / THE GALLIMAUFRY KAELAN MIKLA £11ADV / 8.00PM / THE LANES HEYOUKI £5ADV / 7.30PM / THE LOUISIANA YONAKA £13.50ADV / 7.00PM / SWX EARTH £16.50ADV / 7.00PM / TRINITY CENTRE MONDAY 11TH NOVEMBER

CATEGORY IS… HUN PRIDE £15ADV / / OLD MARKET ASSEMBLY

INTERNATIONAL NIGHT FREE / / THE BRISTOL FRINGE

FOOTBALL FC + KEG + BIRDMAN CULT £5ADV / 7.30PM / ROUGH TRADE

DECYPHERS HIP HOP SESSION FREE / 9.30PM / THE CANTEEN

WILLIAM DOYLE ALBUM AND TICKET / 2.00PM / ROUGH TRADE

1% & FUNNEL LIVE: THE GOLDEN DREGS £3ADV / 7.30PM / CROFTERS RIGHTS

DJ YODA AND THE CUBAN BROTHERS £17ADV / 7.00PM / SWX

46

EVERYONE YOU KNOW £10ADV / 7.00PM / EXCHANGE OPEN MIC: HOSTED BY MIKE DENNIS FREE / 8.00PM / THE GALLIMAUFRY

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Full Listings NOVEMBER BEES £5ADV / 7.30PM / THE LOUISIANA

WEDNESDAY 13TH NOVEMBER

GIN JAM - OPEN STAGE NIGHT FREE / 9.00PM / MR WOLFS

FRINGE JAZZ £10 / / THE BRISTOL FRINGE

PERIPHERY £19.50 / 7.00PM / O2 ACADEMY

PEANUT SHUFFLE QUARTET FREE / 9.30PM / THE CANTEEN

THE MIDNIGHT £17.50ADV / 7.00PM / SWX

PITCH BLACK £8ADV / 7.00PM / CROFTERS RIGHTS

JAMIE LENMAN £15ADV / 7.30PM / THEKLA

XIU XIU + HARRGA £CANCELLED / 7.30PM / EXCHANGE

TUESDAY 12TH NOVEMBER

WALDO’S GIFT & ANIMAL SOCIETY FREE / 9.00PM / THE GALLIMAUFRY

OPEN MIC FREE / / THE BRISTOL FRINGE

SORRY £13ADV / 7.30PM / THE LOUISIANA

OLD BONES DUO FREE / 9.30PM / THE CANTEEN

FRUIT MACHINE - LIVE HIP HOP CYPHER FREE / 9.00PM / MR WOLFS

JAMILA WOODS £12ADV / 7.30PM / EXCHANGE

EZRA FURMAN £18.00 / 7.00PM / O2 ACADEMY

ALEX VEITCH TRIO FREE / 9.00PM / THE GALLIMAUFRY

LOW ISLAND £11 / 7.30PM / ROUGH TRADE

DEPARTMENT S & BLG: THE STRAWBERRIES + SAPPHIRE BLUES FREE / 7.30PM / THE LANES

NEW MODEL ARMY £22.50ADV / 7.00PM / SWX

DESTROY THE BEAST, FIND THE BABY £5ADV / 7.30PM / THE LOUISIANA JFS PRESENTS - LBJBS £3 / 9.00PM / MR WOLFS RE IMAGINE DAFT PUNK £15.00 / 7.00PM / O2 ACADEMY GIRL RAY ALBUM AND TICKET / 7.30PM / ROUGH TRADE TINARIWEN £25ADV / 7.30PM / TRINITY CENTRE

BLANCO WHITE £12ADV / 7.00PM / THEKLA THURSDAY 14TH NOVEMBER PEARL LOVE EP LAUNCH £5ADV / 7.30PM / CAFÉ KINO PROFESSOR NO HAIR & THE WIG LIFTERS FREE / 9.30PM / THE CANTEEN THE EDGE TALENT SHOW £1-£20INC BF / 7.00PM / COLSTON HALL FOYER CARLA DAL FORNO £10ADV / 7.30PM / EXCHANGE

47

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Full Listings BLACK LIPS £15ADV / 7.30PM / THE FLEECE SNAZZBACK: 140 - GARAGE, 2-STEP AND BREAKS. FREE / 9.00PM / THE GALLIMAUFRY

THE EDGE TALENT SHOW £1-£20INC BF / 7.00PM / COLSTON HALL FOYER LYLO £7ADV / 7.30PM / CROFTERS RIGHTS

MAX RAD £8ADV / 7.30PM / THE LOUISIANA

TOM JENKINS & THE SCREAMDOGS £6ADV / 7.30PM / EXCHANGE

THE RANCH + CHANG £4ADV / 7.30PM / THE MOTHERS RUIN

BABYBIRD + RICHARD WALTERS £15ADV / 7.30PM / EXCHANGE

STATEMENT FORCE OF LIFE + MIDNIGHT PROPHECY + ETHYRFIELD + CANCEL THE TRANSMISSION £5 / 7.30PM / THE MOTHERS RUIN

JAWS £12ADV / 7.00PM / THE FLEECE

CHICKEN PICNIC £3 / 9.00PM / MR WOLFS METRONOMY £23.50 / 7.00PM / O2 ACADEMY DECO £7.70 / 7.30PM / ROUGH TRADE WILDWOOD KIN £15ADV / 7.00PM / THEKLA THE MEN THEY COULDNT HANG £18ADV / 7.30PM / THE THUNDERBOLT LIGHTNING BOLT £16.50ADV / 7.30PM / TRINITY CENTRE FRIDAY 15TH NOVEMBER BELLA HARDY £17.44INC BF / 7.30PM / BRISTOL FOLK HOUSE MARKY PIANOMAN FREE / / THE BRISTOL FRINGE MEGA BOG FREE / 7.30PM / CAFÉ KINO SOMA SOMA FREE / 9.30PM / THE CANTEEN

48

SOME BODIES £8ADV / 7.30PM / THE LOUISIANA SICK JOY £5 / 7.30PM / THE MOTHERS RUIN DISCO PANTHER £3/£4 / 9.00PM / MR WOLFS CC SMUGGLERS £8ADV / / OLD MARKET ASSEMBLY LACUNA COIL + ELUVEITIE £22.50ADV / 6.30PM / SWX BLOOD RED SHOES SOLD OUT / 7.00PM / THEKLA THE MEN THEY COULDNT HANG SOLD OUT / 7.30PM / THE THUNDERBOLT THE BLUETONES £22ADV / 7.00PM / TRINITY CENTRE SATURDAY 16TH NOVEMBER FOLKLAW £10.90INC BF / 8.00PM / BRISTOL FOLK HOUSE LIVE MUSIC WITH LEE + GUESTS FREE / / THE BRISTOL FRINGE BUFFOS WAKE FREE / 9.30PM / THE CANTEEN

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Full Listings THE EDGE TALENT SHOW £1-£20INC BF / 7.00PM / COLSTON HALL FOYER WAXSLAX, BREAKFAST & LEISURE: GORK £5ADV / 8.00PM / CROFTERS RIGHTS GET THE BLESSING £10ADV / 7.30PM / EXCHANGE MATCHBOX + CRAZY CAVAN 'N' THE RHYTHM ROCKERS + IGNITION £20ADV / 7.00PM / FIDDLERS NEVILLE STAPLE + TROY ELLIS £19ADV / 7.00PM / THE FLEECE GEVAUDAN + LIVIN' CHEAP + CUCURACHA FREE / / THE GRYPHON BRIDGES £8ADV / 7.30PM / THE LOUISIANA SOUL GRIP + AVAST £5 / 7.30PM / THE MOTHERS RUIN KARL PHILLIPS & THE REJECTS £3/£4 / 9.00PM / MR WOLFS FESTIVAL OF THE DEAD 19/.90/23.90/26/90 / 7.00PM / O2 ACADEMY AFRIQUOI + AREA BOYS £14ADV / / OLD MARKET ASSEMBLY JGRREY £13.75 / 7.30PM / ROUGH TRADE THE COSMIC DEAD £8ADV / / ST JAMES WINE VAULTS BATH GHOSTFACE KILLAH £15ADV / 6.30PM / SWX HEAVY LUNGS £9ADV / 7.00PM / THEKLA DJ MARKY & FRIENDS £12 - £18ADV / 10.00PM / TRINITY CENTRE

SUNDAY 17TH NOVEMBER THE WEEDS (FOLLOWED BY SPEL POETRY) FREE / / THE BRISTOL FRINGE DO-IY EXPERIMENTAL JAM NIGHT / / CAFÉ KINO TWO MAN TING FREE / 4.00PM / THE CANTEEN THE EDGE TALENT SHOW £1-£20INC BF / 7.00PM / COLSTON HALL FOYER FALSE ADVERTISING + BLANK ATLAS £8ADV / 7.30PM / CROFTERS RIGHTS SAM TOMPKINS £7.50ADV / 7.00PM / EXCHANGE AGNOSTIC FRONT £12ADV / 7.00PM / THE FLEECE SUN SESSIONS WITH SPANG SISTERS + ALEXANDER SUN + KIMBO NICE + WATCHING PAINT DRY FREE / 8.00PM / THE GALLIMAUFRY ALASKALASKA £8.50ADV / 7.30PM / THE LOUISIANA THE AMAZONS £17.50 / 7.00PM / O2 ACADEMY SPORTS TEAM £11ADV / 7.30PM / THEKLA MONDAY 18TH NOVEMBER CANTEEN LATIN SESSION FREE / 9.30PM / THE CANTEEN DUTCH CRIMINAL RECORDS + SUPPORT / 7.30PM / CROFTERS RIGHTS NIKKI LANE £CANCELLED / 7.30PM / EXCHANGE

49

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Full Listings CLOWNS + QUIET MAN £12ADV / 7.00PM / EXCHANGE SOOT SPRITE + LANDE HEKT (MUNCIE GIRLS) + CHERYM £7ADV / 7.30PM / EXCHANGE LANKUM £17.44 INC BF / 8.00PM / FIDDLERS OPEN MIC: HOSTED BY MIKE DENNIS FREE / 8.00PM / THE GALLIMAUFRY GIN JAM - OPEN STAGE NIGHT FREE / 9.00PM / MR WOLFS MAHALIA £17.50 / 7.00PM / O2 ACADEMY SAMPA THE GREAT SOLD OUT / 7.30PM / ROUGH TRADE CASS MCCOMBS £15.26INC BF / 8.30PM / ST GEORGE'S BRISTOL ORLA GARTLAND SOLD OUT / 7.00PM / THEKLA TUESDAY 19TH NOVEMBER OPEN MIC FREE / / THE BRISTOL FRINGE BETHANY ROBERTS & ROWAN ELLIOT FREE / 9.30PM / THE CANTEEN CHINA BEARS £5ADV / 7.30PM / CROFTERS RIGHTS THE HOWL & THE HUM £10ADV / 7.30PM / EXCHANGE PISS KITTI + SWINE £4ADV / 8.00PM / EXCHANGE THE BROS. LANDRETH £18ADV / 7.30PM / THE FLEECE

50

SEEDLING SESSIONS: MYLA SUPPORT BY SHUWAN-FEY FREE / 9.00PM / THE GALLIMAUFRY DEPT S & BLG: MEANWHILE IN BAT COUNTRY + TWIN ARROW FREE / 7.00PM / THE LANES BLACK PUMAS £11 / 7.30PM / THE LOUISIANA JAZZ FUNK SOUL SOCIETY FREE / 9.00PM / MR WOLFS YUNGBLUD £17.50 / 7.00PM / O2 ACADEMY DEATH OR GLORY PRESENTS: LOS FASTIDIOS / THE BLUNDERS / PRANG £10ADV / 7.30PM / THE THUNDERBOLT WEDNESDAY 20TH NOVEMBER FRINGE JAZZ FREE / / THE BRISTOL FRINGE FOURTH PAGE £6ADV / 7.30PM / CAFÉ KINO GALLI FREE / 9.30PM / THE CANTEEN COUSIN KULA £8ADV / 7.30PM / CROFTERS RIGHTS NAUT + OH, THE GUILT + TOMORROW COME THE WOLVES £FREEENTRY / 7.30PM / EXCHANGE TOM SPEIGHT + TOMMY ASHBY £10ADV / 7.30PM / EXCHANGE A VS MONKEY KONG TOUR £20ADV / 7.30PM / THE FLEECE WALDO’S GIFT: OPEN COLLABORATION FREE / 9.00PM / THE GALLIMAUFRY JOSHUA BURNSIDE £10ADV / 7.30PM / THE LOUISIANA

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Full Listings SKIES £6 / 7.30PM / THE MOTHERS RUIN

GOD ALONE + CORE OF IO £5 / / THE GRYPHON

HOWLIN' RIC & THE ROCKETEERS + THE KING DUKES TBC / 7.30PM / THE MOTHERS RUIN

LANGKAMER £7ADV / 7.30PM / THE LOUISIANA

FRUIT MACHINE - LIVE HIP HOP CYPHER FREE / 9.00PM / MR WOLFS THE STEVE HILLAGE BAND £32.50 / 7.00PM / O2 ACADEMY DOG IN THE SNOW FREE / 7.30PM` / ROUGH TRADE MAVERICK SABRE £17.50ADV / 7.00PM / SWX SUNSET SONS SOLD OUT / 7.00PM / THEKLA THURSDAY 21ST NOVEMBER

STEAK £6 / 7.30PM / THE MOTHERS RUIN GULLY £3/£4 / 9.00PM / MR WOLFS TOO MANY T'S & GRIEVES £12ADV / 7.00PM / THEKLA GL PROMOTIONS: JESSICA BOSWELL £5ADV / 7.30PM / THE THUNDERBOLT FRIDAY 22ND NOVEMBER SAM AMIDON £15.26 INC BF / 8.00PM / BRISTOL FOLK HOUSE

ERLAND COOPER £17.44 INC BF / 8.00PM / ARNOLFINI

THE HARRISONS TRIO FREE / / THE BRISTOL FRINGE

AFTERNOON JAZZ FOLLOWED BY HIP HOP NIGHT FREE / / THE BRISTOL FRINGE

PET CROW + NERVOUS TWITCH + MOULD £6ADV / 7.00PM / CAFÉ KINO

JOSHUA BLACKMORE’S SIZE/ MATT CALVERT’S FALSE 9 FREE / 9.30PM / THE CANTEEN POLARMUSIC: MERCY’S CARTEL / 7.00PM / CROFTERS RIGHTS UK SUBS + THE RAMONAS + THEE ACID TONGUE £12ADV / 7.30PM / EXCHANGE LEE SCRATCH PERRY £23ADV / 7.30PM / THE FLEECE SNAZZBACK PRESENTS: THEO + CHINA BOWLS FREE / 9.00PM / THE GALLIMAUFRY

HOT STEPPAS FREE / 9.30PM / THE CANTEEN THE BOTTLE: TALK SHOW + SAPPHIRE BLUES + DAMEFRISOR £4ADV / 7.00PM / CROFTERS RIGHTS JAY SOM £13ADV / 7.30PM / EXCHANGE SEAN MCGOWAN + KATE STAPLEY £8ADV / 7.30PM / EXCHANGE THE CORRESPONDENTS £14ADV / 7.00PM / THE FLEECE DELILUH FREE / 7.30PM / THE LANES RAINBREAKERS £10ADV / 7.30PM / THE LOUISIANA 51

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Full Listings MULVEYS MEDICINE + THE FOWLERS £3/£4 / 9.00PM / MR WOLFS MACC LADS £21.50 / 6.30PM / O2 ACADEMY ALLERGIES (DJ SET) + DJ FOOD (ALL VINYL SOUND-CLASH) £8ADV / / OLD MARKET ASSEMBLY SPENTSHELL X ROUGH TRADE BRISTOL, THE RETURN... £10 / 7.00PM / ROUGH TRADE PUP £14ADV / 6.30PM / SWX RHYS LEWIS £12ADV / 7.00PM / THEKLA JOHN OTWAY BIG BAND £12ADV / 7.30PM / THE THUNDERBOLT TID X DEEP MEDI TBC / 10.00PM / TRINITY CENTRE SATURDAY 23RD NOVEMBER JAMES SAKAL PIANOMAN FREE / / THE BRISTOL FRINGE CEIDITH MAC £7ADV / 7.30PM / CAFÉ KINO ANDY QUICK FREE / 9.30PM / THE CANTEEN POLY-MATH + BODY HOUND + OGIVES BIG BAND + VOGONS £6ADV / 7.00PM / CROFTERS RIGHTS SPIRAL VISION £6/8/10ADV / 11.00PM / EXCHANGE OVERO + PUNCH ON! £6ADV / 7.00PM / EXCHANGE HELLS BELLS £15ADV / 7.00PM / THE FLEECE

52

LONDON ASTROBEAT ORCHESTRA: AFRICAN TALKING HEADS & THE POLICE £8ADV / 8.00PM / THE LANES ROBI MITCH £5ADV / 7.30PM / THE LOUISIANA SAPPHIRE BLUES (SUNDAYS OF LIFE EP LAUNCH) £3 / 7.30PM / THE MOTHERS RUIN FOOTBALL FC + LESSENS + MODERN LITERATURE + BORROWED ATLAS £3 / 7.30PM / THE MOTHERS RUIN BINBAG WISDOM £3/£4 / 9.00PM / MR WOLFS HAPPY MONDAYS £32.50 / 7.00PM / O2 ACADEMY TRANS PRIDE: LINE-UP TBA / / OLD MARKET ASSEMBLY WHITNEY £17.50ADV / 6.30PM / SWX STONE FOUNDATION £15ADV / 7.00PM / THEKLA DETRITUS £6ADV / 7.30PM / THE THUNDERBOLT SUNDAY 24TH NOVEMBER HOT CLUB / JACK CALLOWAYS BAND FREE / / THE BRISTOL FRINGE OFF GRID: PATAPHYSICAL + CALDERA + GUEST £8ADV / 6.00PM / CAFÉ KINO ROOKERIES FREE / 4.00PM / THE CANTEEN CEREMONY £10ADV / 7.00PM / EXCHANGE POHL + MASSA CIRCLES £6ADV / 7.30PM / EXCHANGE

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Full Listings BIG COUNTRY £20ADV / 7.00PM / THE FLEECE

TUESDAY 26TH NOVEMBER

THE POCKET SESSIONS HOSTED BY RUTH ROYALL FREE / 9.00PM / THE GALLIMAUFRY

OPEN MIC FREE / / THE BRISTOL FRINGE

THE HOOTEN HALLERS £10ADV / 7.30PM / THE LOUISIANA YUNG SHAM £10 / 7.30PM / ROUGH TRADE THEORY £20ADV / 7.00PM / SWX

EMMA HOLBROOK AND FIONA BARROW FREE / 9.30PM / THE CANTEEN CLEWS £8ADV / 7.00PM / CROFTERS RIGHTS FRANCES PYLONS + JESUS BOLT + T.E. YATES + THE CORNISH WRITER £3ADV / 7.30PM / EXCHANGE

MONDAY 25TH NOVEMBER

SUMO CYCO £13ADV / 7.30PM / EXCHANGE

SLI'MS BLUES & ROOTS SESSION FREE / 9.30PM / THE CANTEEN

KOKOKO! £17.44 INC BF / 8.00PM / FIDDLERS

BLG: TOKYO TABOO + HEALTH JUNKIES + POLYPIKPOKETZ + YUR MUM FREE / 7.00PM / CROFTERS RIGHTS

HÉLÉLÉ FREE / 9.00PM / THE GALLIMAUFRY

OMAR APOLLO + SHAY LIA £12.50ADV / 7.00PM / EXCHANGE MABEL SOLD OUT / 7.00PM / THE FLEECE OPEN MIC: HOSTED BY MIKE DENNIS FREE / 9.00PM / THE GALLIMAUFRY TUSKS £8ADV / 7.30PM / THE LOUISIANA GIN JAM - OPEN STAGE NIGHT FREE / 9.00PM / MR WOLFS AIRBOURNE £25.00 / 7.00PM / O2 ACADEMY ART SCHOOL GIRLFRIEND £8.80 / 7.30PM` / ROUGH TRADE PUMAROSA £14.50ADV / 7.30PM / THEKLA

KISHI BASHI £13ADV / 7.30PM / THE LOUISIANA JFS PRESENTS - BATCH GUEYE £3 / 9.00PM / MR WOLFS LEWIS CAPALDI £19.50 / 7.00PM / O2 ACADEMY OMNI £10.50 / 7.30PM / ROUGH TRADE PROFESSOR GREEN £18.50ADV / 7.00PM / SWX TOKIO MYERS SOLD OUT / 7.00PM / THEKLA JADE BIRD £12.50ADV / 7.00PM / TRINITY CENTRE WEDNESDAY 27TH NOVEMBER FRINGE JAZZ FREE / / THE BRISTOL FRINGE

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see bristolinstereo.com/live-listings for up-to-date events and more

Full Listings SILVER TONGUES OPEN MIC NIGHT £DONATIONS / 7.00PM / CAFÉ KINO

MR B THE GENTLEMAN RHYMER £13ADV / 7.30PM / EXCHANGE

HOPKINS-HAMMOND DUO FREE / 9.30PM / THE CANTEEN

TIGER ARMY £20ADV / 7.30PM / THE FLEECE

THE SOUND CUPBOARD DONATIONS / 8.00PM / CROFTERS RIGHTS

SNAZZBACK'S GLOBAL GROOVE EXPERIMENT: POLAND FREE / 9.00PM / THE GALLIMAUFRY

GEOWULF £9ADV / 7.30PM / EXCHANGE THE EXPLOITED £20ADV / 7.00PM / THE FLEECE WALDO’S GIFT & LUO FREE / 9.00PM / THE GALLIMAUFRY PIXX £10ADV / 7.30PM / THE LOUISIANA THE BROKEN ISLANDS AUTUMN UK TOUR / 7.30PM / THE MOTHERS RUIN FRUIT MACHINE - LIVE HIP HOP CYPHER FREE / 9.00PM / MR WOLFS GIGGS £20.50 / 7.00PM / O2 ACADEMY BC CAMPLIGHT £12.50ADV / 7.00PM / THEKLA OLIVER TREE £15ADV / 7.00PM / TRINITY CENTRE THURSDAY 28TH NOVEMBER OPEN STAGE FREE / / THE BRISTOL FRINGE FAT SUIT FREE / 9.30PM / THE CANTEEN WIZZARDING: WREN / 7.00PM / CROFTERS RIGHTS FALLING STACKS + BELLIES + EVIL OWL £5ADV / 7.00PM / EXCHANGE

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THE WOOD BURNING SAVAGES £8ADV / 7.30PM / THE LOUISIANA KIMBO NICE + SAPPHIRE BLUES + FUTURE MONEY + SAD £3 / 9.00PM / MR WOLFS ELECTRIC SIX £16.50 / 7.00PM / O2 ACADEMY DOOMSQUAD ALBUM AND TICKET / 6.30PM / ROUGH TRADE WAVE PROMOTIONS PRESENTS: MR B AND THE GENTLEMEN RHYMERS + JACK CALLOWAY AND DANCE ORCHESTRA £12ADV / 7.30PM / THE THUNDERBOLT FRIDAY 29TH NOVEMBER LIVE MUSIC WITH LEE + GUESTS FREE / / THE BRISTOL FRINGE LIVE MUSIC TBA FREE / 9.30PM / THE CANTEEN BEES WAX £TBC / 11.00PM / EXCHANGE BROKEN WITT REBELS £12ADV / 7.30PM / EXCHANGE ABSOLUTE BOWIE £17.50ADV / 7.00PM / THE FLEECE REVIVAL - A TRIBUTE TO ABBA £13.50ADV / 7.00PM / THE FLEECE

see bristolinstereo.com/live-listings for up-to-date events and more

Full Listings VULCANO + ANGRON + VOLUNTAS £10ADV / / THE GRYPHON JAMES GILLESPIE £10ADV / 7.30PM / THE LOUISIANA

POMPADOUR ('CUT TO THE CHASE' EP LAUNCH) £5 / 7.30PM / THE MOTHERS RUIN ZYLA £3/£4 / 9.00PM / MR WOLFS

QUANTIC £18.53 INC BF / 7.00PM / THE MARBLE FACTORY

BJORN AGAIN 25/55/49.50 / 7.00PM / O2 ACADEMY

MOTHERS RUIN 12TH BIRTHDAY FREE / 7.30PM / THE MOTHERS RUIN

MATT MALTESE & GUESTS £10 / 7.30PM / ROUGH TRADE

HIPPO + PRUDENT PRIMATE £3/£4 / 9.00PM / MR WOLFS

FONTAINES D.C SOLD OUT / 6.30PM / SWX

THE XCERTS & SWIM SCHOOL £10 / 7.30PM / ROUGH TRADE

SHIHAD £22.50ADV / 6.30PM / THEKLA

AUGUST BURNS RED £20ADV / 6.30PM / SWX

!!! (CHK CHK CHK) £15ADV / 7.00PM / TRINITY CENTRE

BETH ROWLEY £15ADV / 6.00PM / THEKLA

SUNDAY 1ST DECEMBER

EZRA COLLECTIVE £16ADV / 7.00PM / TRINITY CENTRE

MY LIFE STORY + OUT OF MY HAIR £15ADV / 7.30PM / EXCHANGE

SATURDAY 30TH NOVEMBER

THE BOHEMIANS SOLD OUT / 7.00PM / THE FLEECE

STATION 2 STATION FREE / / THE BRISTOL FRINGE

SYDNEY SESSIONS FREE / 9.00PM / THE GALLIMAUFRY

JUNIOR BILL FREE / 9.30PM / THE CANTEEN

J.I.D £17.50 / 7.00PM / O2 ACADEMY

MALAGO BALLROOM + JAKABOL / 7.00PM / CROFTERS RIGHTS

CLAIRO £15ADV / 7.00PM / SWX

RANDOM HAND + REDEEMON + POKEMON LIBERATION ARMY £10ADV / 7.00PM / EXCHANGE

MEMPHIS MAY FIRE £16ADV / 7.00PM / THEKLA

BLG: DAT BRASS / 7.00PM / THE LANES SHE MAKES WAR £9ADV / 7.30PM / THE LOUISIANA

MONDAY 2ND DECEMBER PLANES MISTAKEN FOR STARS + WOLVES LIKE US £15.50ADV / 7.00PM / EXCHANGE OPEN MIC: HOSTED BY MIKE DENNIS FREE / 9.00PM / THE GALLIMAUFRY 55

see bristolinstereo.com/live-listings for up-to-date events and more

Live Reviews curated by Jon Kean, Live Editor

Hy Brasil Closing Party Feat. Thumper September 28th at Hy Brasil words: Lorenzo Ottone photography: Philip Hiscocks Despite ecstatic mosh-pitting crowds and the flourishing of a widespread punkoriented scene, venues constantly face the fear of closure under the asphyxiating pressure of gentrification. This precarious balance, tonight, is mirrored by two other elements: the bassist’s yellow Buckfast tee, proudly displaying its ‘Tonic Wine’ contrasting motto, and Thumper’s two souls, the gritty punkers and the catchy psych-poppers. A woollen flat cap unsteadily hangs from Thumper’s bassist’s guitar head throughout the hectic chaos of a punk-edged garage number.

It’s a night of melancholic farewell but of excitement too. As soon as the Irish six-piece get on stage, Hy Brasil turns into a frenzy.

It only takes a couple of songs before band members free their chests from tops and jump off stage, joining the audience mosh. In the 56

meantime, from the balcony, a gentle shower of glitter and feathers wraps the crowd into a hazy, dreamy atmosphere reminiscent of the tale of the mythical phantom Irish island of Hy Brasil. No band could better capture the quintessentially Irish yet mystic vibe of the island, said to be visible only once every seven years.

Just like Hy Brasil, Thumper have something magical about them. They can deliver the rawest of punk songs without sacrificing melody, generating an amalgamation of sounds that is simultaneously thrilling and dreamy. Two drum kits keep the beat wild and pounding, while guitar hooks turn every song into an uplifting experience. Think about an ecstatic blend of Fat White Family deranged punk (with mullet hairdos) and late 1960s psych melodies à-la Cream, Who or Temples.

In a battlefield of sweat, glitter and feathers, Thumper, acclaimed by the late-night revellers, have time for an encore before DJs take the helm for one last boogie. Just as in the Irish tale, mist will wrap Hy Brasil up again making it disappear from our eyes, but not from the hearts and memories of those who resided there. Bye Brasil!

The St Pierre Snake Invasion September 28th at Exchange words: Simon Moyse photography: Andrzej Zajac “We will play for 45 minutes, during which you will see further evidence of why we are the best band in the world.”

Damien Sayell, vocalist in Bristol’s The St Pierre Snake Invasion, has never been shy in preaching the virtues of his band, albeit in a tongue-in-cheek manner. With the release of second album, Caprice Enchanté earlier this year, though, there now feels like a genuine sense among the band that they have created something really special. Quite rightly so.

As with the album, tonight’s set, the first in a run of nine nationwide dates, explodes with the breathless ‘The Safety Word is Oklahoma’.

By the time second song ‘Remystery’ is halfway through, the room is already a roiling moshpit, never to relent. For ‘Casanovacaine’, the left-handed Sayell plays his guitar piece with an upside-down right-handed guitar. On ‘I Am the Lonely Tourist’, he appears with a melodica (remember those?). “If you’ve got it, flaunt it,” he says. We’d expect nothing less.

Album centrepiece, ‘Carroll A. Deering’, with its multiple sections and tempos, is also masterful here. For the breakdown, bassist Sanjay Patel ventures into the moshpit, just to fire everyone up that little bit more.

There is a serious side to this band too, though. In his introduction for ‘Braindead’, Sayell bemoans the ‘Machiavellian shit’ that is rife in modern politics, and the band play the song with an anger that backs up the message.

Sayell closes out the set with a walk across the Exchange ceiling, with turns perilously close to a head-first spearing into the Exchange floor. Disaster narrowly averted, Sayell contemplates the future: “If all the

shows on this tour are as good as this one, I might be able to give up,” he says. He’d better not, not when the world is just catching up to The St Pierre Snake Invasion’s brilliance. The band are playing with a joy and confidence that reflects the astonishing record that they’ve just unleashed on the world.

Find full reviews and more at: bristolinstereo.com 57

Thoughts ...

by Ari Sawyer

lebration e C of n M I us al c ic Lo Hours of travelling, back row seats, the cheapest hotel you can find courtesy of extortionate ticket prices, merch-money spent on a single bottle of water, and other fans screaming so loud next to you that you can’t actually hear the music. While the chance to see your favourite megaband perform live is a dream come true for anyone who lives in the middle of nowhere, the entire process is far more infuriating than it’s often worth.

Consider this one of the many reasons why local music is far more valuable than a soldout stadium show. The idea isn’t new, and it’s something you’ll hear people in the industry preaching about constantly, but as I write this from a small market town in the Southwest in which the only semi-decent music venue closed down months ago and transport links to the nearest cities are anything but decent supporting local music has never been more important.

For the bands, the concept is crucial. As local scenes gradually die out, the ability to pursue music as anything more than a hobby becomes more and more difficult. But the ones worth watching remain as passionate 58

and driven as ever - the vocalist writing lyrics in the break room of his day job, the drummer on the verge of an eviction notice because the only time she can find to practice is after dark.

Yet it’s this passion that makes local shows particularly special.

The intimate atmosphere of these shows creates a deeper connection, not just with the bands themselves, but with other ‘fans’ too. This sense of solidarity and tight-knit community, rarely found in a venue filled with thousands of people, presents an opportunity for long-lasting friendships build from our love of music.

A band’s need for a creative outlet, away from the promise of fame and financial stability, is one of the core foundations of a thriving music scene. But those of us willing to spend our nights dancing to the songs they’ve worked so hard to write, to interact with like-minded people in order to make those nights count, and to support local businesses who fund this entire concept, stand to lose just as much if we can’t keep these scenes alive.

Ari Sawyer is a regular contributor for Bristol, London and Berlin in Stereo.

The Gallimaufry

Waldo’s Gift

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

6 Nov ~ Waldo’s Gift: Reworks: Red Hot Chilli Peppers

The trio reworks classics by the influential American rock quartet.

13 Nov ~ Waldo’s Gift & Animal Society

High-octane jazz-rock all the way from Glasgow.

20 Nov ~ Waldo’s Gift: Open Collaboration

The stage is open and a safe place for sharing and expression

27 Nov ~ Waldo’s Gift & Luo

Experimental electronic duo hailing from Brighton and Bristol.

thegallimaufry.co.uk

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LOCAL & INDEPENDENT For Over 30 years we have been selling tickets for Bristol’s music scene, clubs , festivals & events We’ve got friendly human staff that you can talk to and who can sort any issues out for you You can even buy a heritage paper ticket from us when an e-ticket just isn’t enough

Check us out in person or online 41 Hight St, Bristol, BS1 2AT

Bristolticketshop.com sales@bristolticketshop.co.uk /bristolticketshop 60

@bristolticketshop

@btsticketshop

in Bristol with Alba Torriset of Ålesund

When did you move to Bristol?

Four years ago. I was a bit all over the place when I moved here from Brighton. I had to reform my band… It took me a while to find my place here, but now I can’t imagine living anywhere else and I’m really proud of the musical community I feel a part of.

Who’s your top Bristol artist at the moment?

This is a hard question, as there’s SO much amazing music coming out of Bristol.

However Clayton Blizzard will always hold a special place in my heart. Whenever I see him perform, I get something new out of his music.

Not only is he an exceptional wordsmith, but his delivery is deeply sincere and heartfelt, yet hilarious at the same time.

Tell us your go-to places to eat and drink.

Rosemarino’s breakfast is pretty special and feels like a hidden gem. Neck Of The Woods Café in St Werburgh’s Community Centre serves all manner of delicious offerings. It’s also filled with nice plants and friendly staff.

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

You can walk a big loop from St Nick’s Market, up Park Street and make your way up to the Suspension Bridge to look out over the whole city. Then head back down and walk along the waterfront and onto the Harbourside. If you stop into the shops, market stalls and pubs along the way, you’ve got yourself a really nice Bristol day out!

What’s your favourite thing about the city?

It’s big enough that there are always exciting things going on, whatever you’re in the mood for, but not too big that you feel overwhelmed – you can get out to the countryside in fifteen minutes. Just by walking down Gloucester

Photo: Simon Chmiewliski Road to Stokes Croft, you can see how culturally and artistically diverse the city is.

And your least favourite?

The traffic!

Any top venues?

To play - The Louisiana always has great sound and a good feel, although The Crofters Rights is also up there for me. To watch - I love St George’s: it’s beautiful and epic and I’ve seen some amazing music happen in there.

Speaking of home, tell us about Ålesund’s new single.

Our new single, ‘Home’ will be out on 15th November. It’s about understanding where you come from and the feeling of belonging. It was based on an Australian friend who lived in Bristol and had travelled the world, suddenly realising her need to go home and reconnect.

We have a UK/European tour booked for Feb/ March 2020 which will coincide with our new EP release. Ålesund’s single Home will be available to stream on BandCamp from 15th November, followed by an EP, released early in 2020.

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Behind Every Musician

@WeAreTheMU

ert.indd 1

10/05/2

VOL. 3 The Free Bristol Label Compilation, curated by Bristol In Stereo.

25+ Artists / 15 Labels

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Download at: bristolinstereo.com/newschool

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