O C TO BER 2017 ISSUE 53 // FREE
IBEYI
P R E S E N T S
02 | 10 | 17
04 | 11 | 17
ANNIE HART
PETER PERRETT
09 | 10 | 17
ZOLA JESUS
(AU REVOIR SIMONE) - SHACKLEWELL ARMS, DALSTON -
- ELECTRIC BALLROOM -
07 | 11 | 17
STEVIE PARKER
- VILLAGE UNDERGROUND -
09 | 10 | 17
HVMM
- MOTH CLUB, HACKNEY -
T | 11OU | 17 22 SOLD
PITOU
- SEBRIGHT ARMS, HACKNEY -
10 | 10 | 17
JIM WHITE
- ST PANCRAS OLD CHURCH -
JOLIE HOLLAND + SAMANTHA PARTON
- UNION CHAPEL, ISLINGTON T | 17 10 10OU SO|LD
THE PREATURES - MOTH CLUB, HACKNEY -
13 | 10 | 17
26 | 11 | 17
- DINGWALLS -
29 | 11 | 17
MARIAM THE BELIEVER - THE LEXINGTON -
30 | 11 | 17
SLEEPTALKING - THE VICTORIA, DALSTON -
LAMB
30 | 11 | 17
- O2 SHEPHERD’S BUSH EMPIRE T | 17 18 10OU SO|LD
THE BREEDERS - ELECTRIC BALLROOM -
19 | 10 | 17
SOUND OF THE SIRENS - THE WATER RATS -
TOM WILLIAMS - BUSH HALL -
T | 12OU | 17 SOLD 07 - 08 | 12 | 17
BERNARD FANNING - THE GARAGE, HIGHBURY -
09 | 12 | 17
GOLDIE LOOKIN’ CHAIN - OSLO, HACKNEY -
24 | 10 | 17
PLAZA
28 | 02 | 18
THE FRONT BOTTOMS
- OLD BLUE LAST, SHOREDITCH -
27 | 10 | 17
STEVEN PAGE - BUSH HALL -
27 | 10 | 17
RALFY
- THOUSAND ISLAND, HIGHBURY -
- ROUNDHOUSE -
27 | 04 | 18
BARENAKED LADIES - ROUNDHOUSE -
T I C K E T S AVA I L A B L E F R O M
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P R E S E N T S
JESCA HOOP
MONDAY 16 OCTOBER 2017
ROUNDHOUSE LONDON
FRIDAY 01 DECEMBER 2017
UNION CHAPEL LONDON
NEW ALBUM AFTERGLOW OUT NOW
BY ARRANGEMENT WITH CODA AGENCY
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WEDNESDAY 13 DECEMBER 2017
SATURDAY 03 FEBRUARY 2018
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WELCOME Tons of gigs, albums and new students descending on the city; it must be October in London. I cannot explain how excited we are to have Ibeyi on the cover this month, the incredible, innovative and political duo exude strength and confidence in everything they do, and we're all about their fantastic new album. We have some super exciting announcements coming up too, I swear this year seems to have gone by in a flash, keep an eye on our socials to find out what's happening first. Now excuse me whilst I stick on a long list of new albums I've been looking forward to, and enjoy the leaves turning Autumn colours. PS: Thank you LCD Soundsystem for coming back, I'm not even mad that you ever went away anymore.
IBEYI (interview, pg: 26)
STAFF ON REPEAT
MAVIS STAPLES
the tracks we can’t stop listening to this month JESS: Weaves - Scream ft. Tanya Tagaq DAVE: Mavis Staples - If All I Was Was Black LOKI: Gengahr - Carrion DANNY: Björk- The Gate GEMMA: John Maus - Touchdown JACK: Baths - Yeoman RACHEL: Julien Baker - Appointments LiS 05
CONTENTS LONDON IN STEREO IS: 10
NEW SOUNDS
Editor: Jess Partridge jess@londoninstereo.co.uk
Superorganism, Lia Lia & more 14
19
INTERVIEW Kaitlyn Aurelia Smith
Deputy Editor: Dave Rowlinson dave@londoninstereo.co.uk
TALES FROM THE CITY
Online Editor: Rachel Finn rachel@londoninstereo.co.uk
by Weaves 22
Sub-Editor : Loki Lillistone loki@londoninstereo.co.uk
OCTOBER EVENTS
The best stuff happening in London this month
26 COVER STORY 32
New Sounds Editor: Gemma Samways
LiS meets Ibeyi
Staff Writers: Danny Wright, Jack Urwin
ON THE STEREO
Photography: Ibeyi cover story: Ebru Yildiz (ebruyildiz.net)
with Oxjam 36
Contributors: Lee Wakefield, Katie Thomas, Rhian Daly, Simone Scott Warren, Geoff Cowart, Kate Solomon, George O’Brien, Thomas Hannan, Rachel Grace Almeida, Tom Walters, Hassan Anderson.
INTERVIEW Wolf Parade
40
ALBUM REVIEWS
St. Vincent, Wolf Alice, Destroyer, John Maus, Bully & more 48
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GIGS OF THE MONTH
Our pick of the best shows this October 52
FULL LISTINGS
Your full guide to all the month’s gigs 69
IN LONDON
with Yumi Zouma 70
LIVE REVIEWS
LiS goes to End of The Road 73
PENNY FOR YOUR THOUGHTS
by Kate Solomon
KAITLYN AURELIA SMITH
(interview, pg: 14. Photo Tim Saccenti)
londoninstereo.com @londoninstereo LiS 07
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MONDAY 30TH OCTOBER 2017 O2 SHEPHERD’S BUSH EMPIRE LONDON
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REGGAE HEAVEN
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NEW SOUNDS SUPERORGANISM Music journalism isn’t exactly renowned for measured assertions, but it says something about the power of Superorganism that they’ve inspired headlines like, “The Band Who’ll Fuck with Your Brain and Turn It Inside Out.” Especially when you consider that, at that point, they’d only shared two songs. Less a band, more a creative community, Superorganism is an eight-strong operation, founded by Kiwis Emily and Harry, and fronted by Maine-based Japanese teen Orono, with the rest of its members variously hailing from Australia, New Zealand and London. They met chatting online on music forums and, after a period
by Gemma Samways swapping ideas over email and self-releasing songs, they’re now signed to Domino and all sharing a house in Homerton, East London. Musically, try to imagine what The Avalanches, Of Montreal and Odelay-era Beck might sound like composing Nickelodeon themes together, and you’re in the right ball park. Originally posted in February, their recently re-released debut single, ‘Something For Your M.I.N.D.’ combines gloopy slide guitar, squelching synths and sluggish vocal samples with Orono’s sugary, Kimya Dawson-like drawl to create lysergic-pop par excellence. No wonder Frank Ocean and Ezra Koenig are already huge fans.
IN TEN: NEW SOUNDS
GIRLHOOD
SHAME
CONCRETE
CHELA
BAD HABIT
TOMMY GENESIS
LIA LIA
PHOEBE BRIDGERS
LUNICE
DEMO TAPPED
POM POKO
GIRLHOOD
DAINA
TOMMY
FUNERAL
INSECURE
BAD DECISIONS
KIDS
DROP DOWN
YOU'LL BE FINE
X
FOLLOW OUR NEW MUSIC PLAYLISTS ON LONDONINSTEREO.COM, EVERY WEEK
SUPERORGANISM (photo: Steph Wilson)
LISTEN TO: Something For Your M.I.N.D LIVE: Village Underground, October 5th @SPRORGNSM
LIA LIA
LISTEN TO: Kids @liavslia
/superorganism
/liavslia
by Jess Partridge When we first heard Lia Lia’s voice on the near-perfect darkedged pop track ‘Olymp’ we were instantly hooked. Crisp production and an understated but confident vocal made it feel like the workings of someone with far more experience. With her second track ‘Kids’ she’s proved this was no fluke. Blessed with a natural affinity for minimal pop sounds that swirl inside your mind, there’s no doubt this Berlin based artist has huge things ahead of her. LiS 11
interview
aitlyn Aurelia Smith is not a name you expect to see on a bill at The Warehouse Project, nestled alongside the names of Nina Kraviz and Ben UFO, but that’s where she found herself in 2016. “I’m always curious as to how my music is perceived in those types of environments,” she ponders. “I’m thinking ‘is everyone just waiting for me to drop the beat?’” Unsurprisingly, she didn’t oblige, however her inclusion offered originality to a live scene that can often feel blighted by familiarity. Nevertheless, it didn’t trigger an urge to produce an album of uncompromising techno. “I draw inspiration from all different types of music, but tend to kind of forget all my inspiration when I’m creating.” It makes sense, for Kaitlyn Aurelia Smith constructs electronic music that is steeped in freewheeling imagination and invention. Much of that ingenuity can be traced to her mastering of a rare Buchla synthesiser and a desire to challenge the limitations of traditional instrumentation, manipulating soundscapes until they overlap and become unrecognisable. New tracks such as ‘A Kid’ and ‘Until I Remember’ are as beguiling as they are hypnotic. Finding a more unique record than The Kid, the forthcoming album that boasts those songs, will prove difficult, partly due to its peculiar sounds but also the concepts it revolves around. “It tends to happen organically,” she reveals of her process. “Just by following an idea, an inkling or an intuition. I mean, it’s a lot of work, but I’m really following what feels good, what feels fun. And it’s very much a part of my nature to question and analyse things, so I think it’s natural for my albums to have a theme or a concept with them.” And what is that concept? “For me, the main part of the story is about the challenges of staying connected with your kid energy, your sense of play as you get older and how to maintain a sense of play
while you’re adding structure and routine into your life. It was really presenting itself in my life when I lost someone very dear to me, the concept of grief was very strong in my life and just how short and fleeting life can be.” Much has been made of Smith’s ability to map vivid journeys for the listener through her recordings, particularly on last year’s EARS, and little has changed, citing the fact her visual brain works in tandem with the listening side and can be utilised as “a sculpting tool.” But, amongst all the complex tech, it’s her voice that features most prominently, although it’s difficult to pin down where human expression ends and machinery kicks in. “It starts in my head and, usually after jotting down notes and ideas, I just overdub my voice a bunch of times. Or from there, I’ll write out notations and send midi to different synths, so it’s definitely the foundation point and it helps me to get connected to what I’m creating because it gives it a real cathartic feeling.” If the development proves therapeutic, does Smith feel the burden of recent critical acclaim and added scrutiny? “I have loads of self-pressure, mostly to bring outside of myself what I can hear inside and see what wants to be created. So I’ll have this manic side at times where I’m like ‘how do I do it?’ And I’ll pinwheel, going forever. But then it’s so fun when it happens and it’s very… I don’t know, I haven’t figured out what the language to describe it is.” She pauses, choosing her words carefully. “I guess it’s when you feel like you’ve properly communicated to someone.” On The Kid, Kaitlyn Aurelia Smith has forged a deeply personal connection through abstract means. LiS
LiS 14
The Kid is released October 6th via Western Vinyl. LIVE: Scala, November 21st. @kaitlynaurelia
photo: Tim Saccenti
“I’m really following what feels good, what feels fun.”
Kaitlyn Aurelia Smith words: Lee Wakefield
KURUPT FM
THE STRYPES
THIS FEELING ALIVE BLEACHERS
TUE 10 OCT WED 11 OCT
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FRI 20 OCT
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KOKO
T
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OU SOLD 23 OCT MON TUE 24 OCT
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BASTIEN KEB
FRI 27 OCT
SOLD FRI 27OUOCT SAT 28 OCT
WED 01 NOV
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MON 06 NOV
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KINGSTON RUDIESKA MONDAY 23 OCTOBER LONDON BORDERLINE A AND JAZZ FOOT-STOMPING SK TWIST. WITH A KOREAN
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ROBERT GLASPER EFG LONDON JAZZ FESTIVAL SPECIAL SHOW Thursday 16 November Barbican
Book now at
serious.org.uk/events
Monday 13 November LONDON Scala ‘will be leavin’ y’all on your knees, beggin’ for more.’ (Quincy Jones)
TALES FROM THE CITY We ask artists to tell us stories of times spent in London...
by WEAVES
photo: Brendan George Ko
Sometimes I try and think about last year as a cohesive memory and then realize that too much happened to truly remember the little moments. But one area of life last year that particularly conjures up memories is when we spent two months in Europe/UK! It was roughly 57 days far away from home with about 45-something shows (barely any nights off). It was a lot of movement, a lot of driving, and a lot of chip eating, ha. But one show that I think we'll always remember was our first sold-out gig in London at Shacklewell Arms. It was sweaty, loud and one of our most fond nights of the tour. If you have never been to Shacklewell Arms, it basically looks like a stage meant to be used for reciting Shakespeare or performing a scene from West Side Story. It’s got little vines hanging down and a funny collage and the vibe is pretty chill in the front (all the bartenders looked like models). Great bathrooms! Colourful! I always remember things that don't matter. Obviously I'm not the best story-teller.
I guess that's why I prefer writing over speaking because I have the worst memory. I’ll remember a cool sign over a hotel room. Anyway! The crowd was amazing. They were singing back all the lyrics and sweating as much as we were on stage. I remember that we could barely get off stage and my bright blue eyeshadow was streaming across my face by the end – the sign of a good show! Ha. That show stood out because we just really felt the love and it was literally the first time we sold out a show in Europe. You never know if people are going to like your music, so when you fly across the pond and play every night it’s shows like that night in London which make you want to be more creative and push yourself to be bold. By Weaves’ Jasmyn Burke
LiS 19
Weaves release Wide Open October 6th via Memphis Industries. LIVE: Oslo, November 21st. @Weeaves
@weavesmusic
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EVENTS Stuff that’s happening soon which we think will be real great MURA MASA
A LAST FESTIVAL OF THE YEAR THING
ICELAND AIRWAVES Your tent’s packed away, the WhatsApp groups have fallen silent, festival season is over. Unless... unless you need one last hurrah? Iceland Airwaves is a forward-thinking and ambitious festival (check those previous lineups) and this year’s is absolutely bursting with incredible talent. Benjamin Clementine, Mura Masa, Pinegrove and Fazerdaze leap out but, equally, we plan to soak up the best of Iceland’s home-grown talent. So don’t let festival season end yet, join us for one last giant party under Icelandic skies - it’s truly one of the most spectacular and fun places we’ve ever been. And, oh boy, you’ve got to get to Sægreifinn for the best lobster soup on Earth! WHEN: November 1st-5th. Where: Reykjavík & Akureyri, Iceland. Festival Packages via founding sponsor IcelandAir: icelandairwaves.is @icelandairwaves @icelandairwavesfestival GO SEE: Reykjavíkurdætur, Tappi Tíkarras, Megas, Sóley, Mammút.
A BIG WEEKEND IN BRISTOL THING
SIMPLE THINGS FESTIVAL Every year Simple Things produces a lineup that just makes us go ‘yeah, they totally get our taste’ the plethora of acts playing that have graced our cover a testament to that fact. You really can’t go wrong: Bristol is always a great city to be in, and bouncing between venues catching some of the most thrilling, challenging and downright incredible acts around is our definition of having the best imaginable time. There’s a Friday night opening party headlined by the ever-wonderful Metronomy and Saturday night sees Leftfield play Leftism. You’ll wanna be there for when ‘Open Up’ drops. WHEN: Oct’ 21st. Opening party: Oct’ 20th. WHERE: Bristol, multi-venues. INFO: simplethingsfestival.co.uk @simplethingsuk GO SEE: John Maus, Noga Erez, Gaika, Clark, Cakes Da Killa, Diet Cig.
A NOSTALGIC CELEBRATION THING
CASSETTE STORE DAY Cassette Store Day celebrates its fifth birthday this year with a whole host of events around the world and an exceptional list of exclusive releases, headed up by the always wonderful Kiasmos and boasting all kinds of mixtapes from awesome labels. Now being run by Blak Hand Records and international partners like the ever-cool Burger Records, CSD aims to celebrate both the sweetly nostalgic format plus new and exciting music. If you can’t get to a store on the day you can also order the tapes online, so there’s no reason to miss out on these treasures.
AN ART THING
DALÍ / DUCHAMP This exhibition looks at how the friendship between two of the 20th centuries creative giants – conceptual artist Marcel Duchamp and probably the world’s most famous surrealist, Salvador Dalí – influenced their respective work. With about 80 artworks on show including paintings and sculptures from Dalí and Duchamp’s readymades you’ll find their sense of humour and irreverence forms an unlikely link between the two.
WHEN: OCTOBER 14TH INFO: cassettestoredayuk.tumblr.com @CassetteStoreDay
WHEN: OCTOBER 7TH - JANUARY 3RD WHERE: ROYAL ACADEMY OF ARTS, INFO: royalacademy.org.uk // @RoyalAcademy
AN EAST LONDON CHEF & MUSIC THING
E IS THE MAGIC NUMBER Gathering a selection of east London based chefs to cook exclusive dishes in a tiny Hackney cocktail bar is a great idea. Asking those chefs to provide the soundtrack for the evening via a hi-fi once owned by Joy Division’s Martin Hannett is an even better one (hopefully). With our faves Chick‘n’Sours and Tonkotsu, plus the incredible Quality Chop House and Legs, in the kitchen this is basically gonna be our perfect way to while away an October evening. We’re especially excited for Tonkotsu’s Eat The Bits Chilli Wings. WHEN: WEDNESDAY 4TH, 11TH, 18TH & 25TH OCTOBER WHERE: BEHIND THIS WALL, 411 MARE STREET E8 1HY INFO: behindthiswall.com // @behindthiswall LiS 23
TONKOTSU EAT THE BITS WINGS
fabric October 2017
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Marcel Fengler Margaret Dygas Mathew Jonson (Live) Matrixxman MelĂŠ B2B Botan Nicolas Lutz Ricardo Villalobos Richy Ahmed Roman FlĂźgel Sandrien Seth Troxler Thomas Melchior
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Ibeyi
Words: Gemma Samways Photography: Ebru Yildiz
“The measure of any society is
how it treats its women and girls.” Michelle Obama
ctober 13 2017 will mark the first anniversary of Michelle Obama’s now-famous address to a Democrat rally in Manchester, New Hampshire. Millions streamed the speech live online, and millions more have since heard – and been moved by – the former-First Lady’s frank and powerful discussion of sexual harassment, misogyny and inequality in the context of the US election. Cuban-French duo Ibeyi revisit Obama’s words on their second album, Ash, liberally sampling snippets of the speech throughout the rousing spiritual ‘No Man Is Big Enough For My Arms’. “When we heard [the speech] we felt something,” Naomi Diaz recalls, speaking over Skype from the back of a Paris taxi, squashed against her twin sister. “It was not only powerful but poetic too,” Lisa-Kainde interjects, “And she was talking to women and young girls.” LiS 26
Hair: Andrita Renee Makeup: Aziza Walker
LiS 27
interview
And yet, as affecting as Obama’s messages undoubtedly were at the time, they feel especially poignant now, given that Americans are living with the aftermath of an election result that essentially undermined the whole speech. “I mean, the only thing I can say is it’s fucked up,” agrees Lisa, eyes wide, brow furrowed. “But you know, there are loads of other places that are fucked up. Let’s talk about France and Marine Le Pen, let’s talk about Brexit, let’s talk about the refugee crisis, and the way countries are not helping… Everything is really hard. These are difficult times.”
“I think we had to talk about ourselves before talking about others,” says Naomi of their introspective approach. “And we had so much to talk about then that we never thought of talking about the world we were living in. But after presenting ourselves, [on the second album] we had to talk about what was in our minds.” Lisa adds, “Also, after touring for three years around the whole world, and seeing how everything is, it was quite natural.”
“Let’s talk about France and Marine Le Pen, let’s talk about Brexit, let’s talk about the refugee crisis...” Ibeyi are no strangers to tumult. On their self-titled debut of 2015, they drew heavily on the most earth-shattering of human experiences: the deaths of some of the people closest to them. ‘Yanira’ is named for their older sister, who died suddenly in 2013, and ‘Think Of You’ pays tribute to their father, the legendary percussionist and Buena Vista Social Club-collaborator Miguel “Anga” Diaz, who passed away when the twins were just 11. Now 22, Lisa and Naomi are shifting their lyrical focus onto society and the world surrounding them.
Alongside the aforementioned, ‘No Man Is Big Enough For The Arms’, the Kamasi Washington-starring ‘Deathless’ is one of the strongest examples of Ibeyi’s new lyrical agenda. The verses find Lisa drawing on her painful experience of being racially profiled in Paris, aged 16. By the chorus, however, that fear and humiliation is transfigured into an expression of defiance,
LiS 28
interview
with a choir delivering the rallying cry of solidarity, “Whatever happens, whatever happened, we are deathless.” Lisa explains, “‘Deathless’ became a way for us to write an anthem, to feel immortal, to feel light for three minutes.” As per its predecessor, Ash is a deeply spiritual record, but it possesses an optimism and hope that was less obvious on their debut. Stunning album centrepiece
and devotional ‘Transmission/Michaelion’ is integral to the album’s message of communication, tolerance and a love. “We think transmission is one of the most important things in the world,” Lisa says. “We feel blessed that we got to have so much culture given to us, and transmitted to us, and I feel like transmission is maybe what will help the world.”
The song also includes extracts from Frida Kahlo’s diaries and portions of Claudia Rankine’s discussion on race, ‘Citizen: An American Lyric’. In its intertextuality, and its celebration of both heritage and women of colour, Ash feels very much in the lineage of Beyoncé’s 2016 visual album, Lemonade, which Ibeyi starred in. When I press them for details of the experience, Naomi tactfully explains that they’ve signed an NDA but will say, “We are honoured that she thought about us, and to have worked with her. We are grateful.” Songs remain flecked with Yoruba, the faith and language beloved of their father, which was originally brought to Cuba from West Africa. Indeed, the positive reaction that Ibeyi received for embracing their heritage on their debut actually encouraged them to continue. “A week before releasing [our debut], we started being really worried, because we realised there was so much Yoruba on it and we wanted to make sure people would get it,” Lisa remembers. “Because those chants are so important to us, and when we sing them we feel them deeply, and it’s not just like ‘Let’s put a little Yoruba here’… But actually we’ve never had any problems, and every Babalawo [priest] that comes to see if we’re respectful, blesses us when they leave.” Another continued source of inspiration for Ibeyi is their creative relationship with their producer and mentor, XL Recordings-boss Richard Russell. Ash was recorded at his studio, The Copper House, in November 2016, and both Lisa and Naomi gush about
LiS 29
his influence on their output. “It’s collaborative work,” Naomi explains. “We are the three of us and we play everything, so he just guides us and we talk about everything.” “We just adore him,” Lisa interjects, and Naomi continues, “It’s a deep collaboration, a deep bond. It’s funny, because sometimes I hear my musician friends’ experiences with their producers and it’s not at all what we have. We’ve connected really strongly since day one.” They talk of feeling equally close to the collaborators on this album, describing Kamasi, Chilly Gonzales, Meshell Ndegeocello and Spanish rapper Mala Rodriguez as “family.” Lisa remains responsible for melody and lyrics, and Naomi for percussion, and when they took their compositions to the studio they were “raw”: just piano, batá and voices. In collaboration with Russell, Naomi’s rhythms were then bolstered with drum machines, and the melodies fleshed out with electronics. As Lisa explains, for
this second album, the emphasis was on “upbeat” rhythms, “After touring for two years, you know what you want to play on stage… We want people to dance.” Listening to the likes of ‘Away Away’ and ‘Ash’ it’s impossible to remain still. Naomi credits the latter track for having “opened the doors for all the energy of the album. It’s electric - I feel it like zzzzz,” she laughs, imitating an electric shock, while Lisa takes over. “And I feel like that’s what we all are: we are ashes. Ashes fertilise. It’s a way to say to everybody and ourselves that we need to wake up, and it’s still possible to have a better world…” She concludes, “These are scary times and that’s why we wanted to write an album that was loud and unapologetic, and at the same time with loads of positive energy.” LiS
Ibeyi release Ash September 29th via XL Recordings LIVE: Shoreditch Town Hall, October 19th.
LiS 30
@IbeyiOfficial
@ibeyimusic
HOSTS
ON THE STEREO with
Oxjam is one of the most heartening festivals around providing performance opportunities for up-and-coming local acts as well as raising tons of money (£2.8 million at the last count) for the essential work that Oxfam does. What’s not to like? This year’s event takes place throughout October and sees festivals happening all over the country, and all over London (Camden, Clapham, Crystal Palace, Hackney, Islington, Peckham, Shepherd’s Bush and Southwark), so wherever you’re based, there’s gonna be one pretty close to you!
1. BABE PUNCH – STANFORD Babe Punch are part riot grrrl, part pop-punk, and their new single ‘Stanford’ has an element of Goat Girl thrown in for good measure. We saw them at Outlines earlier this year and were blown away by their ramshackle brilliance. They’ve just played an Oxjam fundraiser in Liverpool for us and will be at the Nottingham festival in October too, but for London folk we suggest satisfying yourself with this latest single.
Here, the good folk of Oxjam talk us through a bunch of their favourite acts that have played Oxjam before or are playing this year. LiS Visit oxjam.org.uk to find your nearest Oxjam and get tickets. @oxjamfestival
BABE PUNCH (photo: Iona Skye Wood)
@oxjam LiS 32
ESTHER JOY (photo: Ian Wallman)
3. BEACH FOR TIGER SOMETHING GOOD Our Peckham Festival team introduced these guys to us. They play slacker-psych, but not in a conventional ‘it’s good but we’ve heard this before’ way. This latest single has a few surprises and shifts in tempo along the way. Definitely ones to look out for.
2. ESTHER JOY FRIENDLESS NECESSITY We’ve been recommending Esther Joy Lane to anyone who will listen since we saw her perform at Oxjam Oxford back in 2015, and we tried to take some of the credit when she returned the following year to a packed out room. Since then she’s dropped the ‘Lane’ from her name, been recruited by Charli XCX, steered her talents into darker electronic territory and released an incredible new EP called Psychic Tears. ‘Friendless Necessity’ is the closing track.
BEACH FOR TIGER GHOSTPOET
4. GHOSTPOET - IMMIGRANT BOOGIE We had Ghostpoet play a launch show for us way back in his Peanut Butter Blues days, but can honestly say that this latest album is our favourite. We just love that slightly unhinged quality it has to it, and ‘Immigrant Boogie’ encapsulates that nicely.
5. KELLY LEE OWENS LUCID It’s a bit early for albums of the year, but when asked, the debut from Kelly Lee Owens immediately springs to mind. We just love the ambient tones and lush electronic vibe, and this track sees her at her dreamiest before the killer closing beat kicks in. Too good. KELLY LEE OWENS LiS 33
Wolf Parade words: Danny Wright
t was six years ago in a drab Maidstone hotel when the members of Wolf Parade decided to call it a day. “I don't think Maidstone had a big influence on the decision,” Dan Boeckner laughs, a worn and gravelly laugh. “But our tour manager at the time sure loved this really uncomfortable conference centre there.”
“That was just the first time it was said out loud, but it was on everyone's mind for a year.” Spencer Krug, his co-frontman explains. This wasn’t a dramatic decision, there were no fights or bombshells. “It was just all of the normal reasons that bands break up - everyone getting overwhelmed with the touring, wanting to do other projects, needing some space.” Or as Dan puts it: “The fun levels had been almost totally depleted.” LiS 36
That, it seemed then, was that. Each member of the band had other projects they wanted to focus on, and they’d always maintained lives outside of Wolf Parade. “I think we all thought the band was most likely finished for good,” says Spencer. “But for whatever reason we didn't want to solidify that, we left it openended just in case.” That meant it was somewhat surprising when, in April 2016, the band announced an end to their hiatus, subsequently produced a new EP, and played a host of reunion shows. So what changed? “I don’t know,” Dan says. “Spencer and Dante both stayed at my place the summer before we started talking about doing stuff again. It was nice to see everybody.” Soon, they were all on Vancouver Island, “started talking about what it would look like if we started up Wolf Parade again and played some music”. Did it feel natural? “Yeah, but the first rehearsal wasn’t by anyone’s metrics ‘good’,” says Dan. “But it was fun to play music again together.” Now they have a new album, Cry Cry Cry. It’s a revelation, the sound of a band finding joy in rediscovering their creative spark. It ranks up there with their other records - each different, starting with the defining Apologies to the Queen Mary up to their last Expo 86, and each a reaction
photo: Sebastian Pielles
interview
to the previous one. “I think we make all of our records as a reaction to what we didn’t like from the one before. Expo 86 has a lot of long, sprawling, nuanced songs - here we tried to be a little more succinct and just write poppy little numbers and weren’t afraid to axe things cut ideas, cut entire songs.” We’re speaking as they’re on tour supporting Arcade Fire (“I think some of their fans are a little confused because they're a band that sort of straddles the line between their demographic from 10 years ago and straight up pop music.”) and it’s clear enjoyment levels have been restored. “All the songs are so much fun to play live and that’s usually a really good indicator that a song was worth spending time on,” says Spencer.
“It’s like a chemical reaction, it doesn’t happen for me outside of this band.” - Dan Boeckner Dan agrees: “You definitely don’t want to get on stage with anything where you’re like ‘Oh, fuck this shit.’” If anyone was lucky enough to be at one of their Scala shows last year they would have seen how euphoric it was. It was a reminder that Wolf Parade have always stood apart from their peers: always weirder, more complex and artier than the others with their dissonant punchy pop and gnarled edges.
LiS 37 36
interview
And that unique chemistry has remained. Indeed, Dan has spoken about the fact that when he’s with Wolf Parade he plays, writes and sings in a way he can only do with this band. “With my other projects, especially Operators, I’m writing everything and and there’s definitely an aesthetic to what I do on my own. But with Wolf Parade I just find myself playing guitar in a certain way and playing around how Spencer plays. It’s like a chemical reaction, it doesn’t happen for me outside of this band.” It’s a record of short punchy but clever songs which are coloured by the dark events of last year. Not least the album’s title. “It’s a reaction to 2016 and how much it sucked in so many ways,” explains Spencer. “Politically, and we lost so many artists and some of those things were coming out in the songs lyrically. Not that we wrote a protest album in any way but we were lamenting the current state of affairs - ergo, Cry Cry Cry.” One particular song, ‘Valley Boy’, references Leonard Cohen’s death. “In my memory it was the day after Trump won the
election. There was something serendipitous there. It was like he was saying ‘Alright I’m out’. Shit just got too… whack.” There’s a pause and a cackle. “Yeah, whack,” Dan says. “He used that word a lot in his songs.” “I think that’s a direct quote from I’m Your Man, the song ‘Shit Just Got Too Whack’,” Spencer laughs. As we finish I ask if Wolf Parade are back for good now. Spencer says definitely. “We’re working towards the long term. We had a bunch of long conversations when we got back together and one of them was around the fact we don’t want to do a reunion tour and just play old material - we wanted to do new material and take it on tour until it’s not fun anymore like the first time. And so far it’s going really good, so we’re hoping it lasts as long if not longer than Wolf Parade 1.0.” Long live version 2.0. LiS
LiS 38
Wolf Parade release Cry Cry Cry October 6th via Sub Pop. LIVE: O2 Forum Kentish Town, November 22nd. @WolfParade @WolfParadeMusic
MICAH P. HINSON MON 2 OCT SCALA
JERKCURB WED 11 OCT THE LEXINGTON
YOWL & LICE TUES 17 OCT SEBRIGHT ARMS
TONY NJOKU TUES 3 OCT THE WAITING ROOM
DEAD PRETTIES THURS 12 OCT BOSTON MUSIC ROOM
MARY EPWORTH WED 18 OCT OSLO HACKNEY
LITTLE CUB WED 4 OCT OSLO HACKNEY GENTS WED 4 OCT THE VICTORIA AIR TRAFFIC OUT WEDSOL4D OCT SCALA MON 9 OCT ISLINGTON ASSEMBLY HALL MADONNATRON FRI 6 OCT THE MONTAGUE ARMS BEDOUINE SOLD OUT MON 9& TUES 10 OCT THE ISLINGTON
RALEGH LONG THURS 12 OCT THE LEXINGTON SIVU, FENNE LILY, PAUL THOMAS SAUNDERS & SIV JAKOBSEN THURS 12 OCT CECIL SHARP HOUSE MELANIE DE BIASIO MON 16 OCT SCALA EASTERN BARBERS TUES 17 OCT THE LEXINGTON ST VINCENT TUES 17 OCT O2 ACADEMY BRIXTON
IDER OUT & WED SOLD25 THURS D OUTOCT SOL26 ARCHSPACE YANN TIERSEN D OUT MONSOL30 OCT ROYAL ALBERT HALL
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CHRISTIAN LOFFLER & MOHNA TUES 31 OCT VILLAGE UNDERGROUND FRAN LOBO WED 1 NOV CORSICA STUDIOS RINA SAWAYAMA THURS 2 NOV THE PICKLE FACTORY ANDY SHAUF THURS 2 NOV ISLINGTON ASSEMBLY HALL
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ALBUM REVIEWS RECORD OF THE MONTH
A new album from St. Vincent is huge news in LiS world so, rather than a regular review, Danny Wright gathered Kate Solomon and Hassan Anderson to talk all things Annie and MASSEDUCTION...
What are your feelings about St. Vincent as an artist? KS: I think she’s one of the cleverest and most interesting artists in music. And in a time when Robyn seems to have abandoned pop, I’m really thankful that we still have someone writing brilliantly addictive songs about emotion in the digital era. Basically: I love her. HA: She’s one of the most forward-thinking artists around still playing the guitar. That’s evident both within her albums and out, given the fact that she has actually redesigned the guitar shape for women. The fact that she blends electronic music with all the above is yet another reason you can’t help but love her. KS: Imagine not liking St. Vincent. So, the big question: did this album meet your expectations? HA: To be honest it’s not as strong as I was hoping it would be. I think there’s no disappointment when it comes to St. Vincent pushing boundaries and trying new things. And she hasn’t lost her humour/charm. The problem I find here is a supplanting of experiment for hard-hitting melodies and arrangements, like the eponymous last record had. KS: Do you know what? I had no idea what to expect from this album. You can tell she’s changed a lot in the last five years - both musically and as a public figure - and you have the feeling she could have gone in literally any direction. So, if anything, MASSEDUCTION is more of a straightforward evolution from St. Vincent than I was expecting, but still absolutely littered with unexpected bits and pieces - ‘Sugarboy’ is wild! It sounds like Prince, right? HA: There are a few Prince moments on the album like that. I think if there’s to be a contemporary, female Prince, she’s in good standing to do it. But sometimes the plan seems to get in the way of the delivery… Also would you guys think it insane if I said ‘Saviour’ reminded me of ‘That Don’t Impress Me Much’? (It’s a light comparison - don’t go expecting to hear a Shania guest rap!) KS: I guess I kind of get the Shania comparison - mainly when it sort of kicks off two minutes in. It’s got that hip swinging vibe. It’s definitely a harsher, more in-your-face kind of sound. Do you feel like it’s been made to seize her moment and go for the big time? HA: I feel like the last record was closer to achieving that. But yeah there’s a definite move towards blending experimental songwriting with a contemporary pop sound. KS: I wonder how important “the big time” is to Annie. I genuinely think she’s made the album she wanted to make; the harsher sounds reflecting the rawer subjects and emotions she’s singing about. LiS 42
She said “If you want to know about my life, listen to this record”. Do her relationships with famous people make you listen to it in a different way? KS: I couldn’t give less of a shit who Annie is shagging. HA: I think it affects me thinking about it as a break-up record. Also it being public makes it 100x harder. So her saying “if you want to know about my life etc” seems to be saying that she knows her break up is really public and this is the way she addresses it. You can’t help but listen to it in that light. KS: She’s definitely been through something. For a bit you’re like I WILL FIGHT EVERYONE while also being totally emo and crying in the bath about the whole thing - that’s the vibe I get from this album. Fighty, sad, strong, vulnerable. Does it feel like her most personal album? KS: To me, calling St. Vincent ‘St. Vincent’ was like a reset button which makes me wary of trying to consider these new albums in the same pantheon as the older ones. MASSEDUCTION is definitely of the new school. I don’t know if I think it’s necessarily ‘better’ than St. Vincent but it’s definitely, 100% not worse. My favourite kind of music is music that is devastatingly sad but you can still dance to. And this album is full of that. HA: It’s got to be her most confessional/honest record yet. There’s that line in ‘New York’ where she talks about someone being “the only motherfucker that can stand me” and losing a friend and a hero but “for you darling I’d do it all again” - I think the ultimate point is a
positive one - that love is a reason to look past it all. Do you think it’ll be a grower? KS: I immediately enjoyed the album. Really liked it. Interested to know if Hassan will stick with it? HA: Basically I was sitting on the fence about this new album. Then I listened to St. Vincent and was immediately struck by how good the songs/melodies are. It just hits you. This album doesn’t really have that in the same way. MASSEDUCTION is released October 13th via Loma Vista/Caroline International LIVE: Brixton Academy, October 17th. @st_vincent @St.Vincent
COURTNEY BARNETT & KURT VILE // LOTTA SEA LICE Marathon Artists // October 13th
It was only supposed to be two songs for a fun 7”. Then they thought, why not a 12”? Five tunes. And then slowly, after 15 months of crisscrossing the globe, the pair of drawling singers and guitar slingers settled on this nine-song LP. It’s all down to the good vibes, Kurt explains, and the Philly native ain’t wrong. The dynamic duo with Australia-born Courtney and an all-star band of Sleater-Kinney, Warpaint, Violators and Dirty Three members is a positively relaxed affair with plenty of oblique slacker lyrics and solid rocking jams. The duelling guitar riffs and doubled up vocals make this as woozy, pleasurable and warm as you’d expect. But the big surprise is Courtney’s delightful solo acoustic guitar take on Kurt’s ‘Peepin’ Tomboy’. Geoff Cowart LiS 43
WOLF ALICE
VISIONS OF A LIFE Dirty Hit // September 29th
With 2015’s My Love Is Cool, Wolf Alice delivered on the promise of early singles and rose to be one of the most important UK breakout rock outfits in years. At a time when bemoaning the lack of British guitar bands was becoming cliché, the London four - fronted by the increasingly assured charisma of Ellie Rowsell - were a beacon of hope. In the two years that followed the band were relentlessly on the road, enduring the ups and downs of touring and collecting the shared experiences which inspire Visions Of A Life. From its glorious shoegaze opener ‘Heavenward’, a stunning, melancholy album highlight, written about the death of a friend, to the epic, stadium-ready, slow-burning title track which closes proceedings, the album showcases the brilliant versatility Wolf Alice have developed. Moments of ‘Space & Time’ and ‘Don’t Delete The Kisses’ see them at their subtle yet spine-tingling best; in the latter Rowsell mixes the wonderful, sentimental poetry of teenage notebooks, with impassioned cries of “What if it’s not meant for me, love?”. There’s aggression too, as they look to mirror the ongoing sociopolitical frustrations felt by young people everywhere: comeback track ‘Yuk Foo’ is an exhilarating, punk-soaked middle-finger to the haters, while ‘Formidable Cool’ contains some of their most ferocious moments to date. With Visions Of A Life, they have not only built on a miraculous debut, they’ve continued to prove themselves as one of the most complete rock bands on the planet right now; for Wolf Alice the sky remains the limit. George O’Brien
BECK
CITIZEN
COLORS
AS YOU PLEASE
Virgin EMI // October 13th
Run For Cover October 6th
Just how would you expect Beck to follow up the orchestral folk, Grammy Awardwinning Morning Phase? With an album of complete pop bangers, obviously. Drafting in super-producer and former bandmate Greg Kurstin to co-produce, lead single ‘Dreams’ was originally released way back in 2015; Colors has clearly been a long time in the making. Aside from long released singles (2016's rap-funk-Mellow Gold-recalling ‘WOW’ also makes an appearance), ‘No Distraction’ is the love child of The Police and Talking Heads, begging for solace, and ‘Dear Life’ is an upbeat blast, except lyrically, where Beck appears on the verge of breakdown. Finally the glorious ‘Fix Me’ finds our hero softly sounding at peace; the perfect album closer – get a lighter ready to hold aloft now. Simone Scott Warren
It’s not uncommon for traditionally emo and punk bands to start to shift their genre with time – all you have to do is look at Title Fight and Turnover to see how it’s done – but Ohio four-piece Citizen have done it more dramatically with their latest record, As You Please. The balance between the impulsive, raging grunge and melodic emo is at its best here on ‘Medicine’ and the ethereal ‘In the Middle of It All’, with soft harmonies and glitchy drum fills that remind you of the more experimental band they’ve become. But what makes this record so gut wrenching at its core is the narration of fear, despair and hope lead singer Mat Kerekes expels – the human condition in nuanced at best, so having bands like Citizen navigate it so effortlessly on As You Please is as refreshing as it is devastating. Rachel Grace Almeida LiS 44
“Like New Order fronted by Leonard Cohen. Yes, exactly that good.” Thomas Hannan on Destroyer’s ken
JULIEN BAKER
TURN OUT THE LIGHTS Matador Records October 27th
BULLY
LOSING Sub Pop // October 20th
Bully has always been a vehicle for Alicia Bognanno to write through relationship problems, internal battles, and the patriarchy. Debut album Feels Like processed all of the above in a series of smart, sharp indie-rock songs and, now, the four-piece are back for more on Losing. On the raw-throated ‘Seeing It’, the Nashville band’s leader (and engineer) rasps about the pitfalls of being a woman in society, trying to delete an offender’s face from her brain. The grungy bounce of ‘Running’ reflects Bognanno's constant shifting between wanting to see an ex and not, while gloomy, slow-builder ‘Focused’ is an open letter brooding over a “deadbeat” and his actions. Bully may be ploughing the same path, but here they sound more dangerous and more accomplished than ever. Rhian Daly
On her second full-length, Julien Baker offers a striking collection of songs that manage to be both deeply personal and distinctly universal at the same time. Whereas her 2015 debut focused almost entirely around just Baker and her guitar, here the 21-year-old reaches new expansive heights, taking to the piano on several tracks and, on the title track, swapping an acoustic guitar arrangement mid-track for a searing overdrive. Under this though is still the raw vulnerability and intimacy that’s characterised her work since the beginning. Turn The Lights Out may explore broken relationships (‘Sour Breath’), the search for a cure that doesn’t exist (‘Everything To Help You Sleep’) and the loneliness of never truly understanding anyone else (‘Shadowboxing’), but at the centre of such heavy material still seems a semblance of hope. Rachel Michaella Finn
DESTROYER KEN
Dead Oceans // October 20th
Though Dan Bejar's key influences are prominent throughout his catalogue – Leonard Cohen, Roxy Music, the Oxford Thesaurus – with each new album he adds in one or two more just to keep the mix fresh. This time, he's apparently digging the Pet Shop Boys and New Order. And man, do I dig how he digs the Pet Shop Boys and New Order. All I ever wanted from the latter was that they had a decent lyricist, and ken – supposedly named after the working title for Suede's The Wild Ones – is like New Order fronted by Leonard Cohen. Yes, exactly that good. To say someone will never make a bad record is one thing. But now I'm convinced there'll never be a Destroyer record that's less than great. Thomas Hannan LiS 45
GEORGE MAPLE LOVER
Virgin EMI // October 27th
A 20-track effort featuring guest appearances from the likes of GoldLink and Rome Fortune, George Maple’s full-length is a sensual and glittering exploration into intimacy and relationships. The London-based Australian singer comes into her own as she embraces sexuality at its best and its worst, from the consuming toxicity in cinematic single ‘Lover’, to the overt seduction of ‘Hold Me By The Waist’. Showcasing her vocal range, which spans an intimate breathy whisper to the soaring romantic tones of Jessie Ware, Lover shows George expanding from the dark and intoxicating late night textures in earlier work to a new, brighter territory in the 80s inspired synths of ‘Hero’ and ‘Kryptonite’. Highlight ‘Sticks and Horses’, with GoldLink, showcases driving production and a feisty vocal reminiscent of Beyoncé’s ‘Diva’. Katie Thomas
JOHN MAUS
SCREEN MEMORIES Domino Records // October 27th
It’s been six years since John Maus’ last album We Must Become the Pitiless Censors of Ourselves, which drew critical acclaim and established him as one of the most interesting artists around today, if not the most reverb and delaydrenched. The lengthy wait in between albums might spell trouble for an artist, but not so much Maus, whose new offering Screen Memories delivers another strong dose of lo-fi synth-pop to make you dance and weep simultaneously. Like with all Maus albums it feels as if you are seeing a vast, dystopic cityscape in the reflection of a river, so that nothing is distinct but all is more beautiful for it. Epic opener ‘The Combine’ hears Maus at his boldest and most ghostly as he croons “It’s going to dust us all to nothing, man.” There is plenty of euphoric synth and drum machine to shake away existential dread however on tracks like the driving ‘Find Out’ and ‘Over Phantom’. This isn’t a dramatic change in direction for the philosopher from Minnesota but Maus’ latest album proves this is something to be very grateful for. Hassan Anderson
KING KRULE THE OOZ
XL Recordings // October 13th
Nearly four years on from releasing 6 Feet Beneath the Moon, Archy Marshall returns to the King Krule moniker with The OOZ: a deeply dense excursion of an album that’s the sum of its name. Through twisted jazz touches, dive bar piano flourishes and the grungiest psychedelia, Marshall has built a menagerie of the mank: a dreamlike journey into his subconscious that builds on the Hitchcockian world of his debut while adding more Cronenberg horrors. A thick and heavy 19 tracks long, The OOZ flutters from late night lounge music with a nightmarish touch (‘Czech One’, ‘Cadet Limbo’) to the trashiest of lo-fi punk (‘Emergency Blimp’). It’s far from an easy ride, but there’s plenty of gold to be found in Marshall’s filthy, gunk-ridden world. Tom Walters LiS 46
28 SEPT.
Alaskalaska
Bethnal Green Working Men’s Club 29 SEPT - 01 OCT.
By The Sea Dreamland, Margate 02 OCT.
Malahini
The Waiting Room 03 OCT.
EMA Oslo
04 OCT.
Mauno The Islington 05 OCT.
Ben Frost Electric Brixton 06 OCT.
Yumi Zouma Omeara
07 OCT.
Foxygen
St. John at Hackney 09 OCT.
Shigeto Omeara 12 OCT.
Yassassin The Waiting Room 17 OCT.
Johnny Flynn Roundhouse
18 OCT. & 19 OCT *DATE ADDED*
Crooked Colours The Pickle Factory 18 OCT.
Frankie Rose Moth Club 19 OCT.
Elder Island The Lexington 24 OCT.
Hundred Waters Village Underground
25 OCT.
Dream Wife Scala
26 OCT.
White Kite
Miranda at Ace Hotel 26 OCT.
Noga Erez Corsica Studios 27 OCT.
Happyness The Garage 27 OCT.
Liars Heaven
27 OCT.
MØ
O 2 Brixton Academy 30 & 31 OCT.
The Dream Syndicate The Lexington 31 OCT.
Kevin Morby Electric Ballroom 01 NOV.
The Orielles The Lexington 01 NOV.
Lido Pimienta Sebright Arms 02 NOV.
!!!
Electric Ballroom 02 NOV.
Starcrawler Sebright Arms 03 NOV.
Francobollo Moth Club 06 NOV.
Shabazz Palaces Oval Space
07 & 08 NOV.
Father John Misty Hammersmith Eventim Apollo 08 NOV.
Visible Cloaks Pickle Factory
09 NOV.
Drahla
Shacklwell Arms 10 NOV.
Julien Baker Union Chapel 11 NOV.
Pissed Jeans Electric Ballroom 16 NOV.
Bing & Ruth
St. Pancras Old Church 17 NOV.
Cristobal and the Sea Moth Club 19 NOV.
Lost Horizons 100 Club 23 NOV.
KLLO XOYO
23 NOV.
Alice Phoebe Lou Oslo
23 NOV.
Marika Hackman O 2 Shepherd’s Bush Empire 23 NOV.
Mammút Sebright Arms 24 NOV.
Blaenavon
O 2 Shepherd’s Bush Empire 30 NOV.
Puma Blue Corsica Studios 07 DEC.
Briana Marela Paper Dress Vintage 25 JAN.
Songhoy Blues O 2 Forum Kentish Town 15 FEB.
Anna of the North XOYO
23 FEB.
Alvvays Roundhouse
SOLD OUT
SOLD OUT
SOLD OUT
GIGS OF THE MONTH
Our pick of the best upcoming shows around London JERKCURB
O2 SHEPHERD’S BUSH EMPIRE THE MOUNTAIN GOATS October 11th £27.95adv // @o2sbe
Shepherd’s Bush
SERVANT JAZZ QUARTERS WORRIEDABOUTSATAN + SIM HUTCHINS October 25th £7adv // @ServantJazz
THE LEXINGTON
Dalston Junction / Kingsland
THE LOCK TAVERN WEIRD SEX + DANCEHALL + PURS + PULASKI October 13th FREE // @thelocktavern
Angel
THE GOOD SHIP
Chalk Farm / Camden Town
SRI + SELF HELP + CANOE CLUB + SILENT FIASCO October 13th £4adv // @thegoodshipnw6
THE DOME DESPERATE JOURNALIST October 19th £10adv // @DomeTufnellPark
JERKCURB October 11th £8adv // @thelexington
Kilburn
O2 ACADEMY ISLINGTON Tuffnell Park
M+A + APRIL TOWERS + GOSPEL October 26th £8adv // @O2Islington
Angel
THE SHACKLEWELL ARMS CARLA DAL FORNO + PROTECTION SPELLS PUPPY
October 24th £8adv // @shacklewell Arms
Dalston Junction / Kingsland
BOSTON MUSIC ROOM
BRIXTON WINDMILL
PUPPY
HEADCLOUDS + ALEX CHILLTOWN
October 30th £8adv // @BostonMusicRoom
Tuffnell Park
October 25th £3adv // @WindmillBrixton
Brixton
OVAL SPACE
MOTH CLUB STEVIE PARKER
TROYBOI + THE CODE + LIVIN' PROOF
October 9th £9.50adv // @Moth_Club
October 12th £13.50adv // @OvalSpace
Hackney Central
Bethnal Green/ Hoxton
FABRIC CRAIG RICHARDS + TERRY FRANCIS + RICARDO VILLALOBOS + ABDULLA RASHIM + BLAWAN + JAY CLARKE + MARGARET DYGAS STEVIE PARKER
HOXTON SQUARE BAR & KITCHEN
October 21st £35adv // @fabriclondon
Farringdon/ Chancery Lane
ARCHSPACE
JAGARA October 17th £7adv // @HoxtonSquareBar
Old Street
IDER October 25th £7.50adv // @Archspace_Ldn
Haggerston
MONTAGUE ARMS THE SLAUGHTERED LAMB
LEYENDEKKER + CASTORP October 12th Queens Road Peckham / New Cross Gate FREE // @Montague_Arms
MIRANDA AT ACE HOTEL
Shoreditch High Street
PAPER DRESS VINTAGE USA NAILS + SPOILERS + DEATH TRAPS October 10th Donation // @paperdressed
Farringdon/ Old Street
THE WAITING ROOM
WHITE KITE October 25th £7adv // @miranda_ldn
HANNAH READ October 30th £10 adv // @slaughteredlam
Hackney Central
BUSH HALL
DOG IN THE SNOW October 25th FREE // @WaitingRoomN16
Dalston Junction / Kingsland
O2 FORUM KENTISH TOWN JOEY BADA$$ October 24th £25adv // @O2ForumKTown
Kentish Town
OSLO
LIV DAWSON
KELLY LEE OWENS
October 24th Shepherd’s Bush Market / Shepherd’s Bush £10adv // @Bushhallmusic
October 19th £10adv // @OsloHackney LiS 51
Hackney Central
thursday 28 september | 7:00
WINTERFYLLETH
thursday 28 september | 7:00
KHALID
friday 29 september | 7:00
BLACK FOXXES
saturday 30 september | 7:00
FREAK + KING NUN
saturday 30 september | 7:00
KADAVAR
Sunday 1 october | 7:00
TODAY IS THE DAY
wednesday 4 october | 7:00
GALACTIC EMPIRE
thursday 5 October | 7:00
FRANCK CARDUCCI
saturday 7 October | 7:00
THE KENTUCKY HEADHUNTERS
sunday 8 october | 6:00
BELPHEGOR
monday 9 october | 7:30
wednesday 18 october | 7:30
PRIESTS + DOWNTOWN BOYS thursday 19 October | 7:00
DESPERATE JOURNALIST friday 20 October | 7:00
LOUISE DISTRAS
saturday 21 October | 7:00
NEURONSPOILER
saturday 21 October | 7:00
THE FLATLINERS
Monday 23 October | 7:00
MAKE THEM SUFFER tuesday 24 October | 6:00
KING DUDE
thursday 26 October | 7:30
THE RAVEN AGE
FRIDAY 27 October | 7:00
JOHN MAUS
friday 27 October | 7:00
SATURNUS
sunday 29 October | 7:00
SHANNON AND THE CLAMS BAD OMENS thursday 12 october | 7:30
Monday 30 October | 7:00
friday 13 october | 7:00
Thursday 2 NOvember | 6:30
DEAD PRETTIES
THE ONE HUNDRED
SATURDAY 14 october | 7:00
ACID MOTHERS TEMPLE
PUPPY
LEPROUS + AGENT FRESCO tuesday 7 NOvember | 7:30
JAPANESE BREAKFAST
MONDAY 16 october | 7:00
wednesday 8 november | 7:00
tuesday 17 october | 7:00
wednesday 8 november | 7:30
UNSANE
INGESTED
ALEX LAHEY TORRES
FULL OCTOBER LISTINGS
LONDON’S GIG GUIDE Your full listings guide to all the best shows happening across North, East, South and West London this month. Sunday 1st October Tuesday 3rd October
Monday 2nd October
visit londoninstereo.com for all the latest listings, & to sign up to our Gigs Of The Week email
LONDON TICKETS: WeGotTickets.com/LondonInStereo
Wednesday 4th October
Thursday 5th October
WeGotTickets.com | Simple, honest ticketing
FULL OCTOBER LISTINGS
Friday 6th October
visit londoninstereo.com for all the latest listings, & to sign up to our Gigs Of The Week email
LONDON TICKETS: WeGotTickets.com/LondonInStereo
Saturday 7th October
WeGotTickets.com | Simple, honest ticketing
FULL OCTOBER LISTINGS Monday 9th October
Sunday 8th October
visit londoninstereo.com for all the latest listings, & to sign up to our Gigs Of The Week email
LONDON TICKETS: WeGotTickets.com/LondonInStereo Tuesday 10th October
Wednesday 11th October
WeGotTickets.com | Simple, honest ticketing
FULL OCTOBER LISTINGS Thursday 12th October
Friday 13th October
visit londoninstereo.com for all the latest listings, & to sign up to our Gigs Of The Week email
LONDON TICKETS: WeGotTickets.com/LondonInStereo
Saturday 14th October
WeGotTickets.com | Simple, honest ticketing
FULL OCTOBER LISTINGS
Sunday 15th October
Tuesday 17th October
Monday 16th October
visit londoninstereo.com for all the latest listings, & to sign up to our Gigs Of The Week email
LONDON TICKETS: WeGotTickets.com/LondonInStereo
Wednesday 18th October
WeGotTickets.com | Simple, honest ticketing
FULL OCTOBER LISTINGS Thursday 19th October
Friday 20th October
visit londoninstereo.com for all the latest listings, & to sign up to our Gigs Of The Week email
LONDON TICKETS: WeGotTickets.com/LondonInStereo
Saturday 21st October
WeGotTickets.com | Simple, honest ticketing
FULL OCTOBER LISTINGS
Sunday 22nd October
Tuesday 24th October
Monday 23rd October
visit londoninstereo.com for all the latest listings, & to sign up to our Gigs Of The Week email
LONDON TICKETS: WeGotTickets.com/LondonInStereo
Wednesday 25th October
WeGotTickets.com | Simple, honest ticketing
FULL OCTOBER LISTINGS Thursday 26th October
Friday 27th October
visit londoninstereo.com for all the latest listings, & to sign up to our Gigs Of The Week email
LONDON TICKETS: WeGotTickets.com/LondonInStereo
Saturday 28th October Sunday 29th October
WeGotTickets.com | Simple, honest ticketing
FULL OCTOBER LISTINGS Tuesday 31st October
Monday 30th October
FOR THE VERY LATEST LISTINGS, AND TO SIG N UP TO O UR G IG S OF TH E WE E K E M A I L , VISIT LONDONINSTE RE O. C O M visit londoninstereo.com for all the latest listings, & to sign up to our Gigs Of The Week email
10—17
Lanzarote
MOTH Club Valette St London E8 Monday 2 October
DUCKTAILS Wednesday 18 October
FRANKIE ROSE Friday 20 October
TRAAMS Tuesday 24 October
lanzaroteworks.com #lanzaroteworks
Programming
Saturday 7 October
MANFREDAS Saturday 21 October
VIOLET Wednesday 27 October
PEDER MANNERFELT The Lock Tavern 35 Chalk Farm Rd London NW1 Thursday 5 October
DIET CIG
TRASH
Shacklewell Arms
TABLE SCRAPS
Saturday 7 October
71 Shacklewell Lane London E8 Wednesday 4 October
SNAPPED ANKLES Thursday 12 October
NOVA MATERIA Friday 13 October
FLAT WORMS Thursday 19 October
SPINDRIFT The Waiting Room 175 Stoke Newington High St N16 Friday 6 October
KID MACHINE
Thursday 12 October
TEAR Tuesday 17 October
DORIAN ELECTRA The Montague Arms 289 Queen’s Rd London SE14 Friday 6 October
MADONNATRON Wednesday 11 October
RIVIERAS Thursday 12 October
LEYENDEKKER Thursday 19 October
VIEWFINDER
IN LONDON
with YUMI ZOUMA
photo: Aaron Lee
Why do you live in London? I moved to the UK in August 2016 in order to go to university here, but it was something I always wanted to do - I don’t have an EU passport or anything exotic like that, and as a member of the Commonwealth, Kiwis are able to easily live and work in the UK. I also already had some good friends here from doing music, such as Sandra from our record label, Cascine, and other people from home who I knew had made the move before me. What are your go-to places for food & drink? My favourite restaurant of ALL TIME was a small Peruvian place called Butifarra by Leicester Square. The sandwiches they did there were incredible, but unfortunately a few months ago they were kicked out of the lease, and I’ve been in a horrible state ever since. The leaves are pretty colours, Autumn’s on its way. How do you like London at this time of year? Autumn is a mixed bag for me - I’m usually thankful for the slightly cooler weather at first, but once the cold winds start coming I start yearning for the summer sun again pretty hard. That’s why Yumi Zouma has always reminded me of Autumn - for some reason we always make music with a tinge of sadness to it. Maybe that’s who we are as people. I think I prefer the London in the spring - it’s so nice to feel the sun again after winter, and gives you a really positive, optimistic outlook on the months ahead!
Talk us through a great London day. Breakfast at CPress on Fulham Rd. Artwords Bookshop on Rivington St. White Cube gallery in Bermondsey. Egyptian vegetarian for lunch at Koshari Street in St Martin’s Lane (or if it’s 11am-2pm on a Thursday or Friday, visit the Street Food Union on Rupert Street in Soho). Movie at the ICA (great bookshop there too). Meet an unsuspecting friend for dinner at the XXX-rated back entrance of La Bodega Negra on Moor St. In-store performance at Rough Trade East. Nightcap at Ain’t Nothing But Blues Bar on Kingly St. Does living here influence the music you write? Yes! When we got together in London to start writing for the new album, we wrote 20 songs in a week, which we’d never really done before. Usually it takes us ages, but London added a bit more hustle and bustle to our writing process. How would you advise someone to get the most out of London? Walk everywhere and explore everything. Visit different galleries, do all the crazy stuff Time Out posts on Facebook. There are always so many unique and fun things popping up all the time, don’t fall into a routine wherein you don’t make the most of this great city. By Yumi Zouma’s Charlie Ryder
What’s the worst thing about living here? You can’t swim in the Thames!
Yumi Zouma release their new album, Willowbank, October 6th via Cascine. LIVE: Omeara, October 6th @YumiZouma
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LIVE REVIEWS END OF THE ROAD FESTIVAL, LARMER TREE GARDENS, AUGUST 31ST - SEPTEMBER 3RD Words: Hassan Anderson End of The Road festival is a bit like that favourite band you simultaneously want everyone to know about and keep all to yourself. The truth is however – much like your favourite band – everyone already knows and for good reason. In its 12th year now, the sold-out Wiltshire festival truly knows how to put together a gasp-inducing line-up and 2017 was no exception. The main stage on Friday night made it hard to go anywhere else with Parquet Courts followed by Real Estate followed by Mac DeMarco. DeMarco’s cover of Vanessa Carlton’s ‘A Thousand Miles’ was the talking point of the weekend, in which he repeated the line ‘making my way downtown’ throughout the whole thing (which somehow made it a more truthful cover than if he had learned the rest of the lyrics). These tongue-in-cheek highlights provide balance to the mellow though beautiful tracks from his latest album This Old Dog. After his set, the Canadian slacker also managed what has to be one of his most impressive crowd surfs yet, going from the main stage to the Big Top tent where Pond were tearing it down with their ferocious volumes. Though sore heads may or may not have been soothed by Lankum’s gritty Irish folk first thing on Saturday they could retreat soon after to The Garden stage where Moses Sumney’s otherworldly pop was rupturing tear ducts (okay, I cried) with his rich harmonies and loops. His ethereal falsetto voice seemed to transform into a theremin when he cover Bjork’s ‘Come To Me’ sending chills down spines. Manchester’s Duds put ripples in ciders in the smaller Tipi tent with their jagged riffs and brazen drum fills. Elsewhere, the flamboyant HMLTD and the scissor-
kicking Lemon Twigs seemed to incite both reactions of awe and boredom from various audience members, which is always to be expected from the buzziest bands at a festival. Alvvays erased all traces of hangovers with their bouncy garage-pop that kept spirits up despite early threats of rain. Luckily the rain held off mostly for Saturday’s headliner Father John Misty. His often over the top stage thrashing and reflective third album Pure Comedy were things that could very well have counted against his Saturday night set on the main stage, but Tillman seemed to charm fans and critics alike with a blend of new ones and classics. Whether or not his promise of a seminar on alpaca shaving was a genuine one pales in comparison to the ferocity that he brought to Larmer Tree Gardens during his set. The rain eventually fell, and fell relentlessly on Sunday’s acts. Alex Cameron warned fans seeking shelter in the Big Top “it’s wet out there but it’s about to get a lot wetter in here” before smoothly easing into his lo-fi, 70s ballads. Girl Ray’s jolty 60s-esque pop let fans shake off the rain and provided a perfect precursor to the Tipi’s final headliner Marika Hackman who’s amped-up tunes from her second album I'm Not Your Man gave spirits a much-needed burst of energy. If any headliner out of the there were to play in the rain, the task was perhaps best given to Bill Callahan whose almost-spoken, baritone country songs seem to calm the soul as effectively as the sound of rainfall does. He thanked the crowd for braving the weather but it seemed almost unnecessary given that those at End of the Road were there to see an astounding line-up, come rain or shine.
LiS 74
FATHER JOHN MISTY (PHOTO: SONNY MALHOTRA)
PERFUME GENIUS (PHOTO: BURAK CINGI)
MAC DEMARCO (PHOTO: BURAK CINGI)
(PHOTO: RACHEL JUAREZ-CARR)
LiS 75
PRESENTS
TICKETS AVAILABLE AT MYTICKET.CO.UK
PENNY FOR YOUR THOUGHTS Say No To Nostalgia: Pop Needs To Up Its Game by Kate Solomon When Taylor Swift released ‘Look What You Made Me Do’ in August, she and her piano-bashing writing partner Jack Antonoff sent flowers to Fred and Richard Fairbrass - better known as the world’s foremost Bernard Cribbins Appreciation Act Right Said Fred. They did it because the Fairbrass brothers’ hit ‘I’m Too Sexy’ is so integral to Swift’s big comeback single that its three writers get a co-write credit each. When Liam Payne released his first solo single ‘Strip That Down’ in May, one of the fifteen writers listed was Orville Burrell - aka Shaggy whose seminal work ‘It Wasn’t Me’ forms the basis of the song. In this, year of our Lord 2017, we’re all sitting here listening to Liam Payne sing a shit karaoke rendition of ‘It Wasn’t Me’. Everything old is new and everything new is boring. Taylor and Liam are not the first artists to rake over the coals of hits gone by as they search for a shortcut to public appreciation - let’s not even talk about pro-rape anthem ‘Blurred Lines’ - but rather than gently homage a genre or era, taking tropes and samples and futzing with them until they’re something interesting and new, we’re now out and out ripping off novelty hits of yesteryear and it’s - well, it’s basically one huge cringe. Just as Hollywood’s endless remake, reboot and sequel industry is finally suffering from poor cinema attendance, we should demand more from our pop stars and their legions of songwriters by boycotting these songs. I want pop to push forward and stop looking back, and definitely stop with the rehashes of songs that no one has heard since their year 7 disco. We have to do something to stop this trend or before you know it Carly Rae Jepsen will be rebooting ‘Agadoo’ while The 1975 interpolate ‘Crazy Frog’ - and if they do, I want a 30% cut and a co-writing credit. Kate likes pop hits more than you like pop hits and runs a night called U SUCK at Birthdays, but the rest of the time writes so many words you've probably read them without even realising. Find Kate on twitter: @katiesol
LiS 77
PRESENTS
TICKETS AVAILABLE AT MYTICKET.CO.UK
PRESENTS
TICKETS AVAILABLE AT MYTICKET.CO.UK
S.J.M. CONCERTS PRESENTS
CABBAGE
PLUS QUEEN ZEE & THE SASSTONES & PROLETARIAT
05 OCT ULU
THE DRUMS
ALL THEM WITCHES
SUPERFOOD
PLUS THE GHOST WOLVES
PLUS SPECIAL GUESTS
05 OCT KOKO
06 OCT GARAGE
PLUS KEIR
PLUS KING NUN & BLOXX
INHEAVEN
THE VRYLL SOCIETY
07 OCT O2 SHEPHERDS BUSH EMPIRE
17 OCT SCALA
23 OCT HOXTON SQUARE BAR & KITCHEN
VALLIS ALPS
THE PIGEON DETECTIVES
THE LEMON TWIGS
PLUS SPECIAL GUESTS
24 OCT GARAGE
HERCULES AND LOVE AFFAIR
PLUS LITTLE COMETS
01 NOV O2 FORUM KENTISH TOWN
THE CHARLATANS
PLUS WHITE ROOM
PLUS FLYTE
15 NOV O2 FORUM KENTISH TOWN
THE CRIBS
PLUS AVERAGE SEX
PLUS SPECIAL GUESTS
09 DEC O2 ACADEMY BRIXTON
14/15/16 DEC ULU
RAT BOY
THE BLINDERS
EVERYTHING EVERYTHING
10 FEB O2 ACADEMY BRIXTON
21 FEB LEXINGTON
PLUS SPECIAL GUESTS
08 DEC O2 SHEPHERDS BUSH EMPIRE
PLUS SPECIAL GUESTS
PLUS SPECIAL GUESTS
PLUS SPECIAL GUESTS
10 MAR ALEXANDRA PALACE