ROO PANES + JACK WATTS + EARL
BARRY ADAMSON
CHAIRLIFT
THU 03 MARCH THU 03 MARCH
CADOGAN HALL
ISLINGTON ASSEMBLY HALL
WED 09 MARCH
NATTY
SOAK
JEFF WOOTTON
ISLINGTON ASSEMBLY HALL
TUE 22 MARCH
THU 24 MARCH
BONZAI
THE JD SHEEPDOGS McPHERSON
WED 30 MARCH
TUE 05 APRIL
+ BILLIE MARTEN
SCALA
THU 17 MARCH
KOKO
100 CLUB
SAT 09 APRIL
ELECTROWERKZ
DINGWALLS
THE DEVIATION CAT EMPIRE BENJI B + GUESTS
O2 SHEPHERDS BUSH EMPIRE
YUNA
+ PIERCE BROTHERS
FRI 15 APRIL
EVENTIM APOLLO
SAT 16 APRIL
KOKO
WED 27 APRIL
SCALA
TICKETS AVAILABLE FROM GIGSANDTOURS.COM & VENUE BOX OFFICES
WELCOME
LÅPSLEY
This year is already shaping up to be a pretty ridiculous one. It’s been so eventful it’s exhausting: from American politics, to EU referendums to the Women in Writing awards, it really seems like we’ve started with a bang. And music, it seems, is keeping up with the times. In recent weeks we’ve seen high-profile and surprise releases from Kanye, Rihanna and Beyoncé and we’ve got a release schedule overflowing with incredible new acts, plus exciting releases from established artists, coming up. It’s a whirlwind, and one that will see us taking to the streets throughout March to enjoy a plethora of of hotly anticipated shows.
That said, in the midst of all of this, we’ve slowed down with the beautiful sounds of Låpsley’s debut album. With stunning production her vocals soar, tugging at your heartstring as she goes. It’s the perfect soundtrack for the cold and rainy days that refuse to relent. Don’t forget to sign up to our mailing list, over on the site, so you don’t miss out on the wild ride that March is undoubtedly going to be.
STAFF ON REPEAT the tracks we can’t stop listening to this month JESS: TWO WHITE CRANES - UNATTACHED DAVE: WEIRD DREAMS - THE LADDER LOKI: TWO PEOPLE - FADING DANNY: LET'S EAT GRANDMA - DEEP SIX TEXTBOOK GEMMA: JESSY LANZA - IT MEANS I LOVE YOU TWO WHITE CRANES
JACK: MEMORYHOUSE - GET BACK LiS 03
presents
CONRAD KEELY TUES 1ST MARCH · THE GARAGE
WEDNESDAY 2ND MARCH O2 ACADEMY2 ISLINGTON
30TH
Thursday 10th March The Garage
ANNIVERSARY TOUR
EST. 1986
ASHER
ROTH
playing rival schools’ ‘united by fate’ in its entirety
WEDS 9 MARCH · THE GARAGE
SPECIAL GUESTS
FRI 18TH MARCH O2 FORUM KENTISH TOWN
Thursday 7th April The Garage
WITH SPECIAL GUEST
NOTTZ
TUES 12TH & WEDS 13TTH APRIL SOLD OU
TUESDAY 29 MARCH · THE GARAGE FRIDAY 22ND APRIL O2 ACADEMY ISLINGTON
THE GARAGE
SEPTEMBER GIRLS
F R I DAY 20 T H M AY T H E GARAG E
THURSDAY 19TH MAY O2 ACADEMY ISLINGTON TICKETS AVAILABLE FROM
0844 477 2000 · TICKETWEB.CO.UK & ALL USUAL OUTLETS
CONTENTS 08. ON THE STEREO
LONDON IN STEREO IS:
13. NEW SOUNDS
Editor: Jess Partridge jess@londoninstereo.co.uk
17. TALES FROM THE CITY
Deputy Editor: Dave Rowlinson dave@londoninstereo.co.uk
20. ANNA MEREDITH
Sub-Editor/Sales: Loki Lillistone loki@londoninstereo.co.uk
26. LÅPSLEY
Staff Writers: Danny Wright Gemma Samways Jack Urwin
32. ALBUM REVIEWS 40. EVENTS
Photography: Låpsley: Nick Grennon (nicholasgrennon.com) Anna Meredith: Rachel Lipsitz (littletrousers.com)
45. GIGS OF THE MONTH 48. LIVE LISTINGS 67. INTO THE NIGHT 69. IN LONDON 70. LIVE REVIEWS 73. PENNY FOR YOUR THOUGHTS
Contributors: Tim Hakki, Geoff Cowart, Kate Solomon, Thomas Hannan, George O’Brien, Lee Wakefield, Merlin Jobst, Henry Wilkinson, Johan Alm, Rhian Daly, Nick Mee, Grant Bailey, Tom Walters. ANNA MEREDITH
londoninstereo.com
@LondonInStereo
/londoninstereo
/london-in-stereo
londoninstereo LiS 05
YOUNGHUSBAND
DISSOLVER (ALBUM) Younghusband are a superb South London group whom we’ve had the pleasure of touring with several times. They’re all such lovely lads who peddle dreamy harmony-laden melodies propelled by Pete and Joe’s tight-as-you-like rhythm section and Adam’s wailing guitar and wonky keyboards. Lead singer and chief songwriter Euan is a master of his craft. They’ve just released their second album, Dissolver, buy it!
TELEGRAM
OPERATOR (ALBUM)
LION COFFEE RECORDS
From their earliest rehearsals in mine and ex-guitarist Matt Wood’s living room to their recent triumphant Rough Trade in-store performance, I’ve seen these chaps grow from fledgling indie rockers into a fully grown unstoppable powerhouse. It’s been about three years in the making but finally their debut disc is on the shelves. Some would-be journos would probably lazily term it as ‘psychedelic krautrock’ but a more apt description would be Roxy meets the Buzzcocks meets Supergrass meets Supertramp meets Tom Jones. And I love them for it.
SECRET FIX
ANOTHER WORLD Sam Toms from Temples is in this band, along with some other lads and lasses from his hometown of Kettering. I haven’t had the chance to see them play live yet but when I do, I know for a fact they’ll blow me away with their stomping sleaze rock. No album yet, in Sam’s own words “We probably have enough material for an album but we’re too lazy”. In the meantime have a listen to the four tracks on their Soundcloud. Foreboding stuff!
NIGHT BEATS WHO SOLD MY GENERATION (ALBUM) I popped down the road to Hackney’s OSLO to catch this Seattle-based bunch a few months ago when they graced our shores with a short tour. I must say I was immediately impressed, not just with their moustaches but by their bluesy garage chops. Reminded me a bit of Ty Segall meets the Shangri-Las for some reason. Their new album Who Sold My Generation is a must for your in-car cassette machine.
NIGHT BEATS
YOUNGHUSBAND
CELLAR DOORS FROST
An Anglophile San Francisco group who’ve supported us a whole bunch of goddam times whenever we happen to find ourselves on the West Coast. I remembered them as a collection of twangy organ-grinding psychsters but they seem to have moved more into a synthy direction with their latest release, ‘Frost’, which conjures up a thrilling, breakneck joy ride through Frisco’s stupidly steep streets. With thanks to Lion Coffee + Records’ (and TOY drummer) Charlie Salvidge. lioncoffeerecords.com // @lioncoffeerec // 118 Lower Clapton Road, E5 0QX LiS 09
A FESTIVAL OF NEW MUSIC 17-20 MARCH 2016
ROUNDHOUSE RISING THE MAGIC GANG BLACK HONEY AFRIKAN BOY KUENTA I TAMBU INHEAVEN HANNAH LOU CLARK + MORE ROUNDHOUSE.ORG.UK #RHRISING2016 SUPPORTED BYTHE SACKLER TRUST
NEW SOUNDS by Gemma Samways
LET’S EAT GRANDMA From Kate Bush penning ‘The Man With The Child In His Eyes’ aged thirteen to Lorde laying down ‘Royals’ before her sixteenth birthday, there’s nothing quite like a precocious pop talent to make the rest of us feel a tiny bit inadequate. Continuing the tradition, Norwich-based duo Let’s Eat Grandma are the latest prodigious overachievers making everyone else look lazy. Though still only sixteen and seventeen years old respectively, multiinstrumentalists Rosa Walton and Jenny Hollingworth have been making music together for almost seven years. In the past two, they’ve recorded sessions for BBC Introducing, opened for Laetitia Sadier and tUnE-yArDs, and performed at Latitude, Festival No. 6 and Camp Bestival. Last month they signed to Transgressive Recordings and delivered a debut single every bit as ominous as their nom de plume.
An unhurried five and a half minutes long, with no discernible chorus, ‘Deep Six Textbook’ makes for a strikingly confident first cut. Anchored by a cavernous programmed beat and mournful, reverb-laden keyboard chords, the song’s sparse atmospherics are embellished with ghostly handclaps, eerie glockenspiel plus Walton and Hollingsworth’s gurgling vocals, which communicate an almost telepathic closeness as they overlap each other in waves. Occupying a nebulous space between experimental pop and ambient sound design, the overall effect is both serenely beautiful and deeply unsettling. Even at this early stage of their career, it’s obvious that the pair have a very bright future ahead of them. LISTEN TO: Deep Six Textbook ONLINE: letseatgrandma.co.uk // @thelegofgrandma LIVE: The Forge, March 21st LiS 13
UPCOMING LONDON SHOWS
p r e sents
more info at rockfeedback.com
ONEOHTRIX POINT NEVER
CROSS RECORD
BILL RYDER-JONES
Heaven Wednesday 24 Feb.
Shacklewell Arms Wednesday 02 Mar.
Scala Thursday 03 Mar.
THE LANGUAGE OF PLACE:
DRONES CLUB
DREAM WIFE
St. John on Bethnal Green Tuesday 08 Mar.
Corsica Studios Thursday 10 Mar.
Birthdays Friday 11 Mar.
FLUME
Alexis Taylor (Hot Chip)DJ
HANA
Roundhouse Wednesday 16 Mar.
Shacklewell Arms Thursday 17 Mar.
The Waiting Room Friday 18 Mar.
LET’S EAT GRANDMA
BORN RUFFIANS CRISTOBAL SEA
KIRAN LEONARD
The Forge Monday 21 Mar.
Moth Club Thursday 31 Mar.
The Lexington Monday 04 Apr.
RADICAL FACE
MELT YOURSELF DOWN
THREE TRAPPED TIGERS
The Forge Tues 26 Weds 27 & Thur 28 Apr.
Shapes Wednesday 27 Apr.
Scala Thursday 28 Apr.
THE FIELD
RADIATION CIT Y
KEVIN MORBY
Moth Club Saturday 30 Apr.
The Victoria Wednesday 04 May.
Oslo Thursday 05 May.
FATHER JOHN MIST Y
SONGHOY BLUES & Fatoumata Diawara
BLAENAVON
Roundhouse Weds 18 Thur 19 & Fri 20 May.
Roundhouse Saturday 21 May.
Dingwalls Thursday 26 May.
a night of music & talks
BLACK PEACHES
and the
SPRING KING
JULIEN BAKER
JULIEN BAKER
Scala Thursday 26 May.
St. Pancras Church Wednesday 25 May.
The Forge Thursday 26 May.
VISIONS FESTIVAL
BY THE SEA FESTIVAL
POLIÇA
Various, Hackney Saturday 06 Aug.
Dreamland, Margate Fri 30 Sept & Sat 01 Oct.
Roundhouse Wednesday 19 Oct.
TALES FROM THE CITY by POLIÇA
It means a lot to Poliça that we get the privilege to come to London to play our music, and London has treated us very well with each visit. We have spent more nights in London since we formed this band than we have in any other city in the world outside of Minneapolis. We’ve sat on park benches that are older than the city we are from, made long-lasting friendships with many people, and seem to discover wonderful new things every time we come here. With only four years under our belts as a band, we have felt a connection to London from the very beginning. In November of 2012, when we found out that we had sold out Shepherd's Bush Empire, we were beyond excited because it was the largest venue we had played up until that point. Not only the history of the venue, but also the support of the people in London had motivated us to want to give the best show we could, and offer something unique and interesting for the audience. At the time, we had a song called ‘Dark Star’ getting a lot of play on the
BBC, so we thought we would just come out and give it to them right away. Our brilliant record label heads advised us against it, but we are artists and were sure it was a good idea. Not only would we play it first, but we decided it was a good idea to improvise a new intro by looping the beginning for a while before kicking into the actual song. Great idea, right? Wrong. I forgot to undo the beginning loop, and we proceeded to play our big radio hit with just bass and drums, and none of the electronic layers that make the foundation of the song recognizable. The confused and unimpressed look on the face of the virtually silent crowd still haunts me to this day. I like to think we recovered by the end of the set, but I am sure we left an embarrassing impression on many of those who came. London, please accept this apology for that “bold, artistic move", and thank you for not leaving after the first song. Drew Christopherson Poliça release United Crushers 25th March, via Memphis Industries. ONLINE: thisispolica.com // @thisispolica // facebook.com/thisispolica
LiS 17
fabric Craig Richards Terry Francis Agents Of Time (live) Adam Shelton Agoria Barac (live) Ben Klock Boddika Cari Lekebusch Dense & Pika Maceo Plex Martyn Mr G (live) Nastia Raresh Richie Hawtin Rebolledo Slam Stacey Pullen Subb-an The Martinez Brothers The Mole (live) Plus many more...
www.fabriclondon.com
March 2016 Bad Company UK Breakage / Calibre / Chimpo Digital Mystikz / Doc Scott Ed Rush B2B Audio / Fabio General Levy / GotSome Hatcha / Jack Beats Joker & Buggsy / Jus Now Kahn & Neek / LEVELZ My Nu Leng & Dread MC Marcus Intalex / Nu:Tone New York Transit Authority Pendulum (DJ Set) Spor / The Upbeats / Woz Plus many more... “ www.fabriclondon.com
Anna Meredith is hardly your typical classical composer. Listen and you’ll hear that the London-born musical maverick has a devilish sense of humour, expressed in the playful and unhinged electronica on her debut album Varmints. Just listen… The tracks caterwaul from icy Berlin techno to bombastic lurid electro pop with ease, displaying Anna’s impressive ability to write direct and emotionally-charged music with a smile. She’s also led flash mob body-percussion performances at the M6 services and penned the wacky tune ‘Lemontits’ – which tells the unlikely story of a cone-headed dog that breathes fire and plays Connect Four. Take note: Anna is anything but a classically trained stick in the mud. “I enjoy it when music is joyful and irreverent,” she says with a smile. “I like stuff that excites me and gets me out of my seat. And I always try to include that sense of surging energy into my music.” She goes on to cite Beethoven’s Seventh Symphony and Janacek’s Sinfonietta as two pieces that have influenced her ‘unconstrained’ and ‘direct’ approach to writing music. “No filters,” she demands. If nothing else, these insights are a nod to her formal training as a classical clarinet player and her post-graduate degree earned from the Royal College of Music. Despite her formal training, it’s hard to detect these influences on the kaleidoscopic sound of Varmints. Her uncanny take on contemporary classical, avant pop,
electronica and experimental rock music is a joy to behold as she proceeds to rip up the rulebook. “I often find myself giggling at how ridiculous or silly a song idea is when I’m writing it – but that’s quite a good thing,” Anna says. “I don’t set out to titillate people – but I do enjoy a bit of irreverence and try not to take myself too seriously. If someone asks ‘What was that?’ at the end of a piece I think that’s a good thing.” Born in Tufnell Park in 1978, her family moved to Edinburgh when she was just two. And even 15 years living in London can’t put a dent into her lush Scottish accent. After having her music performed at the last night of the Proms, Prada fashion campaigns, films, festivals, clubs and classical concert halls she describes her parents as being “embarrassingly proud”. But for a composer who’s had no shortage of success in the classical world, she admits it’s placed a burden of acceptance on her relatively new turn as a solo artist. “The album took two years to make. I’ve put so much into it. So I do wonder how I will live with myself if no one gives a shit,” she says. “Making the album was a nightmare. It’s taken so much effort and favours and… begging.
ANNA MEREDITH WORDS: GEOFF COWART // PHOTOS: RACHEL LIPSITZ
“I ENJOY IT WHEN MUSIC IS JOYFUL AND IRREVERENT” If the album just disappeared into a little black hole it would take some time for my ego to recover.” She’s not got much to worry about, judging by the relentless stream of promotional pictures, gigs and interviews that she’s recently embarked on. “Oh my god, I’ve been doing a lot of pouting,” she says of the recent photo shoots. “I didn’t know I had it in me. Turns out I love it!” She’s booked the ICA for her album launch party on March 29th and is also set to play Brighton’s whirlwind The Great Escape festival in May. It’s just the start of what will surely be a frantic year.
In tow will be her band of fellow classically-trained merry musical pranksters – a drummer, guitarist, two cellists and a tuba player – with Anna packing her clarinet and electronic gear for the wild ride. And luckily for her, the album seems to be going down well. Not bad for a pesky varmint. Varmints is released via Moshi Moshi, March 4th. LIVE: The ICA, March 29th. ONLINE: annameredith.com @AnnaHMeredith facebook.com/annahmeredith
WEIRD DREAMS MON 7 MARCH THE WAITING ROOM
CHORUSGIRL SUN 20 MARCH SERVANT JAZZ QUARTERS
PROMISE & THE MONSTER MON 7 MARCH SEBRIGHT ARMS
WYLDEST MON 21 MARCH SERVANT JAZZ QUARTERS
KELLY LEE OWENS THURS 10 MARCH SERVANT JAZZ QUARTERS
ROBYN SHERWELL WED 23 MARCH HOXTON SQUARE BAR & KITCHEN
FLOWERS FRI 11 MARCH SEBRIGHT ARMS
MELODY 101 WED 23 MARCH THE WAITING ROOM
THE ALTERED HOURS WED 16 MARCH THE SHACKLEWELL ARMS KRISTA PAPISTA WED 16 MARCH THE WAITING ROOM CROOX WED 16 MARCH ELECTROWERKZ SOCIETY THURS 17 MARCH THE LEXINGTON
ANNA MEREDITH TUES 29 MARCH ICA BEAU WED 30 MARCH SERVANT JAZZ QUARTERS ELIZA SHADDAD TUES 31 MARCH SEBRIGHT ARMS SNOW GHOSTS FRI 1 APRIL HOXTON SQUARE BAR & KITCHEN
THE KVB TUES 5 APRIL MOTH CLUB COVES WED 6 APRIL DALSTON VICTORIA JOHN JOSEPH BRILL WED 6 APRIL ST PANCRAS OLD CHURCH SOLOMON GREY WED 6 APRIL ELECTROWERKZ GET WELL SOON WED 13 APRIL THE LEXINGTON
CHELOU TUES 26 APRIL THE WAITING ROOM BEACH BABY WED 27 APRIL THE LEXINGTON ROSIE LOWE WED 11 MAY SCALA LAIL ARAD TUES 17 MAY CHATS PALACE BEVERLY WED 18 MAY DALSTON VICTORIA
BEATY HEART WED 13 APRIL ELECTROWERKZ
ROYAL HEADACHE TUES 31 MAY TUFNELL PARK DOME
THE BIG MOON WED 13 APRIL 100 CLUB
WOLF PARADE TUES 14 & WED 15 JUNE SCALA
MISTY MILLER MON 25 APRIL MOTH CLUB
EZRA FURMAN MON 31 OCT ROUNDHOUSE
PARALLELLINESPROMOTIONS.COM
LĂ…PSLEY words: Tim Hakki photography: Nick Grennon
LiS 27
When I call Holly Lapsley Fletcher one wintry Sunday evening, she’s on a train bound for the continent to do a press tour. We’re both hungover, and in this state of mutual hypersensitivity I’m wary of treading the same territory journalists have no doubt trod with her before. Her debut album Long Way Home, released this month on XL, creatively documents the end of a long-distance relationship. It’s a relationship which looms large over the album. An album which is at times so absorbingly melancholic it creates some genuine lump-in-the-throat moments. It’s so caught up in its own anxieties too - but never once does it feel cloying or insincere. The simple beauty of its musical palette conveys that Låpsley is doing her feelings some justice. After all, wherever there is heartache, happiness and beauty are never far away. That aforementioned relationship has reaffirmed its own existence so much already, in her new career as a pop singer, that it’s slipped into the realm of unreality: “It’s like it’s not a real relationship. People ask me all these questions as if it’s made up. I’m talking about it so often that it just takes away the… I don’t know” she pauses, at a loss to describe it. The press game might put some distance between her and her memories, but she relives them every night she’s onstage, “performing the songs takes me back a bit. It’s quite tiring and sometimes it can be a bit heavy”. Though it may seem like a disparate existence between cold disassociation on the one side and masochistic scar reopening on the other, she finds closure
in the actual process of songwriting. “I suppose it helps me explain certain things in my head and certain opinions I have about things. I’m definitely a more zen person for doing it.” Låpsley’s complete honesty and pragmatism with her career has meant that she doesn’t suffer fools. She expresses disdain for an i-D interview recently which ran the headline ‘Låpsley speaks out on how fucked up the music industry really is’ for sensational effect, but which only briefly touched upon it. “It’s funny because I say the same thing in every interview and people just pick up on different things depending on what they want to use,” she says resignedly, “and sometimes they just pick a story out of nothing which is never interesting.” Now she has a healthy cynicism towards anyone who might be trying to piggyback on her success. “I have no fear anymore with any of that. I completely do me and my project and I make sure I only surround myself with people who are putting in the same amount of work as me, or who are on the same page as me. I don’t bother with these fake relationships because that’s not the kind of person I am, and I don’t feel like I need to be friends with everyone to get where I can. I feel like if you write good music and you’re very honest and transparent then that has something, because it’s an industry that’s just built on liars.” And it’s massively ego-driven, I add. “Oh completely but who blames them?” she erupts. “All these major labels are just
feeding artists compliments and they’re just turning into dicks. You can see it before your eyes. XL will go to me and they’ll be like ‘that middle eight is not that good, work on it again’ - they want me to improve through criticism. They care about me in a holistic sense.” Låpsley’s current success - being signed to a dream label with a masterstroke for a debut album - is something that she never planned for. In the bidding war that ensued some time after she uploaded her first tracks to Soundcloud, she found
offered me the least amount of money but would listen to what I had to say.” Early reviews are united in their ubiquitous praise of her voice. It’s a powerful instrument, but one which has received no formal training whatsoever. “Oh I don’t have a clue. It’s funny,” she says, “I was with the backing singers and they were doing all these fancy warm-ups and stuff that I can’t do, but then I thought loads of people in the world can sing, but not many people can sing something they’ve written. It makes me
“I completely do me herself swept up in a maelstrom that offered her an alternative future - one that could perhaps even prove sustainable: “There were like ten labels offering, and I never needed this to fulfil a lifelong dream or anything like that. I had my life planned and I was happy going to university and this was like ‘right if I’m gonna go down this route then I’m gonna do it how I want because I’m not desperate’. I think that lack of desperation gave me such a rational head at that time that I went with the label that
and my project and I make sure I only surround myself with people who are putting in the same amount of work as me...” LiS 29
“I never needed this to fulfil a lifelong dream or anything like that.” feel better because I’m really self-conscious about my voice. I’ve not been doing it since I was a kid. It’s weird. I feel more comfortable going up on stage and playing a piano recital than I would going on stage and singing but I think that just comes with not having done it that much.” Låpsley takes any praise with a pinch of salt. It’s felt jarringly insincere for her to see commentary on her music often prefaced with the words ‘teenage’ and ‘female’ and nobody can blame her. Any kind of praise that qualifies itself with those two words like they’re a kind of handicap is bound to be insincere to a great degree. “It’s fucking ridiculous that they’re trying to find something to write about and they obviously can’t think of anything. The press will always do that. I’d rather not be judged age or gender. I don’t listen to a song and judge it on whether it’s good for a girl producing or it’s shit for a boy.” Låpsley is now poised on the precipice of success. A cursory listen to Long Way Home will tell anyone that. Even her confessed radio singles ‘Hurt Me’ and ‘Love Is Blind’ don’t feel convoluted at all. She may have written them with the radio listening masses in mind (she tells me) but the raw and naked emotion throughout the entire record will stand her in good stead for the future. As the conversation wraps up I mention her tweet that day about having gone out the night before only to lose her phone and her dignity. She replies: “I went out last night and overdid it. There was just this element of a lack of control because I’d been doing this press tour and talking about myself every day. It’s not
natural for a human to talk about themselves every day. You should feel awkward, because the moment that you don’t feel awkward is the moment that you’re disappearing up your own arse and that’s scary. The first time I ever do that I’d like for someone to slap me in the face, because it’s such a shallow industry. You’re not a brain surgeon, you’re not saving lives, you fucking make music and the purpose of press is to make you look like this idol. I hate it when people put you on a pedestal - everyone’s just fucking human, chill.” And then a snatch of last night's revelry reemerges: “I can’t remember leaving the club. I don’t even know why I was there, the music was shit. I think I remember going up to the DJ and saying ‘you can do better than this man.’” If anyone deserves recognition for being so profoundly free from bullshit it’s Låpsley. Don’t ever change. Long Way Home is released, March 4th via XL Recordings. LIVE: Heaven, March 30th. ONLINE: musiclapsley.com @MusicLapsley facebook.com/LapsleyMusic
Goldenvoice Presents EAGULLS
MATT & KIM
FUFANU
YEARS & YEARS
02.03.16 UT SOLD OHACKNEY OLSO 02.03.16 SEBRIGHT ARMS
HONNE
03.03.16 UT SOLD O BRIXTON ELECTRIC
HUNTAR
+ MØ 08.04.16 THE SSE ARENA WEMBLEY
VAULTS 13.04.16 HEAVEN
ISLAND
WOLF ALICE KENTISH TOWN KENTISH TOWN KENTISH TOWN KENTISH TOWN
BRYSON TILLER 28.03.16 UT SOLD O KOKO 29.03.16 UT SOLD O KOKO 30.03.16 UT SOLD O KOKO
BIG UPS
VANESSA CARLTON 03.05.16 OUT SOLDLEXINGTON THE 18.05.16 SCALA
TOURIST 11.05.16 XOYO
FATHER JOHN MISTY 18.05.16 OUT SOLDROUNDHOUSE THE 19.05.16 OUT SOLDROUNDHOUSE THE 20.05.16 THE ROUNDHOUSE
YAK
24.05.16 DINGWALLS
SHURA
30.03.16 LEXINGTON
26.05.16 O2 SHEPHERD’S BUSH EMPIRE
EKKAH
LION BABE
7.04.16 OSLO HACKNEY
01.06.16 KOKO
goldenvoiceuk
+ JOHN NEWMAN 24.03.16 OUT SOLDO2 THE 25.03.16 THE O2
+ ISAAC GRACIE 20.04.16 OSLO HACKNEY
goldenvoice.co.uk
ELLIE GOULDING
FEB – JUN
10.03.16 BARFLY
26.03.16 OUT SOLD O2 FORUM 27.03.16 OUT SOLD O2 FORUM 28.03.16 O2 FORUM 29.03.16 O2 FORUM
08.04.16 SCALA
ALBUMS
RECORD OF THE MONTH PALEHOUND DRY FOOD
"I’m not alone cos I watch TV/Cartoons and the news, all starring me," sings Ellen Kempner on ‘Seakonk’, the waltzing closer of her debut full-length record as Palehound. Originally released online and Stateside last year, Dry Food put the Boston musician in the spotlight in bedroom-born DIY indie-rock circles, bringing her cult and critical acclaim. This reissue, via Heavenly, for its first proper UK release should only heighten those plaudits. It’s world-weary and hurt, wanting revenge but failing and eventually beginning to get over the hump. “You made beauty a monster to me/So I’m kissing all the ugly things I see,” Kempner sings on the shuffling title track, claiming to be Heavenly Recordings “over it” like she’s yet to convince herself of that fact. On March 4th ‘Healthier Folk’, she’s checking out new options, but still feeling inadequate and craving some comforting. “Mouth ajar Stand Out Tracks: Dry food watching cuties hit the halfpipe/I only feel half ripe around Healthier folk healthier folk” goes the clattering first verse before swooning Molly into a falsetto chorus - “But oh why don’t they hold me/They Easy just cradle me like a homesick child”. Live: March 3rd, ‘Cushioned Caging’ finds Kempner sighing “When all that’s The Shacklewell Arms left of me is you/Pointing at a person I’ve been faking”, Online: @Palehound starting to separate herself from her ex and restore her true facebook.com/palehoundsounds self. In ‘Seakonk’, over delicately strummed guitars, she quickly counters isolation (”Before you go, strap me to the bed/I feel it getting cold again”) by counting her company - “Now I’m not alone cos I’ve got my mom, my dad/My sister and my dogs”. Much has been made of Kempner’s association with Sadie Dupuis (the Speedy Ortiz leader was once Kempner’s camp counsellor and roommate) and while Palehound’s debut features similarities with her band and other DIY acts like the now-defunct Krill and Radiator Hospital, there are also bursts out of that bubble. Opener ‘Molly’’s wiry, abrasive riffs sound like they’re being played by St. Vincent herself, while ‘Cinnamon’ is a noodle jazz-lite take on Mac DeMarco’s woozy sound. ‘Dixie’, meanwhile, is just Kempner and her acoustic guitar, its serenely plucked strings roughed up by the sound of her fingers squeaking up and down the fretboard. It’s the simplest song on Dry Food and also one of the most arresting, layers of Kempner’s vocals creating an almost angelic effect. As breakup records go, Dry Food might not be the defiant, attitude-rife listen you might crave to boost you in times of heartbreak. But if Kempner can not only move through that kind of loss, but make such a sublime record out of it too, then that should be all the inspiration you need to step away from the takeout menu, jump in the shower and grab hold of life. Rhian Daly
BIG UPS
BEFORE A MILLION UNIVERSES Tough Love/Brace Yourself Records // March 4th Don’t let the twinkling harmonics of the first five seconds fool you: Before A Million Universes is a record that will have you checking over your shoulder from beginning to end. Shot through with existential dread, Big Ups’ second album simmers with barely-contained rage. From the opening track that threatens to “let things spill on out” but never quite does, the pounding bass riffs and chugging guitars weigh heavy. The lurking menace of ‘So Much You’ comes with the air of being tied to a chair in a dank basement while a guy from your office is quietly and calmly explaining how he’s about to relieve you of your limbs one by one. This isn’t music to have on low - crank it up, consider your unsatisfactory place in an unsatisfactory society and let loose. Kate Solomon
KANO
MADE IN THE MANOR Parlophone // March 4th It’s no bad thing that Kano’s sound effectively remains where it was on 2010’s Method To The Maadness; lyrically he’s come into his own on Made In The Manor, which swings between swagger and sincerity while remaining explicitly concerned with his roots in London. Manor succeeds in its collaborations, from a sparking, sputtering back-and-forth with Wiley to a sonically Kanye-and-Justin-reminiscent link-up with Damon Albarn (following up their collaboration on Gorillaz’ Plastic Beach), but shines in its virulent instrumentation, devastating percussion, and more boisterous, engaging vocal moments. The grip loosens somewhat as it toys with pointed severity and less adventurous arrangement, but when all the ingredients come together, as they do on the blistering opener, ‘Hail’, it’s got everything you could want from an MC. Merlin Jobst
IGGY POP
POST POP DEPRESSION Rekords Rekords // March 18th Post Pop Depression could be Iggy’s final album. “To make a real album you have to put everything into it and the energy’s more limited now.” If this is his final statement, it’s an emphatic one. Made with Josh Homme and Arctic Monkeys’ Matt Helders, it’s a fierce, dirty and vital piece of work. First single ‘Gardenia’ has dazzling echoes of his mid-70s Berlin days with Bowie. Others like ‘In The Lobby’ have that distinct Homme desert rock guitar sound, while ‘Chocolate Drops’’ metallic RnB is reminiscent of the Arctic’s AM. And, on closing track ‘Paraguay’, we hear Iggy spewing “Take your motherfucking laptop, shove it into your goddam foul mouth, you fucking phony … I hope you shit it out with all the words in it.” Final album or not, he certainly hasn’t lost the knack of delivering a brilliantly savage missive. Danny Wright
EMMY THE GREAT SECOND LOVE
Bella Union // March 11th “I know love, love, love / Love is the answer in the end” Emma-Lee Moss notes with a level of serenity fans of her Emmy The Great project have come to know and indeed love from album one. With Second Love the Bella Union singer has created a blissfully gorgeous second effort that swoons with perfect poise from eerie opener ‘Swimming Pool’, bolstered by the unmistakable drone of Wild Beasts’ Tom Flemming, through the euphoric, inspiring ‘Never Go Home’ to its lovelorn closing ballad ‘Lost in You’. It’s an album of gently shifting shades, as the melancholic, self-conscious ‘Social Halo’ juxtaposes the joyous, twinkling guitar arpeggio of ‘Constantly’ which brings a pop-tinged smile alongside Moss’ technological commentary; something the talented Londoner was keen to include in the record, as she mixes metaphor with the frank reality of an unwanted passing in the streets of Soho. Three years in the making, sketched-out across cities of Asia on tour and recorded in North London, Second Love is full of beautifully constructed, classic songwriting but comes with this intelligent modern nod to “screengrab beauty queens” and our incessant “tapping of keys”, all ensuring she has created a record for the socially and musically astute. Love is indeed the answer, and it’s pretty near impossible not to fall for Emmy The Great and her wonderfully assured second LP. George O’Brien
THE RANGE
POTENTIAL Domino // March 25th Is it odd to mention that I’m slightly envious of any listeners stumbling upon The Range for the first time? I did exactly that in 2013, taking a wild punt on Nonfiction, the debut long player by James Hinton, and despite knowing very little about him or what he effortlessly produced, I was richly rewarded. Somehow, he weaved futuristic soundscapes that still remained remarkably personal. And yet, as I began to marvel at the record’s startling depth after each mesmeric listen, he was gone again, presumably shuffling back into the shadows of the Providence basement that much of his original material had been assembled in. While I’m unsure as to whether Hinton still operates in such humble surroundings, Potential occasionally feels staggeringly widescreen. None of his early work’s intimacy is lost – tracks such as ‘Five Four’ and ‘1804’ still retain the notable grittiness that lurked beneath the surface of Nonfiction if you probed for long enough – however, his second album treads an altogether more intriguing path. Having tasked himself with sifting through YouTube, unearthing vocalists from relative obscurity and arranging them as the bedrock of Potential, Hinton melds skittering hi-hats and otherworldly blips around them in trademark fashion. This is far more ambitious fare though; ‘Superimpose’ and ‘No Loss’ are formidable, lingering juggernauts with a battered heart at their core. Lee Wakefield
DAMIEN JURADO
VISIONS OF US ON THE LAND Secretly Canadian // March 18th Seattle singer-songwriter Damien Jurado has been going strong for twenty years by now, with no signs of slowing down. His latest opus Visions Of Us On The Land is his twelfth outing and his fourth with Richard Swift behind the decks, the third of an imagined trilogy, and it continues down the path set out by the prequels Maraqopa and Brothers And Sisters Of The Eternal Son. Emotive indie folk with psychedelic touches and a grand sonic palette, Jurado balances grandiose arrangements and intimate strumming to great effect, while keeping the listener’s interest throughout the album’s seventeen tracks. Visions of Us on the Land is another worthy addition to Damien Jurado’s catalogue, and one that is certain to be played over and over again. Johan Alm
KIRAN LEONARD
PRINCE RAMA
Moshi Moshi // March 25th
Carpark Records // March 4th
This rollicking thrill ride from twenty-year-old Kiran Leonard is a technicolor and wholly refreshing adventure crafted around ‘Pink Fruit’, a 16-minute epic that makes Cloud Nothings’ ‘Wasted Days’ sound tame by comparison. At about an hour long, it packs more twists and turns than a high-speed Hollywood chase, but trades the glamour for raw, shredding riffs, subtle strings and early 90s Built to Spill quality. Then there are tracks like ‘Öndör Gongor’ and ‘Don’t Make Friends with Good People’ that turn world music and Fleet Foxes-style rhythms on their heads. While his previous album Bowler Hat Soup was more hazy, Ariel Pinkesque melodies, Grapefruit shows a more confident side to Leonard and reveals exactly what his dizzying mind is capable of. Highly jubilant, extremely cathartic listening. Tom Walters
Where next to go after an album celebrating the future apocalypse by channelling the tunes of fictional pop stars? Well, transcending time via a new extreme-sports based musical genre, obviously. By now nothing should surprise you about Prince Rama except for maybe one thing: their ability to continue churning out such original and idiosyncratic music while avoiding caricature. Xtreme Now may sound utterly ridiculous, like a new age aerobic workout for the soul, but essentially it is a brilliant record. Whether through the life-affirming soul affectation of ‘Your Life in the End’, the electric folk in ‘Slip into Nevermore’, or the Kate Bush meets Karen O theatre punk of ‘Shitopia’, the Larson sisters are irresistible. To paraphrase what must be their mantra; Believe in something fun. Believe in the Rama. Henry Wilkinson LiS 35
GRAPEFRUIT
XTREME NOW
UNDERWORLD // BARBARA BARBARA, WE FACE A SHINING FUTURE Caroline International // March 18th Famed 1995 smash ‘Born Slippy’ may have seemed a singular calling card, but its brutal techno beats, fleeting chordal swells and Karl Hyde’s agitated torrent-of-consciousness remains a loose template for Underworld’s best work into their seventh album. ‘I Exhale’ is a gut-punch of industrial big-beat, while ‘If Rah’ slowly guides a dancehall wobble to its housey crescendo. A portentous feel pervades ‘Low Burn’, set to a deep, pulsing drone that also overcasts the meditative string pickings on instrumental ‘Santiago Cuatro’; while Hyde’s simple melody on ambient counterpart ‘Motorhome’ dissolves into a swarm of tinny electronics. That Barbara Barbara... then thins out to a cheerier electro-pop vibe suggests a little angst amid the euphoria is what gives Underworld the edge. Nick Mee
ANNA MEREDITH VARMINTS
Moshi Moshi // March 4th I got to hear my best mate’s baby son laugh for the first time a few weeks back, and still, the best thing I’ve heard all year is this Anna Meredith record right here. Previously a composer-in-residence for the BBC Scottish Symphony Orchestra, she’s now making wonderful music that sits somewhere between the synth brass experiments of black metal trolls Liturgy (‘Nautilus’) and Holly Herndon’s poppier leanings (‘Dowager’). Yes, that’s a broad spectrum, but thankfully Meredith’s work all along it is stunning wherever it lands. Varmints is clever enough to be right at home at your Barbicans, your ICAs or your Café Otos, but its subversive pop element succeeds so strongly it could turn even the stuffiest of them into a proper knees up. Thomas Hannan
THE BODY
NO ONE DESERVES HAPPINESS Thrill Jockey // March 18th No One Deserves Happiness; a melodramatic title belying so little of the genuine trauma of its contents that it’s laughable. In their latest release, The Body have created a genuine doom-nasty, oscillating between the schlock of sludge metal and the beguiling texture of noise rock. And for how that sounds, it’s a nuanced effort, amidst the piercing howls and squalls of digital feedback. ‘Hallow Hollow’ is an utter horror, a siren call winding a melody through the noise, while ‘Starving Deserter’ and ‘Shelter Is Illusory’ mix weed smoke with the dry ice in slabs of desert rock doom. Combine this with the scattered Trent Reznor-aped soundscapes of ‘The Myth Arc’ and you have an uneven listen that revels in its ability to surprise. Grant Bailey
DHP PRESENTS
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EVENTS
a selection of new stuff we’re excited about: HANNAH LOU CLARK
ROUNDHOUSE RISING FESTIVAL In case you didn’t already know, Roundhouse are one of the more brilliant supporters of new music and young musicians out there. From offering incredibly cheap rehearsal spaces for under 25s to their endless supply of workshops and new music festivals, they do something unbelievably beneficial and rare in the music industry by trying to bring music to people of all backgrounds regardless of income. Part of this dedication to new music is their annual Roundhouse Rising festival, with performances from a range of our favourite new artists (including Black Honey, Afrikan Boy and Hannah Lou Clark) and free panels, workshops and tutorials. Now in its sixth year, it’s a firmly established and rapidly growing new music event that won’t fail to impress. March 17th-20th, The Roundhouse, Camden, Tickets: FREE to £8 // @RoundhouseLDNden
BONOBO PRESENTS OUTLIER
BONOBO
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A new event series curated by Bonobo, Outlier has blown us away with its incredible line-up already and I’m sure there’s more surprises still to come. Taking place across the labyrinth of rooms at London’s favourite new venue Tobacco Dock, the party goes on all day and the carefully curated list of special guests will be there to make sure there’s never a dull moment, or a reason not to dance. With a mix of live acts (including one of our favourites, Kiasmos) DJs and producers (Rone, Maya Jane Coles, Lapalux, Lone, Gilles Peterson), the line-up is an exciting mix of established and new artists. As he works on his fifth album for Ninja Tune, Bonobo won’t let us forget just how brilliant he is with this huge display of his talents as a curator and genre leader, supporting and promoting the best sounds in club culture both new and old. A day to leave you inspired and excited for the future of new music. March 12th, Tobacco Dock, E1. @OutlierLive // outlierlive.com // facebook.com/OutlierLive
LIT LIVE If you’re not familiar with Lit Live, then it’s a collaboration between Goldsmiths Writers’ Centre and Literary Kitchen, showcasing Goldsmiths and guests’ fantastic writing and poetry. This month they’re taking over one of the best new venues and inclusive spaces in town, DIY Space for London. We’re especially excited for this one as one of our long-time favourite artists Alanna McArdle (Ides, Joanna Gruesome among many others) will be taking part with a reading. A night of something a little bit different. March 17th. FREE, DIY Space For London, SE15 1TF facebook.com/goldlitlive // @Lit_Live
D.I.Y. ART MARKET - PECKHAM This event is a real treasure trove, and an opportunity to pick up unique items you won’t find elsewhere, and certainly not all in one place. You can expect to find art prints, ceramics, zines and independent publications, illustration, photography, comics, custom tees, homemade cassettes, screen prints, records and artist books. So, basically, everything we like. This is a real celebration of creativity and London’s independent scene, supporting both the more established artists and publishers, as well as up-and-coming stars. March 12th, Copeland Park, Peckham, SE15 3SN @diyartmarket // hackneyfleamarket.com/artmarket
HARMONY KORINE: FAZORS With writer/director credits for Gummo, Spring Breakers and more, plus collaborations with Larry Clark on the likes of Kids, we don’t need to tell you that Harmony Korine is blessed with a unique and divisive vision that always get people talking. That this extends to this exhibition of his paintings is no surprise. With the title referring to oscillating musical sounds, this is a vibrant and sensory experience where the paintings pulse with an hypnotic energy. These are works of art to get lost in, like Mowgli looking into Kaa’s eyes. Open now till March 24th, Gagosian Gallery, W1K 3DE @GagosianLondon // gagosian.com
Scapp Willter Circle, (2015) © Harmony Korine. Courtesy the artist and Gagosian Gallery. Photo: Robert McKeever
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BIRD ON THE WIRE PRESENTS
Giant³ Sand & Jason Lytle
Great Lake Swimmers
Liima
Shobaleader One
MON 11TH APR VILLAGE UNDERGROUND
MON 11TH APR RICH MIX
Basia Bulat Palehound
THU 3RD MAR SHACKLEWELL ARMS
Promise Keeper & Better Person FREE THU 3RD MAR THE OLD BLUE LAST
Esben and the Witch WED 9TH MAR THE VICTORIA
The Range
WED 9TH MAR THE PICKLE FACTORY
The Raveonettes THU 10TH MAR OVAL SPACE
Blanck Mass THU 31ST MAR OSLO
Yndi Halda
WED 13TH APR HOXTON SQUARE BAR & KITCHEN
Ulrika Spacek WED 13TH APR THE WAITING ROOM
Kimya Dawson
THU 14TH APR ISLINGTON ASSEMBLY HALL
Scout Niblett UT FRI 15TH O APR LD THE O LEXINGTON S
Damien Jurado
MON 18TH APR ISLINGTON ASSEMBLY HALL
Susanna
“Classic Squarepusher – Live Band” SUN 8TH MAY ISLINGTON ASSEMBLY HALL
Quilt
MON 16TH MAY HOXTON SQUARE BAR & KITCHEN
Kaki King
TUE 17TH MAY HOXTON SQUARE BAR & KITCHEN
Bleached WED 18TH MAY MOTH CLUB
Homeshake + Mass Gothic UT THU 19THOMAY LD THE O VICTORIA S
Suuns
TUE 19TH APR CAFE OTO
TUE 24TH MAY ICA
Nonkeen
Destroyer
WED 20TH APR VILLAGE UNDERGROUND
WED 15TH JUN KOKO
Laura Gibson
The Tallest Man on Earth
FRI 1ST APR OSLO
TUE 26TH APR HOXTON SQUARE BAR & KITCHEN
Amanda Bergman
She Drew the Gun
SUN 10TH APR SEBRIGHT ARMS
TUE 3RD MAY THE FORGE
THU 28TH APR THE VICTORIA
TUE 21ST JUN ROYAL ALBERT HALL
MORE INFO AND TICKETS BIRDONTHEWIRE.NET
GIGS OF THE MONTH
OUR PICK OF THE BEST SHOWS HAPPENING IN MARCH 2016
THE OLD BLUE LAST
EUGENE QUELL // BRUNCH What an ace line-up for this show. Everyone loves Eugene Quell, and Brunch are a real great up-and-coming Pavementy-y band.
08/03/16 FREE @theoldbluelast OLD STREET
SHACKLEWELL ARMS
THE LEXINGTON
We were lucky enough to catch Palehound at CMJ last year and were instantly smitten. The track ‘Healthier Folk’ has not left our stereo. Check our album review on p32, and don’t miss this show.
Big Ups are an incredible live band; furious and tightly-wound with lyrical smarts to burn. Punky kicks to treasure.
PALEHOUND
03/03/16 £6.50 @Shacklewell Arms
DALSTON JUNCTION / KINGSLAND
BIG UPS
30/03/16 £9.50adv @thelexington
ANGEL
BUSH HALL
GAGGLE // NOVA TWINS // REYKJAVÍKURDÆTUR // ASHA All-female performance art/pop band/ alternative choir Gaggle & killer supports for this Finding The Female event. 12/03/16 £15 @Bushhallmusic
SHEPHERD’S BUSH
BRIXTON WINDMILL
AKDK // WOT GORILLA? // ALRIGHT THE CAPTAIN // FLIES ARE SPIES FROM HELL + MORE An all-dayer at Brixton Windmill is always guaranteed good times (plus bbq of course), and this mathy/post-rock line-up is no exception. AKDK
20/03/16 - £7adv // @windmillbrixton
THE GARAGE
SAUL WILLIAMS Performing his ‘Martyr Loser King’ album for the first time in the UK, straining trap hi-hats and mbira strokes make for a unique sound.
BRIXTON
06/03/16 £20adv @TheGarageHQ HIGHBURY AND ISLINGTON LiS 45
SERVANT JAZZ QUARTERS
THE GOOD SHIP
Recent track ‘Stalking Moon’ was our favourite Wyldest moment so far, and we’ve loved all their sweet shoegazey pop.
Rumour Cubes mix violin, viola, guitars & electronics to dramatic, cinematic effect.
WYLDEST
21/03/16 £5adv @ServantJazz
DALSTON JUNCTION / KINGSLAND
RUMOUR CUBES // RICHARD J. BIRKIN // CHAGALL 22/03/16 £5adv @thegoodshipNW6
BORDERLINE
PRESS TO MECO // ALLUSONDRUGS // MAX RAPTOR Expect noise, and plenty of it from this triple-bill of incendiary acts on their UK Throwdown tour.
THE DOME
ROBYN SHERWELL
Absolutely huge scenes guaranteed with the return of these NYC hardcore legends. TUFNELL PARK
Robyn Sherwell deals in RnB, pop, Fleetwood Mac covers and honest affecting songwriting. Come have a dance at Hoxton Bar & Kitchen. 23/03/16 £9.50adv @HoxtonHQ
NEW CROSS INN
FUCK ART, LET’S DANCE! // SOUNDS OF SYSTEM BREAKDOWN + MORE Pulsating beats and heaps of attitude. Going to be a lively one in New Cross. 11/03/16 £5 @NewCrossInn
09/03/16 £8adv @theborderline TOTTENHAM COURT ROAD
HOXTON BAR AND KITCHEN
GORILLA BISCUITS 07/03/16 £20adv @DomeTufnellPark
KILBURN
NEW CROSS / NEW CROSS GATE BLANCK MASS
OLD STREET
O2 ISLINGTON ACADEMY LADY LESHURR
Having toured with the likes of Ciara, Skepta & Busta Rhymes, we’re expecting big things from this hyped British rapper. 08/03/16 £12.50adv @O2Islington
ANGEL
OSLO
BLANCK MASS // SCULPTURE ‘Dumb Flesh’ was one of our favourite records of 2015, with Fuck Button’s Benjamin John Power delivering ever-more impressive results with this project. 31/03/16 £12.50adv @OsloHackney LiS 46
HACKNEY CENTRAL
FABRIC
RICHIE HAWTIN // NASTIA // TERRY FRANCIS // STACEY PULLEN Your techno names don’t get much more influential than that of Richie Hawtin. Big times in Fabric’s Room 1. 26/03/16 £23adv @fabriclondon
FARRINGDON
PAPER DRESS VINTAGE
SUPER BEST FRIENDS CLUB Comparisons to Wild Beats, Sbtrkt and Caribou get thrown at SBFC, and that’s more than enough to have us hooked. SUPER BEST FRIENDS CLUB
18/03/16 £4 @paperdressed
BIRTHDAYS
DREAM WIFE // REYKJAVÍKURDÆTUR Inspired by 60s girl groups, Sleigh Bells, Le Tigre and Grimes, Dream Wife play ‘poolside pop with a bite.’ Count us entirely in.
HACKNEY CENTRAL
11/03/16 FREE @_Birthdays DALSTON JUNCTION/ KINGSLAND
BEDROOM BAR
WAITING ROOM
The Bedroom Bar is importing some of the best sounds breaking out of Cambridge right now for a mesmerising night.
Beautiful comeback single ‘The Ladder’ is one of 2016’s finest moments - really excited for this long-overdue show.
02/03/16 FREE @Bedroom_Bar
07/03/16 £7 @WaitingRoomN16
MAIJA SOFIA // IAN JEFFS
WEIRD DREAMS // STATIC PALM
OLD STREET
DALSTON JUNCTION/ KINGSLAND
THE LOCK TAVERN
100 CLUB
Three days of incredible new bands such as Wyles & Simpson, Night Flowers, Phobophobes and many more - all for free!
Having supported Skepta and JME, Novelist brings his frenetic grime times to the 100 Club. This will be a blast.
10-12/03/16 FREE @thelocktavern
03/03/16 £10adv @100clubLondon
BLACK CAT WHITE CAT WEEKENDER
CHALK FARM / CAMDEN TOWN
NOVELIST
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TUESDAY 1ST MARCH WEDNESDAY 2ND MARCH
THURSDAY 3RD MARCH
FRIDAY 4TH MARCH
SATURDAY 5TH MARCH
SUNDAY 6TH MARCH
MONDAY 14TH MARCH
WEDNESDAY 16TH MARCH
TUESDAY 15TH MARCH
THURSDAY 17TH MARCH
FRIDAY 18TH MARCH
SATURDAY 19TH MARCH
MONDAY 21ST MARCH
SUNDAY 20TH MARCH
TUESDAY 22ND MARCH
THURSDAY 24TH MARCH WEDNESDAY 23RD MARCH
SATURDAY 26TH MARCH
FRIDAY 25TH MARCH
TUESDAY 29TH MARCH SUNDAY 27TH MARCH
WEDNESDAY 30TH MARCH
MONDAY 28TH MARCH
FRIDAY 1ST APRIL
THURSDAY 31ST MARCH SATURDAY 2ND APRIL
WEDNESDAY 6TH APRIL
FOR ALL THE LATEST LISTINGS, AND TO SIGN UP TO OUR GIGS OF THE WEEK EMAIL, VISIT LONDONINSTEREO.COM
Orange Yard, off Manette St, London W1D 4JB Follow us @theborderline and facebook.com/theborderline Tickets from theborderlinelondon.com or 0844 847 2465 (24hr) SAT 27 FEB 7PM 14+ £6 ADV
GUTSHOT FOR BROADWAY
SLEEPFIRE + HANGMAN JURY
WED 09 MAR 7PM 14+ £8 ADV
PRESS TO MECO
ALLUSONDRUGS, MAX RAPTR
SAT 12 MAR 7PM 14+ £13 ADV
BLACKBEARD’S TEA PARTY
WED 16 MAR 7PM 14+ £12.50 ADV
FRI 25 MAR 7PM 14+ £15 ADV
LETZ ZEP - TALES OF STORMS TOUR 2016 WED 30 MAR 7PM 14+ £7 ADV
BILLY LOCKET
FRI 01 APR 7PM 14+ £12 ADV
ROMEO’S DAUGHTER WED 06 APR 7.30PM 14+ £10 ADV
BLACK PEAKS PALM READER + TOSKA
BIRTH OF JOY
FRI 08 APR 7PM 14+ £16.50 ADV
PLUS SPECIAL GUESTS
THE REFORM CLUB
FRI 18 MAR 7PM 14+ £20 ADV
MON 11 APR 7PM 18+ £18 ADV
SAT 19 MAR 7PM 14+ £10 ADV
THU 14 APR 7PM 14+ £15 ADV
PLUS SPECIAL GUESTS
SILENT PLANET + NOVELISTS
IAN SIEGAL BAND AIDEN CONNELL LIVE MON 21 MAR 7PM 14+ £8 ADV
HECK
RAKETKANON
TUE 22 MAR 7PM 14+ £12.50 ADV
TOSELAND COLOUR OF NOISE
WED 23 MAR 7PM 14+ £13 ADV
STEVIE MCCRORIE THU 24 MAR 7PM 14+ £7 ADV
THE CARNABYS SPECIAL GUESTS
SAM OUTLAW FOR TODAY
FRI 15 APR 7PM 14+ £12 ADV
MY BABY
TUE 19 APR 7PM 14+ £14 ADV
BANG
IRON CLAW + BRULE
FRI 22 APR 7PM 14+ £10 ADV
THE ALGORITHM
FRI 05 AUG 7PM 14+ £16.50 ADV
SARABETH & GLENN MITCHELL UK TOUR
Classic Indie, Rock & Brit Pop
– In this month’s column Alan Miller, of the The Night Time Industries Association (NTIA), looks at the negative portrayal of nightlife, how unrepresentative it is, and how people over the world are affected –
INTO THE NIGHT
WHY NIGHTLIFE MATTERS
With London Fashion Week just behind us, there is seldom a better opportunity to see how much a worldwide industry is informed, inspired and shaped through an interaction with nightlife. British designers are renowned for being more edgy and risk-taking, and our dancefloors and vibrant cultural night time offerings provide the platform for new generations of designers, artists, musicians, managers, promoters and, of course, a cross-range of all our population. Yet all too often nightlife is presented negatively. Time for this to stop. Nightlife = our unique culture, heritage and vibrancy. It is who we are. With serious crime down, A&E levels stable and around 27% of young people saying they are 'teetotal’ it is very sad to read headlines that declare "9 out of 10 councils want more powers to curb pub openings" We should be celebrating our successes and achievements not shutting British business and culture down, and suffocating it with wrong-minded attitudes.
We can see all too well what happens when the wrong approach can morph into wrong laws: Sydney's Lockout Laws have been a disaster for New South Wales in Australia. Sydney, the city that did most to inspire with The Horden Pavilion – a mixture of gay clubs, acid house and tourism all combining to provide a brilliant environment – has been suffocated by these laws. Fortunately they are organising and challenging, and we’ve recently seen the Keep Sydney Open group staging a huge rally with thousands of like-minded people turning up to protest against those crushing laws. The same rotten idea, that one act by an individual should be used to shut down a sector, a way of life in Australia, is impacting Britain. We need to all have a voice here. When we’re together we can make a difference too, as the We Love Hackney campaign showed - now Hackney Council are coming back with their consultation and are, indeed, going to need to consult. We hope that an honest engagement is pursued... The NTIA is launching something very soon - which we want you all to be involved with: London, Sydney Melbourne, Liverpool, New York, Brooklyn, Miami, Glasgow – all of us, In Stereo. It’s time to celebrate our nightlife.
For more information and to become a member of the NTIA visit: ntia.co.uk // @wearethentia // facebook.com/wearethentia LiS 67
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Shacklewell Arms Shacklewell Arms
The Waiting Room
PALEHOUND PALEHOUND
WAYWARD
71 Shacklewell Lane London E8 71 Shacklewell Lane London E8 Thursday 3 March Thursday 3 March Monday 7 March Monday 7 March
The Waiting Room
175 Stoke Newington High St N16 175 Stoke Newington High St N16 Friday 4 March Friday 4 March
WAYWARD
Monday 7 March Monday 7 March
SO SOPITTED PITTED
WEIRD DREAMS DREAMS WEIRD
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Friday 11 March Friday 11 March Friday Friday1818March March
THE THEHOLYDRUG HOLYDRUGCOUPLE COUPLE Thursday Thursday24 24March March
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KRISTA PAPISTA PAPISTA KRISTA
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35 35 Chalk ChalkFarm FarmRd RdLondon LondonNW1 NW1
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LOCK TAVERN FESTIVAL
LOCK TAVERN FESTIVAL
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THOMAS THOMASCOHEN COHEN Saturday 12 March Saturday 12 March
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CLOCK OPERA
CLOCK OPERA
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BORN RUFFIANS
BORN RUFFIANS
...IN LONDON with STEVEN
JAME S ADAMS Why do you live in London? Because this is where all my stuff is. All my stuff is in my house. My family are in my house too. I suppose I could take all my stuff out of my house and move away with my family. Is that what you want? I’d miss my friends. Where do you like to eat and drink? I’ve been on a spicy Chinese food binge for a couple of years now, and I usually default to Sichuan Folk (off Brick Lane), Barshu and Ba Shan (Soho) and Yipin China on Liverpool Road. If I’m feeling flush then I want to eat at Vasco and Piero’s Pavilion on Poland Street. My favourite pub is The Chequers on Walthamstow High Street, hands down. What’s the perfect way to spend the day? If it’s a Sunday I like to get up early, drive to Columbia Road market, drink some coffee, buy a plant, drive home again. I like doing touristy things and slogging around museums and galleries and I recently dragged some American visitors around the Sir John Soanes Museum, which is one of the best places in the world, never mind London. I’m a big fan of taking my kids to art galleries and encouraging them to shout. I think other people really appreciate that too. Your favourite outdoor space? Walthamstow and Leytonstone Marshes, Hampstead Heath, Hyde Park. How would you advise someone to get the most out of this city? Look up. Put your phone away. Follow your nose. Go to Highgate Cemetery. Say hello. Ask questions. Take the bus. Don’t stare at that man.
“LOOK UP. PUT YOUR PHONE AWAY. FOLLOW YOUR NOSE...” Where are your choicest gig venues? I like small venues and there aren’t enough of them left. The Lexington, The Windmill, The Shacklewell Arms are all pretty great. I like playing and seeing shows in churches; Union Chapel, St Pancras Old Church, St. John’s Church. I went to Wembley Stadium for the first time last year, to see AC/DC, so I’ll say there. It was really busy and everyone was having a great time. Wembley Stadium: support your local small venue. Does London influence the music you write? All the time. Sometimes it’s a struggle to find peace and quiet in London, and that can affect how I write: in London I write fast. For this new record I did most of the writing out in the Portuguese countryside and I realised how important it is to slow down. I should be a life coach and share this unique wisdom with people. Now it’s getting colder out, where do you hunker down to survive the winter? At home, by the fire. Or in The Chequers, by the bar. Steven releases Old Magick March 4th via Fortuna POP! LIVE: St Pancras Old Church, March 16th. ONLINE: @singingadams // stevenjamesadams.com facebook.com/stevenjamesadamsings
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LIVE TAME IMPALA Alexandra Palace, February 12th It’s no secret that with latest album Currents Kevin Parker has aimed for the kind of immediate and sugary songwriting that has propelled Max Martin to be a kind of Paul McCartney of the internet age. His execution of this bold new psychedelic vision has been almost flawless, and his newfound technical mastery has assuredly propelled Tame Impala’s music to heights where even Rihanna has doffed her figurative hat his way. In a pre-emptive move, Kevin Parker has already lyrically challenged and silenced the criticism that he might be appealing to the lowest common denominator - Currents cuts ‘New Person, Same Old Mistakes’ and ‘Yes I’m Changing’ both confidently shake off any such criticisms as being regressively luddite. So it’s fair to say he’s remade himself as a pop star with a definite modus operandi: “there is a clever way to do this pop business” the music proclaims behind its crystalline synths and warped guitar lines. Tonight, Alexandra Palace bellows cheers for the remade man as he appears on stage with a wave before promptly launching into an introductory wig-out that sounds a bit like ‘Still D.R.E.’ - the oscilloscope whirrs wildly into life behind him providing the sounds with visual textures. From then on we’re treated to a perfect rendition of ‘Let It Happen’
which sounds pretty much exactly like it does on record. For a man with a notoriously shaky singing voice, tonight’s show is a triumph in that respect, but the note-for-note and beat-for-beat precision sometimes feels a little wanting. These are, after all, songs which were recorded by one man, being played by six different musicians who are working to reproduce his phrasing and feeling almost exactly as it is. They could learn something from the hell-raising theatricality of Trent Reznor’s live incarnations of Nine Inch Nails. The set excels in the songs where the band don’t have to try too hard to be orchestral: first album cuts like ‘It’s Not Meant To Be’, ‘Why Won’t You Make Up Your Mind’ and ‘Alter Ego’ provide genuine sing-along moments, the roots-based nature of the music, (aping blues artists like Cream alongside modern live-band psych like Dungen), makes them feel like jams the band can really sink their teeth into. ‘Elephant’ shines for much the same reason, while new cut ‘The Less I Know The Better’ is so funky anyway the audience can’t help but shake it. All-in-all Parker pulls this one out of the bag, but he doesn’t pull any surprises. He’s mastered the recording artist side of things, but the stage is his last real hurdle on the road to pop greatness. Tim Hakki
Photo: Eleonora Collini (eleonoracollini.com)
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by Future Of The Left’s Andrew Falkous Within the sub-genre of humanity known as musicians the most keenly contested award is that of ‘hardest working band’, or, if I may translate into musicbusiness-eese, ‘person or persons who is dead famous and travelled around a lot’, or ‘got a record coming out this year and the marketing spend has to go somewhere’. Seriously, art can get a fucking ladder to a pit of arseholes, it’s all about the miles covered and the money made and the cogs of the industry turned and turned and … Nah. Nobody cares about that, not even the people who win them. Not even Michael Stipe. ‘Hardest working’? It’s a shit use of words in a world which needs them, badly. For most of the people you’ll see in the top tens of lists like these hard work involves getting up late and snoozing until they’re required to have the most fun a person can have - pretty much all they’ve got to do is have the politeness to love what they do and don’t be so much of a dick that everybody hates them, at least not on successive days. Yeah, there are bad bits. There is missing people, there is booze and there are the many complications of the human heart and mind. For some, who want to get life over and done with quickly, cocaine is available. Sets can get boring. ‘Reign in Blood!’ shouts another crowd member, hilariously. Yes, it IS hilarious. You ARE the first one to shout that. YES YOU ARE. But to re-gress (did I ever gress?) I come here today to ask you to extend a hand of kindness to the bands whose labour is often ignored, particularly those who work in call-centres and cafes and all-night garages, the certifiable weirdos who will drive up to Glasgow then back in a night and spend the next day in work trying to stay awake when all they can see is the blackness of the road which leads, inexorably, to the nothingness that is their bank accounts. They make no money - in fact, they pay for the honour, more often than not, happy if they can find twenty people a night to expose to the contents of their minds and trousers. They take no holiday, at least not in the conventional sense. They are the sacrificial goats who lined stomachs during the brutal rise of the music industry and they will remain when it finally dies, drowning in a swamp formed from the spit and semen of Kanye West, who is apparently brilliant at something. Celebrate them, not with the miles the have travelled but instead an excel-spreadsheet illustrating the amount of holiday time devoted to the band as a percentage, or a CV which shows a litany of jobs started and left because that was the only way to get out on tour, the wreckage of relationships (as a pie chart) and the total absence of vitamins in blood-streams, particularly those only ever exposed to a toxic cocktail of service station sandwiches and Dairylea dunkers. Celebrate them. They are real. They are you. Future Of The Left release The Peace And Truce Of Future Of The Left April 8th via Prescriptions. LIVE: Electric Ballroom, April 21st. ONLINE: @shit_rock // futureoftheleft.net // facebook.com/futureoftheleft LiS 73
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