Haress: Rural Sensibilities

HARESS consists of the core guitar duo of David Hand and Elizabeth Still, based in Bishops Castle in the Shropshire Hills where they also organise the amazing Sin-eater Festival and run the DIY record label Lancashire & Somerset. David is also our incredible visual artist and graphic designer for Supersonic – making us look Superfly.

Hand and Still intertwine dark and repetitive guitar figures in order to create a hypnotic, mantra-like state. Their intuitive playing works on a kind of telepathy until it’s impossible for the onlooker to work out which player is responsible for which sound and they must choose to absorb it as a whole. The resulting music is reminiscent of Ry Cooder’s “Paris, Texas” soundtrack, latter-day Earth, Papa M or even the repetition of Sahara blues but filtered through a warm, rural sensibility.

Haress are frequently joined by collaborators and recent live performances have expanded the 2 piece to also include Pete Simonelli (Enablers) on vocals and Chris Summerlin (Kogumaza) on guitar. A recording made with Nathan Bell (Lungfish, Human Bell) is also in the release pipeline. 

Be sure to catch this beguiling duo at Supersonic 2017!

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Pigs Pigs Pigs Pigs Pigs Pigs Pigs

“He who makes a beast of himself gets rid of the pain of being a man”, as a sage wiser and more debauched than most of us once remarked. Such is the headspace of Pigs Pigs Pigs Pigs Pigs Pigs Pigs, whose animalistic headspace is set out by their very moniker, yet who have wasted little time in creating an almighty psychic charge that has blown minds and summoned bedlam in sweat-drenched venues across the UK’s underground and beyond. 

“It’s a pretty perfect balance of obnoxiousness, ridiculousness, intensity and theatrics, and somewhere within that spectrum is where our music sits too.” reckons Matthew Baty, whose vein-popping onstage performances and cathartic bellow form a primary ingredient of the Newcastle five-piece’s devastating live shows. “We truly love the emotionally dark bands that we are in (Ommadon, Blown Out, Khunnt). Pigs however provided an opportunity to do something different, something that is fun with a different kind of intensity.” 

Playing their first gig supporting Goat at what was only the latter’s second ever show, the band have gigged relentlessly with kindred spirits including The Cosmic Dead and Luminous Bodies, not to mention gracing festivals like Supernormal and Portugal’s Reverence with their feral attack. Yet the time has come for this band to transcend the realm of word-of-mouth phenomenon and be judged on their feverish and demented collision of psych-drone dementia and riff-driven salvation alone. 

The inarguable proof is Feed The Rats, the overwhelming first album the band have created for Rocket Recordings – equal parts righteous repetition, bludgeoning brute force and Sabbathian squalor, its alchemical charge has the power to transform bleary-eyed abandon into small-hours revelation. This three-track, forty-minute monument of chaotic catharsis captures the everything-on-eleven spirit of the band’s live manifestation whilst adding a level of finesse and texture often less easily accessible in a dangerous haze of flying hair, discarded clothes and spilt premium lager. Channeling the grimy trip hazards of Monster Magnet’s ‘Spine Of God’ through a prism of kraut-derived repetition and Part Chimp style bloodymindedness, the resulting hallucinatory vortex appears constantly on the realm of breaking point. 

Yet for Baty, the porcine realm is less about a nihilistic quest for fiery oblivion than one might imagine. “You know, I think we’ve experienced it, many times. It’s those gigs where we can almost sense that everyone in the room is engaged. The energy created is so thick you can almost bite down on it and it feels like there’s no longer any barrier between band and audience. Those are the special shows, where there’s a solidarity and a very visceral bond. That, and being able to smell our amps melting”. 

Amps and brains alike, as these psychic omnivores bring seven times the joy, seven times the pain, seven times the dementia and deliverance. 

READ A PIGS x7 QUIETUS REVIEW

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ZONAL – Supersonic World Premiere!

Musician and record producer Kevin Martin is best known for recording and performing as The Bug, however, has been and continues to be involved in a variety of other musical projects including: GOD, Techno Animal, Ice, Curse of the Golden Vampire and King Midas Sound.

Early musical groundings with bands like Joy Division, Sex Pistols, Captain Beefheart, Birthday Party, and Throbbing Gristle sparked his initial interest in music, as Martin describes, “It seemed like everything that I hated about English conservative monoculture was being burned and turned upside down through music…Post-punk music was tearing up rule books and asking questions of everything, particularly structure in terms of music, art, politics, you know, the law.”

Martin first began making music because he was attracted to the DIY punk aesthetic. He first worked with a four-track recorder and effects pedal. Moving in to the 90s London music scene, he began to sync his ears up to the genres of dub, jazzcore, ragga, industrial hip hop, dancehall, and dubstep. Equipped with his aversion to conservative musical structure he comments how discovering genres such as Dub “seemed to tear everything to shreds, burn it up, and rearrange the embers.” The punk-meets-dance music combination is one which continually elevates The Bug’s artistry in whatever musical endeavour he explores.

 

A previous collab with Dylan Carlson of American drone-metalists Earth titled The Bug vs Earth saw its live debut at Supersonic Festival 2015 and this year we bring you yet another Superspecial, Supersonic collab…this time with Justin Broadrick. In the mid 80s Broadrick was writing and recording guitar for Side One of the Napalm Death’s debut album, Scum which now celebrates it’s 30 years on this earth. Since then he has cemented himself as a pioneer in the Metal scene with Birmingham band Godflesh, who’s innovative music is widely regarded as a foundational influence on industrial metal and post-metal.

“Justin Broadrick has been, and continues to be, many things. Now based in his north Wales farm, the Birmingham native has thirty plus years of performing and recording under his belt, exploring the world of extreme music (a concept he has his own considered definition of) from feedback blur overload to the deepest of dub-inspired crushes to serene contemplation. Kaleidoscopic might be one way to describe his work, in how elements rearrange to create new, unexpected patterns. His latest efforts include a new live release under the guise of Final, his collaborative album as Jesu with Sun Kil Moon, and Rise Above, his latest album as JK Flesh.”

CLICK HERE FOR BROADRICK IN CONVERSATION WITH THE QUIETUS

 

The Bug & JK Flesh together were Techno-animal, that was the past, now they are Zonal, this is the future! A worldwide premiere for this new project at Supersonic 2017.

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HAPPY RECORD STORE DAY!

HAPPY RECORD STORE DAY PEOPLE!
Here’s a few NEW releases you should be purchasing or pre-ordering right now:
 

OXBOW, Thin Black Duke

Raime, Notion 2 Notion

ZU, Jhator

Richard Dawson, Peasant

Grey Hairs, Serious Business

Flowers Must Die, Kompost

 
So loosen those purse strings and get supporting the independent music scene. Thanks to the labels & stores keeping it alive!
 
Hydra Head Records / Thrill Jockey Records / Blackest Ever Black / House of Mythology / Weird World / Rocket Recordings / Melophobe Records / Milque & Muhle Records / Defunkt Dialekt / Box Records / Wow And Flutter + many many more!
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Flowers Must Die: Kompost

Ask many self-styled music aficionados, and they’ll tell you that rock in the early to mid ‘70s descended into a mire of boundless self-indulgence and instrumental virtuosity, in which the a whole generation of progressively-minded musicians and listeners effectively lost the map in a feverish pursuit of excellence and one-upmanship that ended in tortuous track-times, daunting concept sagas and boundless pomposity. This phenomenon has now become the stuff of cultural cliche -after all, how many more music documentaries do we all have to watch in which footage from Emerson, Lake & Palmer’s heyday is interrupted by the Sex Pistols?

Not so in Sweden. For there, music in the countercultural heyday of psychedelia and progressive rock was an explicitly political pursuit, and central to this was the idea that absolutely anyone could make music, no matter how either expansive or limited their technical ability – indeed the egalitarian spirit that many thought revolutionary to punks in the UK was nothing new for the heads to be found enjoying the cult Swedish psychedelia of bands like Träd, Gräs och Stenar, Älgarnas Trädgård or Baby Grandmothers, borne of a free-flowing aesthetic and utilitarian mindset where inspiration was key. 

It’s exactly this lineage forty plus years later where one can find Flowers Must Die, the six-piece Swedish outfit. They pursue an improvisation-based approach removed from the codified realm of contemporary psych, and exploring uncanny and unhinged territory fuelled by diverse record collections yet unique to their own collective headspace. 

Formed while at art school – initially in an attempt to put together a Sir Lord Baltimore style hard rock band – the band quickly took on a life of its own, with Jonas’ passion for soul, disco and jazz interspersing with Rickard’s background in the local noise scene amidst a plethora of other disparate ingredients. Rickard’s brother Martin, guitarist Sven Walan and drummer Lars Hoffsten (a successful artist from the family of well-known Swedish jazz and blues musicians) soon joined the fray, before vocalist and violinist Lisa Ekelund completed the circle, spurring the band on to new levels of psychic abandon.

True to a record encompassing a countercultural rawness and experimental ethos that spans five decades, The members of Flowers Must Die’s ages range from 28 to 63, and the sound of ‘Kompost’, in all its wayward, wild glory, follows suit. The band may have taken their name originally from an Ash Ra Tempel song, whilst the strains of Amon Duul II and the repetition of Can lurk within these overgrown sonic pathways. Yet ‘Kompost’ shows them honing their improvisatory excursions into coherent songcraft amidst spectral techno and cosmic disco shapes, as the angular post-punk pop of The Sugarcubes sits alongside the narcotic clangour of prime Royal Trux, and one-take spontaneity locks horns with nocturnal revelation. It’s a potent assault that’s already seen them make converts aplenty at festivals like Liverpool International Festival Of Psychedelia, Copenhagen Psych Fest and Supernormal. 

Here the outward-looking spirit of 1971 and the anything-goes mentality of the Scandinavian freaks of yore is transposed elegantly to a modern era in need of new horizons, and in a manner refreshingly and paradoxically bereft of retro chic. What’s more, who’s to say what dimensions this alchemical force have yet to explore?

Flowers Must Die live up to their reputation with this fine first full-length offering for Record Recordings. A crucial component in Rocket’s already landmark year of releases.

CLICK HERE TO READ A REVIEW OF NEW ALBUM KOMPOST

https://flowersmustdie.bandcamp.com/

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Fat Out Fest Round-up!

So we’ve just abut recovered from Easter weekend in Manchester at Fat Out Fest. Strictly no eggs. But there was some Trifle involved…here’s our roundup!

Arriving just in time for a magnificently brutal industrial hammering with a political edge from Test Dept. in Fat Out’s Burrow, we soon acquired the free ear plugs being handed out at the bar – preservation is key when tunnelling through a weekend of noise rock. On the Caustic Coastal stage Giant Swan delivered a feral cross-breed of hypnotic bass, hefty percussion and disorientating noise. Another blinder of a set came from Housewives with their abrasive guitars, droning bass lines and propulsive, relentless drums.

But our highlight has to be the mosh inducing Pigs Pigs Pigs Pigs Pigs Pigs Pigs who hit hard with a feverish and transgressive blast of psych-drone dementia. After a heavy rattle from these fellas we were thrown back to The Burrow to be finished off by The Bug vs Dylan Carlson of Earth with some earth shuddering pulsating soundscapes & chiming melodies, glowing in currents of heavy bass darkness. The Bug plays this years Supersonic with Justin Broadrick of Godflesh as Zonal and that litter of Pigs will be unleashed our audience too – we can’t wait!

On to Saturday and after a hearty breakfast to get us back in the game we fancied a bit of pud…and what better pud than Trifle? Lone Taxidermist gave a multi-faceted, multi-layered performance with a glutinous exploration into the dark online culture of Sploshing, crush fettish and cake sitting. We loved getting right up inside a Trifle and perhaps our Supersonic audience will too in June?

Bodies on Everest blasted us next in The Burrow with their triple stacked Doom/Dungeonwave/Ghost Pop to then be consoled and relieved by the bare, sparse songwriting of Irma Vep and his dreamy downbeat dulcet tones. Next up we got half and half of sets from Data Quack (featuring Charles Hayward and saxophonist of Housewives) strumming up an array of abstract textures, car chase sequences and violent grooves and Yossarians telling us stories and prophecies laden with a malicious red midst paired with driving-punk guitar lines. Thrown in the middle of all this was an improv between avant-garde scene saxophonist Colin Webster & Andrew Cheetham chiming in on drums with astonishing flare in the Islington Mill B&B.

As we drifted into the night, in spite of technical difficulties, Moor Mother delivered a terrifyingly dark set of both cathartic angry punk and expansive electronic improvisation. Other immensely heavy sets from Sly & The Dead Neanderthals ft. Colin Webster and Author & Punisher finished off the Saturday in true gargantuan style. A late night set from Blood Sport thrown in gave our jittery pegs some synth laden rough-house-techno polyrhythms to jive to.

And then we (just about) made it to Sunday ready for our Supersonic showcase on The Bernard Stage. Opening proceedings was Birmingham band Dorcha who delivered a beguiling set of synths, strings and heavy beats, moving through thundering chaos to sudden moments of fragile reverie. A set not to be missed at Supersonic this June. Then the wondrous soundscapes of violinist Agathe Max massaged our Sunday ear drums not a moment too soon…right before they were blasted once again by the bleak mantras and doomy negative punk of Rainbow Grave.

Playing together since the 80s and eating a pizza on stage, Trans Am brought their futuristic speed metal and robo-balladry to our heavy limbs and pepped us up once more for the home stretch. Next we were embraced by The Seer – a new collaborative commission curated by Conny Prantera, melding movement, spoken word, electronic soundscapes, alluring visuals and the stark string skills of Agathe Max into an all encompassing experience. Another performance for our Supersonic audience to enjoy this June.

Finishing off the Sunday was the joyous bombast of Islam Chipsy with two live drummers freewheeling the standard oriental scale system into otherworldly shapes, much like the ones we were throwing on the floor. Lots of loud. Lots of love. Other Sunday treats in-between the Supersonic stage came from a street style performance in the Shit Shop by Gambian Kora player Jali Nyonkoling Kuyateh & Drummer from the World percussion collective in collaboration with Charles Hayward. And a band you absolutely have to see this year if you get the chance – Part Chimp – a flood of noise, warmth and distortion.

So, that is that. We certainly managed to Fat Out Til We Passed Out this Easter weekend. The Islington Mill is the place to be. Fat Out is a wonderful thing and thank you to our hosts Emma, Verity and Sophie for taking such good care of us. Til’ next year!

And don’t forgot you can catch: Pigs Pigs Pigs Pigs Pigs Pigs Pigs / Zonal / Lone Taxidermist / Dorcha / The Seer – This June at Supersonic!

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Fat Out Fest!

STEP AWAY FROM THE EGGS!!!

There’s an alternative way to Fat Out Till You Pass Out this easter weekend…

Fat Out Till You Pass Out is an independent promotion based in Salford NW England. Founded in 2007 by Emma Thompson and Verity Gardner, Fat Out has grown from humble DIY punk roots into a force to be reckoned with in the Salford/Manchester independent music scene.

“It’s more important than ever to create space and support for the independent scene.”Emma Thompson, FOF Founder/Director

And FOTYPO take their DIY experimentalist attitude down to Islington Mill, Manchester this weekend, assembling their third version of Fat Out Fest with the help of some choice curators

The international line-up works through a three-day course featuring heavy psychedelic riffs from Blown Out, The Bug vs Dylan Carson of Earth, JIBÓIA, avant garde synths from Group A, or if preferable, lounge metal from Lake of Snakes.

This year sees Supersonic host its own stage on Sunday 16th April including performances from Trans Am, The Seer, Agathe Max, Rainbow Grave, Dorcha and Islam Chipsy & EEK.

With other stages curated by The Quietus, The Wire and a collaboration with Le Guess Who plus workshops, delicious food, market place, record stalls and all the glitter one could ever desire, this is set to be a weekend not to be missed.

TOP TIP: Don’t miss the new show ‘Trifle’ from Lone Taxidermist on The Quietus stage.

So c’mon, sod Cadburys, sod Galaxy, and definitely FUCK NESTLÉ and get out there and support your independent, underground music scene! FAT OUT TILL YOU PASS OUT!
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Take a look at FOF 2014 here:

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SUPERSONIC VOLUNTEER CALL OUT!

 

Capsule’s internationally renowned festival runs 16th-18th June 2017 and there are plenty of opportunities to get involved as a volunteer.

Supersonic has secured its experimental reputation with over 14 years of consistently innovative and explosive concoctions of visual installations, films, exhibitions and music. Guaranteed to open your eyes and ears to music and art outside the predictable genre labels and familiar performance spaces.

You will be part of an ever growing, friendly community of music and art lovers helping to maintain the values of bringing the extraordinary to curious audiences in an all inclusive way. This is will be an invaluable experience into how a festival runs but not only that, you’ll be contributing to something truly Superspecial whilst making friends along the way!

We need a dedicated team of volunteers to help deliver Supersonic over the festival weekend (16th -18th June ) and also in the run up to the festival (early June onwards).

  • We would like every volunteer to commit to 15 hours over the weekend
  • Volunteers must be over 18 years old

This year we are on the lookout for people for the following roles:

Artist Liason/Box Office
Hospitality/Site Set up
Merch/Promotion

If you are interested in being involved – please fill out the application form [here]

The deadline for applications is 15th May.

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