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Sequences

[SEQUENCES] 2017 CRITICAL | THE BLAST | BANDULU In and around Motion, Avon Street Bristol.  www.sequences.co.uk Front Yard - The Blast Chase & Status - dj set Flava D Kojo Funds Elijah & Skilliam Sam Binga B2B Chimpo & Trigga  Belly Squad Darkzy ThisisDA The Blast DJs Koast Warehouse - Critical  Mefjus Ivy Lab Kasra Kings of the Rollers: Bladerunner / Serum / Voltage Annix Foreign Concept Signal Klax Jaydrop  SP:MC Mantmast Jakes Remidy Crane Yard - Bandulu Kahn & Neek  Sir Spyro Commodo Hi5ghost & Boofy Amy Becker Madam X Ishan Sound OH91 Gemmy Lemzly Dale Flowdan Killa P Rider Shafique Irah & Longrange Tickets on sale now:  www.sequences.co.uk http://www.ticketarena.co.uk/events/SEQUENCES https://dice.fm/event/sequences-2017-29th-jul-motion-bristol-tickets

Bristol Motion, Bristol, United Kingdom

Algo Mas Every Friday Morning At Union 3am-11am

ALGO MAS (SOMETHING MORE) There\'s an intimate underground event in Vauxhall that\'s creating big waves. It\'s naughty and gritty, everything a proper underground after-hours event should be. However one thing is making this party stand out from the rest - The Music. Each and every Thursday night/ Friday morning, Algo Mas takeover UNION in Vauxhall to set you up for the weekend with a weekly music marathon. Union is a proper underground venue, with an atmosphere like no other in Vauxhall. Entrance is from the front side Albert Embankment. Playing the best new house music the club has gone from strength to strength purely on word of mouth and built a solid reputation for a fun atmosphere and great music. Music: House // Tech // Electro // Progressive // Deep // Bassline This weeks DJ line up KAOS KID (www.kaoskid.com) Time: 3am-11am Venue: UNION, 66 Albert Embankment, Vauxhall SE1 7TP

Algo Mas, London, United Kingdom

Jack Maynard & Special Guests - O2 Academy Islington

Coalition Talent & Gleam Futures Present Jack Maynard & Special Guests 1 Million Subscriber Party Ticket prices: VIP 30.00 advance STBF Standard 12.00 advance STBF VIP Ticket includes: Meet & Greet with Jack Maynard VIP goodies Event ticket Priority entry into the venue Minimum Age Restriction: 16 O2 Priority pre-sale: 24/03/17 9am General on-sale: 26/03/17 3pm

O2 Academy Islington, London, United Kingdom

Shallow Roots

Shallow Roots are a Bristol based five-piece band playing music influenced by Spain, Africa and Central America. The combination of soprano and tenor saxes with two guitars, vocals and percussion makes a music which is intimate and gentle yet also rhythmic and quite danceable. Band members are Rob Vasey (guitar, vocals), Jonathan Hyams (guitar, vocals), Romilly Gibbs (soprano sax), Jamie Darwen (tenor and soprano saxes), and Julie Beckett (percussion and backing vocals). An EP of their music is available to hear (for free) on Sound Cloud (https://soundcloud.com/shallowroots/sets/dreaming-shallow-roots-2015). Advance tickets 4 available from Headfirst http://hdfst.uk/E39196 ...or 5 on the door Doors at 7pm, food from 7pm until 8.30pm, music from 9pm Dinner bookings essential via [email protected]

Salt Café, Bristol, United Kingdom

Ben Frost & Danel Bjarnason: Music For Slaris

Composers and producers Ben Frost and Danel Bjarnason lead a performance of their music for Andrei Tarkovskys sci-fi classic Solaris, accompanied by video manipulations by Brian Eno and Nick Roberton. Having previously worked together on the score for The Deep (2012), Frost and Bjarnason have combined their backgrounds in classical and electronic composition for Slaris. Using software to distort their musical sketches, they created a score which reflects the confusion felt by the films protagonist haunted by a spectre of his dead wife and disorientated by the psychedelic spirals of the planet Slaris. As Enos visuals slowly morph the scenes, Frost and Bjarnasons score swirls, warm and pulsing like the planets atmosphere. Plucked strings mimic the pitter-patter of rain, warping into waves of guitar and the muted harmonies of prepared piano.

Barbican Centre, London, United Kingdom

Indigo Girls At The Bristol Bierkeller

INDIGO GIRLS Tues 25th July Tickets on sale Fri 17th March 25adv from Bristol Ticket Shop or call 0117 9299008 doors 7.30pm 18+ show www.indigogirls.com The Indigo Girls (Emily Saliers and Amy Ray) released their fourteenth studio album, One Lost Day, on June 2nd.Vast in its reach, but unified by the traveler\'s sense of wonder, gratitude, and empathy, One Lost Day moves like a centrifuge, pulling the listener close to linger in the small moment, then casting out onto sonic currents. This is music of the past, present, and future a boundlessness earned and not bestowed. One Lost Day has a feeling of music composed across time, not just in time. These songs are rooted in tradition and inventive, too: nourished in dark soils, leafing and luminous. Memories here are more than specters; they are evolutions. The album maps the dim corridors of the heart and mind, lifting and landing the listener across state lines and continents. Place is a character rich in the universal specific: "Boots on a board in a barn" in "Texas Was Clean," boys "under the bridge on the river shoals off GA 9" in "Fishtails," the New Orleans\' 1788 fire and the fence around the St. Louis cemetery in "Elizabeth," the "sunny twist of Venice Chez Jay" in "Southern California is Your Girlfriend," and the devil-spawned Angola prison in Louisiana where three black men sat wrongly convicted for decades, confined in solitary. The dirge-like ballad "Findlay, Ohio 1968" opens with a searing string and piano arrangement that feels like slipping through a tear in the space-time continuum. After we reach the violin\'s held high-C and the heartbeat drums, and before Saliers kicks in with her chilling vocals, we hover, suspended in time, before landing gently on the hot asphalt of Grammy\'s driveway in 1968, "poking hot tar bubbles with a stickthe smell of the trash and leaves burning in the can." What unfolds is pure narrative intuition, wherein the stuff of life, life\'s inventory the pall of the impending Kent State massacre, Sexton\'s poetry, Cathy\'s grief-stricken, beer-drinking mom, the dad who never returned from Vietnam, the fence-scaling girl ripping jeans, the boy with wandering heart and hands, the smell of Trenton\'s refineries and the slapping of the station wagon\'s wheels are the metaphoric legs that carry the story and this song across time and distance. "Fishtails" tackles similar themes loss of innocence, coming of age but through a much different lens. Here, the narrator is the observer reflecting on the tender recklessness of neighborhood kids, killing time in an abandoned copper mine, waiting to flee the confines of their small world, raging and hoping and "fishtailing in the dark from the time that they are born." But the song is infused with new meaning in the juxtaposition of the boys\' lives with Ray\'s father\'s long-ago Florida boyhood so similar in its restlessness, its sweet violence. Circularity rings like a keening bell, dazzling and devastating. A multi-layered instrumentalism allows the long notes of the past to cradle the mid-tempo of the present, a lush but understated orchestration. Regarding the aching ballad, "If I Don\'t Leave Here Now," Saliers says, "The song explores the terrible affliction of addiction and was partly inspired right after Philip Seymour Hoffman died. I was deeply affected by his death, but also know that addiction seldom spares the user. It is a song about the desperate attempt to leave a bad situation where no amount of anything is ever enough." The elegiac, stripped-down sound pairs beautifully with tender lyrics that recognize addiction not as a denial of life, but as a dangerous insatiability for life ("Killing yourself to keep from running out of life") turning the conventional addiction narrative on its head. "Id rather have the strength to see through the lens of reality than rose-colored glasses," Ray says in reference to the raucous, rollicking "Happy in the Sorrow Key." "Musically, I was inspired by the feel of Paul Weller and The Jam, but then I also wanted this big orchestral bridge to mirror the feeling of lying in my bunk at night on the tour bus and drifting off to sleep scared but in awe of the process of life." The dissonance between the plaintive lyrics and the quick-tempoed, lush instrumentalism nails the ambiguity of the emotion, while also managing to create a rock song that is both fun and dirty. A majority of the songs in this collection explore a time and place endemic to the narrator\'s sense of self. "Texas Was Clean" is a plucky, whispery elegy to lands loved and left behind. "It became about how a place gets reinvented and defined by your experiences over time," says Ray. "When I was young, Texas seemed so far away and remote, but now it feels like it is part of me for the lives it\'s claimed and for the life its given to me." "Elizabeth," the album\'s joyful opener, takes place in New Orleans, "with its ghosts and underbelly," explains Saliers. "Its the story of kinship and music and whiskey, Lil Queenie and the Big Easy whose bloody print is indelible. Its denying Facebook and simply allowing someone from your past to remain in all her splendid glory." In fact, much of this album seems to argue against our culture\'s obsession with immediate gratification, both a musical and lyrical affinity for the journey and not the journey\'s memento. Venturing further north, "Alberta" is about the indelible impressions of a place and its history, those that we keep close and those that we leave behind. "Olympia Inn" pays homage to a bus driver named Johnny who called everyone "darling" and shared his lost loves, triumphs, and failures late at night as the band toured the UK and Ireland. It\'s a wild, rocking ride of a song. "Its meant to be romp with some swagger and self-deprecation thrown in for good measure," says Ray. "Emily experimented with different guitar sounds and vocal approaches to bring her parts to life, and then Jordan [producer and contributing musician] put the organ down at the end and used The Jon Spencer Blues Explosion as an inspiration." Like a good book, One Lost Day builds to the climactic "The Rise of The Black Messiah" about two-thirds of the way through the album, imbuing the whole with a structural integrity inherent to the best storytelling. This hard-hitting rock song is chilling, a battle-cry for victims of institutional racism. "My friend I heard you tell of slaverys end but have you heard of mass incarceration/That ol Jim Crow he just keeps getting born with a new hanging rope for the black mans scourge," bellows Ray. The song was inspired by a letter Ray received about seven years ago from Herman Wallace, one of the so-called "Angola 3": a trio of young black men framed for the murder of a prison guard as punishment for speaking out about the horrifying conditions in the Angola prison in Louisiana. Wallace spent decades in solitary confinement before finally receiving "compassionate release" just days before his death from cancer. In his letter, he asked Ray to share his story, and "The Rise of The Black Messiah" is Ray\'s anthemic response; a slowbuilding, thunderous rock song anchored by Brady Blade\'s spirited, soulful drums. On One Lost Day, the Girl\'s signature harmonies are in full display: rolling, recursive, hot and capacious as prayer. Through dynamic soundscapes created in tandem with producer Jordan Brooke Hamlin, the album reveals structural innovations that enhance meaning. A classicallytrained horn player, Hamlin contributed "layered ethereal horn parts and a strong vision and ear," says Saliers. With Hamlin, the Girls took new risks that paid huge dividends. The collaborative spirit is loud here, utilizing a host of musicians both familiar and new to the duo. One Lost Day was recorded in studios in Nashville, TN and mixed by Brian Joseph at Justin Vernons (of Bon Iver) April Base Studios in Fall Creek, WI and at the Parhelion Recording Studios in Atlanta, GA. Amy and Emily brought in Lex Price (k.d. lang, Mindy Smith), Butterfly Boucher (Ingrid Michaelson, Katie Herzig, Mat Kearney), Fred Eltringham (Sheryl Crow, The Wallflowers, Gigolo Aunts) and Chris Donohue (Dave Matthews, Patty Griffin, Lucinda Williams, Robert Plant) to bring a good dose of infectious energy and creativity to the scene. Additionally, musicians Brady Blade and Carol Isaacs longstanding studio collaborators and live-show band members with the Girls returned, along with the current Indigo Girls touring band. Isaacs contributes haunting piano parts on songs such as "Come a Long Way," "If I Don\'t Leave Here Now," and "Fishtails," and sonorous accordion parts to "Spread the Pain Around" and "Findlay, Ohio 1968." Blade offers his free-wheelin\', Louisiana drumming style to "Fishtails," "Elizabeth," "Texas Was Clean," and the "The Rise of The Black Messiah." The inputs of many of the contributing musicians are captured in a series of videos by the talented Kathlyn Horan, who filmed the crew during the recording of the album. The videos are available on the Indigo Girls\' website and in them we glimpse the ferocity and attention to detail that has helped the Indigo Girls thrive through the various capitulations of a changing music industry. Starting with 2009\'s Poseidon and the Bitter Bug, their eleventh studio album, the Girls formed their own label, IG Recordings, which is now distributed by Vanguard/Concord Music Group. The move aligns with their long held commitment to creative freedom, energy they\'ve also devoted to various social and environmental causes. The Indigo Girls have spent thirty-five years performing together, produced fifteen albums (seven gold, four platinum, and one double platinum), earned a Grammy and seven Grammy nominations, and have toured arenas, festivals, and clubs the world over. It is rare to find musicians together so long, rarer still with such profound successes. Their music lives in the hearts of generations of dedicated fans and continues to inspire young musicians. This loyalty is not accidental. Perhaps their relevance over three decades can be credited to the mighty collisions of distinct aesthetics forging new paths over time. The Girls\' refinement not only of style and skill, but of their own creative processes allows access to ever new and liminal spaces. A long creative marriage fosters its own scrappy beauty, though, and theirs grows more nuanced, weatherworn, and lovely in each successive album. Saliers and Ray live separate lives, take on independent projects, but share "the same set of values," says Saliers. "We both embrace the struggle, share the same energy. We are sisters in our embrace of life. Observers." That sort of artistic kinship is rare and cosmic. Here, then, are the stars of that labor, the next chapte

Bierkeller, Bristol, United Kingdom

Sacred Reich At The Underworld Camden

The Underworld Camden proudly presents: Sacred Reich plus: Damnation\'s Hammer and Cryptic Shift Price: 20.00 adv. // Doors; 7pm - 11pm Tickets - http://www.theunderworldcamden.co.uk/gigs/events/26-jul-17-sacred-reich-the-underworld/ About: one of the most influenced artist in thrash metal will come over for their 30th Anniversary. Here a statement from Phil Rind (vox/bass) of Sacred Reich: Times flies when you are having fun! It\'s been 30 years since we started playing in Greg\'s bedroom in Scottsdale Arizona. In our wildest dreams I don\'t think any of us would have thought we\'d still be playing music together all these years later. But here we are. The same four guys. Older, maybe a little wiser and certainly just as handsome. To celebrate the occasion we are putting together a set spanning all of our recorded history. From Ignorance to Heal. We will be playing songs that have not been performed live in over 20 years. It will be a treat for us and hopefully for the fans as well. We are working on a nice surprise for these shows too. We look forward to sharing this time with our fans across Europe. We believe it will be a great experience and something no Sacred Reich fan will want to miss. Something special to give to the fans who have given us so much! We look forward to seeing you all in 2017! Phil Rind Sacred Reich

The Underworld, London, United Kingdom

The London African Gospel Choir Perform Paul Simon's 'Graceland'

Were thrilled to be able to present at the Tramshed this fantastic, uplifting sell out show that, try as you might, you simply cannot get a ticket to see in London where every venue that has put tickets on sale has sold out in an instant. In just one month all six of the concerts they have performed in the capital have hit capacity and received nothing but rave reviews. What a life enhancing evening!. The most uplifting, energising evening Ive had in years. So many great songs so beautifully performed with so much energy and so many happy smiles. The London African Gospel Choir is a collective of African singers, musicians and dancers who have performed to great acclaim with the likes of Emeli Sand, Mumford and Sons and Annie Lennox, recorded with Idris Elba and many others and have headlined at venues such as the O2 Arena After coming across a bootleg cassette of South African township music, Paul Simon travelled to Johannesburg and spent two weeks recording with South African musicians. That session formed the basis of his most commercially successful album, which effortlessly blends pop, rock, zydeco and mbaqanga and opened Western ears to the joy of South African music to an extent that has never since been equalled. Thirty years after its release members of the London African Gospel Choir, backed by a troupe of a-list musicians, perform their own powerful twist on Paul Simons Graceland album. This 17 strong ensemble will be delivering the Graceland album in its entirety from start to finish and the choir\'s powerful re-imagining will take us from the smash hit single "You Can Call Me Al through the gorgeous Diamonds on the Sole of Her Shoes to the haunting a capella Zulu folk song "Homeless" - performed as only an African choir can - and everything in between. This really is a not to be missed performance that all can enjoy and, we expect, sing along too. We cant think of a better place to be than soaking up the sounds of one of the all time truly great albums. Come and join us! Tickets: http://bit.ly/LondonGospelChoir Doors: 19.00 14+

Tramshed, Cardiff, United Kingdom

Technique Bristol

22nd B Day Bash for Krypt & Nuke Records Launch Party ROOM 1 (DRUM & BASS)  Sound Reinforcement provided by: MAJESTIX SOUNDZ LINEUP: ~ TOO GREEZEY (Sub-Liminal Recordings/Serial Killaz/Nuke) ~ VERSION (Natty Dub Recordings/Sub-Liminal Recordings) ~ AKOMPLIS (Technique Recordings/Spectre Audio) ~ OBJECTIV aka DUB FREQUENCY (Diamond Audio/Spectre Audio) ~ NITERIDER (G13/Smokescreen/Wecre8/Faceless Audio/Nwsdigital) ~KRYPT B2B SAM HARRIS + TANGO DELTA (Spectre Audio/Samurai Bass Audio/Boey Audio/Technique Bristol) ~HOLIC vs. GLITCH + SWEETPEA [United Sounds/Technique Bristol Showcase!] ~THE PERSON [BE](OnlyJumpUp/MindRapeCorp/Dub Noize) ~DUB NOIZE [BE] (Dub Noize/Raider16/Infected Noize) ~TACTICAL MINDS (Technique Bristol) ~KRITICAL TORUS  KEZZA WILL WHEELER ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ LYRICAL HOSTS:  SWEETPEA BLUEJAY Y-DOTT MIZCHIF SKYE RAIDEN TANGO DELTA CHRONIC DROP NIKEE ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ROOM 2 (BASSLINE/GRIME/TECHNO/DNB) LINEUP: ~ CIRCA (Technique Bristol) .FUELIZED [BE] .R BIZZLE .ONTHESLY .DEAKIN B2B UN-CLONED (Majestix Sound System) .WILL WHEELER .DIRTY DEV There will also be a demo from up and coming clothing brand/record label "SWAMP BREED" check out there facebook here: https://www.facebook.com/swampbreed/   Follow Technique on Facebook: https://www.facebook.com/TechniqueBristol

Basement 45, Bristol, United Kingdom