Bristol in Stereo // Angel Olsen by Bristol In Stereo

Live. Music. Culture October 2019

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Angel Olsen

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Tue 1st Oct

Tue 29th Oct • 6.30pm

Fri 22nd Nov • 6.30pm

Sun 15th Dec

Wed 2nd Oct

Fri 1st Nov • 6.30pm

Sat 23rd Nov

Mon 16th Dec • SOLD OUT

Sat 2nd Nov • 10pm

Mon 25th Nov

Airbourne

Wed 18th Dec

Eskimo Dance Sun 3rd Nov

Tue 26th Nov • SOLD OUT

Lewis Capaldi

Fri 20th Dec • 6.30pm

Opeth

Mon 4th Nov

Wed 27th Nov • SOLD OUT

Sat 21st Dec • 9pm

New Hope Club Richard Hawley Thur 3rd Oct • 10pm

Bruk Off Sun 6th Oct

Hootie and The Blowfish Thur 10th Oct

Black Star Riders Fri 11th Oct • 6.30pm

The Rasmus Sat 12th Oct • 10pm

Garage Nation Mon 14th Oct

The Divine Comedy Tue 15th Oct • SOLD OUT

Killswitch Engage

Thur 17th Oct • SOLD OUT

Slowthai

Sun 20th Oct • SOLD OUT

Kate Tempest Mon 21st Oct • SOLD OUT

Hot Chip

Refused + Thrice The Smyths

AURORA Wed 6th Nov

Kodaline Thur 7th Nov • SOLD OUT

Rival Sons Fri 8th Nov

Snarky Puppy Sat 9th Nov

Elvana: Elvis Fronted Nirvana Mon 11th Nov

Periphery Wed 13th Nov

Ezra Furman Thur 14th Nov

Metronomy Sat 16th Nov • 10pm

Tue 22nd Oct • SOLD OUT

Gary Numan

Festival Of The Dead

Wed 23rd Oct

Sun 17th Nov

Heels Of Hell

The Amazons

Thur 24th Oct

Mon 18th Nov

The Selecter

Mahalia

Fri 25th Oct • 6.30pm

Tue 19th Nov • SOLD OUT

Charles Esten Sun 27th Oct • SOLD OUT

MoStack

Mon 28th Oct • SOLD OUT

The Cult

Yungblud Wed 20th Nov

An evening with The Steve Hillage Band

The Macc Lads Happy Mondays

Giggs

SLADE

The Libertines Shed Seven Alabama 3

Thur 28th Nov

Electric Six

Craig Charles Funky Christmas Party

Sat 30th Nov

Mon 27th Jan 2020

Bjorn Again

Caravan Palace

Sun 1st Dec

Sun 2nd Feb 2020

J.I.D.

Kano

Mon 2nd Dec

Tue 4th Feb 2020

Krept & Konan

The Interrupters

Tue 3rd Dec • SOLD OUT

Mon 24th Feb 2020

Sigrid

Beartooth

Wed 4th Dec • SOLD OUT

Tue 3rd Mar 2020

Sam Fender

Testament

Thur 5th Dec • SOLD OUT

Fri 13th Mar 2020 • SOLD OUT

Aitch

Sat 7th Dec

Sat 14th Mar 2020

Aldous Harding

The Dualers

Mon 9th Dec • 6pm

Thur 19th Mar 2020

Dan Reed Network / Gun / FM Tue 10th Dec

Scouting for Girls Thur 12th Dec • 6pm

The Wonder Stuff Fri 13th Dec

The Chats Sat 14th Dec

Motionless in White

Lightning Seeds Mon 23rd Mar 2020

Cigarettes After Sex Sat 28th Mar 2020

I Prevail

Fri 18th Apr 2020 • 6pm

Roachford Tue 21st Apr 2020

Lamb of God Sat 13th Jun 2020 • 6.30pm

WAR

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October • 2019

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0117 203 4040 colstonhall.org

Colston Hall loudly and proudly presents great shows in venues across Bristol Tue 1 Oct

Sat 12 Oct

Sat 26 Oct

Manu Delago Ensemble

Discovery Day

Birds of Chicago

Colston Hall Foyer

Bristol Folk House

Fiddlers

Fri 18 Oct

Sun 27 Oct

Jesca Hoop

Rising Up: Peterloo 2019

John Smith

Fiddlers

Bristol Folk House

Wed 2 Oct

Sat 19 Oct

Nihiloxica Colston Hall Foyer

Simple Things Festival 2019

Thu 3 Oct

Colston Hall Foyer + Various Venues

Wed 2 Oct

The Album Leaf St George’s Bristol Thu 3 Oct

Multi-Track Showcase ft. Novelist & OH91 Colston Hall Foyer

Sun 20 Oct

Brennen Leigh & Noel McKay Bristol Folk House Tue 22 Oct

Lambert

Colston Hall Foyer

Redgrave Theatre Mon 4 Nov

Warmduscher The Fleece Tue 5 Nov

Deerhunter + Cate Le Bon SWX

Wed 23 Oct

Beverly GlennCopeland

Alasdair Roberts & Friends Colston Hall Foyer

Trinity

SOLD O

Wed 6 Nov

Tue 8 Oct

Creep Show (John Grant)

Sat 2 Nov

Charlie Cunningham

Colston Hall Foyer Fri 4 Oct

David Allred (Erased Tapes)

Bristol Folk House

Thu 24 - Fri 25 Oct

Puzzle Creature Colston Hall Foyer

St George’s Bristol Thu 7 Nov

Acid Arab Fiddlers

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 Graphic Designer Larissa Matheus

October has landed and we’re picking up maximum gig readings, along with near-deadly album levels. Simple Things leads the charge on places to be this month, with 25 years of Bugged Out not far behind. Head to our Events section (p.40) for more. Angel Olsen is currently voguing on our front cover, and does so in aid of her honestly fantastic new album. She’s transmuted once more, this time into a chambery-yetfuturistic goddess of the underworld. Her interview discusses anger, expectations and music as therapy. Elsewhere, Clipping. reconcile making horrorcore while being some of rap music’s best-known ‘nice guys’; Lindstrøm discusses being prolific while keeping it fresh and enjoyable for both him and listeners; and Anna Meredith explains how all her songs come from “nubins”, so head to p.22 to work that one out. Don’t forget, we’ve got release highlights, live listings for Bristol’s best venues, new acts you simply must hear and more. See you at a show soon.

Clipping

Contributors:

Jessica Bartolini, Geoff Cowart, Georgia Evans, Grace Fitton-Assinder, Katie Goh, Thomas Hannan, Charlotte Krol, Georgia Marsh, Robin Murray, Jonny Pinches, Kelly Ronaldson, Gemma Samways, Elliott Simpson, Harriet Taylor, Albert Testani, Katie Thomas, Lee Wakefield Angel Olsen cover photo by Ebru Yildiz, typeface by Lucas Le Bihan (Velvetyne). 6

New Sounds

Clipping

Lindstrøm

Anna Meredith

Angel Olsen

Releases

Events

Full Listings

Live

Thoughts

61 In Bristol Angel Olsen

Staff on Repeat:

Loki: Sassy 009 – Thrasher Jon: Young Guv – Try Not To Hang On So Hard Kezia: Debby Friday – Good and Evil Lor: Temples – Context Larissa: Lana Del Rey – California 7

New Sounds by Kezia Cochrane

ilya

Top Ten: New Sounds Clipping. – Nothing Is Safe Anna Meredith – Moonmoons Sudan Archives – Confessions Giant Swan – 55 Year Old Daughter Bodega – Shiny New Model LIA LIA, Slayrizz – Boba Boba Vōx – I Can Feel Myself Leaning Kindness – Raise Up Stormzy – Sound of the Skeng Grimes, i_o – Violence

Sudan Archives

Get more new music from Kezia Cochrane every monday at: bristolinstereo.com 10

Gloo When three producers as incredible as the Gloo trio come together and make music, you know before hearing anything that it’s going to be magic. The first track released under this collective moniker, ‘Lockii’, offered exactly the kind of fantastical, eclectic and immersive sonic experience you’d have expected from the combined minds of BABii, Iglooghost, and Kai Whiston. Having followed up more recently with ‘Lamb’, what’s especially remarkable about the project is the way in which each of their respective, distinctive sonic tendencies are immediately apparent, while still intertwining perfectly. As individual artists, each of them has a particular aptitude for crafting some of the most intriguing, forward-thinking electronic creations that offer tangible, textured and visceral soundscapes. Combined, they encompass a truly spellbinding synergy. Oscillating between moments of playful reverie and sinister, spectral intonations, Gloo permeate each of their creations with a rich sonic narrative. With many more audio and visual projects up their collective sleeve, let Gloo guide you through their bizarre, kaleidoscopic and often volatile creative cosmos. Track: Lamb @GLOOGLOOGLOO

@gloo.xyz

iyla With her soulful, R&B-infused pop, iyla exudes a captivating self-assurance and a commanding authority. Last year, the LA artist and activist released her debut EP, War + Raindrops, and has recently released some stunning new visuals for the latest single ‘Flowers’. Such vibrant, avant-garde and colourful imagery further accentuates her clear creative identity and vision. Speaking on her creations, iyla says, “With everything I do – my music, my vocals, my videos and my stage performances – I really want people to feel like they’re experiencing art.” Hers is an artistic ambition we look forward to seeing more of. Track: Flowers @iylamusic

@iyla

Gloo 11

“Every moment in time gets the monster it deserves. It’s always some sort of representation of some anxiety within a culture.”

Clipping. words: Kezia Cochrane photography: Cristina Bercovitz

For a band that makes such dark, unsettling music, Clipping. are perhaps some of the nicest guys in rap. But then Clipping. aren’t your typical rap group and arguably defy such categorisation. Each album has seen them experiment with narrative approaches and their latest release is no different. Cinematic and searingly potent, There Existed An Addiction To Blood is Clipping.’s horrorcore homage, taking its title from Sam Wayman’s Ganja & Hess, “a reference to this movie that we love and this horror that we’re really influenced by,” Jonathan Snipes explains. “Our first album, we made songs to learn what we sounded like and what we were doing, and we were always sort of like, ‘OK after this, the obvious thing to do would be to make a horror album.”

proud scare us, right? We’re trying to control it from our perspective and say, ‘No, these are the monsters in our world right now’ and do so from our political perspective.” Looking at this currently within film, he continues, “There’s a new trend with Jordan Peele, and It Follows and all these contemporary horror movies that everyone’s really driving home. That’s how they work, as opposed to when Saw was coming out - I think people were just anxious about the US’ foreign policy and torture. It was just very Bush-era values about who should be grateful for their life and who deserves life just floating out there. It didn’t feel like anyone was taking control of that narrative and saying ‘No - this is what we should be afraid of, not this.”

Whilst this is their first specifically horrorfocused record, the genre has a tangible and traceable influence throughout their discography. Addressing how horror frequently offers pertinent social commentary, and how this is innate to Clipping., Bill Hutson muses, “[We] try not to really harp on too much in the meta-commentary about it. I think the usefulness of horror in cinema, in literature, in everything… every moment in time gets the monster it deserves. It’s always some sort of representation of some anxiety within a culture.”

Clipping.’s narratives have always held a certain authority in the way they fully lure the listener into their unnerving, immersive soundscapes. “I score a lot of movies too and I figured out at some point that the job of movie music isn’t to tell people what to feel and what to think, but it’s there to tell an audience when to feel or when something’s important. I’ve come to think of music in those terms, because it’s so abstract you can’t really describe,” Snipes divulges, on listener expectations within music, rather than music saying, ‘Hey, this is what is important.’ It can say something important is happening right now,” he summarises.

Considering further how horror plays on societal fears and how Clipping. do so within their music, he conveys, “The things that scare us often aren’t the things we should be

Impressively, Clipping. don’t use ‘I’ or write in the first person, which is pretty ground-breaking for rap. “Starting Clipping. was all about constraining ourselves to certain techniques 15

and rules,” Hutson explains. “The most common word in rap is ‘I’ and we have this sense of how all rap music is some version of augmented autobiography, that we’re this authenticity and this realness. And so the idea was ‘Does this still sound like rap if you sort of amputate that subjective centre and surround it with the same accoutrement of rap?’” Their second record’s title, CLPPNG literally pinpoints this, and they laughingly recall how it took a good eight months of the record being out before anyone noticed. “We were making these really tough, mean, dark beats and, I don’t wanna just throw Daveed under the bus here, but Daveed is not a very dark, mean person,” Hutson details. “He’s a very friendly, nice guy, and so are we.” “Well...” Snipes jokingly interjects, to which Hutson quips, “Well, we’re less nice than 16

Daveed - that’s true.” Elaborating, he adds, “we had to this artifice up to say these are not true stories; we are revelling in inauthenticity. Which is the most anathema thing you can do with rap, to acknowledge that it’s all a big performance. Nobody is who they pretend to be in a rap song, ‘cause that’s ridiculous.” “It’s like making Daveed a novelist,” Snipes contributes, “not a… memoirist.” Hutson chimes in, concluding, “Every rapper is writing millions of little pieces and we’re trying to write Frankenstein, or something like that.” There Existed an Addiction to Blood is released October 18th via Sub Pop @clppng

@clppng

Lindstrøm words: Lee Wakefield photography: Lin Stensrud

It’s funny how things turn out. Commissioned by Henie Onstad Kunstsenter, Norway’s premiere art centre, to record a piece in 2017, the subsequent live performances convinced Lindstrøm that something could be salvaged from these sketches to form a new record, now revealed to be On A Clear Day I Can See You Forever. It’s his sixth album, perhaps a further step away from the dance music he’s most known for, alongside contemporaries such as Prins Thomas and Todd Terje, but a personal reconnection with the keyboards and synths he learnt his craft on. “Initially, I was thinking maybe I could do a live album, but instead I ended up editing and using some of it [for the album]. Usually when I’m travelling, I’m always travelling very lightly with a laptop but, for the arts centre, I was playing lots of synthesisers and stuff like that.” He credits this increased use of hardware and a new-found freedom in “just playing” as rejuvenating. “More and more, I was doing the programming side of the music anyway. I’ve really been trying to get away from sitting in front of the laptop. I think it’s possible to express your inner musical visions using a lot of hardware, because it sounds different when you’re mixing everything together. I think it’s important for me to use the technology and not be limited by it, and express what I want to say with my music. I find that much easier with big synthesisers, old stuff, than with a laptop.” 18

Lindstrøm’s approach, he freely admits, had become sterile. As he talks, it’s clear that a change was needed and he found it in On A Clear Day… “It’s a really liberating way to work in an old-fashioned sense. It’s also a different way of recording and arranging, instead of sitting in front of the laptop and stopping and quantising and doing all the tricks you can do in Logic or Ableton. Maybe I will go back to back to the laptop one day, you never know, but it’s important for me not to bore myself to death. If you’re going to the studio and feeling ‘Ah, I really don’t want to go this morning,’ you should probably do something else.” With his computer sidelined, he pondered how to keep things fresh for both himself and the listener, “Especially after playing festivals and clubs and realising that people don’t really want you to be complex and weird. They want it to be something they can relate to.” On A Clear Day... isn’t primed for the club and it’s all the better for it. With all four tracks almost stretching to ten minutes and recorded mostly in one take, Lindstrøm’s soundscapes feel unforgivably immersive and limitless in scope. ‘Swing Low Sweet LFO’ particularly feels like it could have fallen from a faraway galaxy, destined to be a breathtaking spectacle when unleashed in concert halls.

“I don’t really want to put out music for the sake of keeping my career going.”

“Sometimes I’m bored with myself and my sounds and whatever I’m doing,” he reveals. “I don’t really want to put out music for the sake of keeping my career going. I found myself with Smalltown Supersound; they really want me to do my thing.” Buoyed by the musical liberation granted to him by the label, On A Clear Day... brings Lindstrøm full circle, drawing on his diverse past and early love of classical music. “I started playing synths in a heavy rock band in the late 80s and I’ve been really into country and western. I’ve been busking on the street, singing in a symphony choir...” He continues: “The thing is, with classical music, what really draws my attention is the actual songwriting and the complexity. A lot of the composers are visionaries. I think it’s sometimes hard to find interesting music, especially when it comes to chords, whereas with classical music, it’s really inspiring and it’s harder to find in new music. That’s the 20

main reason why I’m trying to listen to more classical than contemporary electronic music.” “And it’s all about being curious and trying to explore new sounds,” he confirms, with infectious enthusiasm. “I realised I can afford to do an album like this and hopefully more in the future and to just keep on being curious and reeducating myself.” “For me, maybe it’s because I’m 46. A lot of people I know hit 50 and 60 - they start studying again… maybe I’m there.” Despite this being Lindstrøm’s re-education, On A Clear Day... proves that we’re the true beneficiaries. On A Clear Day I Can See You Forever is released October 11th via Smalltown Supersound Live: Oval Space (London), 30th November @feedelity

@hplindstrom

Anna Meredith words: Katie Goh photography: Gem Harris

When Anna Meredith goes into the studio to record new music, she brings with her two things. The first is a graphic map, a sketch of the “shape of the album.” The second is an ardent, unshakeable sense of denial. “I’ve developed this quite finelyhoned ability to not really think about any pressure or expectation,” she explains over the phone from her home in London. “I just need to focus on what I think is going to work. Anytime I start thinking beyond that, it immediately makes the music bad.” You’d forgive Meredith for letting some of the pressure slip past her wall of denial. After releasing her critically-acclaimed debut, Varmints, composing the soundtrack to Bo Burnham’s film, Eighth Grade and many, many public commissions, Meredith has become a musical darling, somehow able to straddle the two words of classical music and pop bangers. Now with her new record, FIBS about to be released, she’s equal parts nervous and excited. “I don’t want my music to just float away into the air,” she says. “I make music for people to listen to.” Meredith begins her writing process with what she likes to call a song’s “nubin,” the centre of the piece. “I don’t really know what that means, but it’s like the cell, a single musical idea,” she explains. “Then I can move on, knowing there’s some germ of an idea for that piece, until eventually I have 12 or 13 tiny bits of ideas and then I nudge those all forward, 22

“I’ve go masoch to wo off an fu flesh them out, do a big sweep and finish them all. Then at some point, I blitz them all and get them all to the finish line.” This all sounds surgically planned. “Yeah, I’m not the sort of person to write 50 songs and then pick the best ones. I knew the 11 things I wanted to do when I went into the studio. I’m kinda writing to my own brief.” The high control Meredith has over her musical projects - “I’m unbearable,” she laughs - expands to the recording studio, but she admits she’s got better with collaboration. “There’s definitely no jamming or improvising or any of that stuff in the studio. But I work closely with my band and play them bits at the ‘nubin’ stage and get their thoughts.” She takes one day at a time, the instruments and vocals. Then the layering begins. Meredith is so good a planner that there’s very little editing, even at this stage. She’s simply slotting everything she’s had in her head from the “nubin” stage into place. FIBS continues many of Varmints’ themes, notably the mixture of fast and slow, as well as the hybrid blend of classical and pop influences, but pushed to even further extremities. “I’ve got a kind of masochistic desire to work my ass off and to push further,” she says.

ot a kind of histic desire ork my ass nd to push urther.â&#x20AC;?

“I don’t want my music to just float away into the air. I make music for people to listen to.”

“The pop-ier songs are stronger than last time, which I’m chuffed about because that’s been one thing I’ve always wanted to do and given my best shot. I love pop music. I don’t listen to much music, but I love a good pop song.” Does Meredith see many similarities between her music and chart pop music? “I often get people saying my stuff is experimental, but I really don’t see it that way. I write music to make it accessible. I don’t want people to think it’s an exercise in alienation. I’m always trying to write music that I find physically moving. Literally! If it’s energetic, I want to get up off my seat and move. I want to follow the trajectory the music is taking me on.” With FIBS, the music’s trajectory fits its name well. “I don’t see the album as a lie per se, but I like the word and I like the ambiguity of it. It’s like a white lie, not good or bad. And it’s that 24

denial thing as well - I lied to myself and told myself this will be easy! I like things that are a little ambiguous and not one thing or another. And the album is a little bit naughty, like the name; it’s a bit cheeky.” After taking on one-off projects for the last few years, Meredith is thrilled at the opportunity to tour FIBS and, ever the perfectionist, to play the same album every night. “Everyone’s so busy and the world is so fucked-up at the moment that the fact that anybody comes to a gig and knows your stuff is really humbling. And you get to experience that every night that’s amazing!” FIBS is released October 25th via Moshi Moshi Live: Trinity Centre, February 6th 2020 @AnnaHMeredith

@annahmeredith

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Angel Olsen words: Gemma Samways photography: Ebru Yildiz

Angel Olsen is refreshingly direct. Just back from tour rehearsals in L.A., and currently in the midst of entertaining a friend and dealing with the garbage disposal repair man at her home in Asheville, North Carolina, she bats back my pleasantry of whether now’s a good time to talk with a brusque but good-humoured, “It’s the only time I have.” Almost a decade on from debut EP, Strange Cacti, the St Louis-born, Chicago-raised artist has seen her profile rise steadily with each subsequent release, while watching her personal space retreat at roughly the same speed. It’s no wonder then that, at this point, the 32-year-old quite rightly values her own time far too much to squander it entertaining banalities. Though, honestly, it’s hard to imagine anyone as sharp-witted and allergic to bullshit as Olsen ever humouring journalists attempting the softly-softly approach. Again and again, Olsen has found herself dogged by the misapprehension she’s some sort of tragic figure, with some citing her soul-stirring songwriting as evidence, and others taking to armchair psychology, pointing to her adoption as proof. In an attempt to tackle some of the fallacies following her around, her fourth album, All Mirrors, has been supplied with - what must be - one of the most generous press kits in history, featuring complete credits, lyrics, a fact sheet, and an artistic statement. But when I question the motivations for its existence today, Olsen insists it wasn’t a fear of misrepresentation. 26

“I know wh it looks like looks like I’m control fre which I am

hat e. It m a eak, m.â&#x20AC;?

“It’s like, ‘Here’s all the information for you so that your questions can be unique.’ I’m actually trying to help people. But I know what it looks like. It looks like I’m a control freak, which I am,” she laughs sardonically, “And that I’m crazy, which also I am.” Olsen has had enough brushes with sensationalist journalism that she’d be forgiven for raising her guard entirely. Instead, she’s resolved to communicate on her own terms.

finished with that I had to go immediately into revisiting the songs, reimagining them, and changing a lot. And because I had recorded them in such a stripped-down fashion, now I could open my mind to collaboration in a new way.” Olsen still intends to release the solo record at some point but thinks it’s better that “this strange, epic record comes out first, so that people can see how much it’s changed when the other one comes out.”

“People only want to hear about my dark childhood; that’s all that matters to anyone,” she bristles, specifically remembering the press around her last album, My Woman. “And you know what, they’re just going to have to fucking wait until I write my own book about it. But I will say, yes, my life has been weird. It’s been really fucking weird. And I’m really blessed that I can make music. And what I’m learning is that even if I hate being on tour sometimes, I won’t stop writing because I have to write. It’s part of who I am and how I think and how I process [things].” She adds with a laugh, “But I won’t promise it’s going to be great forever.”

It’s difficult even to imagine some of these songs stripped back. Take stunning album opener, ‘Lark’, for example. Beginning with the tremulous shiver of strings before rapidly ratcheting up the drama, it ebbs and flows over the course of its six-plus minutes,

For the foreseeable future there are no such worries: All Mirrors is an instant classic. Produced with Burn Your Fire For No Witnesscollaborator, John Congleton, it finds Olsen upping the ante once more, bringing in an 11-piece string section to perform arrangements by Jherek Bischoff and Ben Babbitt. Fearlessly dramatic, and astonishingly varied, Olsen’s fourth album-proper could scarcely seem more disparate from her last official release, 2017’s stripped-back rarities compilation, Phases. And yet, Olsen actually recorded All Mirrors twice - the first time as a solo record in late 2018, and then again with full arrangements, in the winter of 2019.

always utterly cinematic in its scale. Olsen remains immensely proud of the way it came together, despite its protracted gestation over the holiday period, during which she waited impatiently for string demos to arrive.

“I think some songs breathe differently when you play them by yourself,” says Olsen explaining the rationale behind recording the songs solo first. “I just wanted it to be bare minimum, a lot like Strange Cacti, but a little bit easier to listen to. And then when I was

Thematically, ‘Lark’ touches on toxic relationships, and specifically verbal abuse, as Olsen explains. “You know the fucked up things that you forgive? I forgive people who yell, because I see through them and I hear them crying instead of yelling. The way that I yell

“I forgive people who yell, because I see through them and I hear them crying instead.”

“It was so cool to finally sit back and listen to the strings sounding like fireworks going off. It’s a song that starts the record, and basically says, ‘We’re burning the house down now,’ you know? And we needed the house to burn down at the beginning of the record, almost like a backwards story. Like, you start at the finale, and then you work backwards and see how it got to be that way.”

“I get to be angry again onstage and it’s gonna fucking rule.”

is to sing. But when I’m not singing, I can yell really loud. I will fucking knife you with words. Watch yourself: I can tear you down. And I’m not proud of it, but I have a lot of anger. So I think that’s why I have empathy for those people; because I know that it comes from a place of deep disappointment and sadness. But at a certain point you have to walk away from those people and let them take agency for themselves.” ‘Impasse’ is similarly mired in heartbreak, its sense of isolation brilliantly accentuated by dissonant, swirling strings that were inspired by Scott Walker’s ‘It’s Raining Today’. And yet, All Mirrors ultimately ends on a hopeful note, with ‘Chance’ finding Olsen declaring, “I’m not looking for the answer or anything that lasts / I just want to see some beauty, try and understand,” over a waltzing arrangement fit for Sinatra. 30

It’s undoubtedly a challenging set to perform live, but Olsen is happy with the progress she and her six-piece band have made in rehearsals. And despite nearly burning out during the tour for My Woman, she’s excited to hit the road again. “I get to be angry again onstage and it’s gonna fucking rule,” she laughs. “I’m trying to get dark, to bring some heavy vibes. I’m like, what would Kate Bush do? What would Sinead O’Connor say? Probably some crazy shit that I’ve said.” All Mirrors is released October 4th via Jagjaguwar. LIVE: SWX, February 10th 2020 @angelolsen

@angelolsenmusic

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23.11.19

COCO AND THE BUTTERFIELDS OSCAR JEROME KIESZA 05.11.19

THE REGRETTES 08.11.19

ELLES BAILEY 09.11.19

L DEVINE

25.10.19

11.11.19

GRACE PETRIE

JAMIE LENMAN

26.10.19

13.11.19

CASSIA

BLANCO WHITE

27.10.19

14.11.19

HAELOS

WILDWOOD KIN

28.10.19

15.11.19

LITTLE SIMZ 29.10.19

HONEYBLOOD 30.10.19

WSTRN 31.10.19

BEARDYMAN 01.11.19

THE ICICLE WORKS

THE GROVE EAST MUD DOCK BRISTOL BS1 4RB

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

BLOOD RED SHOES

TOO MANY Tâ&#x20AC;&#x2122;S & GRIEVES RHYS LEWIS STONE FOUNDATION 25.11.19

PUMAROSA 26.11.19

TOKIO MYERS 27.11.19

BC CAMPLIGHT 30.11.19

SHIHAD 02.12.19

BAND OF SKULLS 04.12.19

JINJER 05.12.19

SAN HOLO

16.11.19

07.12.19

17.11.19

08.12.19

18.11.19

10.12.19

HEAVY LUNGS SPORTS TEAM ORLA GARTLAND 20.11.19

SUNSET SONS

WASUREMONO ANGEL HAZE RA RA RIOT

Record of the Month:

King Princess Cheap Queen Danny Wright sits down with In Stereo faithfuls, Katie Thomas and Kezia Cochrane to discuss the long awaited debut album from queer pin-up, King Princess. Read on below. When did you first hear about King Princess? Katie: Fittingly it was actually when she was featured in our New Sounds for 2019! Kezia: I first came across a shoot of hers on Instagram and I was like ‘this seems like a cool person to check out’ – and then I was very into the queer pop vibes! Katie: I liked Emma’s description of ‘1950’ being like Billie Eillish giving a class in women’s studies. Kezia: Hah, that’s such a great description! I think her music grew on me – I really liked ‘Pussy is God’ when I first heard it but then some of the others took me a few listens to get into. 34

Katie: I spend the vast majority of my time listening to club music, but sometimes even I need a break from the 4/4. So I liked her sound – the sparse instrumentation and that you can focus on her lyrics and vocal melodies, and these soft, delicate harmonies. Does the album feel like an extension of those early songs, or does she do something different here? Kezia: She really homes in on the more tender melodies and vulnerability of previous tracks like ‘Talia’ here, rather than bigger pop sounds (though they’re definitely still there on some tracks). There’s almost a greater sense of confidence in this sonic tenderness and openness. Katie: It’s definitely more vulnerable, more tender and stripped-back. I’ve read it’s a chronological retelling of her heart’s ups and downs from the past year, so it’s not surprising that it feels cathartic.

Were you a little disappointed it’s less about the pop riffs – or did it make you like the record more? Katie: The record’s standout pop banger is ‘Hit Me Back’, and that’s the penultimate track on the album, so she makes you wait for it. That said, just because the pop riffs have taken a back seat, it doesn’t make the record any less catchy - she has an ear for a melody that sticks. So it wasn’t a disappointment, there’s still a lot of singing along to be done! Kezia: It didn’t feel quite as immediate, but I didn’t find that disappointing at all. Releasing ‘Cheap Queen’ and ‘Useless Phrases’ as the first singles gave a good taster of what to expect. ‘Hit Me Back’ is definitely a stand out track, but it almost feels more impactful to have these choice moments of super catchy pop. What are the other stand out songs? Katie: ‘Ain’t Together’, ‘Isabel’s Moment’ (shout out Tobias Jesso Jr.’s extremely lovely feature), and ‘Watching My Phone’, because, god, can’t we all relate to the idea of sitting thinking about someone and constantly looking at your phone willing it to go off? Kezia: I was instantly hooked on ‘Cheap Queen’, and I also really love ‘Prophet’. It’s such a silky, sensual-feeling track where the vocals, melodies and beat all so perfectly meld together. How important is it to have someone who proudly celebrates being queer? Do you think that comes out in the album or is it more a personal collection of songs? Katie: I’m coming at this as a straight cis woman, and don’t want to overstep my place, but I’d say any music that makes you feel proud to be who you are without compromising is wildly important. I don’t think this record necessarily came across as a fierce celebration of being queer, but rather as a personal memoir, where King Princess opens up to express her desires, her fears, her crushes and her heartaches – which is super relatable, regardless of your sexuality, or how you identify.

Kezia: To me it feels predominantly like an emotional collection of tracks that are deeply personal and intimate, but naturally her own identity comes through with that. For me personally, the wealth of incredible, proudly queer artists, such as King Princess, who have space to fully express and celebrate their identities has been pretty integral to my own as a queer person. But I think with Cheap Queen it’s ultimately a beautiful, deeply-human and relatable expression of emotions. And what do you think the future holds for her? Katie: In interviews I’ve read, she can come across a little brash. And while that confidence is definitely not a bad thing – in fact it’s inspiring – it was nice for me to then hear this music that is so delicate and compassionate. Cheap Queen shows there are multiple strings to the King Princess bow – she can deliver pop and she can deliver an a capella intro to make you shiver (closer ‘If You Think It’s Love’). I’m looking forward to catching her live. Kezia: It’ll be interesting to see where she takes her sound next – it’s exciting ‘cause she could continue with this quieter, gentler vibe, or bring out some more absolute bangers. Either way, it’s going to be great. Cheap Queen is out October 25th via Zelig / Columbia Records. @kingprincess69

@kingprincess69 35

Jacques Greene Dawn Chorus LuckyMe October 18th

Album Reviews Kim Gordon No Home Record Matador October 11th Kim Gordon’s solo debut, No Home Record is an often densely electronic album, more akin to the sound of Nine Inch Nails than her work in Sonic Youth or Body/Head - or it would be, were the emotive vocals not so unmistakably hers. A surprising amount of programmed beats and basslines abound for one so entrenched in the noise-rock scene, though it would have been disappointing from an artist of her calibre to hear Gordon do anything other than go out on a limb once more. The real treat is that voice of hers: witnessing her tear in to modern pop culture phenomena like Twitter and AirBnB with a mixture of fascination and disgust is a peculiar joy, but a real one. Thomas Hannan 36

Jacques Greene’s holistic, nuanced approach to electronic music could only come from one of club culture’s true evangelists. A producer keenly aware of the transformative impact of the rave experience, Dawn Chorus stems from the bittersweet bliss that permeates that final Uber home. The successor to 2017’s long-awaited debut album, Feel Infinite, Dawn Chorus emphasises his grasp of sound design in its pursuit of post-rave reflection. Utilising Joel Ford as mix engineer, it’s both a singular vision and a collective project, with Jacques Greene embracing the importance of technique and process alongside the exquisite final artefact. ‘Distance’ embodies glorious ambience via cello from London’s Oliver Coates, while fellow Canadian artist, Cadence Weapon stars on stunning Paradise Garage-inspired cut, ‘Night Service’. Indeed, this notion of the club as a point of transgressive worship permeates the record, recurring on the gospel-leaning samples that drive ‘For Love’. It’s a project with admirable breadth: ‘Do It Without You’ is propelled by those crunching, rave-leaning drum breaks, while My Bloody Valentine elements permeate the lush Boards Of Canada synths on ‘Understand’. Conceptually, the album lingers on the process of becoming, of emerging into the new, while Jacques Greene seeks to blur the lines between euphoric abandon and melancholic introspection. These aspects unite on album closer, ‘Stars’, which shuffles between unbridled elation and curious restraint. A record dominated by engaging sonic beauty and real emotional impact, Dawn Chorus is an exceptional eulogy to the rave experience. Robin Murray

Big Thief Two Hands 4AD October 11th

What a treat it is to have two albums from Big Thief in 2019. If their last record, the dreamy, crepuscular U.F.O.F., isn’t already primed for your end-of-year list, then its decidedly earthier companion, Two Hands will surely take its place. Big Thief created the former in lush woodland surroundings. Immediately afterwards, they decamped to a Texan desert to record the majority of Two Hands – live. That lack of overwrought interference has resulted in a tender and timeless collection of rootsy songs. Assigned to a traditional Side A/Side B split, the songs blend naturally, sometimes as indistinguishable demo offcuts. Highlights include the doomed lovers’ title track, with its urgent arpeggios and clacking percussion, while ‘Not’ serves as the record’s devastatingly visceral apex. Charlotte Krol

Danny Brown Uknowhatimsayin¿ Warp October 4th

Has Danny Brown grown up? It’s easy to think so. Laced with features from Run The Jewels, Obongjayar and Blood Orange, uknowhatimsayin¿ has a maturity to it unlike previous releases from the American rapper. Usually recognised by his use of heavy beats and explicit lyrics, Brown has veered into making mellow, jazzinfused tracks for his fifth album. This is particularly obvious in ‘Negro Spiritual’ featuring JPEGMAFIA and produced by Flying Lotus, a collab that could’ve been explosive, but instead feels nonchalant and funky. Nevertheless, Brown maintains his cheeky lyrical storytelling, as the Q-Tip-produced single ‘Dirty Laundry’ has lines like, “So we did the humpty hump in a Burger King bathroom,” to show he’s still got that signature subversive streak under a misleadingly cleaned-up guise. Georgia Evans

Elvis Depressedly Depressedielica Run For Cover October 4th

Mathew Cothran’s eighth album under the banner of Elvis Depressedly is a further descent into a dystopian, experimental pop world. Cothran takes his typical lo-fi singer/songwriter guise and familiar vocals – filled with existential dread and biblical allusions – and expands more into the electronic and auto-tuned. The airy accents these new elements provide are more nihilistic than euphoric. With tracks like ‘Who Can Be Loved In This World?’, ‘Can You Hear My Guitar Rotting?’ and ‘Let’s Break Up The Band’, you wouldn’t be out of place in thinking that, maybe, Cothran’s not too cheery a person. That said, the record does great genrestraddling between a bedroom recording and a highly-produced indie think-piece. Albert Testani 37

Floating Points Crush

The King Dukes Numb Tongue

Ninja Tune October 18th

Self-Release October 25th

On his third album, Floating Points sets himself apart from his Ninja Tune colleagues. Some of the biggest names in electronic music are signed to the label - from Diplo to Helena Hauff to Bicep to Peggy Gou - yet the producer-cum-qualified-neuroscientist has achieved an emotional breakthrough with Crush.

A self-proclaimed “bunch of misfits, left-behinds, and step-outta-time vagabonds,” The King Dukes release their debut album this month, titled Numb Tongue. Tracks such as ‘I Gotta Go’ and ‘Marlo Cooper’ showcase the band’s work at its finest, boasting infectious helpings of ska-style beats and brass-heavy jazz influences. ‘True True Love’ and ‘Coming Right Back For Your Heart’ portray a romantic and somewhat vulnerable element to the record, while the simplistic melodies of ‘Dying Man’ draw attention to the emotive drones of vocalist, Marc Griffiths.

It’s not all for dancing, nor is all of it melancholic enough for simply contemplating; Floating Points - aka Sam Shepherd - flits between experimental techno, transcendent house and dark ambiance to reach the recesses of the human brain. Do we dance? Do we cry? You’ll find me in the club doing both. From the album opener to Crush’s final credits, jittery synths and anxious strings settle somewhere among the cinematic stardust of his soundscapes. Georgia Marsh

Girl Band The Talkies Rough Trade September 27th

An impressive and unique find, the record is packed with vintage throwbacks to past decades, from the upbeat rockabilly vibes of ‘Keep On Living’ and ‘Caril-Anne’, to the soulful R&B echoes that flow throughout every track. Kelly Ronaldson

From the rasping, panicked breaths of ‘Prolix’ to the electrifying distortion of ‘Ereignis’, Girl Band’s latest offering, The Talkies marks an aggressive and confrontational twelve-track follow-up to the Dublin punks’ 2015 debut, Holding Hands With Jamie. Pouring out the raw inner workings of his mind and facing his fears head-on, vocalist Dara Kiely’s performance is captivating throughout every track, driving the record through a surplus of twisting guitars and hammering drum beats. Outstanding single release, ‘Shoulderblades’ incorporates traces of post-industrial influence, while the eerie and chaotic blur of the aptly-named ‘Aibohphobia’ embodies a deep sense of terror. With its abstract and often humorous portrayals of emotion, the record’s harrowing atmosphere certainly doesn’t make for easy listening, but there’s something remarkably therapeutic in its underlying empathy. Kelly Ronaldson

Lightning Bolt Sonic Citadel Thrill Jockey October 11th

Heavy Lungs Measure EP Balley Records October 10th

Explosive bass/drums duo, Lightning Bolt have spent the past 25 years making more noise than any two American dudes named Brian should be capable of. Their sonic tomfoolery reaches a critical point on their seventh album, striking a newfound balance between scary precision and terrifying power. It’s a potent mix. The whirlwind pulls you from the sheer abrasion of percussive opener, ‘Blow to the Head’ before shoving you into the (almost) polished speed-pop perfection of ‘Husker Don’t’. And while many tunes remain drenched in the Bolt’s trademark echoed reverb, others are remarkably sparse for a change. But it’s the epic nine-minute closer, ‘Van Halen 2049’ that truly confounds with its remorseless melodic trip through a collage of hallucinatory riffs and alarming feedback. Buckle up. Geoff Cowart

After two riotous EPs that have established the band as ones to watch, Bristol’s Heavy Lungs are set to close out 2019 with the release of their third, Measure. Generally, their music taps the same vital energy as the pioneering post-punk of Joy Division, rambunctious squall of Iceage, and uncompromising attitude of IDLES – the latter of which is a name intertwined with Heavy Lungs for more than a single reason, and anyone with even slight cognizance of the previous year in music should already know. But here, Heavy Lungs make their boldest, most sincere statement so far: a collection of tracks that revolve around the “undeniable importance of self- worth,” urging the listener to take heart and redefine the measures that impede access to joy and better living. Harriet Taylor

Nils Frahm All Encores Erased Tapes October 18th

Sometimes when an artist pads out an album with previouslyreleased material, it can feel like a cop-out. But Nils Frahm isn’t just any old artist and, more than anything, we should seize every opportunity to appreciate this collection of songs. Comprised of tracks from all three EPs of the Encores series, it showcases Frahm’s individual and evolving musical styles across each one: piano-led meanderings, ambient soundscapes and more expansive, percussive works. It’s the latter that dish up consistent moments of magic, the bubbling urgency of ‘All Armed’ burning brightest. Yet even when Frahm is at his most ambitious, you get the sense it comes almost effortlessly to him. No wonder he’s considered one of electronic music’s most influential, untouchable figures. All Encores fully justifies that. Lee Wakefield 39

Events Simple Things 2019 October 17-19th, Various venues One of our favourite events of the year is back, with a mind-bending amount on offer – so let’s walk through it: Kicking off the festival proper on Friday 18th, US avant-garde composer, William Basinski presents ‘10,000 Peacock Feathers in Foaming Acid’. A world-premier AV show, his music accompanies collaborators, Evalina Domnitch and Dmitry Gelfand’s use of lasers to magnify the surface of soap bubbles into immersive, cell-like projections. Then come the ‘Day’ and ‘Night’ portions, Saturday 19th. Ticketed separately, the former is an exploration of genre-agnostic emergent and left-field music, set across various venues in central Bristol. Holly Herndon, Nilüfer Yanya, Snapped Ankles, Charlotte Adigéry and Scalping show some of the depth and breadth served up.

Nilüfer Yanya

Jayda G 40

The Night instalment focuses on DJs of diverse persuasions, across Lakota and the Coroner’s Court. The headlining Avalon Emerson and Jayda G’s selections couldn’t be more different if they tried, but by God are they both fantastic. Further down, Bristol institutions like The Kelly Twins and Dave Harvey (Futureboogie) take to the tables. Beyond this, lies Simple Things EXT: a multiplicity of events running across the city from the 17-19th. Some are free, others free with a ticket, all offering something unique. Performances, such as Hyperdub label boss, Kode9, with an AV show inspired by video game music, accompanied by visuals from legendary animator, Kōji Morimoto; Workshops, such as Siren’s class on DJing at We The Curious; Talks, such as on the roles of technology and politics in inclusivity; Other one-off experiences like Simple Things 360 at the Planetarium.

Uncanny Valley Girl

Uncanny Valley Girl October 25-26th, Arnolfini

Four Tet

Uncanny Valley Girl poses questions informed by the history of women and technology. From their relationship with mechanical production (weaving, assembly lines, etc), to the mixture of beauty and horror portrayed in popular science fiction over the years, we watch through the dystopian lens of a cyborg goddess. A choreographed performance set to original music, it plays on tropes before inviting you to “confront your ultimate fear: the rising up of the feminine body.”

25 Years of Bugged Mangos + Melons Out with Four Tet Presents... October 25th, Motion

October 11th, Cosies

In the crazy world of venue closures and, you know, just getting old, it’s rare to see OG clubbing institutions run longer than many of its following have been alive. Over the years, Bristol’s own Bugged Out have been early champions of everyone from Daft Punk to The Chemical Brothers, making many lifelong memories in the process. This month, they welcome none other than Four Tet to lead their 25th birthday, with a record box of “bassy club bangers and unusual techno delights”.

We love Bristol’s many, diverse record labels (head to bristolinstereo.com/newschool for a free compilation), and this month, enthused purveyors of garage, Mangos + Melons, invite you to party with them at Cosies. Label manager and DJ, A-Bee, has booked her “absolute favourite producer and biggest inspiration”, Jeremy Sylvester, to head up a bill of speed garage and garage-house, exclusively on vinyl. A-Bee, Sekt-87 (M+M b2b set) and Conroy (Galaxy FM) are all up to spin too. 41

Full Listings MONDAY 30TH SEPTEMBER

JFS PRESESTS: MATUKI / / MR WOLFS

JAZZ RENDEZ-VOUS FREE / / THE BRISTOL FRINGE

NEW HOPE CLUB £18.50ADV / 7.00PM / O2 ACADEMY

SNAZZBACK FREE / 9.30PM / THE CANTEEN

BLACK COUNTRY, NEW ROAD / 7:30PM / ROUGH TRADE

RIVERS OF NIHIL £15ADV / 7.00PM / THE FLEECE

RALPH PELLEYMOUNTER / / THEKLA

OPEN MIC: HOSTED BY MIKE DENNIS FREE / 8.00PM / THE GALLIMAUFRY

MIX MASTER MIKE £12.50 / £15 ADV / 7.00PM / TRINITY CENTRE

IDLEGOD £5ADV / 7.30PM / THE LOUISIANA

WEDNESDAY 2ND OCTOBER

SONGSMITH / / MR WOLFS

JONNY BRUCE TRIO FREE / 9.30PM / THE CANTEEN

KEFAYA AND ELAHA SOORER / 6.30PM / ROUGH TRADE

LOVE BUTTER + SUPPORT / 7.00PM / CROFTERS RIGHTS

TUESDAY 1ST OCTOBER

FUNZING TALKS: THE SCIENCE OF STRANGER THINGS £12ADV / 7.00PM / EXCHANGE

CHAI FOR ALL FREE / 9.30PM / THE CANTEEN PLASTIC MERMAIDS SOLD OUT / 7.30PM / CROFTERS RIGHTS RYAN + ROE £13.50 / 7.00PM / EXCHANGE HIDE + KONTRAVOID £9ADV / 7.30PM / EXCHANGE MANU DELAGO ENSEMBLE £16.35 INC BF / 8.00PM / FIDDLERS

JESCA HOOP £16.35 INC BF / 8.00PM / FIDDLERS NONCY KOCHANEK £20ADV / 7.30PM / THE FLEECE WALDO'S GIFT: REWORKS: KID A FT ELLIOT ELLISON FREE / 9.00PM / THE GALLIMAUFRY OPEN MIC FREE / 8.00PM / GRAIN BARGE

SEBADOH £17.50ADV / 7.30PM / THE FLEECE

BLG: PHOBOPHOBES / 7.00PM / THE LANES

LEWIS CREAVEN'S DHARMA BLUES FREE / 9.00PM / THE GALLIMAUFRY

FRUIT MACHINE - LIVE HIP HOP CYPHER / / MR WOLFS

THE LOTTERY WINNERS £8ADV / 7.30PM / THE LOUISIANA

RICHARD HAWLEY £27.50ADV / 7.00PM / O2 ACADEMY

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

Full Listings MYSTERY JETS ALBUM AND TICKET / 2:00PM / ROUGH TRADE

THE ALBUM LEAF £20.17 INC BF / 8.00PM / ST GEORGE'S BRISTOL

LINGUA IGNOTA, FEVER 103 / 7:30PM / ROUGH TRADE

FRIDAY 4TH OCTOBER

EARTHGANG / / THEKLA

LEE MCRORY FREE / / THE BRISTOL FRINGE

THURSDAY 3RD OCTOBER

XMENBTEAM / 7.30PM / CAFÉ KINO

KOP AND HIBBER OPENING PARTY + DJS FREE / / THE BRISTOL FRINGE

MALAVITA! FREE / 9.30PM / THE CANTEEN

CHAZ THOROGOOD BLUES TRIO FREE / 9.30PM / THE CANTEEN

IT: ARXX + SLAGHEAP + T.S EDIOT + THE HIDEOUS TREND £6ADV / 7.30PM / CROFTERS RIGHTS

BLG: THE GLUTS + THE KUNDALINI GENIE FREE / 7.00PM / CROFTERS RIGHTS THE HIDDEN PROMISE + D BATEY £4ADV / 7.30PM / EXCHANGE MAISHA £11ADV / 7.30PM / EXCHANGE SEA GIRLS £12ADV / 7.30PM / THE FLEECE SNAZZBACK: BEAT TAPE FEAT. ILLITERATE FREE / 9.00PM / THE GALLIMAUFRY THE MALEFIC GRIP + UNBURIER FREE / 7.00PM / THE GRYPHON TWO DAY COMA £5ADV / 7.30PM / THE LOUISIANA PINEY GIR / 7.00PM / THE MOTHERS RUIN THE WEDLOCKS + MIRACLE RUN + FLOS VITA / / MR WOLFS GEORGIE OGILVIE / 7:30PM / ROUGH TRADE

CHEERBLEEDERZ + ME REX £5ADV / 7.30PM / EXCHANGE KIKAMORA + NIGHT LASER + ETHYRFIELD £7ADV / 6.30PM / EXCHANGE FREEDOM! A TRIBUTE TO GEORGE MICHAEL £17.50ADV / 7.00PM / THE FLEECE KORTO + SERVO FREE / 7.00PM / THE LANES BLOXX £8ADV / 7.30PM / THE LOUISIANA BLOWOUT PRESENTS: SLIME CITY + DOWNARD + MARTYRIALS PWYW / 7.30PM / THE MOTHERS RUIN THIS FEELING PRESENTS: LYERR + THE FALMOUTHS £5 / 7.30PM / THE MOTHERS RUIN TRAVIS WALTONS + SQUIDGE / / MR WOLFS THE JAMESTOWN BROTHERS FREE / 11.00PM / NO. 1 HARBOURSIDE 43

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

Full Listings MAD APPLE CIRCUS & DJ CHRIS ARNOLD / / OLD MARKET ASSEMBLY

KATHRYN WILLIAMS FREE / 2:00PM / ROUGH TRADE

ARCHIE FAULKS / 7:30PM / ROUGH TRADE

GENDER ROLES + SUN SPOT + GRANDMA'S HOUSE / 7:30PM / ROUGH TRADE

PIERCE BROTHERS / / THEKLA SATURDAY 5TH OCTOBER JAMES PIANOMAN FREE / / THE BRISTOL FRINGE DESTINY’S GRANDCHILD £3 / 7.30PM / CAFÉ KINO AFON SISTEMA & MESTRE HUGO FREE / 9.30PM / THE CANTEEN FONZY & COMPANY £5ADV / 7.00PM / CROFTERS RIGHTS TUNGZ + JOE PROBERT £8ADV / 7.30PM / EXCHANGE MISS KILL + NERVOUS REX + RAGDOLLZ £7ADV / 7.00PM / EXCHANGE THE EMPERIALS £11ADV / 7.00PM / THE FLEECE HAXAN + IRONY OF FATE (SWITZERLAND) / 7.00PM / THE GRYPHON ARCTIC LAKE £9ADV / 7.30PM / THE LOUISIANA THE BACKHAND JAGS PWYW / 7.30PM / THE MOTHERS RUIN COLLETTE THE DOTS + SUPPORT / / MR WOLFS FLASH HARRY FREE / 11.00PM / NO. 1 HARBOURSIDE

CHASE ATLANTIC £15ADV / 6.30PM / SWX SUNDAY 6TH OCTOBER ADAM AND VICTORIA KLEIN FREE / / THE BRISTOL FRINGE BELL LUNGS + PUP TENT + GOBLYNNE'S + DUST £6ADV / 7.00PM / CAFÉ KINO ANDREW WAITE FREE / 4.00PM / THE CANTEEN FAMILY TIME FREE / 8.00PM / CROFTERS RIGHTS SLACKERS + CALL ME MALCOLM £15ADV / 7.00PM / EXCHANGE ORGANEK £25ADV / 7.00PM / THE FLEECE SYDNEY SESSIONS FREE / 8.00PM / THE GALLIMAUFRY TIDES FROM NEBULA & TIDES OF MAN / 8.00PM / THE LANES THE DUNWELLS £10ADV / 7.30PM / THE LOUISIANA THE LAFONTAINES / 7.30PM / THE MOTHERS RUIN HOOTIE AND THE BLOWFISH £39.50ADV / 7.00PM / O2 ACADEMY SLEEP £22.50ADV / 7.00PM / SWX

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

Full Listings GLOBO COLLECTIVE FREE / 8.00PM / TOBACCO FACTORY MONDAY 7TH OCTOBER CANTEEN JAZZ SESSION FREE / 9.30PM / THE CANTEEN ALI HORN + JAKABOL / 7.00PM / CROFTERS RIGHTS THE MURDER CAPITAL £10ADV / 7.00PM / EXCHANGE OPEN MIC: HOSTED BY MIKE DENNIS FREE / 8.00PM / THE GALLIMAUFRY GRAVY TRAN & BLG: TRUMANS WATER / 7.00PM / THE LANES ART FOR OUR SAKE / SONGSMITH / / MR WOLFS MISS JUNE / 7:30PM / ROUGH TRADE TUESDAY 8TH OCTOBER ANDREW SKELLAM FREE / 9.30PM / THE CANTEEN SWIM DEEP + PHOEBE GREEN £10ADV / 7.00PM / EXCHANGE WALTER TROUT £25ADV / 7.30PM / THE FLEECE THE DUVAL PROJECT FREE / 9.00PM / THE GALLIMAUFRY VALERAS £8ADV / 7.30PM / THE LOUISIANA JAZZ FUNK SOUL SOCIETY / / MR WOLFS

SWIN DEEP ALBUM AND TICKET / 7:30PM / ROUGH TRADE CREEP SHOW £17.50ADV / 7.30PM / TRINITY CENTRE WEDNESDAY 9TH OCTOBER LA PERLA FREE / 9.30PM / THE CANTEEN TM + KAYA + LAUREN RALPH + JIM LEGACY / 7.00PM / CROFTERS RIGHTS HOUSE OF PHARAOHS £10ADV / 7.00PM / EXCHANGE DAVID FORD £15ADV / 7.30PM / THE FLEECE WALDO'S GIFT: SYNESTHESIA FREE / 9.00PM / THE GALLIMAUFRY OPEN MIC FREE / 8.00PM / GRAIN BARGE FRUIT MACHINE - LIVE HIP HOP CYPHER / / MR WOLFS KOVIC / / THEKLA THURSDAY 10TH OCTOBER SLOWSKI + SUPPORT / 7.30PM / CAFÉ KINO JAMES DORMAN’S SOUL BOSSA COLLECTIVE FREE / 9.30PM / THE CANTEEN PLANET ROCK ROADSTARS + HANNAH WICKLUND & THE STEPPIN STONES + GORILLA RIOT + PISTON £14ADV / 6.30PM / EXCHANGE

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

Full Listings EGYPTIAN BLUE £6ADV / 7.30PM / EXCHANGE

GRAVY TRAIN & BLG: THE COSMIC DEAD / 7.30PM / THE LANES

BLACK PEAKS £13ADV / 7.30PM / THE FLEECE

JOHN £7ADV / 7.30PM / THE LOUISIANA

SNAZZBACK PRESENTS: MILON FREE / 9.00PM / THE GALLIMAUFRY

THE DELEGATES + SUPPORT / / MR WOLFS

PEGGY SUE £9ADV / 7.30PM / THE LOUISIANA

HORNING GLORY FREE / 11.00PM / NO. 1 HARBOURSIDE

GLASS VIOLET + SUPPORT / / MR WOLFS

THE RASMUS £22.50ADV / 6.30PM / O2 ACADEMY

BLACK STAR RIDERS £29.50ADV / 7.00PM / O2 ACADEMY

PAPAYA FEST: WARA + DJS IVICORE & PANTHER PANTHER! / / OLD MARKET ASSEMBLY

THE RUPEES / 7:30PM / ROUGH TRADE BARNS COURTNEY £13ADV / 7.00PM / TRINITY CENTRE FRIDAY 11TH OCTOBER LEE MCRORY FREE / / THE BRISTOL FRINGE DANCE CAMP BAND 34 FREE / 9.30PM / THE CANTEEN C.A.SUTTON BAND £5ADV / 7.30PM / CROFTERS RIGHTS CRAIG FINN + LAURA STEVENSON £22.50ADV / 7.00PM / EXCHANGE MI CASA £12ADV / 11.00PM / EXCHANGE TANKUS THE HENGE £12ADV / 7.00PM / THE FLEECE DARKFALL (AUSTRIA) / 7.00PM / THE GRYPHON

JERKCURB / 7:30PM / ROUGH TRADE MILES KANE £20ADV / 6.30PM / SWX HOLY MOLY & THE CRACKERS / / THEKLA SUPERSEED + DEEP SEA THIEVES + JET BLACK 3 £6ADV / 7.30PM / THE THUNDERBOLT SATURDAY 12TH OCTOBER ANDERS / OLINDER FREE / / THE BRISTOL FRINGE CASSETTE MARKET + LIVE MUSIC TBA FREE/DONATIONS / 12.00PM / CAFÉ KINO MUSTARD BRASS FREE / 9.30PM / THE CANTEEN THE MONOCHROME SET + THE TOTAL REJECTION + BUSH & FEY £14ADV / 7.30PM / CROFTERS RIGHTS

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Full Listings THE DESTROYERS £13.50ADV / 8.00PM / EXCHANGE

FANGCLUB £8.50ADV / 7.30PM / CROFTERS RIGHTS

THE OTHER GUYS (FRANKIE VALLI TRIBUTE) £14ADV / 7.00PM / THE FLEECE

INHALER £8ADV / 7.00PM / EXCHANGE

DIVINE CHAOS + DIVIION / 7.00PM / THE GRYPHON BLG: MANDEVILLE FREE / 7.00PM / THE LANES

THE KRIS BARRAS BAND £18.50ADV / 7.00PM / THE FLEECE PHANTOM ENSEMBLE FREE / 8.00PM / THE GALLIMAUFRY

BESS ATWELL £9ADV / 7.30PM / THE LOUISIANA

LUNG MONEY + DERELICT DREAM + THREE DEAD / 7.00PM / THE GRYPHON

OLD BABY MACKEREL FREE / 11.00PM / NO. 1 HARBOURSIDE

BLG: THE LOVE COFFIN + PLASTIC ESTATE FREE / 8.00PM / THE LANES

PAPAYA FEST: THE FONTANAS + DJS BOOTY BASS & HIPHOPPAPOTAMUS / / OLD MARKET ASSEMBLY

JORDAAN MASON & BEHEADING / 7:30PM / ROUGH TRADE

ISSUES ALBUM AND TICKET / 12:30PM / ROUGH TRADE GASSED UP / 7:30PM / ROUGH TRADE

CHASTITY BELT / / THEKLA THE STRIKING CLOCK FREE / 8.00PM / TOBACCO FACTORY MONDAY 14TH OCTOBER

AMBER RUN £15ADV / 6.30PM / SWX

DECYPHERS HIP HOP SESSION FREE / 9.30PM / THE CANTEEN

WHENYOUNG / / THEKLA

THC DREAMS + GUESTS £6ADV / 7.00PM / CROFTERS RIGHTS

SUNDAY 13TH OCTOBER

KAWALA £10ADV / 7.30PM / EXCHANGE

STEVE PAYNE FREE / / THE BRISTOL FRINGE DAVE GILES / 7.00PM / CAFÉ KINO CHANCE MCCOY FREE / 4.00PM / THE CANTEEN

OPEN MIC: HOSTED BY MIKE DENNIS FREE / 8.00PM / THE GALLIMAUFRY MISTY'S BIG ADVENTURE £12ADV / 7.30PM / THE LOUISIANA GIN JAM - OPEN STAGE NIGHT / / MR WOLFS

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Full Listings THE DIVINE COMEDY £30ADV / 7.00PM / O2 ACADEMY

WEDNESDAY 16TH OCTOBER

PIZZAGIRL ALBUM AND TICKET / 7:30PM / ROUGH TRADE

FRASER ANDERSON FREE / 9.30PM / THE CANTEEN

JOHN NEWMAN £22ADV / 7.00PM / SWX PIP BLOM / / THEKLA TUESDAY 15TH OCTOBER LEWIS CLARK FREE / 9.30PM / THE CANTEEN WE STRUCK GOLD + HAVISHAM + INSCAPE / 7.00PM / CROFTERS RIGHTS MURKAGE DAVE £10ADV / 7.30PM / EXCHANGE CLEM BURKE & BOOTLEG BLONDIE £18.50ADV / 7.30PM / THE FLEECE SEEDLING SESSIONS FREE / 9.00PM / THE GALLIMAUFRY ALESUND £5ADV / 7.30PM / THE LOUISIANA JFS PRESENTS: SNAZZBACK / / MR WOLFS KILLSWITCH ENGAGE £26ADV / 7.00PM / O2 ACADEMY STEPHEN DUFFY ALBUM AND TICKET / 7:00PM / ROUGH TRADE JORDAN RAKEI £15ADV / 7.00PM / SWX

SAMANA FREE / 8.00PM / CROFTERS RIGHTS WINTERFYLLETH £15ADV / 6.30PM / EXCHANGE MARTIN HARLEY £17.50ADV / 7.30PM / THE FLEECE WALDO'S GIFT: OPEN COLLAB FREE / 9.00PM / THE GALLIMAUFRY OPEN MIC FREE / 8.00PM / GRAIN BARGE OLDEN YOLK £10ADV / 7.30PM / THE LOUISIANA FRUIT MACHINE - LIVE HIP HOP CYPHER / / MR WOLFS SEAN NICHOLAS SAVAGE / 7:30PM / ROUGH TRADE THE HOUSE & GARAGE ORCHESTRA £19.50ADV / 7.00PM / SWX TEN TONNES £13ADV / 7.00PM / TRINITY CENTRE THURSDAY 17TH OCTOBER BECK HESSION LASH + HITCHENS MAGDA + DAVIS GRIGG £5 / 8.00PM / CAFÉ KINO HORNSTARS FREE / 9.30PM / THE CANTEEN LEIF ERIKSON £8ADV / 7.30PM / CROFTERS RIGHTS

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Full Listings FRANKIE COSMOS + LINA TULLGREN £13ADV / 7.30PM / EXCHANGE C.H.E.W. + GLUD £6ADV / 8.00PM / EXCHANGE LOCAL NATIVES £16.50ADV / 7.30PM / THE FLEECE SNAZZBACK FREE / 9.00PM / THE GALLIMAUFRY BANG BANG ROMEO £8ADV / 7.30PM / THE LOUISIANA BICURIOUS + MAYORS OF TORONTO AT THE MOTHERS RUIN FREE / 7.30PM / THE MOTHERS RUIN FLIGHT BRIGADE + PRETTY CRIMINALS / / MR WOLFS SLOWTHAI SOLD OUT / 7.00PM / O2 ACADEMY DEVON / 7:30PM / ROUGH TRADE REAL FRIENDS / / THEKLA FRIDAY 18TH OCTOBER RISING UP: PETERLOO 2019 £16.35 INC BF / 8.00PM / BRISTOL FOLK HOUSE MARK FEVEN PIANOMAN FREE / / THE BRISTOL FRINGE SPACE JELLY JAMS / 7.00PM / CAFÉ KINO LAST TREE SQUAD FREE / 9.30PM / THE CANTEEN

BLG: ROSE COUSIN + PAPER BEAT SCISSORS £8ADV / 7.00PM / CROFTERS RIGHTS KING PRAWN + RISKEE & THE RIDICULE + BOTTLEKIDS £15ADV / 7.30PM / EXCHANGE LOVE DISTRACTION + DURAN UK £13.50ADV / 7.00PM / THE FLEECE BULLYBONES + JERRY + BIRDMAN CULT £3ADV / 7.00PM / THE LANES THYLA £7ADV / 7.30PM / THE LOUISIANA MODERN AGE MUSIC PRESENTS: THE NOVATONES, THE EDIT + SPECIAL GUESTS £5ADV / 7.30PM / THE MOTHERS RUIN RUN LOGAN RUN + HEXCUT / / MR WOLFS LOS GUSANOS FREE / 11.00PM / NO. 1 HARBOURSIDE ROACHFORD £25ADV / 6.00PM / O2 ACADEMY LONDON AFROBEAT COLLECTIVE & RU ROBINSON / / OLD MARKET ASSEMBLY ROZI PLAIN / / THEKLA SATURDAY 19TH OCTOBER HANGOVER CLUB FREE / / THE BRISTOL FRINGE THE KING DUKES FREE / 9.30PM / THE CANTEEN THE JACQUES + JEAN PENNE + DAMEFRISOR + BLUE BENDY £6ADV / 7.00PM / CROFTERS RIGHTS 49

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Full Listings DESOLATED £11ADV / 6.00PM / EXCHANGE

EUT £7ADV / 7.00PM / CROFTERS RIGHTS

THE ROCKIN’ REVIVAL: POLECATS + THE BULLETS + KING STROKE AND THE HEART ATTACKS + FAT ‘N’ FURIOUS £20ADV / 7.00PM / FIDDLERS

A2 £10.50ADV / 7.00PM / EXCHANGE

MARTHA £10ADV / 6.30PM / THE FLEECE LACERTILIA / 7.00PM / THE GRYPHON CURSE OF LONO £10ADV / 7.30PM / THE LOUISIANA BLAKRABB1T + TOXIC FISH + COPYWRONGED + DEAD INTENTIONS £5 / 7.30PM / THE MOTHERS RUIN THE SURFIN BIRDS / / MR WOLFS THE HUCKLEBUCK FREE / 11.00PM / NO. 1 HARBOURSIDE LEVEL UP! RE-ANIMATED! / / OLD MARKET ASSEMBLY SIMPLE THINGS FESTIVAL / 2:00PM / ROUGH TRADE SUNDAY 20TH OCTOBER BRENNEN LEIGH & NOEL MCKAY £13.08 INC BF / 8.00PM / BRISTOL FOLK HOUSE THE HARRIONS TRIO FREE / / THE BRISTOL FRINGE DOG DAISIES + THE NATURE CENTRE + WATCH PAINT DRY £5 / 7.30PM / CAFÉ KINO CHORLTON COUNTRY CLUB FREE / 4.00PM / THE CANTEEN 50

TOYAH £20ADV / 7.30PM / THE FLEECE SUN SESSIONS W/ BOKITO, ALEXANDER SUN, ROBERTA PIA & DJ WAX HOGS! FREE / 8.00PM / THE GALLIMAUFRY KATE TEMPEST / 7.00PM / O2 ACADEMY FEET / 7:30PM / ROUGH TRADE GLORY HAMMER £18ADV / 7.00PM / SWX ADAM GREEN / / THEKLA SUNDAY SWING FACTORY FREE / 8.00PM / TOBACCO FACTORY MONDAY 21ST OCTOBER JOSHUA BLACKMORE’S SIZE + TOM CAWLEY’S FALSE 9 FREE / 9.30PM / THE CANTEEN THE MODERN STRANGERS £8.96INC BF / 7.00PM / CROFTERS RIGHTS THE FALLEN STATE £10ADV / 6.00PM / EXCHANGE OPEN MIC: HOSTED BY MIKE DENNIS FREE / 8.00PM / THE GALLIMAUFRY BLG & WAXLAX: DREAM PHASES + EAD WOOD FREE / 8.00PM / THE LANES

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Full Listings GIN JAM - OPEN STAGE NIGHT / / MR WOLFS

LAYDEEZ DO COMICS FREE/DONATIONS / 6.30PM / CAFÉ KINO

HOT CHIP £26.50ADV / 7.00PM / O2 ACADEMY

LIL MAXINE FREE / 9.30PM / THE CANTEEN

THE BLUE STONES / 7:30PM / ROUGH TRADE

1%: SHANA CLEVELAND £9ADV / 7.30PM / CROFTERS RIGHTS

EASY LIFE £14ADV / 7.00PM / SWX

LAURA MISCH £8ADV / 7.00PM / EXCHANGE

STRIKING MATCHES & TENILE TOWNS / / THEKLA

FAVELA £10ADV / 7.30PM / EXCHANGE

TUESDAY 22ND OCTOBER

WALDO'S GIFT: EXPERIMENTATIONS FREE / 9.00PM / THE GALLIMAUFRY

OPEN MIC FREE / / THE BRISTOL FRINGE

OPEN MIC FREE / 8.00PM / GRAIN BARGE

LIVE MUSIC TBA FREE / 9.30PM / THE CANTEEN

AUTOMATIC FREE / 8.00PM / THE LANES

ODUNSI THE ENGINE £17.50ADV / 7.00PM / EXCHANGE

FRUIT MACHINE - LIVE HIP HOP CYPHER / / MR WOLFS

RWKUS FREE / 9.00PM / THE GALLIMAUFRY

HEELS OF HELL £37ADV / 7.00PM / O2 ACADEMY

GRAVY TRAIN: REV REV REV / 8.00PM / THE LANES

THURSDAY 24TH OCTOBER

JOSIE BLAKELOCK £5ADV / 7.30PM / THE LOUISIANA

AFTERNOON JAZZ / HIP HOP FREE / / THE BRISTOL FRINGE

JAZZ FUNK SOUL SOCIETY / / MR WOLFS

SILENCIO: AN EVENING OF AMBIENT MUSIC £7ADV / 7.00PM / CAFÉ KINO

GARY NUMAN £32.50ADV / 7.00PM / O2 ACADEMY LARKINS / 7:30PM / ROUGH TRADE WEDNESDAY 23RD OCTOBER FRINGE JAZZ £10 / / THE BRISTOL FRINGE

LOS ABBURES FREE / 9.30PM / THE CANTEEN WS & BLG: DEEPER + SLONK + TROUBLED BREATHING / 8.00PM / CROFTERS RIGHTS KEYWEST £15ADV / 7.30PM / EXCHANGE 51

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Full Listings DROOGS + LEATHERS + EGO DEATH STAR £3ADV / 8.00PM / EXCHANGE

OSO OSO £9ADV / 7.30PM / THE LOUISIANA

YOUNGBLOOD BRASS BAND £16.50ADV / 7.30PM / THE FLEECE

THE BROKEN BONES GENTLEMANS CLUB PWYW / 7.30PM / THE MOTHERS RUIN

SNAZZBACK - GLOBAL GROOVE EXPERIMENT FREE / 9.00PM / THE GALLIMAUFRY

HUW & THE GREATER GOOD + LIFE IN MONO / / MR WOLFS

FEBUEDER £9ADV / 7.30PM / THE LOUISIANA

VRBL FREE / 11.00PM / NO. 1 HARBOURSIDE

THE SELECTER £25ADV / 7.00PM / O2 ACADEMY

CHARLES ESTEN £29.50ADV / 7.00PM / O2 ACADEMY

BRISTON MARONEY / 7:30PM / ROUGH TRADE

OH MY GOD! IT'S THE CHURCH & X RAY TED / / OLD MARKET ASSEMBLY

SUNN O))) £24ADV / 7.00PM / SWX SOUP OF JURASSIC 5 PRESENTS: FULLEE LOVE COLLECTIVE / / THEKLA FREDDIE GIBBS £17.50ADV / 7.00PM / TRINITY CENTRE FRIDAY 25TH OCTOBER LIVE MUSIC WITH LEE FREE / / THE BRISTOL FRINGE ELECTRO CAFE £10ADV / 7.00PM / CAFÉ KINO LIVE MUSIC TBA FREE / 9.30PM / THE CANTEEN MELT BANANA £13.50ADV / 7.30PM / EXCHANGE SCORDATURA + DEATH AWAITS + ASCARIS + HUMAN MYCOSIS / 7.00PM / THE GRYPHON

SEQUOYAH MURRAY ALBUM AND TICKET / 7:30PM / ROUGH TRADE THE SKINTS + BEDOUIN SOUNDCLASH £19ADV / 7.00PM / TRINITY CENTRE SATURDAY 26TH OCTOBER BIRDS OF CHICAGO £16.35 INC BF / 7.30PM / BRISTOL FOLK HOUSE STEVE LEVER FREE / / THE BRISTOL FRINGE LIVE MUSIC TBA FREE / 9.30PM / THE CANTEEN HOT FLASH HEATWAVE / 7.00PM / CROFTERS RIGHTS JONAH MATRANGA £10ADV / 7.00PM / EXCHANGE THE FILLERS £13.50ADV / 7.00PM / THE FLEECE

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Full Listings BLG: RUN INTO THE NIGHT FREE / 7.00PM / THE LANES SONS OF LIBERTY £8ADV / 7.30PM / THE LOUISIANA CABARATS + GYPSYSYNDICATE / / MR WOLFS

RUTH ROYALL PRESENTS THE POCKET SESSIONS FREE / 8.00PM / THE GALLIMAUFRY SKELETHAL + LIVE BURIAL + AUSTERYMN + DIES HOLOCAUSTUM / 7.00PM / THE GRYPHON

LOST ELEVEN FREE / 11.00PM / NO. 1 HARBOURSIDE

TSITAPH: MARCUS’S MIDLIFE CRISIS HOOTENANNY FREE / 7.00PM / THE LANES

NSG £17.50ADV / 7.00PM / O2 ACADEMY

CAROLINE SPENCE £13ADV / 7.30PM / THE LOUISIANA

FOUNDATIONS FESTIVAL PREVIEW / 7:30PM / ROUGH TRADE

STRAIGHT GIRL + DEAD NAKED HIPPIES FREE / 7.30PM / THE MOTHERS RUIN

LAMB £25ADV / 6.30PM / SWX

MOSTACK £20ADV / 7.00PM / O2 ACADEMY

CASSIA / / THEKLA

THISCITYISOURS / 6:00PM / ROUGH TRADE

ZION TRAIN & DUB FROM ATLANTIS £14-£17ADV / 10.00PM / TRINITY CENTRE

THE SHERLOCKS £16ADV / 7.00PM / SWX

SUNDAY 27TH OCTOBER

HAELOS / / THEKLA

JOHN SMITH £16.35 INC BF / 8.00PM / BRISTOL FOLK HOUSE HOT CLUB FREE / / THE BRISTOL FRINGE RED ROOTS JAZZ FREE / 4.00PM / THE CANTEEN GRAVY TRAIN & BLG: MUSH / 7.30PM / CROFTERS RIGHTS

JOHN PEARCE FREE / 8.00PM / TOBACCO FACTORY MONDAY 28TH OCTOBER OPEN MIC FREE / / THE BRISTOL FRINGE SLIM’S BLUES & ROOTS SESSION FREE / 9.30PM / THE CANTEEN

BABEHEAVEN £10ADV / 7.30PM / EXCHANGE

CONJURER + EARTH MOVES + ARMED FOR APOCALYPSE / 7.30PM / CROFTERS RIGHTS

ANDY FAIRWEATHER LOW £25ADV / 7.30PM / THE FLEECE

WHY? £17ADV / 7.30PM / EXCHANGE

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Full Listings CATTLE DECAPITATION £15ADV / 7.00PM / THE FLEECE

THRICE + REFUSED £30ADV / 6.30PM / O2 ACADEMY

OPEN MIC: HOSTED BY MIKE DENNIS FREE / 8.00PM / THE GALLIMAUFRY

KLLO / 7:30PM / ROUGH TRADE

BLG & WP: ECSTATIC VISION / 7.00PM / THE LANES

HONEYBLOOD / / THEKLA

THE RAILS £15ADV / 7.30PM / THE LOUISIANA

ABSTRACT ORCHESTRA PLAYS MF DOOM £15ADV / 7.00PM / TRINITY CENTRE

GIN JAM / / MR WOLFS

WEDNESDAY 30TH OCTOBER

HEADIE ONE £15.50ADV / 6.30PM / SWX

OPEN STAGE FREE / / THE BRISTOL FRINGE

LITTLE SIMZ / / THEKLA

ERIN DURANT + KETIBU + JOSIE BLAKELOCK / 7.30PM / CAFÉ KINO

ROYAL REPUBLIC £15ADV / 7.30PM / TRINITY CENTRE TUESDAY 29TH OCTOBER FRINGE JAZZ £10 / / THE BRISTOL FRINGE LIVE MUSIC TBA FREE / 9.30PM / THE CANTEEN JIM LOCKEY & THE SOLEMN SUN / 7.30PM / CROFTERS RIGHTS BEYOND THE BLACK £12ADV / 7.30PM / EXCHANGE DOIN-IT THATAWAY PLAYS DONNY HATHAWAY FREE / 9.00PM / THE GALLIMAUFRY ROBERT VINCENT £TBC / 7.30PM / THE LOUISIANA JFS PRESENTS: PYJAEN / / MR WOLFS

ATLAS FREE / 9.30PM / THE CANTEEN THE SOUND CUPBOARD PWYW / 8.00PM / CROFTERS RIGHTS LIFE OF AGONY £20ADV / 7.30PM / THE FLEECE WALDO'S GIFT: FT HARRY POPE & CHELSEA CARMICHAEL FREE / 9.00PM / THE GALLIMAUFRY OPEN MIC FREE / 8.00PM / GRAIN BARGE CARNATION + SISTERS OF SUFFOCATION + BODY HARVEST + SKULLFUCKED £8ADV / 7.00PM / THE GRYPHON BLG: PRINCESS THAILAND / 7.30PM / THE LANES FRUIT MACHINE - LIVE HIP HOP CYPHER / / MR WOLFS

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Full Listings THURSDAY 31ST OCTOBER

THE REACHAROUNDS: 'THE REUNION' £5ADV / 7.30PM / THE THUNDERBOLT

URSA + SAILING STONES £5ADV / 7.30PM / CAFÉ KINO

SATURDAY 2ND NOVEMBER

MELT EVERYTHING DOWN FREE / 9.30PM / THE CANTEEN

NUTTYNESS £12ADV / 7.00PM / THE FLEECE

ADA LEA / 7.00PM / CROFTERS RIGHTS

AIRWAYS £8ADV / 7.30PM / THE LOUISIANA

BORROWED ATLAS + LESSENS £5ADV / 7.30PM / EXCHANGE

CHARLIE CUNNINGHAM £15.80 INC BF / 8.00PM / REDGRAVE THEATRE

PETBRICK £8ADV / 8.00PM / EXCHANGE THE QUIREBOYS UNPLUGGED £15ADV / 7.30PM / THE FLEECE SNAZZBACK PRESENTS FREE / 9.00PM / THE GALLIMAUFRY WORKING MEN'S CLUB £9ADV / 7.30PM / THE LOUISIANA NO ME COMAN / 7:30PM / ROUGH TRADE FRIDAY 1ST NOVEMBER KNIFEDOUTOFEXISTENCE X BEHEADING £4ADV / 7.30PM / CAFÉ KINO ENJOY THE SILENCE UK £13.50ADV / 7.00PM / THE FLEECE ONLY THE POETS £10ADV / 7.30PM / THE LOUISIANA THE WORRY DOLLS £8ADV / 7.30PM / THE MOTHERS RUIN THE SMYTHS £15ADV / 6.30PM / O2 ACADEMY FEVER 333 £16.50ADV / 6.30PM / SWX

PICTURE THIS £15ADV / 6.00PM / SWX FRUITS DE MER / MEGAMO £20ADV / 7.30PM / THE THUNDERBOLT SUNDAY 3RD NOVEMBER MARTHA HILL + THE GOOD BOYS + CEITIDH MAC / 7.30PM / CAFÉ KINO IMPERIAL TRIUMPHANT £10ADV / 7.30PM / EXCHANGE MARTIN KEMP - BACK TO THE 80S PARTY £25ADV / 7.30PM / THE FLEECE LIVE MUSIC TBA FREE / 8.00PM / THE GALLIMAUFRY DUSTBOWL REVIVAL £14ADV / 7.30PM / THE LOUISIANA OPETH £30ADV / 7.00PM / O2 ACADEMY MONDAY 4TH NOVEMBER INTER ARMA £10ADV / 7.00PM / EXCHANGE

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Live Reviews curated by Jon Kean, Live Editor

Sasami August 29th at Louisiana words: Jonny Pinches photography: Jessica Bartolini SASAMI worked as a pre-school teacher in a different life. Undoubtedly, she knows how to control a room. As it turns out, it doesn’t actually matter whether that’s a classroom or not - she’s a dominant force anyway. SASAMI shows up, and she’s wearing a frilly nightgown straight out of a horror flick. Suddenly she’s blasting out chords, so we all fall silent. “We’re not playing yet,” she declares, and returns to fiddling with her guitar. It’s uniquely comic. ‘Don’t Be Sorry’ is up first, drenching us with washed-out shoegaze from the start. The energy is turned up another notch: she starts bursting out screaming at random intervals. But it somehow works, and the noise just adds on to the track’s ordered, yet urgent, cacophony. She has a certain eccentricity on stage. Although dressed like Alice, her role’s the Mad Hatter, and we’re the ones through the looking glass. Apparently, she’s come “long and far” 56

to get here, “in a tiny box, on the shoulder of an old man… Thank you, old man.” Even the cruellest Scrooge would find it difficult not to laugh. ‘I Was A Window’ is more gorgeous than it ever was on the record. She alternates between wild gesticulations at the mic, and a peaceful sway, eyes shut. And yet, it’s always accompanied by her clear, serene vocals. The record version of ‘Take Care’ pales in comparison to the live show: Sasami’s rocking out on her guitar, hair flying everywhere. She asks us if we’re good - (“Yeah!”) - and oinks in response. Did I say she used to teach pre-schoolers? ‘Callous’ is a highlight. Tension builds as she whispers into the mic stand, staring downwards - as all true shoegazers should - then releases with, “I can see myself… slipping down.” It’s followed by guitar to die for, the best of the night so far. You’d never know her main instrument was the French horn. SASAMI has talent matched fully by her stage presence and (of course) accompanying humour. It turns out she’s very friendly and ‘normal’ in person, dishing out fist bumps at the merch table. Of course, that could be the real act.

The Spook School September 3rd at Exchange words: Elliott Simpson photography: Grace Fitton-Assinder The lights dim, orchestral music begins to play and The Spook School enter the stage wearing matching astronaut outfits, complete with cardboard box helmets. They tell the audience they’re going to the moon. The band have always been committed to doing their own thing and at their gigs, it often feels like hanging out with a group of old friends. “It’s less like a band coming to an end and more like a CBeebies series,” quips drummer Niall McCamley. For their final Bristol show, the band sound fantastic, ripping through every song with a punk sense of energy. Drummer Niall McCamley and bassist Anna Corey form an airtight rhythm section, while brothers Nye and Adam Todd shred heavily on their guitars. The show kicks off with ‘Still Alive’, which features a roaring chorus that takes aim at the haters. It’s the first of many singalong moments, and the band reel off plenty of great songs from across their three albums, including queerness anthems ‘Binary’ and ‘Burn Masculinity’. There are also more sombre moments in the set as well, such as the band’s performance of their final single, the fittingly titled ‘Keep in Touch’.

Eventually the time comes for The Spook School to set off to the moon, as promised. The band members put their astronaut helmets back on, exit the stage and leave the audience listening to a launch countdown. One accidental press of the ejector button later, courtesy of McCamley, and The Spook School return to the stage. For an encore, the band cut through a punk-infused cover of the Fleetwood Mac hit ‘Go Your Own Way’, before finishing things off with another Spook School classic, ‘I Want to Kiss You’. It’s a song that sums up the appeal of the band perfectly, challenging gender normativity, having a slight tongue-in-check edge and – of course – rocking hard. The Spook School may be ending, but they’re going out on a high note. Find full reviews and more at: bristolinstereo.com 57

Thoughts ... by Katie Goh

On Being the Cowboy You may have noticed that the cowboy is having a bit of a moment. From Mitski telling us to Be the Cowboy, to Solange’s When I Get Home film which reimagines the forgotten history of black cowboys, to Lil Nas X and Cardi B donning Stetsons, the yeehaw agenda is all over contemporary music, particularly music by people of colour, particularly women of colour. In film, the Western is having a resurgence with movies like The Rider, Western and Marlina the Murderer in Four Acts exploring ideas of nationality, vengeance and solidarity through a reimagining of the genre. Notably, all three films are directed by women. The cowboy has traditionally stood as the epitome of white man authority: the John Wayne cowboy rides into town, scares away the Natives and rides off into the sunset with the girl. The cowboy has been essential to North American mythos – which is why it’s the perfect figure to be claimed by those marginalised in society.

When Mitski says Be the Cowboy, she means to stride into a room with the cowboy’s gait and swagger. The cowboy does not apologise. The cowboy is entitled and arrogant and takes up space. For a woman of colour to be the cowboy is radical. It feels incredible. Riding into towns that don’t want him, the cowboy is a perfect alien. Ironically, I’ve always thought the closest archetype we have to the cowboy in 2019 is the immigrant: transient, lonely, always on the outside looking in with nowhere to go. ‘Be the cowboy’ has become my mantra for getting through the day, week, year. When I whisper it to myself as I walk out the front door, I’m the cowboy on the open road, powerful in my loneliness, hand on my hip, just me and my horse, riding into a sun-flared future. Katie Goh writes words for our sister magazine, London in Stereo, as well as The Skinny, The Guardian, Dazed and many more.

The Gallimaufry

Waldo’s Gift

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

2 Oct ~ Waldo’s Gift: Reworks: Kid A ft. Elliot Ellison On this day, the Cousin Kula frontman shares a birthday with this ground-breaking album

9 Oct ~ Waldo’s Gift: Synesthesia

We warmly welcome the return of Holysseus Fly, painting sound to canvas

16 Oct ~ Waldo’s Gift: Open collab

The stage is open and a safe place for sharing and expression 23 Oct ~ Waldo’s Gift: Experimentations New things on the horizon. The trio play with sketches of material for future releases

30 Oct ~ Waldo’s Gift: ft Harry Pope & Chelsea Carmichael Two heavy hitters from the London scene join the trio

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in Bristol with Tom Koast at Durkle Disco

When did you move to Bristol? I moved here for university in 2003. I always expected I’d end up back in London where I grew up, but the more I got into the music scene here I ended up falling in love with the city and haven’t left since! Who’s your top Bristol artist at the moment? My personal favourite Bristol artist of any genre is British hip hop’s best kept secret, Sirplus - so big up him. Been a Joker fan for years too. All the Bristol based Durkle Disco guys obviously: Slowie, Ngaio, Dash Villz, Juma, Unkey, Boa Kusasa, Redders, K Stylz... Sir Hiss, Emz, Jay0117, Dimpson, OH91, Double and those guys have definitely put Bristol grime back on the map, and Buggsy has been killing it for years. Tell us your go-to places to eat and drink. Matina is definitely a favourite spot when it comes to value, just a shame it’s only open during the day. Eat-A-Pitta is decent too. Also Wing’s Diner in the Small Bar is great, and recently discovered Brother Thai who come to the Harbourside Market once a week. My two favourite pubs in Bristol are The Plough and The Bell... and The Pipe & Slippers will always have a special place in my heart as the name Durkle Disco was born there, and we’ve filmed three different music videos in there! What’s your favourite thing about the city? I guess what made me stay in the first place... it’s a very open, welcoming place with a lot of diversity for a city this size. Music, food, culture, people - it really is punching above its weight in all of them in my opinion.

Photo: Callum Chaplin And your least favourite? Public transport and the roads in general are a bit of a mess... kinda undermines Bristol’s green credentials unfortunately. Also homelessness has been growing seemingly uncontrollably for the last five years or so. Any top venues? I guess the venue I’m most associated with is Motion, having been a resident at various events there for a long time now, and have had many good nights in there. When I was part of a live act, Central Spillz, we used to love playing Thekla too - perfect balance of a decent sized stage but still feeling like you’re in the mix with the crowd... What have Durkle Disco got planned for the rest of 2019? Continuing to keep pushing the releases we’ve had out this year - ‘Bad’ by Kouslin & Logan, and ‘BTTF’ from Boa Kusasa & Redders. By the time this interview comes out, the next single ‘Ego Check’ courtesy of Denham Audio & Juma should be out too, and we’ve got more coming from the likes of Riko Dan, Slowie, Jay0117, Emz, Fonzo & Korostyle. We’ll also be back with one of our semi-regular club nights at Cosies on December 6th... they’re always a vibe! Read the full version at: bristolinstereo.com 61

Behind Every Musician

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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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