London in Stereo // Tommy Genesis

S EP TEM BER 2018 ISSUE 63 // FREE

TOMMY GENESIS

P R E S E N T S

14 | 09 | 18

ALBERT HAMMOND JR

T SOLD OU

- ELECTRIC BALLROOM -

06 | 09 | 18

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JIM WHITE

ERIKA WENNERSTROM

- CAMDEN ASSEMBLY -

- THE LEXINGTON -

- THE LEXINGTON -

LION

18 | 09 | 18

06 | 10 | 18

G LOVE

- ISLINGTON ASSEMBLY HALL

26 | 09 | 18

09 | 10 | 18

- ROUNDHOUSE -

- WAITING ROOM -

FRANZ FERDINAND

SASHA

17 | 10 | 18

JOHN BUTLER TRIO - EVENTIM APOLLO -

10 | 10 | 18

12 | 10 | 18

OLY RALFE

FENNE LILY

- ST PANCRAS OLD CHURCH

18 | 10 | 18

AADAE - BERMONDSEY SOCIAL CLUB

- BORDERLINE -

19 | 10 | 18

23| 10 | 18

DAHLIA SLEEPS

SOPHIE HUNGER

- OMEARA -

- OSLO -

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

SEETICKETS.COM - GIGANTIC.COM - STARGREEN.COM EVENTIM.CO.UK - ROUNDHOUSE.ORG.UK - TICKETMASTER.CO.UK

P R E S E N T S

24 | 10 | 18

BLACK HONEY - ELECTRIC BALLROOM -

23 | 10 | 18

THE BRIAN JONESTOWN MASSACRE

24 | 10 | 18

30 | 10 | 18 - 31 | 10 | 18

- 02 FORUM KENTISH TOWN

- ROUNDHOUSE -

ASH

- 02 FORUM KENTISH TOWN

31 | 10 | 18

PIXIES

05 | 11 | 18

JEN CLOHER SOLO

THE SHEEPDOGS

- MOTH CLUB -

- BORDERLINE -

01 | 11 | 18

HATCHIE - ELECTROWERKZ -

08 | 11 | 18

08 | 11 | 18

08 | 11 | 18

FAYE MEANA

HENGE

- THE ISLINGTON -

- THE LEXINGTON -

14 | 11 | 18

485C

COURTNEY BARNETT

- SHACKLEWELL ARMS

- 02 ACADEMY BRIXTON

15 | 11 | 18

15 | 11 | 18

TEENAGE FANCLUB

JEALOUS OF THE BIRDS

- ELECTRIC BALLROOM -

- THE ISLINGTON -

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

SEETICKETS.COM - GIGANTIC.COM - STARGREEN.COM EVENTIM.CO.UK - ROUNDHOUSE.ORG.UK - TICKETMASTER.CO.UK

GIGS Whyte Horses Experience + special guests Badly Drawn Boy, La Roux, members of The Go! Team and more 13 Sep, Royal Festival Hall

Moses Sumney + support from ESKA 21 Sep, Royal Festival Hall

Lost Horizons Simon Raymonde (Cocteau Twins) & Richie Thomas (Dif Juz)

James Holden & The Animal Spirits 4 Oct, Queen Elizabeth Hall

+ special guests Ghostpoet, Tim Smith (Midlake), Marissa Nadler and more 14 Sep, Queen Elizabeth Hall

Masayoshi Fujita 23 Sep, Purcell Room

Iglooghost 30 Oct, Purcell Room

Visit southbankcentre.co.uk for tickets and to sign up for the latest announcements

WELCOME

TOMMY GENESIS COVER STORY PAGE 26

When we heard there was going to be a Tommy Genesis album coming out in September we did not hesitate, barely had time for an inner circle nod before booking-in that cover shoot and, obviously, sticking the album on repeat.

In the rest of the issue you'll find we've mixed things up by tracking down the elusive Joyce Manor and having a lovely chat with Bondax about their brilliant new album as well.

Now, not to alarm you (there is no cause for alarm, we promise) but we have some BIG things coming up at London in Stereo. Some of you might have noticed (and will notice in these pages) that we have a new magazine coming later this year! It's a big glossy, in-depth kind of a thing called In Stereo, and we’re super excited to get it out there.

There’s another surprise to come this month, too.

So make sure you keep an eye on our social media. But, for now, my lips are sealed.

STAFF ON REPEAT the tracks we can’t stop listening to this month JESS: 6LACK - Nonchalant DAVE: Cat Power ft Lana Del Rey - Woman LOKI: Dilly Dally – Sober Motel DANNY: Neneh Cherry - Kong GEMMA: Robyn - Missing U JACK: Mutual Benefit - Come To Pass NENEH CHERRY (photo: Wolfgang Tillmans)

BETH: K.I.M.E x P1caps - Shellyann Season LiS 05

CONTENTS 10

NEW SOUNDS

52

FULL SEPTEMBER LISTINGS

Viagra Boys & more 14

19

71

JOYCE MANOR

with Ider

TALES FROM THE CITY

72

LIVE REVIEWS

Visions & Houghton Festivals

by Ivy Sole 22

IN LONDON

EVENTS

77

PENNY FOR YOUR THOUGHTS

by Kate Solomon

Sweet stuff happening soon in London

TOMMY GENESIS

26

32

ON THE STEREO

with Afropunk Festival & BBZ 36

42

BONDAX

ALBUM REVIEWS

Christine & The Queens, Low, The Goon Sax, Spiritualized and many more 50

GIGS OF THE MONTH

Our pick of September’s best shows TOMMY GENESIS COVER STORY: PG 26

Editor: Jess Partridge jess@londoninstereo.co.uk

Deputy Editor: Dave Rowlinson dave@londoninstereo.co.uk

Online Editor: Beth Sheldrick beth@londoninstereo.co.uk

Sub-Editor: Loki Lillistone loki@londoninstereo.co.uk

Festival Editor: Katie Thomas katie@londoninstereo.co.uk

New Sounds Editor: Gemma Samways

Staff Writers: Danny Wright, Jack Urwin

Advertising sales@londoninstereo.co.uk

Photography: Tommy Genesis cover story: Ebru Yildiz (ebruyildiz.net) Contributors: Emma Madden, Tom Johnson, Stephanie Phillips, Charlotte Krol, Lee Wakefield, Rhian Daly, Geoff Cowart, Thomas Hannan, Simone Scott Warren, Robin Murray, Tim Hakki. londoninstereo.com

@londoninstereo

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CONTENTS

londoninstereo.com

@londoninstereo

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NEW SOUNDS VIAGRA BOYS

by Gemma Samways

Stockholm’s Viagra Boys don’t take themselves especially seriously.

Yes, the clue’s in the ridiculous name, but it’s writ large in their predilection for tongue-in-cheek subject matter too, and in the abundance of absurd imagery you’ll find peppering their output.

Take ‘Sports’, the title track of their latest EP. Built around a fantastically scuzzy bassline and a filthy, three-note guitar riff - and eventually overlaid with skronking sax - it finds San Fransisco-exile Sebastian Murphy quite literally listing sports in the deadpan drawl of a 60-a-day smoker from America’s deep south.

On the surreal ‘Beijing Taxi’ - taken from the same EP - he’s ascribing mystic properties to toast, before sharing a fever dream set on the battlefields of World War I. Elsewhere, early track ‘Can’t Get It Up’ pans out pretty much how you’d expect.

Musically, imagine a thrilling composite of The Dead Kennedys, Fucked Up and The Birthday Party, all buzzsaw guitars, gravelly vocals and arid, low-slung grooves, with a healthy side-helping of wild-eyed menace.

Their debut album, Street Worms, is due late September, via the same label that hosts Yung Lean. In every possible sense, it promises to be an absolute riot.

IN TEN: NEW SOUNDS STEFFLON DON LIL BITCH

FLOHIO

FEELINGS CLUB

DADDY'S MONEY

YIZZY

FLOHIO

SLOWTHAI

LIYV

RINA SAWAYAMA

SPELLING

CHYNNA

SPENCER ZAHN

CHIEF

DRUG DEALER

CHERRY

LEO SEASON

10 MORE ROUNDS

STAY UP WITH ME

HARD TO PLEASE

CYANOTYPE

FOLLOW OUR SPOTIFY ‘ALL THOSE TRACKS OF THE WEEK’ PLAYLIST FOR ALWAYS UPDATED NEW MUSIC

VIAGRA BOYS (photo: Renan Peron)

LISTEN TO: Sports @ViagraBoys

@vboysstockholm

/vboysstockholm

HALONA KING

by Jess Partridge

LISTEN TO: Displaced @halonaking

/halonaking

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There's not much we know about Halona King yet, apart from that in the last few months she’s quietly released two of the most beautifully developed tracks we've heard in a long time. You know when you listen to someone and you know they just get it? They understand how to build a track, how to keep you hooked.

It feels instinctual and natural.

Both ‘Displaced’ and ‘Cacophony’ blend synth, brass and perfectly textured vocals seamlessly, giving them them a wonderfully timeless feel.

AFROPUNK

CHE LINGO

NAIRA MARLEY

SAT 08 SEPTEMBER

MON 10 SEPTEMBER

MON THU 13 10SEPTEMBER SEPTEMBER

SLENDERBODIES

Q&A WITH

TAKEOVER BRIXTON O2 ACADEMY BRIXTON

FREE ENTRY TUE 18 SEPTEMBER

THE OLD BLUE LAST

OMEARA

DAVE LORY JEFF BUCKLEY’S MANAGER WED 19 SEPTEMBER

BUSH HALL

JOSEPH LAWRENCE LES NEGRESSES VERTES AND THE GARDEN MON 24 SEPTEMBER

LP @ THE CURTAIN HOTEL

TUE 25 SEPTEMBER

O2 ACADEMY ISLINGTON

BLEEDING KNEES LIAM BAILEY CLUB FRI 28 SEPTEMBER

SAT 29 SEPTEMBER

HOLLIE COOK

TANK AND THE BANGAS

THE VICTORIA

WED 03 OCTOBER

SCALA

OMEARA

WED O3 OCTOBER

ELECTRIC BALLROOM

MASEGO FRI 14 SEPTEMBER

OMEARA CORSICA STUDIOS

O2 SHEPHERDS BUSH EMPIRE

NINES

EDDY DE PRETTO

SOLD OUT

THU 20 + FRI 21 SEPTEMBER

FRI 21 SEPTEMBER

THE PEARL HARTS

K-TRAP

O2 FORUM KENTISH TOWN

ISLINGTON ASSEMBLY HALL

+ BABYTEETH TUE 25 SEPTEMBER

THU 27 SEPTEMBER

WARGIRL

YUSSEF DAYES

SAT 29 SEPTEMBER

TUE 02 OCTOBER

LYLA FOY

KELVYN COLT

THE LEXINGTON

THE LEXINGTON

THU 04 OCTOBER

HOXTON SQUARE BAR & KITCHEN

ELECTRIC BRIXTON

SCALA

FRI 05 OCTOBER

OSLO

VISIT METROPOLISMUSIC.COM FOR TICKETS + TO SIGN UP FOR LATEST ANNOUNCEMENTS

interview

JOYCE MANOR words: Tom Johnson photography: Dan Monick

illion Dollars To Kill Me, the new full-length effort from Joyce Manor, begins with an almighty thwack of percussion, an immediate rush of power and prowess that kick-starts their fifth LP with the kind of wide-eyed vivaciousness that has been with the band from day one.

On paper, however, it’s a record that finds the band in somewhat uncharted territory, following on from 2016’s Cody LP which saw the Californian collective turn more inward than ever before, embracing their fear of ageing by teaming up with producer Rob Schnapf, famed for his work with the likes of Elliott Smith and Beck, among other world-weary wordsmiths. There was a supposition, then, that Million Dollars To Kill Me might well channel those influences to even more jaded depths, but the truth, it turns out, is somewhere in the murky in between; the new collection certainly offering a couple of their most plaintive tracks to date, but also characterised by the band’s signature sub two-or-three minute bursts of adrenaline-fuelled rock and roll.

Front-to-back, the ten tracks here just about creep over the twenty-minute mark.

“I just wanted to make something that was really fun to listen to,” Barry Johnson says of the new record, with the kind of plain-stated manner that has always sat at the band’s core. “Almost like early Beatles or Rolling Stones singles mixed with a kinda Tigers Jaw thing. It ended up sounding pretty cool.”

While it might sound like the record was a fast-and-furious undertaking, the roots of Million Dollars... actually lie somewhere else entirely, Johnson sharing song ideas with one of his musical heroes (Rory Phillips of The Impossibles) over email

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“I just wanted to

make something

that was really fun to

listen to... It ended up

sounding pretty cool.”

- Brian Johnson

before those sketches found a new life of their own within Joyce Manor’s garden. “I was really happy with the results and asked if he would be cool with me using some of the songs,” Johnson attests. “We used a few of them almost exactly as they were, and a few of them we re-worked slightly as a band.

Then we wrote a few more as a band and BAM we had a new Joyce Manor record. The songwriting process is obviously very different,” Johnson continues. “It was definitely a challenge to get the two different types of songs to gel and form a record but I think we pulled it off and the album is stronger for it.”

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“It sometimes feels a little dumb to be making art, but I guess you have to do something with your life.”

Billed as the natural follow-up to Cody’s coming-of-age mantra, Million Dollars To Kill Me feels like a warped conflict throughout, the push-and-pull of modernity unraveling across songs that know exactly when to leap forward and when to fade away into the ether. Characterised, once again, by its producer, the new record was recorded at the Salem studio of Converge’s Kurt Ballou; marking the first time the band had recorded outside of LA, a brief relocation that found them sleeping “right upstairs in bunk beds.”

"We wanted to work with Kurt because we have been fans of his production forever,” confirms Johnson. “I don’t think the location really impacted the record that much. We knew what we wanted to do and just played it down with a pro.”

Closed out by the jangle-pop of ‘Wildflowers’ - perhaps the band’s sweetest moment to-date Million Dollars To Kill Me feels something like a magnified glimpse into life as many of us know it in 2018; an endless flick-book of emotions that never seem to settle, leaping from love to scorn, from pleasure to pain, with no discernible end in sight. “America is all fucked up, and always has been.” Johnson states, mirroring that same sense of stoic endurance. “It sometimes feels a little dumb to be making art, but I guess you have to do something with your life.” LiS Million Dollars to Kill Me is released September 21st via Epitaph.

LIVE: O2 Forum Kentish Town, November 22nd.

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@JoyceManor

@joycemanorband

SOLD OU T SOLD OU T

SOLD OU

T

SOLD OU

T

SOLD OU

T

TALES FROM THE CITY “...when I got onstage and saw the warm faces in the basement of the Sebright Arms, I knew I was in the right place.”

photo: Lee Shaner

by IVY SOLE Since my adolescence, I’ve been enamored with the UK: the culture, the appreciation of hip hop, and the history have all made for countless dreams of spending time an ocean away.

Last summer I was fortunate enough to be in Berlin performing at Lollapalooza with CRO when I got the surprise opportunity to perform in London for my first international headlining show. As soon as I reached London Town I felt completely at home and, despite a few mishaps with my Airbnb, I got settled in North London – near Alexandra Palace – with a friend and started exploring.

Brick Lane’s whole vibe is one of the most interesting I’ve ever experienced. Between the murals, music, shops, and food it reminded me so much of Philly that I would’ve mistaken it for home if it hadn’t been for the accents! I also got the chance to visit the VICE London office and had the most amazing pizza at a spot called Homeslice, which I’d highly recommend.

My guide also took me to a grime show where I was introduced to the purest, wildest energy in the form of Big Zuu.

Before I headed to the venue, I linked with Netil Radio, a local podcast and live radio show hosted at Netil Market. It was an intimate conversation about what inspires the music and how I felt about the upcoming show and ended in a brief live performance.

At the end of the interview, pre-show anxiety set in and saturated my whole being.

The show had all the makings of mini disaster: my manager/DJ couldn’t perform with me, I lost my USB drive on the way to the show, and my voice was adjusting to the particularly potent chill that London is known for. But when I got onstage and saw the warm faces in the basement of the Sebright Arms, I knew I was in the right place. People were singing along and connecting with other people in the room in a way that I’d like to think only a show like mine can do. I can’t wait to make it back to the The Smoke with the new album in tow, hopefully the London-based garden gang has grown!

Ivy Sole releases her new album, Overgrown, September 7th via Les Fleurs Records.

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@IvySole

@ivysolemusic

DIZZY

H O L L OW COV E S

18 SEPTEMBER

18 SEPTEMBER

26 & 27 SEPTEMBER

OM E AR A

OSLO

HAC KN EY ARTS C E NTRE

AL B I N L E E M E L DAU

FR E YA R I D I N G S

N OVO AM O R

17 OCTO B ER

BUSH HALL

M AR L O N W I L L I AM S

18 OCTO B ER

O2 SH E PH E RD’S BUSH E M PI RE

VAN C E J OY

N I C K M U LV E Y

22 & 23 NOVEM BER

U N ION C HAPE L

B E N H OWAR D

30 OCTO B ER

13 NOVEM BER

1 6 , 1 7 & 1 8 J A N U A RY

HAC KN EY ARTS CE NTRE

ALE X AN DR A PAL AC E

O2 ACADE MY B RIXTON

EVENTS new things happening you really don’t want to miss out on

A GET OUT OF LONDON, GO TO BRISTOL THING

WHEN: October 20th. WHERE: Various Venues, Bristol. INFO: @simplethingsuk // simplethingsfestival.co.uk. Day and Night tickets are separate.

TIRZAH - (photo: Sebastian Nevols for London in Stereo)

SIMPLE THINGS FESTIVAL 2018 Crack Magazine’s Simple Things Festival returns with a new format and a line-up which has got us scanning the thesaurus for ‘impeccable’ synonyms.

2018 sees the festival split into Day (2pm-11pm) and Night (10pm-8am) iterations. The day section is blessed with a stack of LiS favourites such as Tirzah, James Holden, Iglooghost, Dena and Slowdive. The night is headlined by the inimitable Helena Hauff (whose recent five-hour set in London was mind-blowing), with company from the likes of Coby Sey, Tasker and DJ Python.

Impeccable: faultless, immaculate, perfect, etc...

AN IMPORTANT MAC‘N’CHEESE NEWS THING RITA’S DINING IS BACK Brave souls that we are, we distribute LiS ourselves - often on foot. What this creates is precious opportunities to sample food and drink across the capital. Rita’s Dining on Mare Street was always a favourite stop-off: rad cocktails and – oh wow – a green chilli mac‘n’cheese that must have been created by deities and then handed to the Rita’s team. So, wonderful news - Rita’s is back! They’ve taken up residence at one of London’s best breweries (Redchurch) serving up a menu inspired

by Mexico, America, Britain and more, plus plenty of actually-good vegan options. And, yes, the mac‘n’ cheese is back. 2018’s occasionally very good to us.

WHEN: Open Now. WHERE: Redchurch Brewery, 276 Poyser Street, E2 INFO: ritasbaranddining.com // @RitasDining // @RedchurchBrewer

A FREE ART IN THE PARK THING FRIEZE SCULPTURE 2018 Okay, this has been on for a bit, but time’s ticking if you want to catch this vital part of Frieze 2018. For a second year, Regent’s Park is full of visual treats as 25 sculptors exhibit thought-provoking, varied work. With exhibitors including the likes of Tracy Emin, Richard Woods and Tim Etchells’ must-Insta Everything is Lost, this is a free London treat you should not miss.

WHEN: now until October 7th. WHERE: Regent’s Park INFO: frieze.com/fairs/frieze-london // @FriezeArtFair Holiday Home (Regent’s Park), 2018, by Richard Woods, with Alan Cristea Gallery. Photography: Stephen White. Courtesy of Frieze

A FAVE VENUE GETS EXTRA SPACE & TIME THING PAPER DRESS VINTAGE: BIGGER AND LATER One of the most idiosyncratic and lovable venues in London, Paper Dress Vintage is always a great place to hang out, drink a beer or two and watch up up‘n’comers or acts doing serious underplays. Plus, of course buy choice vintage clothes. The live room is already great, so no improvement needed there but, excitingly, the hang out and drink option has been seriously ramped-up with their outside yard tripling in size, and they’ve now got a 3am licence!

WHEN: Open now. WHERE: Paper Dress Vintage, 352A Mare Street, E8 1HR INFO: paperdressvintage.co.uk // @paperdressed

AN INDEPENDENT ART THING D.I.Y. ART MARKET These events always offer a treasure trove of artistic endeavours from an array of creatives across many spectrums. Zines and t-shirts rub shoulders with ceramics, screen-prints, jewellery and more and the exhibitor list is as generous with emerging artists as it is with more established names - and yep, everyone’s favourite Hackney artist Babak Ganjei is there.

WHEN: September 30th, 11am-6pm. WHERE: Hackney Arts Centre, N16 8BH INFO: diyartmarket.com // @diyartmarket // @diyartshoplondon. ENTRY: £1 LiS 23

0 5 . 1 0 HEDKANDI

THE BEST UPLIFTING HOUSE MUSIC

1 3 . 1 0 FRICTION + DIMENSION ‘CONNECTIONS’ ALBUM LAUNCH

2 6 . 1 0 TOTALLY WIRED

13TH ANNUAL HALLOWEEN PARTY

2 7 . 1 0 BUGGED OUT HALLOWEEN HOT CHIP, MJ COLE, ARTWORK

0 2 . 1 1 CHASE & STATUS

+ TURNO - TICKETS ON SALE 31.08

2 3 . 1 1 REEF

+ BROKEN WITT REBELS

0 1 . 1 2 MATT JAM LAMONT PRESENTS ‘HISTORY OF GARAGE & BASS’ + DJ LUCK & MC NEAT

1 5 . 1 2 BASEMENT JAXX

DJ SET - TICKETS ON SALE 07.09

Music events all year-round at Dreamland’s Hall By The Sea

DREAMLAND.CO.UK Book tickets now

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Tommy Genesis words: Emma Madden

photography: Ebru Yildiz

“ I HAVE ALWAYS GONE WHERE OTHER PEOPLE DON’T. IT’S NOT TO SHOCK YOU, IT’S JUST WHO I AM...”

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interview

“TOMMY, TOMMY, TOMMY, TOMMY, THIS IS ABOUT TOMMY, I AM TOMMY, TOMMY, TOMMY, TOMMY, TOMMY.”

“GROWING UP PEOPLE THOUGHT I WAS A BOY, THEN LATER ON

his album is about me, remember?” Tommy Genesis says of lead single ‘Tommy’ from her upcoming album, Tommy Genesis. If Tommy seems inscrutable it’s because she refuses to be defined by anything other than what she is. At the start of her career, when early Soundcloud recordings were discovered by Father – the Atlanta rapper and head of indie rap clique ‘Awful Records’ – she indifferently tagged her music as ‘fetish rap’. She’s since been marketed as such, to the point where the words ‘fetish rapper’ might represent her better than ‘Tommy Genesis’, despite them hardly correlating to her at all.

In truth, Tommy Genesis is too elusive for genre or taglines or even a single art form.

The art school graduate has her line drawings and nudes scattered about her home in LA, and models for the likes of Calvin Klein on the side. While her music is rooted in a sleepy, trap style, each song exhibits a personality of its own. On her new album, you’ll hear mizzled West Coast guitar loops, scuzzy sub-bass lines, fake orgasms, and synths that wouldn’t sound out of place on a Fever Ray song. While she may well be this year’s next breakthrough rapper, the trappings of fame and the oversimplification and symbolisation that it entails don’t suit Tommy. Tommy Genesis is the full spectrum. Tommy Genesis is entire.

Even still, wouldn’t she like the fame just a little bit? “I don’t think about that,” she says after a little laugh. “I’m not obsessed with that or worried about that, I just make shit and I’m just thankful that people care.

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PEOPLE THOUGHT I WAS A GIRLY GIRL. BUT I DON’T SEE THINGS AS BLACK AND WHITE, I LIVE IN THE GREY SPACE...”

Music’s such an open-ended thing that allows me to be so many other things, and I just enjoy doing it. And I think that as long as I’m genuine and put out stuff that I know is my best then that’s all I can do.

If nothing happens then I’m cool. I just draw and make music.”

That cool nonchalance is down to her star sign, she says. “It’s my Leo-ness. I’m very brave and blunt and confident, but because my moon and rising are Cancer I’m extremely introverted. Like, if you ask any of my friends, I don’t ever wanna go out. I’m not social in the way I should be.” Her self-assertiveness and her shyness are a perplexing mix. While she talks with authority and assurance, she does so in a voice that’s small and flutters with nervous laughter. She also peppers her sentences with enough instances of the word ‘like’ to fill this magazine four times over.

Hair: Kiyonori Sudo Makeup: Nana Hiramatsu Studio: Brooklyn Grain

But when she demands “a pound of clit” as she did on 2015’s ‘Angelina’, or nowadays when she raps “oh you wanna get it, daddy” she does so without hesitation. And while they might sound like the words of a ‘fetish rapper’, Tommy disagrees. “People will say my music’s just about sex, but it’s really not. It’s not about me fucking someone. It’s about me and my identity. I have always gone where other people don’t. It’s not to shock you, it’s just who I am. It’s something that I’ve struggled with because when I’m just being myself, a lot of people have an issue with it.”

Tommy’s music isn’t there to shock, nor is it a statement. “I’m not into saying something to disrupt someone else’s ideology, because I don’t believe that my view on something is more important or better than someone else’s. So when I make

songs that are kinda crazy, I’m never gonna rub it in your face. Everyone has their own things that they like to listen to, and so, it’s just about being genuine to me.”

Tommy’s been told “‘oh my god you’re so weird’” throughout her life, “So it’s something that I’ve always had to think about, how do I not intrude on anyone else’s beliefs or boundaries? How do I not make you feel uncomfortable when I’m feeling comfortable? Who I am isn’t normal, and I know it’s not normal because I’m always fighting this sense of ‘oh I should do that ‘cos it’s normal’, and I do certain things because I know that’s the normal thing to do, but normal is a learned behaviour. And I’ve always grown up struggling with it because I knew I liked both girls and boys, like they were some of my first memories.”

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Growing up people thought I was a boy, then later on people thought I was a girly girl. But I don’t see things as black and white, I live in the grey space.

And it’s so important to be in the inbetween, and that’s between what you think is right and what others think is right. Things don’t always have to be one way.

I think that humans are beautiful because we have choice and options.”

Her music has been a way for Tommy to grapple with her identity in the very horniest way, but is it something she feels comfortable sharing with her parents? “Yeah, I know my dad listens to my music and my mum is like ‘whatever makes you happy’.

They’re really open-minded. I come from a family that’s really close and we’re really spiritual, so they’re proud of me. And I’m probably a kid that was hard to raise. If I was my own parent I would be worried about me.

But yeah, my parents are super supportive of everything I do. Because my parents know that I am this way, they just accept me.”

Some days you’ll find Tommy dressed up in a Lolita get-up and the next she’ll be wearing ripped up band tees and jeans. It’s something she’d been talking with her management about the day before. “It’s difficult with marketing,” she says, “I’m not confused. You just don’t have the right system to understand who I am. I identify as masculine and feminine. I roleplay but I am who I am certain days and I just swing between them.

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Ultimately, Tommy just wants to say something and say it effectively: “Like, I really love Abba, and I love Abba because you can listen to a song and – I might not love the way they sing it – but lyrically they say the deepest things in such a colloquial way.” Her new album errs much further towards catchy than verbose, and you won’t find any of the precocious hooks that some of her previous records tended towards. On this self-titled album, Tommy’s wordplay is deviously simple but oftentimes brilliant (‘Naughty’ might well be genius), and Charli XCX has been rapping along to her latest single ‘100 Bad’. It raised enough suspicion to ask: Have you worked with Charli? “Yes.” When’s it out? “Soon.”

Can we get any more out of you on that matter? “No.” She’s similarly reserved when Cardi B is brought up. This year, Cardi allegedly ripped Tommy’s flow on ‘Tommy’ for her platinum-selling single ‘Bartier Cardi’. What does Tommy think about it?

She hesitates, and answers half-Leo, half-Cancer: “All I’ll say is… I wrote that song and it came out before.” LiS Tommy Genesis is released soon 22nd via Downtown/ Kobalt. @tommygenesis

@TommyxGenesis

ON THE STEREO with

+ BBZ

Afropunk has been part of the London festival landscape for a while now, bringing a welcome array of acts rarely found on a lot of UK line-ups and a diversity that’s as welcome as Afropunk’s core message of inclusivity - long story short: no bullshit will be tolerated.

This year they’re mixing things up with a week-long takeover of Brixton. We’re talking art shows, workshops, panels, club nights, films and, of course, live shows and DJ sets from artists ranging from classic names to vital newcomers.

With all that in mind, we asked BBZ (whose Afropunk appearances include a night at Electric Brixton and a panel with gal-dem) to talk us through five of their defining moments for black British music and damn did they ever choose some classics... LiS Afropunk’s Brixton takeover runs from September 1st-8th.

Tickets & Info: afropunkfest.com @afropunk

@bbz_london

GIGGS

GIGGS TRACK 9 AKA TALKING THE HARDEST Giggs’ ‘Track 9’, more commonly known as ‘Talking the Hardest’. It’s insane what this track did as a mixtape track that didn’t even have original production, it was a Dr. Dre beat. I don’t think it even had a title, it was a freestyle, we called it ‘Track 9’. The whole year you could hear it everywhere; walking down the street it’d be coming out of a car. At carnival it was insane to hear a London rap track be the biggest tune of carnival. It was a turning point for the genre: its own thing, rather than US rap.

LiS 32

WOOKIE

SOUL II SOUL BACK TO LIFE ‘Back To Life’ was a turning point in the evolution of Black British Music, artistry and ownership. It was a huge hit over here, as well as in the States - it got to number five. Soul II Soul had their own label, their own shop, own merch - they evolved. As far as black British music and soundsystem culture, they are the ones who turned it into an empire.

WOOKIE STORM Wookie’s ‘Storm’ was definitely a moment in black British music, especially in London. It’s a really dark garage track that was a bridge into grime music, it saw garage going to a new darker place, something new - wasn’t just the same 2-step and UKG sound as before.

DIZZEE RASCAL

SOUL II SOUL

MISS DYNAMITE ft. Sticky BOO This is an institution of a song. The language and the raw, garage, grime sound that penetrated every dancefloor encompassed the intersection of being Caribbean/British in the late 90s/early 2000s. To this day it’ll come on in the rave and shut tings down. That is why Miss Dynamite sits where she does in the esteem of every DJ and music head who loves black British music.

DIZZEE RASCAL I LUV U

‘I Luv U’ comes from the Boy In Da Corner album that won the Mercury Prize - huge for grime music especially in its early days - it’d only been around for three or four years.

The record got to number three in the charts, won awards, and was the first album to take grime fully to the masses.

LiS 33

MS DYNAMITE

COMING SOON

from the London in Stereo team: IN STEREO MAGAZINE A4, in-depth, glossy, packed with brand new features @instereomag

in association with

special guests

Sat 29 Sept 2018

O2 Academy Brixton, London ticketmaster.co.uk Star Shaped Club

starshaped.club

@clubstarshaped

@starshapedclub

Star Shaped The Home of Britpop

interview

Bondax words: Katie Thomas

ondax were always synonymous with my time at university: where starkly different musical preferences lived under one roof, they had us united. “Is this Bondax?” my housemate used to giggle when she was enjoying literally any song.

Their sun-drenched electronic pop soundtracked many pre-drinks, and just as many hangovers. Then we graduated, and Bondax seemed to go quiet. The duo have been DJing in the years since but they’ve been silent on the production front, stuck in a major label deal they felt was stifling them creatively.

Now, four years down the line and free from constraints, Bondax are finally prepared to release their long-awaited debut album.

With Revolve, Adam Kaye and George Townsend have established a palette that’s fresh, adventurous and confident. The record retains a dancefloor blueprint, together with the catchy melodies for which Bondax are beloved, but the pair have expanded their musical horizons; harnessed an admiration for live musicians across the globe, got lost in the world’s most extensive record shops, and enlisted a myriad of collaborators, from rapper Duckwrth to a 40-piece strong Macedonian orchestra.

Spanning soul, jazz, hip hop, and disco, it’s a record that belongs both on the dancefloor and at home. Ready to present a body of work with a rejuvenated sense of pride and excitement, Adam and I spoke about growing up, getting on, and refusing to compromise.

There’s a palpable excitement in his voice as we talk about their new record, and he goes on to explain how they seem to take turns losing momentum momentarily, before hearing the music again and the excitement returning with a vengeance. It’s something they’ve alluded to before; the stalemate period between completing a project and release. “It’s been testing our patience,” Adam admits, as they finished Revolve back in 2017.

It’s no surprise patience is a fraught virtue for Bondax right now. After years of being unable to make the music they wanted to make, Revolve is the fresh start fans have been waiting for since 2013. “It’s no fault of the majors, they want something they can sell,” Adam explains, “and it’s easier to sell something obvious.” Though their early work had a distinctive flavour, Bondax always aimed to be as diverse as possible. Inspired by eclectic artists, they wanted their own catalogue to offer the same (Kaye names Brazilian pianist Francisco Tenório Júnior, Eli “Lucky” Thompson and The Brothers Johnson as key influences on Revolve). But eclecticism brings with it an obstacle.

LiS 36

“...with the homogenisation of music nowadays, how do we fit in?”

- Adam Kaye LiS 37

“That’s the problem we’re going to face with this record,” Adam says. “With the homogenisation of music nowadays, how do we fit in? Revolve is so many different things. How will it fit into this playlist, this label, this genre…”

Now releasing on their own label, Recur Recordings, they will not only retain creative control, but also provide a platform for others: “We have so many incredibly talented friends, more talented than we are!” Adam says earnestly.

Revolve is a coming together of those friends and a cementing of new partnerships; the album features the likes of Andreya Triana, Aquilo, Zak Abel and Shells, Tim Burns engineered the record – educating Kaye and Townsend in mastering live instrumentation – and close friend Ben Chetwood is on percussion throughout. The album marks the duo’s biggest challenge to date, a challenge that’s also proved to be the most rewarding point of their career thus far. They’ve mastered new musical techniques, scored music for an orchestra, worked with countless incredible musicians, and done “what all musicians dream of”… they’ve made an album.

When the pair first began to build momentum, they were barely old enough to be in the clubs they were selling out.

Adam and George were making music together, socialising together and living together. A few years older and a few years wiser, how do they sustain a productive partnership that remains fun and exciting?

Well, they no longer live together, for starters. “We need our own space,” Kaye explains. “I ask other duos this too, and the trick is to make sure you’re looking forward seeing Photo:toWill Robsoneach other.”

“It’s no fault of the majors, they want something they can sell...and it’s easier to sell something

Bondax may not live under the same roof anymore, but musically they’ve never been so closely aligned. LiS

obvious...”

- Adam Kaye

Revolve is released September 27th via Recur Recordings. @bondaxuk LiS 38

@Bondax

JOSE ART GONZALEZ SCHOOL THURS 20 SEPT ROYAL ALBERT HALL GIRLFRIEND FRI 5 OCT ODETTA HARTMAN ST PANCRAS OLD CHURCH MON 24 SEPT THE ISLINGTON JOHN MOODS FRI 5 OCT HALF WAIF SERVANT JAZZ MON 24 SEPT QUARTERS SEBRIGHT ARMS GENTLY TENDER WED 26 SEPT THE LEXINGTON MITSKI WED 26 SEPT O2 SHEPHERD’S BUSH EMPIRE JIM GHEDI THURS 27 SEPT ST PANCRAS OLD CHURCH SKINNY PELEMBE THURS 27 SEPT CORSICA STUDIOS IDER TUES 2 OCT VILLAGE UNDERGROUND WASUREMONO THURS 4 OCT THE WAITING ROOM

MARTIN KOHLSTEDT MON 8 OCT ST PANCRAS OLD CHURCH

RINA SAWAYAMA FRI 19 OCT HEAVEN LEYYA TUES 23 OCT SEBRIGHT ARMS OKAY KAYA TUES 23 OCT CHATS PALACE SAM EVIAN TUES 23 OCT HOXTON HALL

SERPENTWITHFEET THURS 30 OCT ISLINGTON ASSEMBLY HALL LUCY DACUS WED 31 OCT ISLINGTON ASSEMBLY HALL THE KVB WED 31 OCT CORSICA STUDIOS

DILLY DALLY TUES 9 OCT SEBRIGHT ARMS

GIANT PARTY WED 24 OCT THE LEXINGTON

THE GARDEN WED 31 OCT & THURS 1 NOV THE GARAGE

NEGATIVE GEMINI FRI 12 OCT THE SHACKLEWELL ARMS

SOLOMON GREY THURS 25 OCT UNION CHAPEL

SNEAKS THURS 1 NOV THE ISLINGTON

BC CAMPLIGHT THURS 25 OCT OMEARA

GOAT GIRL FRI 2 NOV KOKO

PALM THURS 25 OCT MOTH CLUB

INSECURE MEN TUES 6 NOV QUEEN ELIZABETH HALL

LORD HURON FRI 26 OCT ROUNDHOUSE

CURTIS HARDING THURS 8 NOV KOKO

GOLD STAR MON 29 OCT THE WAITING ROOM

CAR SEAT HEADREST THURS 8 NOV O2 ACADEMY BRIXTON

77:78 MON 15 OCT OSLO HACKNEY GWENNO THURS 18 OCT ISLINGTON ASSEMBLY HALL STEADY HOLIDAY THURS 18 OCT THE ISLINGTON

PARALLELLINESPROMOTIONS.COM

DHP PRESENTS

FRI.14.SEP.18

THU.20.SEP.18

SAT.15.SEP.18

FRI.21.SEP.18

GARBAGE

O2 ACADEMY BRIXTON

SAT.22.SEP.18

TASH SULTANA

FRI.12.OCT.18

THE RIFLES

O2 FORUM KENTISH TOWN

THE LEXINGTON TUE.16.OCT.18

WED.19.SEP.18

SPORTS TEAM SCALA

MON.01.OCT.18

MUNCIE GIRLS

LAURA VEIRS

BUSH HALL (SEATED)

BORDERLINE

THU.18.OCT.18

THU.20.SEP.18

THU.04.OCT.18

MARIE DAHLSTRØM MEN I TRUST OMEARA

CASSIA

THE GARAGE

OSLO

TUE.23.OCT.18 THU.20.SEP.18 FRI.21.SEP.18 SAT.22.SEP.18

BEN CAPLAN

THE LEXINGTON

FRI.12.OCT.18

CAT POWER

ROUNDHOUSE

PIERCE BROTHERS ELECTRIC BALLROOM

THU.01.NOV.18

PALACE WINTER OSLO

FRI.03.NOV.18

WILL VARLEY

HACKNEY ROUND CHAPEL

THU.08.NOV.18

PARCELS

ROUNDHOUSE

MON.19.NOV.18

ST. PAUL AND THE BROKEN BONES ROUNDHOUSE

TUE.27.NOV.18

JAIN

ELECTRIC BALLROOM

SAT.08.DEC.18

THE HUMAN LEAGUE

EVENTIM APOLLO

TUE.11.DEC.18

THE SLOW READERS CLUB SCALA

THU.08.NOV.18

THE GROWLERS O2 SHEPHERD’S BUSH EMPIRE

TUE.27.NOV.18

MATT MALTESE HACKNEY ARTS CENTRE

THU.13.DEC.18

THE WAR ON DRUGS + SLOWDIVE THE O2

FRI.09.NOV.18

SAT.10.NOV.18

FAT FREDDY’S DROP O2 ACADEMY BRIXTON

ALTTICKETS.COM FB.COM/ ALT.TICKETS.COM @ ALTTICKETS

TUE.04.DEC.18

GREGORY ALAN ISAKOV

O2 SHEPHERD’S BUSH EMPIRE

SAT.12.JAN.19

RON POPE

UNION CHAPEL

ALBUM REVIEWS Photo: Suffo Moncloa

CHRISTINE & THE QUEENS CHRIS

RECORD OF THE MONTH We normally fill this intro with reasoning as to why we’ve chosen our record of the month but, to be honest, that doesn’t seem necessary this time - it’s one of the most anticipated releases of the year by an artist that feels vital right now. That being the case, we asked LiS writers Emma Madden and Charlotte Krol to sit down with Danny Wright and talk all things Chris.

To start, what did you make of the singles?

Emma: I wasn’t keen on the singles for some reason, but now I’ve listened to the whole album I’m really into it.

Charlotte: Really? I was blown away by them.

Emma: I felt a bit alienated by them. I couldn’t work out what she was trying to do but that’s changed now I’ve had a deeper dive.

Charlotte: I wasn’t expecting such an invigorating new sound. This was everything I love about her voice, bolstered by ‘80s pop and infectious ‘90s G-funk. And it makes total sense with her new persona: Chris. This is a

released September 21st Because Music @QueensChristine

@christineandthequeens

bolder, brasher direction.

So has the album lived up to what your expectations?

Emma: Absolutely. Speaking as a lesbian, this is just about the first time I’ve felt sexually frustrated by pop stars. Marika Hackman, Torres, St. Vincent - now Chris is the ultimate ‘look but don’t touch’ musician for girls who like girls. And she revels in it. She even understands her own sexual currency. On the first verse she sings “Let’s for the whole song just pretend that all along I’ve been there, infectious, that’s what I dream of when penning this verse.” She’s the ultimate clit tease.

Charlotte: She’s one of the most talented, challenging pop stars, so I expected nothing less! But even so I’ve still been wowed by the consistency of quality. Nearly every track is a knock-out - be it lyrical probings of desire against fluid, muscular synth-pop tracks or genuinely heart-breaking ballads. And despite the obvious sonic changes, there are plenty of ‘Letissierisms’ - I always admire evolution that doesn't completely erase what we originally fell in love with.

LiS 42

Photo: Jamie Morgan

What did you read into the change to Chris?

Emma: It reminded me of Lena Waithe’s recent comment about the reason she cut her hair. She said that it severed her from femininity. As you grow up you learn that your femininity is your only value and it helps you to move through the world. That Christine has become Chris is a similar thing. She’s shortened her name, she’s shortened her hair. She’s deliberately made herself less of a mystery. Now she’s a blunt statement, and she’s completely in control.

Charlotte: Yeah, I took it as her exerting control. She’s spoken in interviews about the gulf between gender norms (to look and act like a ‘normal’, ‘pretty’ girl) and how she's always felt different to that. She’s a queer woman who wants to freely express herself and she’s experimenting with this persona, ‘Chris’, to provoke debate. Women have the same desires as men and yet there’s a stigma around it. She explores this so acutely on tracks like ‘Damn’ where she questions why more women don't pay for sex like men do.

Emma: I also think she’s become even more wordy. But because English is her second language she’s more playful and less precious about it. She can fit these poetic sentiments inside of a standard disco beat.

Speaking of disco beats, I hear a lot of Michael Jackson.

Emma: Ooh, that’s really interesting! I was actually thinking maybe more Janet than Michael.

Charlotte: I hear loads of MJ too (the mirror smashes, squelchy sub-bass, cowbell dings etc). But also a lot of Annie Lennox especially on 'Girlfriend' with those carnal wails.

Which song grabbed you most when you first heard the record?

Emma: ‘Goya Soda’ grabbed me immediately which is interesting because I think it’s the only one on the album that deals specifically with the feeling of desiring and being desired by a man.

Charlotte: : I still love ‘Girlfriend’ the most, even if I've overplayed it! But 'Goya Soda' and 'The Stranger’ are also standouts.

How much do you think these songs were written with performance in mind?

Emma: That’s interesting because I feel like this album has a musical theatre aspect to it, yet it’s so cool and effortless and, well, French at the same time. I can imagine it’s not just an album, but an entire spectacle. I’m expecting lots of tight choreography.

Charlotte: I think the live shows were a huge influence (her gigs are 10/10). I read somewhere she’s stage directing the new shows. Just like she's been in complete control of this album.

Finally, how important is it that she's taken control and followed her own path?

Emma: After how successful her debut was most other artists would have gone to LA and paired up with someone like Max Martin but, instead, she’s made an album that’s even more personal and depraved and exquisite than her first, and all on her own terms. Is that important? Yes - I think it will show a lot of women who want to make music that there’s not only one avenue of success.

Charlotte: It’s pretty much vital. She clearly has a vision and doesn’t want it compromised by conforming. It means that she remains in total control.

LiS 43

LOW

DOUBLE NEGATIVE Sub Pop // September 14th

Though Low’s formula has changed over time more than it’s critically convenient to mention, their adherence to a guitar, bass, drums and vocals formula has remained pretty constant. Perhaps the result of familiarity breeding contempt (hey, you try doing the same thing for 25 years), here we have Double Negative, an album on which Low reinvent themselves not by adding more to strings to their bow, but by somehow stripping everything back even further.

The world’s most famously minimal rock band are present only at trace levels on their own new album. It’s a frightening, fascinating, next to nothing of a record on which Alan Sparhawk’s guitar playing is largely absent and Mimi Parker’s drumming is replaced by crackles of Throbbing Gristle-like electronics, or distant swathes of ambient sound. Low fans new and old alike will surely be taken aback by opener ‘Quorum’ and its almost industrial assault, while ‘Tempest’ sounds like trying to autotune radio fuzz, and ‘The Son, The Sun’ is a black hole that threatens to swallow up the rest of the album. These aren’t things one has been able to say about any previous Low songs, but even with all of these stylistic left turns, Sparhawk and Parker’s heavenly voices – despite substantial manipulation – remain unmistakably theirs.

It’s demanding music, but it sounds like they needed to make it. The last few Low albums were good records. What they weren’t is particularly interesting. Double Negative is both.

Thomas Hannan

KNIFE KNIGHTS

JUNGLE

Sub Pop September 14th

XL Recordings September 14th

1 TIME MIRAGE

FOR EVER

Beware a knife fight with the Knife Knights, because they roll deep. Led by cosmic rapper Ishmael Butler (Shabazz Palaces/Digable Planets) and eccentric Seattle producer Erik Blood, the crew also boasts fellow Sub Pop artists Porter Ray, Stas THEE Boss (Theesatisfaction) and Tendai "Baba" Maraire (Shabazz Palaces).

Yet it’s their 11 tunes that cut the deepest with their spellbinding fusion of rap, blessed funk and tough soul. The deliriously blunted strut of ‘Drag Race Legend’ barely keeps its wheels, while ‘Can’t Draw the Line’ brazenly sleepwalks into Chicago House territory. The duo put two fingers up and create something both fearless and special with the most unlikely of ingredients. Repeated listens bring out the clever details – but the first spin will guarantee wild eyes. Geoff Cowart LiS 44

After a slew of impressive singles in 2013 and 2014, anonymous collective Jungle were the most hyped group in the world. Before their first year together was out they’d put out fourth single ‘The Heat’ through Chess Club and impressed XL into putting out their truly respectable self-titled LP. It’s follow-up For Ever arrives with notably less fanfare. The feral propulsive rhythms of opener ‘Smile’ suggest a group stretching themselves, but often a resolute lack of bravado holds this effort down. The louche 70s sounds often get lost in the milieu of modern production, some of which sounds overcooked. It’s a missed opportunity, leaving Jungle sounding like some of the magic of their exploration has been compromised in trying to maintain a cohesive aesthetic. Tim Hakki

“Ricocheting from teenage riot grrrl dream band to sixties garage rock revivalist..” - Stephanie Phillips on Miss World’s Keeping Up With Miss World

MISS WORLD

KEEPING UP WITH MISS WORLD PNKSLM // September 28th

SPIRITUALIZED

AND NOTHING HURT Bella Union // September 7th

It’s been seven years since 2012’s Sweet Heart Sweet Light, and the world might be a horribly different place but, thankfully, J. Spaceman is still making stunning classical/ gospel/blues/space-rock.

Clearly he’s in a happier place on And Nothing Hurt than he was round the time of his seminal masterpiece, 1997’s Ladies And Gentlemen We Are Floating In Space. There’s a sense of childlike wonder that envelopes this record; opener ‘A Perfect Miracle’ shimmers like the sweetest lullaby juxtaposed with a slightly bitter chorus. ‘Let’s Dance’ is a gentle number, and ‘The Prize’ builds and builds to a magnificent crescendo. If it transpires that this record is actually the swansong that Pierce has intimated (please no), then it’s quite the bow-out.

Simone Scott Warren

There’s an alluringly, addictive quality to the bitesize garage pop Miss World, aka Natalie Chahal, pumps out. A fitting trait for an album that revels in the sweet pleasures of modern day selfie culture and meme worthy content. Much like Chahal’s previous projects, Miss World is a bedroom pop punk classic. ‘Carb Yr Enthusiasm’ is a lo-fi take on diet culture, layering discordant guitars over barely audible vocals. The playful humour of the surf punk ode to selfies ‘Put Me in a Movie’ is reminiscent of the B-52s, while the sing song choruses easily get stuck in your head. Ricocheting from teenage riot grrrl dream band to sixties garage rock revivalist, Keeping Up With Miss World is the soundtrack to Instagram filtered summer nights out. Stephanie Phillips

DILLY DALLY HEAVEN

Partisan Records // September 14th

Dilly Dally once saw success as the answer to all their problems. By that logic, their acclaimed 2015 debut album Sore should have been a cure-all for the Toronto punks. Instead, it had the opposite effect and a second album almost wasn't made. A year spent writing got the band out of the woods and back on gloriously abrasive form and, despite its uncertain beginnings, Heaven is a beacon of positivity. "Believe in yourself," frontwoman Katie Monks instructs on 'Believe', while the slow siren spins of 'Sorry Ur Mad' find her freeing herself of energy-sapping grudges. Each distorted wall of riffs or crunching beat - like 'Doom''s supersonic, needling revs - is a cathartic force, brilliantly reinforcing Monks' rasped messages of hope and making you thank whoever's up above they stuck it out. Rhian Daly LiS 45

OLIVER COATES

SHELLEY'S ON ZENN-LA RVNG Intl // September 7th

Radiohead affiliations, Mica Levi collaborations and Southbank residencies may catch the eye, but cellist, composer and producer Oliver Coates is a formidable artist in his own right. From the off, Coates makes it easy to picture the fictional planet of Zenn-La, on which the brooding minimalism of ‘A Church’ and erratic techno shuffler ‘Perfect Apple With Silver Mark’ collide within Shelley’s, the nightclub that exists in both drizzly Stoke and the aforementioned alien world.

As Coates recalls in the press release: “Sitting on the tube, thinking: I’d remove the low end on that, compress that, add reverb to that.” For all its mechanical, cosmic qualities, Shelley’s On Zenn-La is an album that is steeped in delicate human touches, and it’s all the more powerful for it. Lee Wakefield

THE GOON SAX

WE'RE NOT TALKING Wichita // September 14th

Brisbane’s The Goon Sax released their gloriously ramshackle indie pop debut and toured across the globe before they’d even left high school, a stunning display of youthful creativity unaffected by the throes of adulthood.

In more than one sense, then, We’re Not Talking is a graduation; it boasts a fuller, rounder sound, more assured, but no less fey. ‘Make Time 4 Love’ is a bold opening gambit, all horn trills and castanet shakes, while the ultra-infectious ‘She Knows’ rattles along with some sort of ramshackle precision.

It feels like Beat Happening locked in Antipodean adolescence, while there are shades of The Pastels’ early minimalism, too. Bold, fearless, and lovelorn, We’re Not Talking proves that pop remains the most divine form of communication. Robin Murray

TONY ALLEN & JEFF MILLS

TOMORROW COMES THE HARVEST Blue Note // September 28th

Since they first shared a stage in Paris back in December 2016, two of the world’s most innovative beat makers have been drawn to continue working together. West African percussion meets pioneering Detroit drum patterns in the pair’s first collaborative release. A rhythmic conversation with simple arrangements and a meticulously lucid groove throughout, Tomorrow Comes The Harvest feels like an extended jam session between Mills, Allen, and Jean-Phi Dary on keys. The spoken word vocal on ‘The Night Watcher’ featuring Carl Hancock Rux drowns the intricacies of Allen and Mills’ handiwork; this partnership is best appreciated with space amidst the percussion. Take lead single ‘The Seed’, where claps and a funky four-note bassline riff form the foundations for quivering synths and Allen’s deft cadences. Katie Thomas LiS 46

tuesday 4 SEptember | 7:00

friday 5 october | 7:00

wednesday 5 SEptember | 7:00

saturday 6 october | 6:00

CAMP COPE RAVEN

thursday 6 SEptember | 7:00

CHRISTEENE

friday 7 SEptember | 7:00

AARON WATSON

wednesday 12 SEptember | 7:00

ESPIRIT D’AIR

saturday 15 SEptember | 1:00

LOUD WOMEN FEST sunday 16 SEptember | 6:30

DEMILICH

wednesday 19 SEptember | 7:00

NIGHTMARE OF YOU BLOOD & BISCUITS 10TH BIRTHDAY (FEAT. THREE TRAPPED TIGERS) wednesday 8 october | 7:00

TAAKE

tuesday 9 october | 7:00

BAKAR

wednesday 10 october | 7:30

AMBER ARCADES

thursday 11 october | 7:00

PRIMAL FEAR

thursday 11 october | 7:00

FOREVER CAME CALLING WHENYOUNG FRIDAY 21 SEptember | 7:00 friday 12 october | 7:00 FIZZY BLOOD BAD RABBITS saturDAY 22 SEptember | 7:00

saturday 13 october | 11:00

OOOOO + ISLAMIQ GRRRLS MISERABILIA - A monday 24 SEptember | 7:00 LOS CAMPESINOS! CHELSEA GRIN AFTERPARTY monday 24 SEptember | 7:00 saturday 13 october | 8:30 DANISH DEMOLITION ROZALEN thursday 27 SEptember | 7:30

LA LUZ

Monday 15 october | 7:00

THE DIRTY NIL

tuesday 16 october | 7:00

JIMOTHY LACOSTE

tuesday 16 october | 7:00

EVERLAST

thursday 18 october | 7:30

HAYMAKER

friday 19 october | 7:00

LAUREL

wednesday 24 october | 7:00

thursday 28 SEptember | 7:00 thursday 28 SEptember | 7:30 friday 29 SEptember | 7:00 friday 29 SEptember | 7:00 thursday 4 october | 7:00

ENSLAVED + HIGH ON FIRE ASTROID BOYS

RADIO BIRDMAN WARMDUSCHER SINSANEUM HER’S

GIGS OF THE MONTH O2 SHEPHERD’S BUSH EMPIRE MITSKI + EERA

Our pick of the best upcoming shows around London O2 ACADEMY ISLINGTON KNIGHT

September 26th £16.50adv // @o2sbe

Shepherd’s Bush

MITSKI

September 8th £10adv // @O2Islington

Angel

THE LEXINGTON CHARLES WATSON October 2nd £10adv // @thelexington

Angel

CHARLES WATSON

SERVANT JAZZ QUARTERS GRETTA RAY September 25th £8adv // @ServantJazz

Dalston Junction / Kingsland

THE DOME

THE WAITING ROOM

LA LUZ

BREATHE PANEL

September 27th £12adv // @DomeTufnellPark

Tuffnell Park

September 18th FREE // @WaitingRoomN16

Dalston Junction / Kingsland

THE CAMDEN ASSEMBLY

THE SHACKLEWELL ARMS

AU/RA

ADULT MOM

September 4th £10adv // @CamdenAssembly

Chalk Farm / Camden Town

September 25th £9adv // @shacklewell Arms

BOSTON MUSIC ROOM

BRIXTON WINDMILL

FIZZY BLOOD

FRONTIER RUCKUS

September 21st £8adv // @BostonMusicRoom

Tuffnell Park

September 12th £8.50adv // @WindmillBrixton

Dalston Junction / Kingsland

Brixton

MOTH CLUB

BUSH HALL

ANNA BURCH + LAURAN HIBBERD

DYLAN LEBLANC + NICOLE ATKIN

September 4th £9.90adv // @Moth_Club

September 11th Shepherd’s Bush Market / Shepherd’s Bush £16.50adv // @Bushhallmusic

Hackney Central

THE SLAUGHTERED LAMB

PAPER DRESS VINTAGE

ABI WADE + ALEXANDER CARSON

GORGEOUS BULLY + VIEWFINDER + SISTER WANZALA + ILANA

September 7th £7adv // @slaughteredlam

Farringdon/ Old Street

September 20th £5adv // @paperdressed

Hackney Central

MASAYOSHI FUJITA

HOXTON SQUARE BAR & KITCHEN HOLY ESQUE September 22nd £8.50adv // @HoxtonSquareBar

Old Street

O2 FORUM KENTISH TOWN OH SEES + BEAK> + FLAT WORMS September 3rd £29.50adv // @O2ForumKTown

Kentish Town

SOUTHBANK CENTRE MASAYOSHI FUJITA September 23rd £15adv // @southbankcentre

Waterloo / Embankment

OSLO JFDR September 22nd £14.50adv // @OsloHackney

Hackney Central

JAZZ CAFE

ARCHSPACE

DESTROYER + NICHOLAS ALLBROOK

YUMI AND THE WEATHER September 6th £7.50adv // @Archspace_Ldn

DESTROYER

Haggerston

September 2nd £18adv // @TheJazzCafe LiS 51

Camden Town

FULL SEPTEMBER LISTINGS

LONDON’S GIG GUIDE Your full listings guide to all the best shows happening across North, East, South and West London this month.

Saturday 1st September

Sunday 2nd September

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Monday 3rd September

Wednesday 5th September

Tuesday 4th September

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FULL SEPTEMBER LISTINGS

Thursday 6th September

Friday 7th September

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Sunday 9th September

Saturday 8th September

Monday 10th September

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FULL SEPTEMBER LISTINGS

Wednesday 12th September

Tuesday 11th September

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Friday 14th September

Thursday 13th September

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FULL SEPTEMBER LISTINGS

Saturday 15th September

Sunday 16th September

see londoninstereo.com/venues for up-to-date listings at all our favourite venues

LONDON TICKETS: WeGotTickets.com/LondonInStereo Monday 17th September

Wednesday 19th September

Tuesday 18th September

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FULL SEPTEMBER LISTINGS Thursday 20th September

Friday 21st September

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LONDON TICKETS: WeGotTickets.com/LondonInStereo

Saturday 22nd September Sunday 23rd September

Monday 24th September

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FULL SEPTEMBER LISTINGS

Tuesday 25th September

Wednesday 26th September

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Thursday 27th September

Friday 28th September

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FULL SEPTEMBER LISTINGS

Saturday 29th September

Sunday 30th September

visit londoninstereo.com for all the latest listings, & to sign up to our Gigs Of The Week email

LONDON TICKETS: WeGotTickets.com/LondonInStereo Monday 1st October

Wednesday 3rd October

Tuesday 2nd October

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OCTOBER LISTINGS Thursday 4th October

Friday 5th October

see londoninstereo.com/venues for up-to-date listings at all our favourite venues

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Sunday 7th October Saturday 6th October

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OCTOBER LISTINGS Monday 8th October

Wednesday 10th October

Tuesday 9th October

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LONDON TICKETS: WeGotTickets.com/LondonInStereo Thursday 11th October

Friday 12th October

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09—18

Lanzarote

MOTH Club Valette St London E8 Tuesday 4 September

ANNA BURCH Thursday 6 September

PROLAPSE Friday 7 September

FENSTER Sunday 9 September

INFINITE BISOUS Tuesday 11 September

HOLY WAVE Friday 21 September

MIEN Tuesday 25 September

AMYL & THE SNIFFERS Friday 28 September

PIGS PIGS PIGS PIGS PIGS PIGS PIGS

Shacklewell Arms 71 Shacklewell Lane London E8 Thursday 6 September

ACID TONGUE

lanzaroteworks.com #lanzaroteworks

Programming

Wednesday 19 September

PSYCHEDELIC PORN CRUMPETS Tuesday 25 September

ADULT MOM Wednesday 26 September

SUN JUNE Saturday 29 September

VIAGRA BOYS The Waiting Room 175 Stoke Newington High St N16 Saturday 1 September

LAUREN HANSOM Friday 7 September

SOLID BLAKE Friday 14 September

TAX FREE Saturday 15 September

AUTUMNS Tuesday 18 September

BREATHE PANEL Wednesday 19 September

DIE WILD JAGD

Wednesday 12 September

THE BLANK TAPES Saturday 15 September

THE JANITORS

Multiple Venues Saturday 27 April 2019

TEST PRESSING FESTIVAL

IN LONDON photo: Lottie Turner

with IDER Why do you live in London?

Lily: Meg grew up in London and I moved in with her when we finished university. It’s where most of our friends are and it felt like the right place for us to start recording music.

What are your go-to places to eat and drink?

Lily: Favorite places to eat would be a Japanese restaurant called Zento and an Ethiopian place called The Queen of Sheba in Kentish Town. Also love Mildreds. For drinking - Tapping the Admiral and The Pineapple.* (Best pubs in London.)

Meg: Second that... best places to drink are pubs in Kentish Town and Camden. For eating - all the Turkish restaurants on Green Lanes.

How did you find London during a heatwave? Did it change the city?

Lily: We loved it! We ride around on our bikes and go swimming. It really does change the city - everyone’s friendly and people chat to each other. Mostly about how hot it is...

Do you have any favourite outdoor spaces?

Lily: Probably Hampstead Heath and Regent’s Park.

What's the best way to spend one real good day here?

Lily: Go to Hampstead Heath, drink at the Southampton Arms, then go see a gig at The Lexington What has your part of London got that the rest hasn’t?

Lily: Us. What’s the worst thing about London?

Lily: The pollution.

Do you have any favourite venues?

Lily: The Lexington, KOKO, Brixton Academy and The Roundhouse.

Does living here influence your music?

Lily: Yeah we think it probably does. There’s so much music around and so many artists here so there’s lots to be inspired by.

How would you advise someone to get the most out of London?

Lily: Probably make some friends who live in London who can take you under their wing and show you the good stuff.

*Also a LiS favourite: Cheap Tuesday, Cheese Thursday, Thai food, a cat!

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Ider’s single ‘You’ve Got Your Whole Life Ahead Of You Baby’ is out now via Glassnote Records.

LIVE: Village Underground, October 2nd @weareider

LIVE REVIEWS HOUGHTON FESTIVAL HOUGHTON HALL, NORFOLK, AUGUST 9TH-12TH words: Katie Thomas, Photography: Here & Now have a very low tolerance for bad weather at festivals. After eight weeks of blue skies and scorching heat, Houghton approached and, just my luck, all signs pointed to a wet weekend. At 4pm on Friday after two hours of listening exclusively to Charli XCX in the dry confines of our tent, the sun came out, and a roar of cheers erupted across the entire festival site. Fast forward to midnight on Sunday, and I was even grateful for rain as it fell like glittering mist through the trees, perpetuating an already heady atmosphere thanks to Helena Hauff’s relentlessly moody selections.

The sophomore edition of Houghton sold out in hours. Reviews heralded the maiden voyage of Craig Richards’ party in Norfolk as a cut above the rest, so expectations for my first Houghton were exceptionally high. Did I think Houghton was excellent? Yes. Did I think it lived up to the hype?

Not entirely. A few key things marred an otherwise blissful musical experience: the loos were unbearable, there weren’t enough bins, water points were few and far between, and the sound on a couple of key stages was disappointing.

Musically however, Houghton was glorious. DJs played extended sets, many playing more than once, and there was 24 hour programming from Friday afternoon through to Monday at 3am.

The crowd was older; loose and silly, they knew exactly what they wanted from the line-up. This was Gottwood, but for grown-ups. The site was similar too, built around a lake with stages tucked away in the woods, and the number of stages versus the number of attendees meant that dance floors seldom felt overcrowded.

There was a no-frills attitude to the production.

With the exception of the cavernous Warehouse stage with its piercing lasers, and the Derren Smart stage which boasted the only visual screens, stages were either simple wooden

structures or canvas tents, and Craig Richards’ own artwork was dotted across the site.

Standouts across the weekend included Krywald and Farrer, whose Thursday shakedown in the sweaty, Chinese lantern-adorned Stallions tent got the festival off to a buoyant start. A bumper six hours in The Old Gramophone tipi on Friday night with Willow followed by Shanti Celeste saw dancers grooving to the likes of Paranoid London and Loco Dice from the former, and Kerri Chandler and E-Unity from the latter, before the roof-raising chords from Strike’s ‘U Sure Do’ marked the final moments of Shanti’s set. Saturday’s show was stolen by Joy Orbison, whose early evening set on the Derren Smart stage was one of the most multifaceted and well-attended of the weekend. Sunday evening saw hundreds of people brandishing ferns in the air at The Quarry, a sunken dance floor that Midland had in the palm of his hands as he dropped tracks like Dense & Pika’s ‘Colt’ and The Human League’s ‘Seconds’.

Houghton came to an explosive finish when Ben UFO preceded Helena Hauff at The Pavilion, a stage in the woods overlooking the lake. If any of Sunday’s dancers were feeling weary, Ben brought them back to life with records like Special Request’s ‘Make It Real (Gerd Janson & Shan Prance Mania Mix)’, before Helena warped minds with thunderous cuts like ‘Onslaught (FJAAK Remix)’ by Missing Channel and The Mover’s ‘Doom Computer’.

On Friday afternoon over a limoncello bellini – not sorry - we’d decided that our musical preference for the weekend was “tough stuff”.

Houghton delivered that by the bucket load.

Next year, with a little more attention to customer experience, the festival could, in my opinion, meet 2017’s sky-high accolades.

LiS 72

The crowd was older; MIDLAN

loose and silly,

D

they knew exactly what they wanted from the line-up.

HELE UF NA HA F BEN UFO

THE QUARRY STAGE LiS 73

FIVE THINGS WE LEARNED AT...

VISIONS FESTIVAL

words: Danny Wright, Dave Rowlinson & Katie Thomas Photography: Carla Salvatore

VARIOUS HACKNEY VENUES, AUGUST 4TH

1

2

DOGS SHOWS MAKE HUMANS HAPPY “This is Bug: a rescue dog, partially blind and deaf,” says the compere as fragile folk purge last night’s excess through tears of tender pity for poor Bug. He wins Cutest Pup. There’s a feeling of camaraderie at the Visions Dog Show, the canine wonders healing our souls a little bit.

Everyone’s smiling when they’re not crying, and everyone’s real happy to be here. A very wholesome moment in our less-than-wholesome lives.

3 THE THRILL OF THE NEW AND THE OLD(ER) Not much is known about Black Midi but word is they’re the newest “Best band in London”. Their maximalist sound is part math rock, part post-punk. Which means they sound like Sonic Youth Jr and dress like New Romantics with shards of feedback and mind-melding electronics being held together by phenomenal, propulsive drumming. Later we go from youth to experience. After all these years No Age’s flailing cardboard box drumming and guttural, aeroplane screech guitars still sound visceral.

‘Fever Dreaming’ is still blast-your-head-off brilliant.

4 IT AIN’T ALL GUITARS AND PUPPIES, Y’KNOW At Space Studios courtyard revellers wash down burritos with cold beers and make silly faces for the photo booth as Fran Lobo takes to the decks. Her set marries everything from sunny house to UKG, The Streets to Joy Orbison. Back in LFB The Arches, Sampa the Great serves up electric energy, sharp lyricism and a fiery presence with renditions of ‘F E M A L E’ and her homage to the mighty Lauryn Hill, a cover of ‘Doo Wop (That Thing)’.

LiS 74

IDLES ARE NEARLY AS POPULAR AS DOGS There’s a real feeling that IDLES’ time is here. Ask anyone who they are planning to see and the Bristol band are first on almost everyone’s mind. No wonder, then, that their show at Hangar sees the only one-in-one-out of the day. Inside (we took no chances) the mood is vibrant and celebratory as IDLES’ smart, impassioned lyrics and joyfully ferocious delivery sees the crowd collectively rejoice in what really feels like A Moment.

5 VISIONS GO FROM STRENGTH TO STRENGTH Was this the best Visions yet? Well, the sun shone, there was barely a queue, the line-up ruled, Netil 360 was a glorious rooftop sanctuary and everyone just seemed to be having the absolute best and also the friendliest time. Plus the punk rock karaoke was less punk rock and more ‘Club Tropicana’. Bring on 2019.

LiS 75

PRESENTS

STRANGER FRUIT TOUR 2018 SUN 02 DECEMBER ELECTRIC BALLROOM

TICKETS AVAILABLE AT MYTICKET.CO.UK

PENNY FOR YOUR THOUGHTS It happened to me: someone put Chris Brown on in the office

by Kate Solomon

There’s nothing worse than the office Sonos. Shitty acoustic covers rubbing up against Lagwagon deep cuts and Ryan Adams’ oeuvre... schools should drill it into you: don’t talk to strangers and don’t go to work without headphones. But even if you really hate Ryan Adams, even if you really object to that ‘Dancing On My Own’ cover, you can passive aggressively tweet about it instead of causing a scene. It’s all banter. It’s all numbers. It’s all absolutely fine until someone puts Chris Brown on.

“Him beating Rihanna up has nothing to do with his songs,” was the response when this happened and I politely objected. When you say “separate the art from the artist!!!” about any living artist, what you really mean is “I value my own personal enjoyment of this four minute song more than I care about that man’s victims!!!”. Chris Brown is not a man imbued with ineffable genius. He sings well while being attractive, something one hundred million other dudes can, have and will do - and at least 80 of them will manage to do so without violently attacking any women.

So anyway, I asked this guy to please put something else on. And hey, he did: R Kelly.

It sucks to really like a song and then find out the guy who made it may or may not be imprisoning underage women in a sex cult. But we live in a world where you have to consider the values and judgements of whoever made the cultural artefacts you consume. When you listen to songs by abusers you are supporting their continuing career, if not subconsciously soaking up those values.

It’s not going to kill you to retire Chris Brown or R Kelly from the office playlist. But it could kill someone to have men who are publically and repeatedly accused of violence and sexual abuse continue to succeed because we allowed their work to flourish and thrive in offices and radio playlists, whether at their hands or the hands of a man who idolises them.

We can’t ban every problematic man from public playlists (as Spotify discovered, that is a can! Of! Worms!), but don’t force me to be party to these particular mens’ careers. I’ll take Ryan Adams anyday.

Kate Solomon is a really fun addition to any office environment. She has the correct taste in music and writes about it for newspapers and magazines.

A self-respecting millennial, she also has a podcast about Gossip Girl and a club night about getting dumped. Find Kate on Twitter at @katiesol

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PRESENTS

Spiritualized® Live

Eventim Apollo, London 21.09.2018

TICKETS AVAILABLE AT MYTICKET.CO.UK

PRESENTS

TICKETS AVAILABLE AT MYTICKET.CO.UK

S.J.M. CONCERTS PRESENTS

PLUS GUESTS

PLUS GUESTS

PLUS GUESTS DYLAND CARTRIDGE + POM POKO

25/09/18 O2 ACADEMY BRIXTON

29/09/18 ELECTRIC BRIXTON

01/10/18 VILLAGE UNDERGROUND

PLUS GUESTS HEAVY LUNGS

PLUS GUESTS

PLUS GUESTS MAHALIA* + RAY BLK• T SOLD OU • 26/10/18* & 27/10/18

18/10/18 O2 FORUM KENTISH TOWN

19/10/18 PRINTWORKS

FLATBUSH ZOMBIES

ALEXANDRA PALACE

‘MAN LIKE I’ 10TH ANNIVERSARY TOUR

PLUS GUESTS

PLUS GUESTS

PLUS GUESTS

29/10/18 O2 FORUM KENTISH TOWN

07/11/18 THE COURTYARD

09/11/18 KOKO

SG LEWIS PLUS GUESTS

PLUS GUESTS

PLUS GUESTS

24/11/18 ALEXANDRA PALACE

07/12/18 PRINTWORKS

14/12/18 O2 ACADEMY BRIXTON

PLUS GUESTS

PLUS GUESTS

PLUS GUESTS

14/12/18 EVENTIM APOLLO

16/12/18 KOKO

07/02/19 ALEXANDRA PALACE

PRESENTS