A BRISTOL BASED MAGAZINE
THE BIG SISTER ISSUE ISSUE NO.17 12/16
CROWD MAGAZINE DECEMBER 2016 ISSUE 12.
1. START OF STYLE GUIDE
2. HIGHSTREET TO-BUY GUIDE
3. CHRISTMAS CULOTTES
4.RUNWAY STYLES
5-8. WHAT HAPPENED TO KATE NASH
10-15. DRAWING OUT SIDE THE BOX WITH BUYEXPENSIVESNACKS
16-19. PLAYING BRISTOL: THE GARDEN
21-22. 6 INTERESTING FACES
23. MONTHLY ALBUM PICKS
24. WHAT’S GOING ON BRISTOL
Dolly shoes, UNIF, £50
MUST HAVES!
Missguided jumper £30
UNIF shocks £10
Urban outfitters puffer jacket £60
Urban outfitters coulettes £40
ASOS Faux horse hair jacket
Zara lace dress, £36.99
Urban outfitters polka fur, £69.99
Topshop tights, £8.99
Heart Choker, ASOS £5.99
HIGH STREET PRICES FOR THE BIGGEST TRENDS RIGHT NOW. CHEER UP EMO, ITS CHRISTMAS!
UNIF parka, £60
Ruby Red Lipstick, NARS, £4.99
Dolly Shoes, Doc Martins, £70
American Apparel Tennis Skirt, £49.50
Lace bra, TOPSHOP, £22
Rebel Let Mascara, £12.50
Black Leather Backpack, UNIF, £67.99
Baggy Turtle Neck, Zara, £22.99
Sparkle with: ZARA, GLITTER PANT SUIT CULOTTES, £39.00
Throw back to youth with: ASOS, PATCHWORK CULOTTES, £40.00
Pretend it’s spring with: URBAN OUTFITTERS, FLORAL SILK CULOTTES, £52.00
Dress to impress with: ZARA, PINK SUEDE CULOTTES, £32.00
CROWD MAGAZINE
Get Grungy with: URBAN OUTFFITERS, RED PLAID CULOTTES, £39.00
THIS MONTH’S CROWD BRINGS YOU A LOOK THAT DOESN’T SEEM TO FIT IN ON RUNWAYS. FROM ASIA TO LONDON, THE 90S TO A/W 16, GRUNGE HAS ALWAYS BEEN ON THE MIND OF FASHION. TRY OVERLAYING SLIP DRESSES WITH SIMPLE TEES, INVESTING IN A GOOD EMO COAT, OR LOOKING AT SHEER FEMINIM DRESSES, PAIRING WITH SOME GOTHIC SHOES TO REDINE THE WHOLEGARMENT
POP TURNED PUNK: WHAT HAPPENED TO KATE NASH?
On a starry Sunday evening (well as starry as you can get in Los Angeles) I found myself 1,835 miles from my home state of Michigan. Sitting in a backyard looking out on to the famed ‘Hollywood’ sign in the distance, eating peanut M&Ms with some fellow The Pulp Zine staff members, and interviewing one remarkable singer named Kate Nash. Below are the semi unprofessional, completely informal, and extremely fun conversations that ensued when Ms.Nash answered some of our questions. I’ll summarize it for you. Sexism, vulnerability, making music, girl power, Orange is the New Black, the word “fuck” is used quite a few times, as well as cheers from the cinematic classic, Bring it On.
CROWD MAGAZINE: In the music industry we see how young girls are sexualized and get taken advantage of. How do you emotionally deal with that? KATE NASH: I can either get upset about things that bother me or I can accept that there’s nothing I can really do about that, but what I can do for girls out there is that I can make them feel empowered for who they are and whoever they want to be… rather than “what they have to be”. I can spread my own message and know that I’m there for my fans in a different way. CROWD: I love it. So what is the girl gang? What is this term? So it started about two years ago, I thought that like this song that was actually about drugs was saying “g irl g ang ” instead it was actually saying “cocaine”. Oh! I was like “I love that song about girl gangs” and my friends were like “what are you talking about?” I was like oh wow, I was like naïve but g irl g ang s are so much better than cocaine, why are people going around talking about fucking cocaine? And how cool would it be to be a cover of that song with “girl gang”? And then I just really like to have an all female band. It just grew from there, it’s developed in to something where I feel that my fans are my g irl g ang , ya know? After getting dropped from my record label, I was really open to them about everything. Very vulnerable, I went through this like breakup and they jumped together and we swam through this campaign. It was really empowering. I felt like they were supporting me in the same way that I was supporting them. I wanted it to feel like a community rather than I’m on a pedestal.
Right, you’re very accessible to your fans I would say…and personable! Yeah, that’s something that is very important to me…to stay grounded. It comes down to family and the friends I have around me. You were saying you were dropped from your record label, now you can see it in your social media, how do you feel creatively? How does the process of making music while signed on a label feel versus now? I think it stands on a lot of different factors, I’m older. I mean I’ve been doing this for eight years going on nine years now which is crazy and so cool. I’m more confident in myself, I care much less what people think, I’ve become independent and free as a woman as well as a musician, just as a person.
“I'VE BEEN ACCUSED OF DELIBERATELY HAMMING UP MY ACCENT AND DROPPING LETTERS, BUT THAT'S JUST HOW I SPEAK - I USED TO BE A CHAV.” And then, I just don’t really care anymore. I think I used to care a lot more, not… I don’t know. I was definitely effected by it in a different way, and now I got dropped by my record label, I had this horrible break up, that year my friend died, my aunt died, all this stuff happened and it was really traumatic and I was like “I don’t give a fuck about anything stupid anymore.” Because I realized what I believe in and what I think about when I look up in to the sky and there’s a universe right there, why would I give a fuck about any silly things that makes me insecure?
And obviously I don’t think that all the time, sometimes I feel like shit about myself but it in general it would never hold me back from actually taking action and having my job, and making the record I want to make and releasing whatever I want to release creatively, because one day I’m gonna be like 80 and then I’ll be dead and it didn’t matter anyway. CROWD: We loved how you supported up and coming girls bands like, Supercute, The Tuts and Aquadolls, would you say you were a mentor to these girls? I dunno, I don’t think I really had a mentor or anything, I think once I realized there are statistically so many less female musicians then I got really passionate about figuring out why there are less. I thought back to school and the way girls are, we have like gangs of girls but in different ways growing up. Not loads of girls are in bands and get to share that experience and that’s a shame because it’s really fun. I didn’t get to do that either because I never was in girl bands or anything. And I think I’ve always been like, I was raised to be polite to people and friendly and open. And I think the more, if there are loads of female artists that I really like, I want to support them because in the media a lot of the time women are pitted against each other.
CONTINUED: CROWD MAGAZINE INTERVIEWS KATE NASH
"I think growing up in the UK was where Made of Bricks came from. I went out in London on my own every night, walked on the streets, and got the night bus – and there was so much then that just came out of my fingertips. I was just writing the stories of what was happening to me during that time, because there wasn't much going on in my life. There was nothing amazing, and fucked up things weren't happening, it was just brutal everyday stuff." Nash seems less aware of her cultural significance during the mid 00s than you would expect. For a start, she could well be credited with being an early, much-needed injection of real feminism during a particular pop culture dearth of it. Her lyrics were always about an honesty regarding the female experience: recounting being dicked-on by dickheads, or finding power in being that weird chick at the party. But she was also singing at a time when the music industry was dominated by Proper Music lad bands like Hard-Fi, The Enemy and The View. It took a unique voice to make decorative owls and mustard cardigans an actual thing, as well as be a female musician and writer whose music could crack through the male-dominated mainstream and resonate with a wider audience. "We were the last lot of people who didn't grow up in the age of the internet. I remember getting my first crappy mobile and sending texts and playing snake and that was it – that was teenage life. The internet changes how you grow up, and what you get up to.
There were a few of us doing a similar thing back then, like Lily Allen and Jamie T – but where is the space for that now? Everything is so radio driven, and there are songwriter camps of people writing for other people; just trying to fit everything into a pop song sandwich that makes sense in a package.“ "Before my third album, I got dropped by my record label by text," she admits readily. "I kept getting told that they just hadn't sorted the paper work yet. And I was like: look, I need to make this record emotionally or I'm gonna go insane.
They came out to see me in LA – although I paid for it all – and they said they would reimburse when we sign the deal. I came back from LA with an album, four music videos, loads of visuals, and even more ideas – but they asked me for something else. I could feel this weirdness. I said I'd do more, I'd write more, I'd make more videos, I was ready to go. The day they were supposedly finalising the deal I get a text from someone that says: 'We didn't pick up your option and you've been dropped'. I was on my sofa in Bethnal Green, just… shocked."
Nash eventually scooped herself back up to self-release her third studio album Girl Talk, but it's clear the music industry's maltreatment of young, especially female, artists has left its scars. "I look back at being 20 years old," she begins, "and surrounded by these men that made a shit ton of money from me. I sold over a million records and they made a lot of money out of this young girl. And nobody nurtured me, nobody gave a fuck about this young girl. I worked like a donkey.“
"The position I'm in is more powerful for me than any I have been in before," she tells me. "I've learned so much. I have a team, my girls, and more stability. I now know that I have the ability to work all the time, because I have people around me protecting me. I know I have a dream scenario of how I want to put out a record, and even if it doesn't happen right away, I'll figure it out and I'll find another way." It's easy for any artist whose music isn't quite getting the attention they want anymore to simply blame it on vague wider problems regarding pop music as a whole. But it's fair to say that the internet has changed youth sociabilities beyond recognition in under a decade – post-internet teenage life isn't really about exploring the drama and charm of everyday mundanity that Nash built her voice on back in 2007. In 2016, nobody wants to see a Snapchat story of you in a Jack Wills hoodie mainlining Caribbean Twist in a bush. On Instagram, Facebook, Snapchat, Twitter and Vine, the aspirational position is the one with social currency: being global, being rich, being hot, being talented, being incredible at makeup, hair, memes, or gifs. Nash's entire USP was about notbeing in the aspirational position; about admitting that she was a loser, just like you. Unfortunately that hasn't been the #mood for a very long time.
S/S 2017 AVALIABLE NOW
CROWD MAGAZINE 2016
ILLISTRATIONS BY @BUYEXPENSIVESNACKS
(AKA, JOYCE FUNNELL) In the last 2 years has seen a huge boom in surrealistic, female fuelled, strong and political illustrations. Polly Nor’s disturbing devils say so much without words, on the lonely, emotionally restrictive way of girlhood, and humanity itself. Filthyratbag, found internet/magazine fame, with teenage angst fuelled views on politics, society and mental health, displayed with many deformed cat humans, pubic hair and a whole load satire. Laura Callaghan uses visually appealing prints, and bright block colours, to create a female paradise, with all shapes and sizes and a lot of sass. It’s been a while since we at CROWD have come across a young lady like Joyce Funnell, influenced by no one but her head. Funnell, (buyexpensivesnacks) draws freely, with a distorted beauty, and a lot of imagine. From strange masturbation to melting faces, Funnell draws another dimension, in bright colours and prints.
CROWD MAGAZINE 2016
MY PANTS SMELL LIKE CHICKEN BLOOD
CROWD MAGAZINE 2016
CROWD MAGAZINE 2016
P LL A AY Y II N NG G P
CROWD MAGAZINE 2016
CROWD MAGAZINE 2016
CROWD MAGAZINE TALK TO: GARDEN FIRST THERE WAS LIGHT, THEN THEN EVERYTHING WAS PRETTY BORING FOR 4.5 BILLION YEARS. THEN THERE WAS THE 60S. A time where the band Slade, could walk out, dressed in high heels and skintight body suits, and completely change the mentality of a generation. Where did they go? These bowie fused fire bombs of glam-rock men? Does the utopia of free flying masculinity hide only in the shells of old men, shopping in Debenhams, silently remorsing the better days? Is the magic of rebellion against preset ideas of identity, dying? The Shear twins, Fletc her and Wyatt, AKA The Garden, represent a tiny flame of light, revitalizing a movement, both men and women need so desperately. After learning Garden were playing Bristol, Thekla, on the 2nd of February, CROWD magazine felt the need to get a brief interview to really give our readers a insight into the world of The Garden. They arrive, looking more like Andy Warhol’s wet dream, then two 23 year old men. Fletcher wears a baggy double denim piece, splattered in pastel paints with a luxurious splash of bright red. Wyatt, grungy black long hair, and a leopard print fur coat, looking like he could give Kurt Cobain a run for his money. These men aren’t dressed for me, they aren’t dressed for anyone, this is everyday in the forward thinking, experimental world of The Garden. Yves Saint Laurent had them, and know they’re all mine… and yours, of course.
Los Angeles-based duo The Garden released their debut album The Life and Times of a Paperclip in 2013. It was 16 tracks, hardly 18 minutes long, and composed only of bass, drums, and vocals, with lyrics that oftentimes were no more than one or two words. "We didn't really know anything about doing a record, so we were just like, ‘Whatever,'" Wyatt Shears, one half of The Garden, recalls. This Friday, however, Wyatt and his identical twin brother Fletcher will release The Garden's sophomore LP, Haha, a more evolved collection of songs with added instrumentation and expanded lyricism. "Knowing the ramifications and outcomes, and being more proud and aware of our work than we were the first time, we're a lot more excited," Wyatt says of the album's release, before Fletcher jumps in: "It's definitely a sign of our progression." Before Hedi Slimane invited the brothers to walk Saint Laurent's Fall/Winter 2013 men's runway show, the brothers had never left the U.S. Since that first trip to Paris, the Orange County-natives have returned season upon season, and toured everywhere from Europe to Australia to Asia. Moonlight modeling hasn't reached their egos, though, as the two remain focused on what they call "Vada Vada:" a genre of music, but more importantly, a general creative expression to encompass everything they do. CROWD: The side solo music projects on your website, Enjoy and Puzzle, do you actually pursue those? Or have they kind of fallen by the wayside? WYATT AND FLETCHER SHEARS: [both laugh] CROWD: Maybe they are total jokes? FLETCHER SHEARS: No, we actually take it pretty seriously. To us, they're a part ourselves that we don't put into The Garden. We put a certain part of ourselves into The Garden, a certain part our creativity. With Puzzle and Enjoy, it's a different part of us. I've released like 21 albums with Puzzle, and he's released like 24 with Enjoy. So we do have time, we get around to doing it. Whenever I'm home it's my favorite thing to do. I wake up and do it; go to sleep and do it. I don't make myself do it. It's just something I love. It feels good. If I didn't have it [now], I would end up having it at some point because it feels right.
WYATT SHEARS: There's people here and there. It comes and goes. Somebody that I may have taken a lot of time to observe at one point, I don't anymore. FLETCHER SHEARS: Not because you don't like them— WYATT SHEARS: —but you move on. As you change, so do your influences. CROWD: What about your writing process? With the debut you said you would just go into the studio and see what happened. Is it still that way? WYATT SHEARS: What's been happening lately is that if we're not practicing directly in the garage with one another, I'll start on my computer, make everything—the parts Fletcher usually does are loops, so I'll make the melodies and the lyrics. Then I'll take it to Fletcher and say, "Hey, what do you think of this?" We'll brainstorm over it and then he'll add in his parts, what he needs, and then it will become both of our song. Unless it's just a straight electronic song where we're both just singing, it usually starts from the desk or the garage. FLETCHER SHEARS: Yeah, you don't limit yourself to one practice space and one creative space. You can do it anywhere and see what comes out. No matter what you come out with, whatever genre it may classify as, it's still what you're doing. We could make a jungle song and it'd still be The Garden because we put our own Garden flair on it. WYATT SHEARS: We could make a book and it could be The Garden. For us, it's whatever we want it to be. CROWD: And do you still live together? WYATT AND FLETCHER SHEARS: Yes. FLETCHER SHEARS: [With] Mommy and daddy. [both laugh] We still share our same room, too. Basically, we are trying to figure out when and how to move when we're touring this much—how not to just pay for a ghost room. We could have out own sitcom. Our room is like that show Hoarders.
WYATT SHEARS: Likewise to all of that.
MCDERMOTT: What are some of the things that you hoard?
CROWD: What are the parts of yourselves that you express through the side projects and not through The Garden?
WYATT SHEARS: You know when it's Halloween or Christmas and there are those light-up molds of ghost or Santa Claus? Tons of those. I've got a bunch. I collect those.
FLETCHER SHEARS: Maybe more of a romantic side of ourselves, as far as relationships and personal feelings. Every once in a while, something about personal growth and feeling will go into a Garden song, but if you listen to Enjoy lyrics or Puzzle lyrics, it refers to personal experience rather than the world that Wyatt and I share together. It's more about experiences on our own. In Puzzle, I don't really sing about me and Wyatt and stuff we do together. I sing about stuff I do on my own, and Wyatt sings about his personal life that doesn't involve me. CROWD: Who are some people who you do follow closely, be it in music, film, art, or anything? FLETCHER SHEARS: I'll be perfectly honest— WYATT SHEARS: Ricky Martin. [laughs] FLETCHER SHEARS: To be perfectly honest, that was it for me. Mykki Blanco was an important figure in my time for me. It's not like I was 10 years old when I found out about him, because he wasn't doing anything then, but for me, I was very inspired from what he was doing. I can't really think of anybody else.
FLETCHER SHEARS: I hoard Yu Yu Hakusho merchandise for sure. It's my favorite TV show. I'm a superfan. I hoard that majorly—if I lined it all up together and put it in a pile it would look pretty intense. So you first coined "Vada Vada" in 2011. Do you still consider that your genre? WYATT SHEARS: Most definitely. It connotes everything we do, everything we will do. FLETCHER SHEARS: We live VV. It sums up exactly what we're doing— WYATT SHEARS: —and how we want to go about it. No one else gets a say. MCDERMOTT: How did you come up with that as the name? WYATT SHEARS: It was just kind of like [speaks quickly in jibberish]—me saying words in the garage while I was not actually thinking of anything. Vada Vada was one of the jibberish words that came out of my mouth. I remember that I liked what it sounded like. At the time, our Garden songs were so damn simplistic that I was like, "Okay, those are the lyrics," and then Vada Vada became what it was.
I remember sitting down, me and my friend, and we came up with what Vada Vada was, what it represented, what it could be. I remember coming to school the next day, telling my best friends and Fletcher—he showed up in the middle of the middle of the main chat—and I was just being a little bastard. I was telling everybody, "I got this cool thing to tell you guys: it's Vada Vada. It represents this, and it's going to be totally what we can go by." FLETCHER SHEARS: I was so stoked on it. I told somebody that I was seeing at the time and they were like, "What the fuck?" I was like, "You don't get it!" WYATT SHEARS: We met up that day, explained it, and that formed the VV crew. MCDERMOTT: So what is the philosophy of Vada Vada? FLETCHER SHEARS: When somebody asks what Vada Vada means right now, to us, it means pure creative expression, equality, and doing what you're doing without boxing yourself in and pigeonholing yourself—freely, creatively expressing yourself.
“WE COULD MAKE A BOOK AND IT COULD BE THE GARDEN. FOR US, IT'S WHATEVER WE WANT IT TO BE.”
WYATT SHEARS: You're placing yourself in reality, but you're not worried about what's going on around you. Another example of Vada Vada is that one time we made this character—it had a little devil face, a hat, and then me and my friend stood in a blanket, so kind of like a horse body with a devil face. We would drop "it" off—a.k.a. Fletcher would drop me and my friend off—and we would walk around town, through malls, but we wouldn't talk to anybody or do anything. People would ask us what's going on and it would be Vada Vada. That's placing your own creativity in the public eye. They can choose to judge it, label it, do whatever they want with it. One guy was even like, "El Diablo, El Diablo!" But that's what Vada Vada is: doing your own pure creative thing and putting it out in public. It doesn't matter what anyone thinks because you're going to keep progressing forward. FLETCHER SHEARS: You don't have to call it Vada Vada, you don't have to call it anything; it can just be a creation that came from you. It doesn't have to be punk, it doesn't have to rap, it doesn't have to be anything. It just is what it is, because it came from you and it's a part of you. It could go with gender, it could go with anything. I consider that for myself. FLETCHER SHEARS: I feel like no matter what, even if I'm wearing a very normal jacket with normal pants and normal shoes and normal hair and normal everything, I'm still going to get honked at by a car for some reason. So at the end of the day, it doesn't really matter what I do. I just like to live doing what makes me feel really good. If that makes me feel good, then I'm happy, and nothing else should matter.
other
Spirituality
Social
Family
Past
What do you think is your biggest influence?
Happiness
Art
Job
Comfort
Following Faith
What's your idea of success?
Other
Spirituality
Science
God
How was the earth made
Technology
War
Ignorance
Pov erty
Greed
What do you think the biggest issue is to human kind?
Happiness
Art
Job
Comfort
Following Faith
What's your idea of success?
Other
Spirituality
Science
God
How was the earth made
other
Spirituality
Social
Family
Past
What do you think is your biggest influence?
other
Spirituality
Social
Family
Past
What do you think is your biggest influence? Technology
War
Ignorance
Pov erty
Greed
What do you think the biggest issue is to human kind?
BIG QUESTIONS
How are we meant to understand someone from first glance? How are we to know what we do and don’t have in common at first glance? We met someone who spend every night of their life watching YouTube self help videos, and someone who believes there is an invisible angel following them everywhere they go. All in a gloomy bristol afternoon.
Young and old, from all different walks of life, Crowd magazine asked all of you the same 4 important questions; What’s the biggest issue to human kind? What’s you’re biggest influence? What’s your idea of success? How was the earth made?
THE
CROWD TOOK TO THE STREETS TO ASK THE PEOPLE OF BRISTOL
No Joy are a Canadian shoegaze band, formed in late 2009. A perfect example of modern age progession from the 80s-90s dream period of reverb. Female vocals and experimental dream pop, is CROWD’s perfect potion.
STEREOGUM
Skinny Girl Diet is a British political punk band formed in London, England. Praised for their graceful growth from the roots and influences of the Riot Grrl movement of the nineties, SGD are told to be the new generation of feminist punk music. The music is intelligent, thoughtful and great for getting pissed off to.
JUST BECAUSE.. JUST BECAUSE.. AHH AHH
BadBadNotGood (stylized as BADBADNOTGOOD, abbreviated as BBNG) is a Canadian music group from Toronto, Ontario. They are known for their interpretations of hip hop tracks and their collaborations with Tyler, The Creator, Earl Sweatshirt, Danny Brown, and Ghostface Killah. They’re like if Bonobo met Hip Hop, in the 60s, so you can’t dislike them
NOT BAD BAD VERY GOOD GOOD
Stereolab are an English-Frenchindie music band formed in 1990 in London. Called "one of the most fiercely independent and original groups of the Nineties," Their primary musical influence was 1970skrautrock, which they combined with lounge, 1960s pop, and experimental pop music
EVERYBODY’S WEIRD BUT ME
Courtney Melba Barnett is a singer-songwriter and guitarist from Melbourne, Australia. Known for her witty, rambling lyrics and deadpan singing style, she attracted attention with the release of her debut EP, I've Got A Friend Called Emily Ferris .
NOBODY REALLY CARES IF YOU GO TO THAT PARTY,
P I C K S
We made a mixtape for you! From the 90s, to last month, we have only the very best artists you may not have heard just yet.
BY CROWD
M O N T H L Y
Meshing dreamy effect drenched guitars, with airy, catchy melodies, Lush are the underappreciated band along side their peers, Slowdive, My Bloody Valentine, and Ride, the leading royalty in shoegaze.If you like any of the before hand mentioned, you’ll love this.
THIS BAND’S WELL LUSH
TOPS is a Canadian indie rock band from Montreal. A mixture of indie, synthpop and dreampop, creates it own little heaven, with vintage influences, with Jenny Pane’s sweet, youthful voice, guiding you on your way.
TOPS OF THE POPS
Beach House is an American dream pop band from Baltimore, Maryland, formed in 2004. Huge on the new age scene of Shoegaze and experimental indie music, each of Beach House’s 5 albums get you crying on the floor by song 2, what’s not to like?
SOMEDAY, OUT OF THE BLUE, BEACH HOUSE FIND YOU
Chelsea Wolfe is an American singer-songwriter, who really made her fame with the album Apokalpsis (2011) and one various underground critical acclaim. Wolfe mixes neofolk, electronic, and doom mental, to create a gloomy, atmospheric sound that is hard to compare to anything else.
Ἀποκάλυψις
Archy Marshall more commonly known by his stage name King Krule, is an English singer - songwriter, producer and musician. Marshall has found huge success in the UK and USA, and regarded a respected musican among many different sub genre’s of music. Marshall’s been described to have punk jazz, hip hop, darkwave, and trip hop influences.
AH! TESCO’S STEALING MY MONEY!
18/11-10/12
02/12
05/11-05/01 MILLENNIUM SQUARE
THE PITHAY
20/1120/12
THEKLA
Co-lab/PAPER
CHRISTMAS FAIR
ARE WE THERE YET?
THE GARDEN On the second UK tour, these two Californian twins, are playing Thekla, with a mixture of experimental rock, synth and punk. Tickets available on Ticketmasters.c om for £12.50
Whether you fancy yourself as the next Torvill or Dean, or you just want to have a laugh with friends and family, give skating a whirl on real ice under the giant bauble that is the At-Bristol Planetarium.
When Banksy’s Dismalandlanded on photographer Barry Cawston's doorstep last year, he was utterly transfixed. On the opening night he began to document the spectacle, the art, and people’s reactions to it.
19/12 COLSTON HALL
MAKERS MARKET
On Wednesdays and Sundays in the run up to Christmas a diverse collection of twelve local, independent artists will be working, creating and selling their art in Co-LAB, Bristol.
20/12 THEKLA
JAZZ AND BLUES FESTIVAL 2017 From swing to funk , bebop to blues, Gypsy jazz to gospel, soul to rock ‘n roll, Bristol Jazz & Blues Festival never fails to surprise and delight music lovers. Early Bird tickets start at £25 at Ticketmasters.com
Sunflower Bean is an American rock band from Brooklyn, New York founded in 2013. The psychedelic guitars and dreamy vocals, with a rock twist is a perfect recipe for a good night. Lead by Saint Laurent’s favourite model, Julia Cummins. Tickets £13.49 on Tiicketmasters.com
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CROWD© MAGAZING WAS RELEASED BY HAPPYGOLUCKY INDUSTRIES© IN 2016 ALL FACTS PRINTED WERE TRUE AT TIME OF RELEASE