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BRISTOL LIVE LIVE & NEW MUSIC MAGAZINE

M a r. 1 7 | 6 2

D E S P E R AT E J O U R N A L I S T

ALEXIS TAYLOR F R A N C O I S & T H E AT L A S M O U N TA I N S

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facebook.com/o2academybristol twitter.com/o2academybris instagram.com/o2academybris facebook.com/o2academybristol youtube.com/o2academytv twitter.com/o2academybris instagram.com/o2academybris youtube.com/o2academytv

Fri 3rd Mar • SOLD OUT

Sum 41

Mon 6th Mar • £5 adv

The Pogues Irish Whiskey present: A Shot At Discovery Wed 8th Mar • £21 adv Rescheduled date

The Wailers + By The Rivers

+ Solo Banton with Upper cut band

Sat 25th Mar • From £5 adv 10pm-4am • over 18s only

Garage Nation

Sun 26th Mar • £25 adv

Hey

Mon 27th Mar • £15 adv

Circa Waves

Wed 10th May • £16.50 adv

Protoje & The Indiggnation Thu 11th May • £20 adv

Underoath

Fri 12th May • £3 adv

BA1 Records Showcase Mon 15th May • £26.50 adv

Tue 28th Mar • £17.50 adv

Sampha

George Clinton & Parliament Funkadelic

Wed 29th Mar • £27.50 adv

Tue 15th May • £20 adv

Fri 10th Mar • £14 adv

The Jesus and Mary Chain The Cribs

+ As It Is + Northbound

Thu 30th Mar • £25 adv

Wed 24th May • £25adv

Stiff Little Fingers

Sat 1st Apr • £25 adv

IRA

Thu 25th May • £25adv

+ Theatre of Hate

Wed 15th Mar • SOLD OUT

Thu 6th Apr • £20 adv

Blackberry Smoke + Biters

Sat 10th Jun • £19.50 adv

Glass Animals

Thu 16th Mar • £24 adv

Fri 7th Apr • £12 adv

Thu 15th Jun • £18 adv

Black Star Riders + Backyard Babies + GUN

The Wedding Present The Amy Winehouse Experience A.K.A Lioness Playing “George Best”

Fri 17th Mar • £22 adv

Sat 8th Apr • £25 adv

Sat 12th Aug • £22.50 adv

Sat 18th Mar • £22.50 adv

Tue 18th Apr • SOLD OUT

Gojira + Code Orange + Car Bomb

Rag ‘n’ Bone Man

Sun 19th Mar • £32 adv

Wed 19th Apr • £25 adv Rescheduled date

State Champs

Sun 12th Mar • £18.50 adv

Quantic Live with Alice Russell + Pete Josef Band

Agnieszka Chylinska Mon 20th Mar • £16 adv

Mallory Knox

+ Lonely The Brave + Fatherson

Wed 22nd Mar • SOLD OUT

All Time Low

Thu 23rd Mar • SOLD OUT

James Arthur

The Stranglers

The Selecter / The Beat feat. Ranking Roger

The Saw Doctors Sat 22nd Apr • From £10 adv 8pm-2am • over 18s only

Punky, Reggae Party Trojan Sound System Black Roots

+ Smiley & The Underclass + Hotsteppas

Fri 28th Apr • SOLD OUT

Fri 24th Mar • SOLD OUT

Stormzy

VO5 NME Awards Tour 2017

Wed 3rd May • SOLD OUT

Blossoms + Cabbage + Rory Wynne Future Island

Hawkwind

Skunk Anansie 2-Tone Tribute Tour

Sublime with Rome Fri 1st Sep • £12 adv

Guns 2 Roses Fri 15th Sep • £12 adv

The Velvets

Fri 22nd Sep • £13 adv

The Smyths

Thu 5th Oct • £22.50 adv

New Found Glory Wed 25th Oct • £22.50 adv

W.A.S.P.

Wed 13th Dec • £27.50 adv

Fish

Fri 15th Dec • £19.50 adv

Purple Rain A Celebration of Prince

O2 Academy Bristol Frogmore Street, Bristol BS1 5NA • Doors 7pm unless stated Venue box office opening hours: Mon - Sat 12pm - 4pm

ticketweb.co.uk • seetickets.com • gigantic.com • ticketmaster.co.uk

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o2academybristol.co.uk

March • 2017


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09 | 04 | 17

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SUM 41

D HOLLARADO SOL+

T O-UO2 ACADEMY BRISTOL -

MY BABY + JOHN FAIRHURST - THE FLEECE BRISTOL -

21 | 03 | 17

BAD SOUNDS - THE NEST BATH -

06 | 05 | 17

TOM CHAPLIN - ST DAVIDS HALL CARDIFF -

22 | 03 | 17

SOEUR

21 | 05 | 17

+ ARMCHAIR COMMITTEE & DEAD ROYALTIES

MEW

- THE LOUISIANA BRISTOL -

+ WARHAUS

01 | 04 | 17

- BRISTOL TRINTITY -

MONA - THE LOUISIANA BRISTOL -

24 | 09 | 17

SAVOY MOTEL

NICK CAVE & THE BAD SEEDS

- THE LOUISIANA BRISTOL -

- BOURNEMOUTH BIC -

03 | 04 | 17

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

SONGKICK.COM - BRISTOLTICKETSHOP.CO.UK GIGANTIC.COM - SEETICKETS.COM 3


vvvvvvvvvvwqw

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PARQUET COURTS, P12

Collaboration is key. Recently, I’ve found that heading out to a local show has really given me a sense of community and strength. It’s a reminder that there are people all over this city that feel the same way you do and being in a room full of like-minded folks can do wonders for the soul – flip to the back page to read why Richard Walsh agrees with me. Cover star Alexis Taylor also talks of what like-minded collaboration can do via his incredible new album and honorary Bristolians Fránçois & The Atlas Mountains talk to Ross Jones about how the scene in the city still inspires them. Desperate Journalist (no not me, the band) have a quick chat with Oliver Evans, while BBC Introducing’s Sam Bonham tells us what makes him tick. Finally, don’t forget to sign up to our mailing list on the site, so you don’t miss out on any exciting events this month! Sammy Maine Managing Editor Ed-in-Chief Loki Lillistone / Live Ed Mustafa Mirreh / News Ed Christian Northwood / Plus many amazing contributors in print and online.

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PICKS WITH: THE KNOW

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D E S P E R AT E JOURNALIST

12

FRANCOIS & THE AT L A S M O U N TA I N S

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DEAR DICK

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COVER: A L E X I S TAY L O R

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NEW RELEASES

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LIVE LISTINGS

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THOUGHTS: R I C H A R D WA L S H

BRISTOL BECAUSE: SAM BONHAM

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“Imagine the Beatles had taken the weirdest moments on the White Album, then run with them on the next release, and you get some idea of where Oliver Wilde’s third album is coming from” - Sunday Times "Beautiful and freaky in equal measure, the third record from Bristol's Oliver Wilde is a thing of soothing cacophony" 8/10 Record Collector “An inspirationally wonky work of analogue pop” 8/10 Uncut Magazine “Wilde’s third full length is his finest to album to date, one of soaring musical passages in difficult lyrical contexts” - Crack Magazine

www.oliver-wilde.com

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GUEST PICKS

What our pals are into this month.

CLOUD NOTHINGS

Rhys Buchanan

Co-Founder, The Know

Cloud Nothings Thekla, 16th The new Cloud Nothings record Life Without Sound arrived like a fuzzy, miserable monster a few months back. That said, it also felt more fragile, introspective and honed than anything they’d delivered yet. You’d expect anything but a harrowing piano intro to get things underway, but then again they’ve always managed to surprise with each release. With the band bringing their world tour to Thekla later this month, we can expect 8

it to be a loud one – they actually mailed the the new album to Rise with earplugs included. Our Portland team also caught their show at The Doug Fir Lounge last month and have nothing but glowing words for the guys. Ultimately, their fifth album is the sound of a band who’ve hit maturity and total excellence at the same time. A date not to be missed, Cloud Nothings are one of the most important guitar bands around at the moment.


Josefin Öhrn + The Liberation

JOSEFIN ÖHRN (+ THE LIBERATION)

The Louisiana, 3rd Rocket Recordings spoil us yet again with this mighty (sold out) date. Josefin Öhrn hails from Stockholm and manages to push the boundaries in the world of psychedelic music. This is no easy achievement in a day when the genre has been taken in so many directions. You may have already been lucky enough to catch these guys in the flesh when they opened for Goat at their headline date in the city last year. Either way, it promises to be quite the spectacle, especially as the band pride themselves in “creating an alternate reality” for the listener.

PHOTO: LILY GREEN

Hamilton Leithauser The Lantern, 9th

Hamilton Leithauser dispatched one of our albums of the year in 2016, so this show at The Lantern feels like a true blessing. The record also featured Vampire Weekend’s Rostam Batmanglij, who’s appearing on a few tour dates. The release itself packs multiple emotional punches with a flawless vocal delivery from the ex-Walkmen frontman. He draws upon various key

points of his life, digging out memories of New York streets and old friends. Above all, it’s a stunning and emotionally intelligent record that simply has to be experienced in the live environment. The Know are a music and culture discovery site twinning Bristol with Portland, Oregon. More: theknowmagazine.com 9


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Desperate Journalist Words: Oliver Evans

song is about figuring out what being an adult is supposed to mean.” If the words Desperate Journalist ring any bells, you’re either thinking of The Cure’s diss track to an NME writer following a bad review of Three Imaginary Boys, or the wondrous post-punk champions birthed in 2013. Armed with a supremely Siouxsie Sioux vocal and an artfully tasteful approach to indie rock, their eponymous 2014 debut attracted high praise from both fans and critics. Recorded in four sessions over the course of several months, as I talk to bassist Simon Drowner he explains that it didn’t initially present itself as a first record: “We didn’t even know it would be an album until after half of it was recorded.” Two years on, the band are going backwards in order to go forward with sophomore effort Grow Up: “The title came about as half a joke based on the strong emotions therein, but it fit thematically due to the fact that each

Delving more into what to expect from Grow Up, Simon tells me: “There’s still a fair amount of that jangly sound on the new album,” but that “you’ve also got more brooding stuff like ‘Hollow’, some poppier songs, and one is even just piano and vocals.” The follow-up isn’t just about maturing thematically though, they also made the grown-up decision of playing to their strengths: “I felt we were better live than on record, so we wanted to make an album that could live up to that.” The fact that Desperate Journalist are their own biggest critics presents an enormous amount of irony given the story attached to the name, but also assures us that the shimmering post-punk perfection they deliver will almost certainly get better and better. Desperate Journalist play The Louisiana on 29th March. ‘Grow Up’ is out on 24th March. 11


Francois and the

W.

Ro s s Jo n e s

P.

To m Joye

Atlas Mountains 12


“The reality of playing music is playing it live… It’s just a much more honest approach I think.”

I

t’s an early Thursday morning from within the middle of Europe where Francois Merry is found keeping himself appropriately occupied, deep in rehearsals with his group, Francois & The Atlas Mountains. Merry seems unfazed by the busy start to the day afforded to him – as they all prepare to head out on the road for their first shows in the UK and Europe in over a year and a half, the well-travelled musician is quick to express his excitement in heading back out on tour – especially with new record Solide Mirage ready for its live introduction. “We’re really looking forward to playing live, because although I really enjoy recording albums obviously, for me the reality of playing music is playing it live, and I often feel a bit constrained by the restrictions of pop music,” he explains. “We extend the songs a lot when we play and it’s just a much more honest approach to music I think. It’s like the concrete connection, the real one.” This truthful relationship Merry holds with music comes across simply as attentive intuition, an understanding of creative expression

and a determination to convey his art in its most genuine and authentic form.

Solide Mirage, the group’s fifth record and first since 2014’s wistful Piano Ombre, emanates with great cause, a wondrous full-length that’s evidently determined and resolute, yet hard to define. It partially stems from Merry’s time within his now home of Brussels, a surprisingly modest capital that doesn’t try too hard to impress, but has without question its own appeal. “I’ve been living in Brussels for the past three years now, it’s at the heart of Europe but at the same time there are people from all over the world coming from here. There are traditional Belgian aspects to it, but it’s so multicultural that you would often forget that it’s part of Belgium, it’s a place out of nowhere.” The record’s oxymoronic title unveils a fitting focus on theme and place, a conflicting balance of stability and disorientation of importance that is channelled through Solide Mirage’s evocative rhythms and personallyinflicted wordplay. “It’s strange to be in a mellow city which at the same time is at the heart of the pressure of the whole continent,” says Merry. Brussels’ position as the home of the European Union has a notable influence on the character of the capital, and on this record he was able to suitably define how this personally affects him and perhaps his fellow citizens: “I think sometimes it’s an easy option for some artists and musicians to be inspired by their own

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little cultural bubble, but I was just trying to find a way to connect with the world of the news, the issues in the world – trying to find a poetic way to touch on it and put that in my music.” Merry is a conscious member of society, and through his creative expression is able to add to such discussion and analysis of what is going on around us on a daily basis. “I don’t think I can really explain what’s going on in the world. It’s just part of the world we live in so it does make sense that it finds a way into my songs, and I think it’s nice to approach those terms in a musical way”. It’s a modest approach to a serious topic that he achieves, a composed form of exploration that is simply prompted by elements and environments. When discussing Bristol, his former home of several years, he remembers it fondly: “I think it’s a youthful city, maybe because I was young when I was living there, but it always seemed to renew itself and felt unpretentious. Like how young people don’t care about money too much because they just want to have fun. I like that aspect of it. I remember when I arrived there it felt like home straight away, really inspiring.” Having spent many years between different places, Francois Merry has been able to collect an impression of the world from within his own bubble, and across his releases has been able to eloquently evaluate how it has shaped him and his music. Solide Mirage is available from 3rd March through Domino Recordings. Francois & The Atlas Mountains play Thekla on 28th March.

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2017 UK TOUR

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ยง

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§

DEAR DICK The best bad advice for your musical problems.

Dear Dick, I’ve got award show fever! The Grammys, The Brits, with more still to come... It’s all too much! How can I become a famous award-winner too? Sophie, Clifton

1. Be white. If you can’t do this you might as well give up. If you can’t be white you’re going to have to work twice as hard, receive half of the recognition and have to deal with the fact that even though you’re better at something, proportional representation means you lose.

Just to be clear, anyone can win a Brit award. Let’s rip that Elastoplast off right now. There are only a few of us left who remember the fleeting moment when the Union Jack represented ‘cool’. Now it’s just gone back to being ever so slightly less racist than the St. George Cross.

2. Be media savvy. The old adage of “it’s not something something, it’s WHO you know” doesn’t apply to instagram. Vape420’s opinion is much more important than that of the flabby sacks of meat you have to deal with in real life, because they’re somewhere else, somewhere more interesting, somewhere where ‘Gingham’ is a way of life, not just a filter.

Awards and accolades are recognition of hard work and effort. Wanting to be famous or revered straight off the bat is like holding the egg on the spoon with your thumb. Sooner or later Mrs Marshall is going to find out and expose you for the fraud you are in front of the whole school and Carly Walker will never be your girlfriend. Here are the only two steps you’ll need:

Or, if you hang around in the wings long enough, someone is bound to hand something out for taking part. (See: Paul McCartney)

Do you have a question? Email dick@bristollivemagazine.com 17


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PINEGROVE

“It’s some kind of echo W.

W. S a m m y M a i n e P. M i k e M a s s a r o

S a m my M a i n e

P.

A d a n C a rl o

...of the music that I’ve made

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Alexis Taylor L

ast year, Alexis Taylor released perhaps his most intimate and vulnerable work. Sitting down at a piano with just three microphones, Taylor produced a stripped-down, almost confessional LP that presented a different side of an artist most would associate with the chartfriendly, dancefloor bangers of his band Hot Chip. Now twelve months on, Taylor has revisited the Piano LP, but this time with the help of eleven of his favourite musicians.

Listen With(out) Piano acts as a companion album to 2016’s Piano, featuring new versions of Taylor’s songs from artists including Papa M, Rupert Clervaux, Green Gartside of Scritti Politti, Zongamin and Brian DeGraw of Gang Gang Dance. What’s more, each record can be played on its own, or at the very same time, with these reinventions then acting as a perfectly-timed accompaniment; these aren’t remixes or covers but rather, a response or “echo” to Taylor’s original tracks. “I thought it’d be interesting to hear what happened if other people gave their input into something that was so sparse and so bare,” he explains over the phone. “It seemed almost like it was inviting other elements to come in at a later date. Normally people get remixes made but I made some music that wasn’t really re-mixable. I didn’t imagine it being turned into some dancefloor-filling tracks. So instead of that I thought, what if people made something that could

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contribute to the songs, almost like overdubs or production for the tracks, that have come after the event. It’s some kind of echo of the music that I’ve made.” Taylor says he would love fans to listen to both albums on two turntables – “I know not everyone has access to two turntables and I know that’s a bit of a niche thing” – describing how this process would engage the listener into becoming a part of the albums themselves. “That in itself is quite a tactile way of exploring and experiencing music. You’re involved in how the two things sync up together. You’re involved in lining it up correctly or incorrectly, you can have control over the relative volume of my Piano record compared to the new one,” he explains. “If they don’t have access to turntables, then all you really need is two people with a smartphone or a computer with the album on a streaming service; you both hit play at the same time and you can still explore it in that way.” Taylor has been releasing music for over 10 years, and with the ever-changing nature in which fans listen to music, I ask whether this collaborative project was a way to re-engage his audience, as a comment on today’s overwhelming options. “I didn’t intentionally do it for that reason, no. I’m not so kind of high and mighty to say listen to music in a different way. But I do like the fact that it engages with the very real way people listen to music,” he offers. “On the one hand I think lots of people do just listen off of their phone and that’s fine, so this is a way to get two pieces of music and two or more people to hear it in that way. I suppose if you are going to listen to it at 22

all, you’re probably going to think about the fact it was made to have two sources put together, so that might make you sit and listen to it more closely? It might make you kind of think about the fun and the sort of pleasure you can have in being involved in listening to music. I just hope that people hear it in lots of different ways.” Utilising his work in such a way allowed Taylor to become more open to the idea of collaboration. While his work in Hot Chip sees him team-up with school pal Joe Goddard, Taylor’s solo work has always been just that – solo. “I think it encouraged me that the solo music could go in a different direction with other people’s input, so that in itself was a really nice thing,” he explains. “That’s why right now I’m working with somebody else as a producer.” Taylor is speaking from the studio, where he’s already working on album number four with Bristol-based producer Tim Goldsworthy. “I’ve never had a producer work with me before,” he reveals. “I think that it’s down to [Listen With(out) Piano] in a way; I suddenly heard what happens when you work with other people.” And while he can’t give too much away concerning the new project, Taylor does explain its diversion from his previous work. “This is just quite different sounding – more expansive and much more interested in synthetic textures, rather than the kind of the naturalism of that piano record.” With the hint of a new Hot Chip record on the way too, Taylor continues to be an important and prolific artist, and one who proves imperative in pop’s eversaturated market. Listen With(out) Piano is out 3rd March via Moshi Moshi. Alexis plays The Lantern, 21st.


It encouraged me that the solo music could go in a different direction with other people’s input...

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NEW RELEASES

IDLES

OUR RELEASE OF THE MONTH There’s not a lot that hasn’t been said about Idles in this magazine. We’ve watched them grow over the last five years, changing their sound, taking time out, yet hitting us in the heart and head with every output. Their debut album Brutalism, though, is the one we’ve all been waiting for. It fittingly comes just as they’re pushing through to great heights and will no doubt exceed them further still.

IDLES BRUTALISM Balley Records | 10.03

STREAM: ‘Stendhal Syndrome’ and ‘Well Done’ 24

What defines Idles is their unquestionable drive and determination to push important issues home. On tracks like ‘Stendhal Syndrome’ we hear vocalist Joe Talbot fiercely throw down those who dismiss art without understanding it, while numbers like the poignant ‘Mother’ take aim at the Tory government. Since their comeback show at The Louisiana last year, we knew the band were finally going to demand the ears of the wider national audience. Yes, Idles are an absolute win for the Bristol music scene. Rhys Buchanan


SPECTRES CONDITION Sonic Cathedral | 10.03

Never ones to shy away from pushing things to their limits and beyond, often revelling in a certain divisiveness and relishing the chance to “snap people out of their comfort zones”, Spectres’ second full-length offering Condition sees the band delving further into the murky depths of their distorted, feedback-laden swathes of sound. Heralded by the heady white noise and droning soundscape of first single ‘Dissolve’, the album was born from the Bristol four-piece’s desire to further their warped experimentation in guitar sounds, eliciting the hedonistic, abrasive, screeching sonic strata that these tracks proffer. A pertinently-visceral release, Condition proves why Spectres are such a vital band amidst a dark abyss. Kezia Cochrane

PULLED APART BY HORSES THE HAZE Caroline International | 17.03

Four albums in, this hardcore rock four-piece are thriving with both critical and commercial acclaim. At times The Haze hits back with a guitar-driven wave of raw, palpable aggression, such as on tracks like ‘Neighbourhood Witch’ and ‘Prince of Meats’, recalling the ferocity of previous records. However for the most part it’s a stuttered lesson in restraint, be it the stilted riffs of ‘Hotel Motivation’ or the stunted guitars of the decidedly downbeat ‘Moonbather’. It’s a bag of mixed treasure, rough diamonds and fool’s gold. What’s missing here is the direct immersive energy Pulled Apart by Horses once possessed – time will tell if it’ll return with extra attitude. Oliver Evans

LAURA MARLING SEMPER FEMINA More Alarming Recs | 10.03

Laura Marling’s Semper Femina is a collection of soulful harmonies questioning the perceptions and realities of femininity. Meaning ‘always a woman’, each song on the album is a unique story of women’s experience. First single, ‘Soothing’, explores sensuality with celestial tones and spacious percussion. Tracks like ‘Don’t Pass Me By’ draw the listener in with its husky vocals and Joni Mitchell-esque tale of heartbreak, while ‘Always This Way’ is a strippedback melancholic folk song, with an empathetic look at lost love. ‘Wild Once’ is an affectionate look at the physicality of women, while closing track ‘Nothing, Not Nearly’ features electric guitars and a bluesy aesthetic. It feels fresh, intimate and emotionally intelligent. Georgia Balch

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FRI.03.MAR.17

WED.15.MAR.17

SAT.25.MAR.17

FRI.31.MAR.17

FRI.03.MAR.17

THU.16.MAR.17

MON.27.MAR.17

SUN.02.APR.17

FRI.17.MAR.17

MON.27.MAR.17

TUE.04.APR.17

TUE.21.MAR.17

WED.29.MAR.17

WED.05.APR.17

MON.06.MAR.17

FRI.10.MAR.17

WED.22.MAR.17

WED.05.APR.17 THU.30.MAR.17

SAT.11.MAR.17

FRI.24.MAR.17 TUE.14.MAR.17

FRI.07.APR.17 THU.30.MAR.17

Manchester Fr i .2 6 . May

Bristol

S a t . 2 7 . M ay

Not t i n gh a m S un.2 8. May

Plus lots more JUST ANNOUNCED across multiple venues #d2dfest • dottodotfestival.co.uk • alttickets.com 26


THEKLA

LIVE LISTINGS The Grove East Mud Dock Bristol BS1 4RB theklabristol.co.uk | thekla.club F L theklabristol | I X theklabris alttickets.com • gigantic.com • bristolticketshop.co.uk

TUESDAY 28TH MARCH

THURSDAY 2ND MARCH

FRANCOIS AND THE ATLAS MOUNTAINS

WEDNESDAY 13 + BOURBON CROW SATURDAY 4TH MARCH

WEDNESDAY 29TH MARCH

THE ORWELLS

PULLED APART BY HORSES

TUESDAY 7TH MARCH

MITSKI

+ TIGERCUB + THEE MVPS THURSDAY 30TH MARCH

WEDNESDAY 8TH MARCH

DIRTY HIT TOUR: SUPERFOOD

VANT

+ KING NUN + PALE WAVES

MONDAY 13TH MARCH

THE PIGEON DETECTIVES

SOLD OUT

THURSDAY 31ST MARCH

RUSTY SHACKLE

+ THE RUMBLE

TUESDAY 14TH MARCH

BEN HAENOW

SUNDAY 2ND APRIL

THE MOONLANDINGZ

+ CHRISTIAN BURROWS + LILY JO

+ GOAT GIRL

THURSDAY 16TH MARCH

CLOUD NOTHINGS

TUESDAY 4TH APRIL

TRIM

MONDAY 17TH MARCH

DAVE HAUSE AND THE MERMAID

WEDNESDAY 5TH APRIL

HAYLEY BONAR

+ DEAD HEAVENS: INTRODUCING ROBYN G. SHIELS WEDNESDAY 22ND MARCH

THUNDERCAT

FRIDAY 7TH APRIL

SOLD OUT

GAVIN JAMES

+ JAMES TAYLOR WATTS + FREYA RIDINGS SATURDAY 8TH APRIL

PALLBEARER

THURSDAY 23TH MARCH

THE LEMON TWIGS

+ PINKISH BLACK

+ SHOCK MACHINE

MONDAY 10TH APRIL

CHAINSKA BRASSIKA

FRIDAY 24TH MARCH

LEWIS WATSON SATURDAY 25TH MARCH

SLAVES (US) SUNDAY 26TH MARCH

GREGORY ALAN ISAKOV

THURSDAY 13TH APRIL

SOLD OUT

REAL FRIENDS

+ CAN’T SWIM + MICROWAVE FRIDAY 14TH APRIL

HELLYEAH 27


GRANDADDY LAST PLACE Columbia, 03.03

After ten years away from recording together, Grandaddy have lost none of their ability to craft music that, as assured of its intentions as it may seem, has a way of only unveiling its substance over time. Last Place is an evanescing record, one of slowly-fading structures and balmy poise, yet can’t help but evoke the impression of actuality that they almost elude to. What can’t be disregarded is an element of the turning of time, a finality to its proceedings that interprets their perception of human character (their brightest attribute) amongst their own personal ageing and growth in existence. Last Place fits seamlessly into an underrated catalogue as a success. Ross Jones

TEMPLES VOLCANO Heavenly Records | 03.03

Temples are back with eagerly-anticipated new album, Volcano. Following their 2014 rise to music stardom with debut Sun Structures, their latest venture delivers expansive psych elements and synths, encompassed by glistening guitar. Having expanded their own musical set up – they didn’t own a subwoofer during Sun Structures – Temples have created a matured and well-constructed album fusing the analogue with the synthetic. Contemplative lyrics are layered over metallic sounds and dreamlike melodies, ticking all the usual psych-rock boxes. Although grounded with a more established sound, Volcano retains the infectious quality that first caught our ears in 2014. Sometimes slow and haze-inducing, at others eccentric and quirky, Volcano expresses progression and continuation in unison. Hannah Wakeman 28

CURSOR MAJOR SILENT DISCO PUNCH UP Bellicose Records | 17.03

Celestially-themed oddpopper Cursor Major returns with another EP of nth degree new wave, written and recorded “in bedrooms between Bristol and London.” Richness is what we’ve come to expect from Andy Norton, and Silent Disco Punch Up is no exception. The EP’s eponymous opener chugs and modulates as Norton channels anxiety through his trademark coy lyricism, and melodic devices chirp in and out like a canopy chorus. The immediacy of ‘Eskimo Roll’ makes the biggest impact however, with its 80s anthemism and 70s guitar lines, an unholy marriage which typifies Cursor Major’s approach. While you may need more than one listen to digest his vivid output, Cursor Major is quite stellar. Loki Lillistone


PINS FT. IGGY POP BAD THING Bella Union | 24.03

Recorded in a cottage in the Scottish wilderness, Bad Thing is a two-tone recording. It strides between clattering, tinsel-wrapped indie rock – full of crisp fluttering vocal melodies and a smudging of distorted guitars you’d associate with The Vaselines or Slits – and synth-drenched, post-punky shoegaze by way of a two-track epilogue, the final track quite aptly being a Joy Division cover. Its forthcoming single ‘Aggrophobe’ features Iggy Pop performing a spoken-word piece across darkened, moody melodies. It’s a snappy little number itching for repeat plays, but does feel a little like a guitar-based re-run of ‘Aisha’ – minus the captivating narrative. Stuart Tidy

ALEXIS TAYLOR LISTEN WITH(OUT) PIANO Moshi Moshi | 03.03

Bearing Alexis Taylor’s distinctive, melodic tenderness throughout the course of the eleven collaborative tracks, this is an album that exudes a considered, graceful precision. Listen With(out) Piano is the result of eleven artists, chosen by the Hot Chip frontman, responding to the delicate, evocative songs on Taylor’s third solo album Piano, out last year. Featuring compositions from Beatrice Dillon, Papa M and Scritti Politti’s Green Gartside to name a few, it’s presented as both a blended version and standalone reinterpretation, offering the listener multiple auditory experiences. From Susumi Mukai’s flickering, unearthly noises to Lung Dart’s choral acapella, this album provides a uniquely haunting and strikingly emotive sonic array. Kezia Cochrane

THE NIGHTJAR OBJECTS Pear O’ Legs Records | 17.03

With their introductory full-length, Bristol-based quartet The Nightjar set out with the intention to explore (and ultimately embody) the transient nature of existence and consequence of being. With an undoubtedly earthly sound, the group have created a record of unconfined ambience and colour – an impressive feat for the wonderfully natural elements on offer. Accentuated by the utterly breathtaking voice of Mo Kirby and the carefully-sculptured notes that draw out such a voice further, the emphasis could easily be taken away from the value of verse. The Nightjar display an aptness for actuating an empathetic spirit, one that further embraces their inherent balance of cognisance and selfresearch. Ross Jones

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Behind Every Musician

@WeAreTheMU 32

Photo: Joseph Branston. © MU 2016


BRISTOL BECAUSE... City chat with our fave people.

This month: Sam Bonham When did you first move to Bristol? I came to Bristol as a student. I’d visited a few acting mates at the Old Vic Theatre School beforehand and always had a good time, the place obviously had ​great vibes – it totally hooked me in.

​​ How did you get involved with Introducing? As a musician with Let’s Tea Party, I’d always been aware of BBC Intro. Rich [Pitt] interviewed me when we played at Glasto and I kind of pushed my way in after that. Intro quickly became my soul food.

How would you describe the music scene here? The thing about Bristol is that it doesn’t take itself too seriously, or rather, it gives people the impression that it doesn’t​ take itself too seriously​. This has pros and cons. It means we create new and exciting sounds, germinating on our own over time​and​out of sight of London. But it does sometimes mean that great music doesn’t always find bigger audiences. I’m doing my bit to try and push this along, the world needs more Bristol music! ​

What’s your favourite thing about the city?

Beyond the music? Well, ​I guess it’s got to be the people. I’ve met so many incredible ​people in Bristol. Talented people. Caring people. Generous people. Idles nailed it landing on the BBC 6 Music Special mention to Pam, she’s my playlist recently. BBC Intro have got newboy #Bristolmum! Fraser Anderson in session soon, he’s And your least favourite? the biggest sky above me right now! ​Ile Flottante is getting a play most days round Traffic. Nothing kicks me in the ads harder than Bristol traffic. That’s kinda my house too​; I went to his tiny studio why I’m always on my bicycle. It’s just a in Broadmead recently​. Plus​Keir, The shame you can’t cycle along the M32! Nightjar, ​Bad Sounds, ​Iyabe, Fenne Lily, Gardna and ThisisDA.

Who’s your top Bristol artist at the moment?

BBC Introducing in the West airs Saturdays at 8pm on BBC Radio Bristol and more. 33


O CTO B E R

D R I F T

W W W. O CTO B E R D R I F T. C O . U K

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Instagram of the Month

LIVE LISTINGS The Marble Factory / Motion 74-78 Avon Street, BS2 0PX @TapTheFeed sell out their @Louisiana.Bristol launch

Mother’s Ruin 7-9 St. Nicholas Srreet, BS1 1UE No. 1 Harbourside 1 Canon’s Rd, Bristol BS1 5UH

Anson Rooms 105 Queens Rd, BS8 1LN

O2 Academy 1-2 Frogmore Street, BS1 5NA

Arnolfini 16 Narrow Quay, BS1 4QA

The Old Market Assembly 25 West Street, BS2 0DF

The Bristol Fringe 32 Princess Victoria Street, BS8 4BZ

Roll For The Soul 2 Quay Street, BS1 2JL

The Canteen 80 Stokes Croft, BS1 3QY

The Stag & Hounds 74 Old Market, BS2 0EJ

Colston Hall & Lantern Colston Street, BS1 5AR

SWX Bristol 15 Nelson Street, BS1 2JY

The Crofters Rights 117-119 Stokes Croft, BS1 3PY

Thekla The Grove, BS1 4RB

Exchange 72-73 Old Market, BS2 OEJ

The Thunderbolt 124 Bath Road, BS4 3ED

The Fleece 12 St. Thomas Sreet, BS1 6JJ

Tobacco Factory Raleigh Road, BS3 1TF

The Gallimaufry 26-28 The Promenade, BS7 8AL

Trinity Centre Trinity Road, BS2 0NW

The Grain Barge Mardyke Warf, BS8 4RU The Gryphon 41 Colston Street, BS1 5AP Kingsdown Wine Vaults 31 Kingsdown Parade, BS6 5UE The Lanes 22 Nelson Street, BS1 2LE The Louisiana Wapping Road, BS1 6UA 35


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Need more shows? Look even further ahead, plus tons more great Bristol music content at: bristollivemagazine.com

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REHEARSAL LISTINGS Dockside Studios Fully equipped in central Bristol. Free parking. No fixed booking times. Equipment hire and storage facilities also available. Open until 11pm every day except Sat (7pm). docksidestudios.co.uk • mail@docksidestudios.co.uk 0117 934 9994 • Albion Dockside Estate, BS1 6UT Factory Studios Where music is made! Eleven practice rooms, a recording studio and great discounts for student and regular bands. Book by phone or online. factorystudios.co.uk • info@factorystudios.co.uk 0117 952 5655 • Unit 23, Maze Street, BS5 9TQ Maverick Studios Rehearsal and recording (both audio & video). Large 30’ stage as well as dedicated sound-booth and control room available. All rooms with PA and drum kit. maverickstudios.co.uk • maverickstudiosbristol@gmail.com 07833 691 741 • Office Tower, Foundry Lane, BS5 7UZ RS Studios The largest independent rehearsal and recording Studio complex in the Southwest, consisting of 18 individual, custom designed & built sound-proof studios. rs-studios.co.uk • rsstudios@hotmail.com 0117 971 1495 • 47-57 Feeder Road, BS2 0SE Wilder Studios Acoustically treated rooms with complete backline, free wifi and off-road parking. On-site storage available and live recording studio with vocal booth. Daytime discounts. wilderstudios.co.uk • bookings@wilderstudios.co.uk 0752 252 2723 • 470 Bath Road, BS4 3HG Firebird Studios Run by musicians for musicians. Friendly, helpful staff, six affordable rooms, lots of onsite parking and food & drink available. Book by phone or online. firebirdstudios.co.uk • info@firebirdstudios.co.uk 0117 972 1830 • 21-23 Emery Rd, BS4 5PF 49


THOUGHTS

Comment and opinion from staff and guests.

Catering to the Masses by

Richard Walsh, Contributor

I probably eat a sandwich every day. At least five times a week, definitely. I eat sandwiches because I love sandwiches so, carpe diem, right? There’s a privilege in finding something you truly enjoy, taking it by the crusts and exclaiming ‘this is the life for me’. Growing up in an uninterested, disintegrating seaside town, I’d have to travel hours outwards to grab a glimpse of live music. For every 60 minute set caught, it was a two day event. Could this newfound excitement really be this straightforward? I took up a job at the nearby Tesco café to continue funding the fun, and saving began once again immediately following each trip. Hobby had become addiction. Music had become lifestyle. Before long, I was a 17-year-old wisenheimer that’d figured how to go about asking bands to bring life to the inactive pubs littering our harbourside. The assembled train fare and hotel costs to travel outside of my comfort zone would total more than the cash I needed to pay the band; making sandwiches for the elderly had become my bread and butter. Since you’re skimming the back page of a live music listings magazine, I guess we share a mutual sentiment. Wouldn’t you agree that few things can compare to the adrenaline rush of an opening number, or that thrill of discovering your body can joltn-sweat to the rhythm of a bass drum in ways you’d never imagined before? To me, to you and to millions more, live music is life music. As my tenth year of hobbyist careering hurtles ever closer, I’d wager that even the lowest of unpaid DIY hours have been more satisfying than anything reality may have dispensed. Perhaps you loathe music and were quelling boredom with your nearest read in a Montpelier café, so let me just say this: If you’re lucky enough to find passion in something you consider worthwhile, grab those crusts and take a hearty bite. 50


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Bristol Live Magazine: March 2017  

Bristol's live and new music magazine.

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