The Space Lady Continuum

“This music has transcended genre, style and fashion, opening up hearts and minds along the way”The Quietus

The “outsider musician” label was created with her: Susan Dietrich, better known as The Space Lady, possibly the best known synonymous and feminine to Moondog; Susan began her career in the late 70s, just when she began walking on the sidewalks of Boston dressed exuberantly, sending messages of love and pacifism, accompanied by an accordion and making versions of some contemporary pop hits or classics of that time.

10 years later she moved to one of the cradles of America’s idealistic without prejudice: San Francisco. There she purchased a Casio piano, some effects and a microphone with which she managed to raise to a new level the street musical proposal of the area, and give to her speech a unique personality.

Her legend began taking some awareness in the past decade, when in 2000 Irwin Chusid included her in the compilation “Songs In The Key Of Z” dedicated to such extravagant and unknown figures like the Space Lady.

Earning a steadily growing cult following ever since, The Space Lady could show her music to the world. Since 2013, when Night School reissued the first official album of this particular artist “The Best Of The Space Lady”, Susan has shared stages with artists such as Dean Blunt, Mika Vainio or Julianna Barwick. and playing several festivals like Flow Festival, Incubate or Le Guess Who.

“Heart-warming, eccentric, and unselfconscious that attends to the fact that you don’t need ego and fancy gear to make great pop music.” – Dazed Digital

The Space Lady released last year a split EP with Burnt Ones, the Greatest Hits LP out in Night School will now be repressed and there will be a new record out later this year.

For an insight in to Susan’s mind and her fascinating life story, this interview with The Quietus is a must read [here]

“After a circuitous route of hitchhiking, commune-living, and psychedelic experimentation, I ended up in Haight-Ashbury just as the Summer of Love burst into full bloom. Eventually I hooked up with a hippie named Joel who was dodging the draft, and we went underground together – quite literally, in fact, while living in a cave on Mt. Shasta, up near the Oregon border. It was there we saw a UFO at close range, just above the treetops… and from then on we were convinced we were being watched, if not guided and protected, by aliens.” (The Space Lady’s Greatest Hits, liner notes, 2013)

The Space Lady has most certainly landed. And now, in 2017 at the youthful age of 69 she begins another lifetime and embarks upon a new adventure with a European Tour including Supersonic Festival this June (of course).

Help her reach the furthest corners of the Universe by visiting her GoFundMe page. And watch brand new material and cyber busking videos via her Patreon page and support her voyage for as little as $1 a month!

Supersonic ground control are preparing for landing.

Make sure you don’t miss this intergalactic event! 

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Ex-Easter Island Head: ‘Salford Large Electric Ensemble’

“Precise and pulsing rhythmic minimalism…a three chord punk mission statement turned into a neo-classical manifesto.”THE WIRE

Ex-Easter Island Hear are a UK based musical collective, composing and performing music for solid-body electric guitar, percussion and other instruments.

Primarily performing as a trio, the group incorporate multiple prepared electric guitars struck with percussion mallets to create works that explore group interplay, repetition and melodic invention through purposefully limited means. 

Their records Mallet Guitars One –Three, Large Electric Ensemble and Twenty-Two Strings have been released to significant critical acclaim from the likes of The Wire, Pitchfork, the Quietus and the New York Times. The group’s live performances at the likes of ATP festival, the Edinburgh Fringe and throughout the UK, Europe and Japan have been praised by The Guardian, Independent, BBC and more for their hypnotic energy, compositional flair and unique spectacle.

Large Electric Ensemble is Ex-Easter Island Head’s first piece for massed electric instruments and drums.

Following on from ‘Mallet Guitars Three’ for four guitars and three performers, Large Electric Ensemble sees the group expand to include twelve prepared electric guitars and drums to create a maximalist wash of amplified strings and droning overtones.

Commissioned by the first annual World Event Young Artist festival (WEYA) held in Nottingham 2012, the piece was developed alongside an ensemble of local musicians from a variety of musical backgrounds. Debuted at the festival and developed over further months, the piece was recorded completely live and with no overdubs across two days in March 2013.

“Skilfully balanced between methodical precision and emotional resonance, the result is a listen that is dynamic, rich and fluid despite the modesty of its parts.” THE QUIETUS

Following on from the critically acclaimed Mallet Guitars trilogy (2010-13) and Large Electric Ensemble (2014) and honed across high profile live appearances including the Stewart Lee curated ATP, Liverpool Psych Fest and the Edinburgh Fringe, ‘Twenty-Two Strings’ is the latest album from UK-based experimental trio Ex-Easter Island Head.

Utilising horizontally-laid electric guitars and bass, the group continue to develop their own distinctive musical language, eschewing digital processing and effects for a vocabulary of mechanical preparations and extended techniques, creating a sound drawing on minimalism, gamelan and process music.

Salford Large Electric Ensemble’

For Supersonic 2017, EEIH convene a gathering of their Large Electric Ensemble, comprising performers drawn from all corners of the thriving Manchester and Salford underground to present an ambitiously scaled work for sixteen prepared table-top electric guitars and percussion.

Utilising a self-developed language of extended techniques and mechanical preparations the piece sees the groups’ shimmering electrified minimalism expanded to a bold new scale, encompassing members of Gnod, ILL, Action Beat, Mother and tapping into the vast resources of talent at Salford’s Islington Mill and on the Manchester-based Tombed Visions label. 

It is imperative you DO NOT MISS this spectacle at Supersonic Festival 2017.

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http://www.exeasterislandhead.com/

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Kuro: Black Magic

Kuro feature the amplified talents of French violinist Agathe Max and bassist Gareth Turner, joined by Valentina Magaletti of Tomaga (drums) and Helen Papaioannou (baritone sax) for this Superspecial Supersonic performance.

Kuro take their name from the Japanese word for ‘black’, and their debut release for Rocket Recordings marks an experimental union between two diversely storied yet inherently like-minded musicians. Agathe Max, who hails from Lyon, is a classically-trained violinist with a varied back catalogue of studio and live work – running the gamut from spectral ambience to stately soundscapes and adept at summoning dream states and drama alike.

The Bristol-based Gareth Turner, meanwhile, maintains a busy schedule performing and recording with Rocket Recordings trio Anthroprophh (alongside The Heads guitarist Paul Allen) bass/drums duo Big Naturals, and his solo double-bass project Salope, as well as working as a touring tech for Melvins on their trips to Europe.

Yet despite both of these artists’ multi-faceted artistic lives, their partnership was both a natural progression and reflective of an intuitive chemistry. The result of their initial spark is perhaps both artists’ most coherent and captivating work to date.

The result is Kuro’s eponymous first outing, an elegantly sprawling and richly textured work of tumult and transcendence recorded by Joe Garcia (live sound wizard for OM and many others) in the duo’s home city. “An amazing sound engineer” enthuses Agathe of Garcia “He’s got a very good sense of space with sound. We used different sources of mics, with a room recording that would link all the others and give a warm and open touch.” 

A unique, richly atmospheric and largely improvisatory record that stands proud and defiant of pigeonholing, Kuro is neither elegant chamber music nor intense drone-noise, neither psychedelia nor spiritual jazz, yet with elements of all of the above- dwelling perhaps atop a psychic hinterland between the shamanic vortices of Ashtray Navigations, the wild extrapolations of Sun City Girls and the melancholic richness of The Dirty Three. Yet what comes across strongest of all is the original spark of the partnership, summoning altered states, meditative vibrations and internal narratives by the power of eight strings. 

“We wanted to create a journey for the listeners, to create an inner cinema with emotional landscapes, old time cults and stories of lost sailors” reckons Agathe. Indeed, though voyage appears to be only beginning, such is its momentum that any adventurous and self-respecting psychonaut would be well advised to hitch a ride. 

“At times her work approaches the supersonic escape velocity of Tony Conrad; elsewhere, she introduces delicate repeating threads, then  slowly weaves them into a fabric of vast, billowing sound more reminiscent of Steve Reich. With an elegant command of melody and a strident use of rhythm, Max manages to create a remarkably accessible collection of tracks, one that bridges the gaps between minimalism, post-classicism, the avant garde, krautrock, and plain old-fashioned pop.” – Bookcat review.

Don’t miss this Superspecial performance from KURO at Supersonic this year!

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Anonymous Bash | Charles Hayward ZIG-ZAG + SWIRL

This year’s Supersonic sees some Superspecial performances. Two of which are Anonymous Bash and Charles Hayward Zig Zag + Swirl.

Anonymous Bash is a band born out of a recording which was conceived, recorded and produced at Islington Mill as part of the first Samarbeta music residency.

Directed and led by This Heat’s infamous drummer, Charles Hayward, this band has developed from reinventing a release produced by over 20 musicians into a workable live performance by 8.

The live line up includes; Charles Hayward (This Heat), Paddy Shine (Gnod), Sam Weaver (London Outfit Hungry Ghost), Chris Haslan (Gnod), David McLean (Tombed Visions), Jefferson Temple (Locean) and Marlene Ribeiro (Negra Branca), with special sporadic appearances from Louise Woodcock (2 Koi Karp) performing ‘Wrong Again’.

Here’s an interesting insight into the conception of Anonymous Bash:

Armed with a wealth of experience, Hayward conducts and orchestrates a whirling dervish of sound with the Anonymous Bash crew, shifting seamlessly between time signature and tempo in a devilish and electrifying fashion that consistently weaves a spellbinding effect on the audience. Saxophones wail, bass guitars throb and modular synthesizers whoosh and chirp a top a constantly shifting tapestry of breakneck rhythms and out-rock dub workouts, with each member of the group given their individual time to shine before returning to feed into a sprawling mass of sound led by a man at the height of his powers.

The band features members of Gnod. Since their inception, Gnod’s musical trajectory has been one of constant fluctuation borne out of an incessant need to discover new sonic worlds. Beginning life as a shamanic drone ensemble, at times fitting up to 15 members on stage, these early rituals informed the core ideals that have come to define the group in their years of activity; community and trance-inducing repetition.

Gnod offer a gateway to an aural black hole and along with firm guiding hand, the opportunity to dive head and body first into a powerfully new psychedelic maelstrom full of possibilities.

We can’t wait to venture through worlds of new possibilities with Anonymous Bash, led by the notorious Charles Hayward, who will also be opening another door for our Supersonic audience via another formation – Zig-Zag + Swirl.

Charles Hayward needs no introduction, his kinetic percussive talents and restless mercurial vision having blazed a trail across the British avant-garde for the last four decades, from Quiet Sun through This Heat to Camberwell Now and a plethora of solo material.

On 4th March, This Is Not This Heat performed at The Barbican. It was a night of This Heat music reimagined and sculpted by Charles Hayward, Charles Bullen, Alexis Taylor, Chris Cutler, Jenny Moore, John Edwards, Luisa Gerstein, Daniel O’Sullivan, Thurston Moore, James Sedwards, Frank Byng, Alex Ward, Laura Groves & Merlin Nova, which was met with astounding reviews. [here]

Avid collaborator, Hayward has worked with numerous artists from our Supersonic hive including this year’s Laura Cannell. This Friday sees the launch of a night of new performances called Modern Ritual at Cafe Oto, exploring ideas of ritual through music and words, evoking real and fictional landscapes. Featuring solo sets from Charles Hayward, Laura Cannell and Hoofus, a new collaboration between Laura & Charles and a new performance/talk by Jennifer Lucy Allan and a reading from Luke Turner. You can find more info. [here]

Hayward’s Zig-Zag + Swirl formation comprises a performance in which technology is used to open uncertainty in songs that surf his muse’s trademark combination of a psychedelic continuum and the startling other.

So, Supersonic audience, make sure you get to Anonymous Bash and Charles Hayward’s Zig-Zag + Swirl at this year’s festival.

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Zuism

 

‘One of the most progressive no-wave metal bands ever to come out of Italy…Zu often sounds like a hundred bands in one, although the way they piece together their wild sonic jigsaw is unique to them alone.’PITCHFORK

For over fifteen years, ZU’s modus operandi of straddling and abusing musical genres has resulted in over fifteen unique album releases across labels such as Ipecac, Atavistic and Headz (Japan).
Their experimental amalgam of metal, math, no-wave, noise and electronics, led acclaimed composer John Zorn to describe their sound as “a powerful and expressive music that totally blows away what most bands do these days”.

 

 

Luca T. Mai, Massimo Pupillo and Tomas Järmyr began as composers and players for theatre performances then formed this atypical trio of drums, electric bass and baritone saxophone to begin their voyage of musical mayhem.

In the running for the title of ‘the world’s hardest working band’, ZU have performed over 2000 shows throughout Europe, US, Canada, Asia, Russia, Mexico and even Africa, touring with the likes of  Mike Patton (as the Zu/Patton quartet), sharing the stage with Faith No More, Fantomas, The Melvins, Lightning Bolt, Sonic Youth, The Ex, etc.

They have also collaborated with a vast number of musicians including Mike Patton, The Melvins, Dälek, Jim O’ Rourke, FM Einheit (Einsturzende Neubauten), Peter Brötzmann, Steve MacKay (The Stooges), The Ex, Thurston Moore,  Stephen O Malley, Damo Suzuki (Can), Mats Gustafsson, NoMeansNo, Joe Lally (Fugazi) and our very own Supersonic fave, Eugene S. Robinson (Oxbow) also performing at the festival this year.

 

‘Zu are still on top form when blasting arse-loosening sax cries over grinding math-metal structures…unassumingly loud, and intensely physical, wrestling with the listener in a swarm of noisy sax blasts, gnarly riffs, and often surprisingly catchy math themes.’ DROWNED IN SOUND

Five years since their last full length on Ipecac, the critically acclaimed Carboniferous, and following a three year hiatus, ZU returned in May 2014 with the release of a brand new EP, Goodnight Civilization (Trost Records) featuring Gabe Serbian of The Locust on drums, and subsequently with an album with Eugene Robinson of Oxbow on vocals called “The Left Hand Path”, also on Trost, and the 2015 full length “Cortar Todo” on Ipecac.

Recorded in the countryside near Bologna, Italy, in the summer of 2014, the album features very special guests including keyboard player Joey Karam (The Locust), Italian guitar maverick Stefano Pilia (who plays with the likes of Mike Watt, David Grubbs and Rokia Traore) and perhaps most unexpectedly a field recording of an indigenous Shipibo medicine man recorded by Massimo during his travels around the Amazon forest.

For a review of Cortar Todo from Line of Best Fit click [here]

And for an interesting article on the intrinsic and fascinating link between indigenous maestros and album, Cortar Todo, click [here]

 

Cortar Todo revealed new dynamics from the band, the album is more direct, sharp, focussed, more intense and musical than previous Zu releases. And now they’re back with a brand new album. ‘Jhator’ shall arrive on the label in March 2017 followed by an extensive European tour – just in time for Supersonic!

A statement from the band reads: “In making this album we have tried to affirm life, beauty and mystery. We refocus the vision in another direction far from the Western point of view.” The result is an album that “could be the beginning of a new musical direction for Zu, or perhaps an isolated album capturing a particular essence.”

Jhator follows Zu’s brilliantly primordial Cortar Todo, and it’s available for pre-order on CD and coloured vinyl over at the House of Mythology store right now. A new promo video for the album features a short clip of new music. What a tease!

 

“Wonder is the beginning of philosophy”Wittgenstein

What wonders will Zu bring to our Supersonic audience this year?

Make sure you’re there to find out.

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http://www.zuism.net

 

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For your listening pleasure

For your listening pleasure here’s a little taster of some of the artists who will be performing at Supersonic Festival 2017. Tickets are available HERE

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New Supersonic 2017 additions

Joining the previously announced line up are; ANONYMOUS BASH, DORCHA, ELECTRONICA WIZARD, EX EASTER ISLAND HEAD, HARESS, JESSICA MOSS, KURO MAGA, RICHARD DAWSON, THE SPACE LADY, TOMAGA + PIERRE BASTIEN, XYLOURIS WHITE, ZONAL.

TICKETS – supersonicfestival.com/product-category/tickets/

Premiering at Supersonic Festival are Zonal, the name of a brand new project by heavyweights Justin K Broadrick and Kevin Martin (The Bug), born from the ashes of Techno Animal.

Supersonic welcomes back Richard Dawson performing material from his forthcoming new album and for the first time, with a full band which includes long-time collaborators Angharad Davies and Rhodri Davies and also members of Pigs Pigs Pigs Pigs Pigs Pigs Pigs.

Anonymous Bash, directed/led by This Heat’s infamous drummer, Charles Hayward and featuring members of Gnod.

Ex Easter Island Head convene a gathering of their Large Electric Ensemble, an ambitiously scaled work for sixteen prepared table-top electric guitars and percussion. Utilising a self-developed language of extended techniques and mechanical preparations the piece sees the groups’ shimmering electrified minimalism expanded to a bold new scale, encompassing members of Gnod, ILL, Action Beat and Mother.

 Kuro, the duo of Agathe Max and Gareth Turner, performed at the Supersonic warm up event last year, however for the main festival they take on a special new form as Kuro Maga joined by Valentina Magaletti (drums/percussion) and Helen Papaioannou (baritone sax).

Supersonic Festival are also very excited to present the UK premiere of Pierre Bastien and Tomaga which follows on from a residency they performed together in France in 2016. The performance at Supersonic sees Pierre presenting his timeless, futuristic, and slightly dada mechanical sound sculptures in collaboration with the utterly infectious multi-instrumental music of Tomaga that moves by turns through industrial, jazz, psychedelia and minimalism, on its way to somewhere wholly other.

Speaking of special performances, we are certain that Electronica Wizard is going to be every bit as enjoyable as the concept implies.

The Space Lady is who the “outsider music” genre was created for. This unique artist began her career in the late 70s, walking on the sidewalks of Boston dressed exuberantly, sending messages of love and pacifism, accompanied by an accordion and making versions of some contemporary pop hits or classics of that time.

Violinist and composer Jessica Moss of cult post-rock band Thee Silver Mt. Zion Memorial Orchestra, her brand new solo project. Jessica Moss plays elegiac durational music at the intersection of neo-classicism, soundtrack, electronic, art-punk and avant-folk. This promises to be a highly compelling performance.

Dorcha, a 5 piece Birmingham band of synths, strings, electronics and heavy beats, led by composer – Anna Palmer. Dorcha is a continuing exploration through alternative songwriting. The band produces an enigmatic live show accompanied by visuals.

Haress 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, Earth, Human Bell and Papa M.

And finally for now, Xylouris White, their live shows, much like their recorded output, is a startling mixture of Cretan traditional music, punk rock and fiery – improvisation created by The Dirty Three drummer Jim White and Greek lute player George Xylouris, a testament to both of their remarkable histories. Explosive performance of pirouetting melodies, soaring vocals, and seamless transitions between tradition and invention.

Line up so far:-
Anna Von Hausswolff/ Anonymous Bash – Charles Hayward + Gnod/ Arbouretum / Colin Stetson / Dorcha / Electronica Wizard / Ex Easter Island Head – Large Ensemble / Haress / Jenny Hval / Jessica Moss / Kuro Maga / Laura Cannell / Melt Banana / Oxbow / Princess Nokia / Raime / Richard Dawson / The Space Lady / Tomaga + Pierre Bastien / Xylouris White / Zonal (Justin K Broadrick and Kevin Martin) / ZU

TICKETS – supersonicfestival.com/product-category/tickets/

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Raime: Re-establishing EDM

‘Raime are past masters of sombre carnage, and this here is their moment.’THE QUIETUS

Raime are Joe Andrews and Tom Halstead, a London-based duo seeking to re-establish electronic composition as a physical and emotionally inquisitive force. Since the turn of the decade, via a stunning debut album, three sold-out EPs and a string of imperious live outings, Raime have honed an aesthetic all of their own.

According to Pitchfork, the music this London based duo creates is ‘the soundtrack to a lonely night out’. Since their debut with Quarter Turns Over A Living Line, Joe Andrews and Tom Halstead have become avid contributors to the growing popularity of bleak, minimalist electronic music.

Raime’s musical grounding lay in Detroit techno, jungle, and bass music but drawing from an eclectic array of influences, they leave the interpretation of their own concoctions to the rumination of the listeners. Why settle for EDM when you can channel 80s industrial and goth techno? 

“When you first listen to techno and you come across Detroit, the whole universe opens up”

Amid the dark, industrial post-rock influenced textures, unsettling beats pulsate like a throbbing headache in your temple. Conjuring up imagery of a barren dystopia, piercing dissonances interject the anxious layers of electronica and moody guitar lines.

“It was great to find this area of music that was even more bonkers [than techno], but that came from people like us – from some dude in Norwich banging something.”

Read about Raime’s quest for RAWNESS with The Guardian [here]

Raime’s second album, Tooth, arrived in June 2016. The widescreen melancholia of their 2012 debut, Quarter Turns Over A Living Line, has given way to an urgent and focussed futurism, in the shape of eight fiercely uptempo, minimal, meticulously crafted electro-acoustic rhythm tracks. The DNA of dub-techno, garage/grime and post-hardcore rock music spliced into sleek and predatory new forms.

‘It’s a spare, near-monochromatic palette, well fit for its immediate purpose. The result is an album that takes its lead from bands like This Heat and Ike Yard but boils their urgency down to a throbbing core of contemporary dread, all the propulsive rhythms tied up in knots.’ RESIDENT ADVISOR

If Quarter Turns was an album that confronted total loss and self-destruction, even longed for it, then Tooth is the sound of resistance and counter-attack: cunning, quick, resolute; calling upon stealth as much as brute-force. It is bold and original new music: staunch, rude, and way out in front.

Raime recently returned with a new 12″ single for Blackest Ever Black in the last week of February this year, featuring two new tracks, recorded after last year’s Tooth album…and it sold out fast. But a new batch is ready which you can purchase [here]

Sneak peak here:

“Dance music has always been the backbone of our influences so propulsion comes pretty naturally, but we really started getting into bands a lot more over the last seven years or so and experienced what they can offer dynamically. We thought it might create more immediacy and ultimately move our sound on. We realised that we wanted to change the way we were saying things, lay a few old tropes to rest and try something new, ultimately learning how to make records according to different rules.”

With this in mind, we can’t wait to see what Raime will do for their live set. What physical force will they assemble to express their punishing rumble of gothic dub to our Supersonic audience? You’ll just have to wait and see!

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More from Raime [here]

 

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Princess Nokia: HAPPY INTERNATIONAL WOMEN’S DAY!

IT’S INTERNATIONAL WOMEN’S DAY

LET’S CELEBRATE PRINCESS NOKIA

INCREDIBLE ARTIST

ROLE MODEL

BIG SISTER

From the New York underground, Princess Nokia bursts out with a vibrant, fiercely independent blend of hip hop. Infusing african drumming, obscure jazz melodies, pop driven electro synths and sub drops that vibrate you to your core, this ambitious artist creates a universal language that will talk to all kinds of people. Her vocal support of queer, transgender, womanhood and fem sexuality have gained her critical acclaim and support in the music world from other QTPOC rappers such as Mykki Blanco and Le1f. Nuanced by 90s style New York rap but free to roam into whatever fields she deems fit to express her subject matter, this progressive alter-ego of Destiny Frasqueri will no doubt entice our Supersonic audience.

Not that you need any more, but here are some more reason’s to absolutely love her:

SHE’S A MASSIVE BITCH

 

EDUCATED AND PROUD OF HER CULTURE

 

 

SHE PROMOTES SELF ACCEPTANCE VIA HER ART

 

 

SHE HAS FACED MANY HARDSHIPS. SHE DEMONSTRATES HOW WE CAN ALL BE VULNERABLE. WE CAN ALL BE RESILIENT. THE TWO GO HAND-IN-HAND THROUGHOUT OUR LIVES. IT IS WHAT MAKES HER AN UNSTOPPABLE FORCE.

 

 

MANY LABELS WANT HER. BUT HER STYLE IS DIY. SHE IS FORGING A CAREER WHICH WILL UNDOUBTEDLY REACH GREAT HEIGHTS. ON HER OWN. NOT ‘ON THE ARM OF NO MAN.’ THIS IS HER ROLE. THIS IS HER TRIP.

 

 

JUST LOOK AND LISTEN TO HER LATEST RELEASE
JUST LOOK
JUST!

 

 

We love you Princess Nokia!

We can’t wait to have you here with us at Supersonic 2017

Have a wonderful International Women’s Day!

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Oxbow: The Next Chapter

‘A primal jam, fuelled by pure carnal libido, so get together with some inclined bodies and slap skin together.’ – PITCHFORK

Once again, heading for us like a freight train – the almighty avant-rock giants Oxbow.
***AND HERE IS THEIR BRAND NEW VIDEO FOR TRACK ‘COLD & WELL-LIT PLACE’ FROM FORTHCOMING ALBUM ‘THIN BLACK DUKE’ OUT MAY 5TH***

‘The quiet kill off the country road, the time before the time when everything went wrong and the last 16 hours of that great love affair are the seminal beginnings of OXBOW.

Designed to be the last aural will and testament of failed humanity, OXBOW actually garnered listeners from among the ranks of the fucked, with their 1989 release FUCKFEST. Followed by KING OF THE JEWS (1991), THE BALLS IN THE GREAT MEAT GRINDER COLLECTION (1991), LET ME BE A WOMAN (1995), SERENADE IN RED (1996), AN EVIL HEAT (2002) LOVE THAT’S LAST (CD+DVD) (2006), THE NARCOTIC STORY (2007) as well as various singles and dance remixes, OXBOW has met with increasing critical acclaim and popular support.’

 

The OXBOW core membership — DAN ADAMS/bass, GREG DAVIS/drums, EUGENE ROBINSON/voice, and NIKO WENNER/guitars+keyboards — has been supplemented by the subtle stylings of LYDIA LUNCH, KLAUS FLOURIDE, JARBOE, MARIANNE FAITHFULL, RICHARD KERN (SONIC YOUTH et al), JON RASKIN from the ROVA SAX QUARTET, and a string section that would make Barry White wince. 

Though claiming San Francisco as their hometown, OXBOW performed first in London, England in 1990 and have toured Europe and the U.S and almost every other place people will pay them to hear them play extensively for nearly 3 decades. With their unstoppable DIY brute force they have carved new paths in the global underground of alternative noise rock, across which their fans follow loyally.

The experimental outfit is music for the damned, drudging onwards in their quest of carnage.Their notoriety comes firstly via the arresting music they churn out and secondly via their tempestuous live shows, led by carnal pit-fighting gentleman – Eugene S Robinson, with his heavy handed heckler response tactics and striking fearsome onstage presence.

 

Champions of the scene they hailed from, with a fierce aversion to label politics and demanding their own artistic freedom, the band run their own independent record label, CFY Records.

Oxbow’s 2007 album The Narcotic Story was named the number one album in the “Best of 2007” by Rock-A-Rolla magazine, and was listed with three other bands’ albums in the nomination of Joe Chiccarelli as ‘Producer of the Year’ at the 50th Grammy Awards. Regular collaborators with Steve Albini, Eugene and Nikko Wenner bring us their well-oiled monstrous machine of sound, built from a plethora of knowledge from nearly 3 decades of expedition through the alternative underground of music.

But not ones to rest on their laurels, they continually experiment with new ways to express the Oxbow story. Their multi-dimensional music has seen various set-ups, collaborations and even an Oxbow Orchestra – which we were graced with at Supersonic 2012.

Oxbow‘s trademark elements…the jagged-edged noise rock foundation, the bluesy/Led Zeppelin-ish overtones, and Eugene Robinson‘s squirming vocals (somewhere between a Baptist preacher and an unhappy two-year-old).’ ALLMUSIC

And now, they add a new dimension.

The OXBOW CHOIR INTRANSIGENT

The tendency in the face of the unbelievable is to not believe it, and is if our perpetual faves Oxbow didn’t tend this way enough, they return to SUPERSONIC 2017 with an ensemble of two parts — the band accompanied by a chamber choir and volunteer vocalists — who will perform notated Oxbow music, carrying the crucial elements of what constitutes the Oxbow experience into terra unknown. Absolutely and totally exactly what a religious observance should look and sound like.

In the coming weeks we will be telling you more about this one-off SUPERspecial performance and doing a call out for volunteer vocalists!

One time only. Not to be missed!

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Melt Banana: Peeling yer face off!

 

If you fancy having your face peeled off by some speed-of-light grind core – Melt Banana will be firing up our stage with their inferno of noise rock at Supersonic this year.

The band, thoughtfully, have an FAQ section on their website…which we’ll dip in and out of on this blog to give you in the ins/outs straight from the horse’s mouth.

Q: Who is MELT-BANANA?

Answer: Main factors of MELT-BANANA are YAKO, who is singer of the band and writes all lyrics and some of the songs, and AGATA who plays the guitar and writes most of the backtracks of the songs. So far, MELT-BANANA has been helped by many musicians, such as:

SUDOH, TOSHIAKI / RIKA HAMAMOTO / ONOTETSU / KIKUCHI / OSHIMA (aka Watchman) / NATSUME / OBOKATA (aka Obiwan) / SAKATA / DAVE WITTE / TERADA / YOKO KUROSE / UKI / INOMATA / TARO TATSUMAKI (with MxBxLite)

Since forming in 1993 the band has released 13 Albums, 28 EPs, appear on numerous compi’s/collabs and have toured worldwide extensively, winning high profile fans such as Steve Albini, Kurt Cobain and Lou Reed. Their first Peel Session in 1999 was described by the man himself as ‘Simply one of the most extraordinary performances I have ever seen and ever heard…just mesmerising, absolutely astonishing.’ and still they continue to stun live audiences around the world today with their raucous energy.

Q: What type of music?

Answer: Some people say they are noise band, some people say they are so-called no wave band, some people say they are hardcore band, some people say their music is like roller coaster in an amusement park… It is hard to categorise their music, but basically they are rock band with a spice of punk taste. The easiest way to find out is to listen to their music.

Hurtling their way through thrashing cymbals, sirens, lasers, firework guitar riffs, with Yaka’s vocals biting chunks into the frenzied texture, this band is not for the faint hearted. No strangers to greatness, having toured with Melvins and Napalm Death, Melt Banana rose from Tokyo’s ferocious underground with their unorthodox, unclassifiable and undeniable brilliance and continue to jack-hammer the brains of punks, metal heads and beard scratchers a-like with their relentless aversion to sitting still.

‘Melt-Banana have remained like an eye of a hurricane that’s 10 times crazier than the hurricane itself.’PITCHFORK.

Q: Is Yako singing in Japanese?

Answer: I am singing in English, and you can find all of the lyrics inside of CD booklets if you are interested. When I first started singing in a band, I was singing in Japanese, but I changed to English. I thought that English would fit more to my style of singing.

Q: Which album makes you frothy?

Answer: Human beings can live because they can forget things that they don’t like.

Q: What is your motto/philosophy?

Answer: For today, jump before you look.

Jumping, nay, diving-head-first-straight-for-the-jugular is something Melt Banana are particularly well versed in. A common feature in their live set is a succession of seriously short songs which get straight to the point.

Perhaps this is an influence of musical pals Napalm Death – who on album Scum recorded the shortest ever punk song coming in at just 4 seconds long. A longstanding kinship between the two bands has most recently seen a split 7inch released on Record Store Day in 2016 featuring 2 tracks on each side. Available [here]

Since releasing their debut 7’EP Hedgehog in 1994, Melt Banana have played with varying line-ups but it’s Yako and Agata’s unique compositional flair which has lead them through the years and given them the notoriety they so deserve. The duo have cemented themselves as pioneers of noise-rock.

The studio album Fetch, released September 2013, saw the band transition to a duo which they now tour as live and somehow still sound and perform as if equipped with army of noise makers behind them…

‘Japanese noise assassins Melt-Banana may well have been thrashing out blistering rockets of screeching, avant garde, hardcore for well over twenty years now, but my gawd do they still feel like a pulverising assault on the senses.’ THE LINE OF BEST FIT.

Don’t you even THINK about missing Melt Banana at this year’s Supersonic.

Don’t. You. EVEN.

GET YOUR TICKETS NOW!

Oh and one more important thing to note:

Q: What is your favourite type of sandwich?

Answer: Avocado.

http://www.melt-banana.net/

 

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ROUND-UP: Steve Davis | Graham Dunning | HelloCatFood | Rocky Steps

Saturday night saw…well, there aren’t really any words.

So instead here’s a 50 second video roundup of the bat-shit-crazy-alternative-grownup-discotheque we put on at The Hare and Hounds the other night…

So that’s that!

Huge thanks to the fascinating Graham Dunning and his Mechanical Techno set, Antonio Roberts (aka HelloCatFood) for providing the mind-bending visuals, Rocky Steps for his incredible warm-up set for the main event – Steve Davis – what an unbelievable 3 hours of experimental party music he gave us!

And a huge thanks to The Hare and Hounds for hosting the event and including us in their 10th Anniversary Series!

We’re just about recovered.

(just)

Steve Davis: https://www.mixcloud.com/interestingalternative

Graham Dunning: https://grahamdunning.com

HelloCatFood: http://www.hellocatfood.com

Rocky Steps: https://rockysteps.uk

Hare & Hounds: http://hareandhoundskingsheath.co.uk

GET YOUR TICKETS FOR SUPERSONIC FESTIVAL NOW

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Laura Cannell: Fragments

“Laura Cannell conjures a sonic portal between the past and present.”The Wire

Critically acclaimed instrumentalist Laura Cannell deconstructs her bow to produce haunting melodies from her violin and deconstructs our stuffy view on the recorder by blowing through two simultaneously and harmoniously with gusto. In doing so, she constructs a flourishing fragmental sonority heralding the ancient, traditional music of the instruments into the present through experimental improvisation.

Her sensitivity, emotiveness and wild flare will transport you into a new realm of tranquil solitude. 2016 saw the release of Laura’s third solo album Simultaneous Flight Movement to critical acclaim, appearing in numerous end of year lists.

Where did she come from? Based in rural East Anglia, Laura Cannell’s work draws on the emotional influences of the landscape whilst simultaneously breathing new life into lost and forgotten melodies from the 5th – 14th centuries.

Long self-taught sessions alongside dedicated training gave Laura a foundation to build upon, but it is her fearless strive to break away from rules and tradition and her thirst for collaboration and experimentation that elevates her body of work to courageous peaks.

“At school, I used to play for medieval banquets in a haunted pub in Bungay. But I just get bored of there being rules, I don’t like being told what to do. And I’m really anti-twee. People think: ‘Recorders, how lovely!’ But they’ve got balls and energy – they can really bite.”

For more on the Woman blowing Recorder prejudice away click [here]

With longstanding time spent in the highly regarded Horses Brawl duo as well as her Early Music missions, Laura then went on to pastures new. She has since collaborated with electronic musician Hoofus, plays in new trio Oscilanz with Ralph Cumbers (aka Bass Clef) and has worked with renowned drummer Charles Hayward (This Heat) to name but a few. She even founded her own record label Brawl Records in 2005.

“She is uniquely able to fuse inspiration with interpretation, delivering scintillating, programmatic works in miniature based on everything from Homerically florid psalms to the pioneering music of the 12th century apothecary, scientist and theologist Hildegard von Bingen. Obscurity is no boundary here.”The Quietus

For an interview with Laura from The Quietus click [here]

Laura’s dexterity, determination and devotion to seeking the new is culminated in her all encompassing 3 solo albums. Beginning with Quick Sparrows Over the Black Earth released in July 2014 where haunting chords move the heavy air of the church as fiddle drones drift across the flatlands of East Anglia in single-take atmospheric improvisations, she has continued this stylistic approach to recording.

Her latest release Simultaneous Flight Movement was recorded on the day of the EU referendum in single takes inside Southwold lighthouse.

“I went to the Methodist chapel round the corner to do my vote, and then stood in this enormous tower that looks out over the sea, playing fragments of music from all over Europe. Thinking about it going up through the tower, going out past the prism in the top, I just thought about all these ridiculous borders we’re putting up between each other. I was standing there, firmly planted, thinking, ‘Please don’t go!’”

“As soon as something begins to sound like a genre, I begin to lose interest.”

This March sees the launch of a new performance series at Cafe Oto [Modern Ritual] exploring ideas of ritual through music and words, evoking real and fictional landscapes. Featuring solo sets from Charles Hayward, Laura Cannell and Hoofus and a new collaboration between Laura & Charles. More info [here]

Then this June, Laura Cannell graces us with her glorious sound at Supersonic Festival – a performance not to be missed!

GRAB YOUR TICKETS NOW!

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Jenny Hval: Fluidity

“NOT SAFE IS HOW ART EXISTS. NOT SAFE FOR WORK IS THE WORK.”Jenny Hval

Returning to our stage once again with her rapturous sound, Jenny Hval. She is an artist who’s extensive archive projects a stunning mass of expression; music, literature, visual & performance art, all coalesced into one body.

The New York Times defines her writing as “taking a scalpel to the subjects of gender politics and sexuality.” and with her most recent album ‘Blood Bitch’ co-produced by noise artist Lasse Marhaug, she boldly continues on with her incisions with delicate precision.

Gender fluid, Art-form fluid and Physical fluid. Fluidity itself is an ideology which flows through Jenny’s artistry.

With early beginnings as vocalist in a gothic metal band called Shellyz Raven, to studying creative writing and performance in Australia, Jenny arrived back in Norway in 2006 and released her debut EP Cigars which was nominated for a Spellemannprisen (the Norwegian equivalent of Grammy awards).

Adopting the name Rockettothesky, she then went on to release two studio albums – To Sing You Apple Trees in 2006, and Medea in 2008. This is where we could try and define the earlier albums and their genres and outline the progression into the mix of genres Hval has arrived at now…but this would be counterintuitive to the representation of Jenny as an artist, as her interdisciplinary art cannot simply be pigeon-holed into music genres, or even ‘experimental’.

“…it’s a disease to call everything experimental because everything is experimental…I mean, it’s experimental to live! So that’s why I keep returning to ‘I make pop music’. It’s also because I’m not so interested in being put anywhere, and that’s not because I think it’s wrong to be put in boxes when an individual writer says something about my work. That I don’t think about so much. The fact that I’m asked so much and people seem to be so in need of placing music on a map….you can ask me but I think it’s maybe more fruitful to turn around and ask why do we need to? And why do we need to say ‘Jenny Hval is not pop music?’ Why is that so important to us?”

Rather than genre, there are coherent themes in Jenny’s work, spanning the audio and visual. Her artistic voice is altogether present, accessible and obscurely complex at the same time. Much like in her interviews, she turns and questions the audience.

Her live show has gradually progressed from a more traditional live band set up to an avant-garde performance with costumes, dancers, speeches and live DJ. This seems to be a return to the art forms she originally studied and a more organic vehicle to deliver the messages within Hval’s complex art; as a performer, she seems totally free.

Under her own name, the prolific artist has released 4 more albums, Viscera (2011), Innocence Is Kinky (2013), Apocalypse girl (2015) and in 2016 most recent album, Blood Bitch. The latest release seemingly encapsulates many of her previously visited themes; artistic ritual, failure, capitalism, blood – but this time through a different, more positive, playful gaze.

“where Apocalypse dealt with, ‘you look at yourself in the mirror and you fail’, this one is like ‘oh, but I can walk through the mirror’ and there’s a crazy, creative realist world there I can partake in instead.”

With the release of numerous captivating online video’s to accompany the tracks and a newly curated show, Hval has innately created an alluring atmosphere around this album with her collaborators.

For an in-depth interview with Jenny visit [here]

Jenny Hval and co. brought the new show to UK audiences last night in London and collaborated with the incredible make-up artist Lone Taxidermist. Check out the Instagram [here] for a sneak peak into what’s to come at Supersonic Festival this year.

We anticipate that after her performance this June we will all be in awe and questioning, in the words of Jenny herself taken from her last tune on the Blood Bitch album, ‘Lorna’:

“Does anyone have any language for it? Can we find it?”

Do not miss her set at Supersonic. Tickets on sale now. With group ticket offer available: 5 for the price of 4. [here]

SEE YOU THERE!

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Sonic Acts Festival, Amsterdam

Over the weekend of 23-26th Feb – the Capsule team took a trip to Amsterdam to explore Sonic Acts Festival. Since the first edition in 1994, over the years it has established itself as a thematic festival with a strong focus on contemporary and historical developments at the intersections of art, science, music and technology.

Each festival edition explores the chosen theme by means of an international conference, a wide range of concerts and performances, exhibitions and screenings, and embraces a broad spectrum of fields, practices and disciplines.

This year’s theme was ‘The Noise of Being’.

Arriving a day late to the party on Friday (due to Doris day) we wondered through an abstract dystopian world of exhibits and sound art installations in the stunning setting of the Stedelijk Museum. From glitchy Electronica, to a Microtonal Tuba ensemble with an incredible performance from Jennifer Walshe and the Arditti Quartet in between (a particular highlight), our senses were not just tingled but tossed, turned and tangled in the most invigorating way.

Our evening ended with some VR, AV, DJ madness in the beautiful converted church building, Paradiso – concert hall, cultural centre and club.

Across the rest of the weekend we visited Flemish Arts Centre De Brakke Grond for seminars combining modern scientific research and contemporary art forms and admired the work of emerging new artists at Arti et Amicitiae. 

Other photography exhibits we saw outside of the festival was the evocative collection of Ed van der Elsken and the alluring ‘An ode to slowness’ by Tom Callemin. We also got lost in the vast Rijksmuseum for a few hours.

We had a blast in Amsterdam and think you should definitely check out Sonic Acts Festival if you get the chance next year. Now, our brains need a quick cat nap before we continue on with Supersonic Festival proceedings…

TICKETS ON SALE NOW

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HelloCatFood: ReRightingCopyRight

“Everything is a remix. Lots of people’s ideas are always formed from others.” – Antonio Roberts

This Saturday, March 4th, in association with Hare & Hounds 10th Anniversary Series, we bring you Steve Davis DJ set with support from Graham Dunning and his Mechanical Techno Set and local producer/DJ – Rocky Steps. Such a stellar, alt-DJ line-up would not be complete however without some mind-bending live visuals to boot.

Hellocatfood is the alias of Antonio Roberts, a New Media artist and Curator based in Birmingham, UK. His artwork uses glitch art, hacking and technology-driven processes to explore issues surrounding copyright, remixing and free culture.

Roberts’ technically complex and playfully innovative work combines programming, video and collage (both digital and physical).

He has provided visuals for the likes of MTV, Com Truise, Elmo Sexwhistle, Henry Homesweet, My Panda Shall Fly and has exhibited work at Loud Tate 2014. Aside from shows in the UK, Roberts has exhibited his animated GIFs and audio-visual works as far away as Iran, France, and the United States. He is an Associate Curator at Vivid Projects and Lecturer at University of Westminster.

Roberts is involved in the debates around Creative Commons and sharing upon which the Open Source community is founded. 

“I think Copyright is a mess because it tries to dictate how we should be creative. Creativity is free-flowing. Copyright, and its cousins patents and trademarks, justify their existence by saying that these restrictions encourage innovative new ideas but what they do is just stop us.”

For an in-depth interview with Antonio regarding What rights in Copyright? Click [here]

Antonio is also a part of Algorave: The Live coding movement that makes next-level electronic music. Although not a music creator, the artist generates responsive visuals that keep in line with the coding aspect of Algorave. As he writes, “the main point is that it’s all crafted live.” To understand more visit [here].

As if all this wasn’t engaging enough, the highly-active artist has also just announced a new exhibition which he is Curating at Leicester’s Independent Cinema, Art Centre and Café Bar – Phoenix – this April/May.

Delve further in to Antonio’s archive [here].

We’ve no doubt that HelloCatFood will elevate this night of weird and wonderful music to an all encompassing, SUPERsonic and visual experience – so come get your glitch on.

[Here] is the Facebook event page

GRAB YOUR TICKETS [here]

and don’t miss out on our 4 for £40 offer available online only!

 

 

 

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Graham Dunning: Mechanical Techno Set

“IT’S LIKE A BADLY-OILED MACHINE, A MACHINE THAT IS ALMOST FALLING TO PIECES.”Graham Dunning

On March 4th in association with Hare & Hounds 10th anniversary series we bring you the ultimate alternative DJ night. With headliner Steve Davis, snooker champion turned Alt-DJ cult hero paired with live visuals from HelloCatFood and support from Graham Dunning with his Mechanical Techno Set, we’ve no doubt this avant-garde-discotheque will exercise your body and your brain.

Graham Dunning works with sound, processes and found objects visually drawing upon dirt, dust and decay, evoking notions of memory, collecting and archiving. Dunning’s work sonically remixes cultural off-cuts, often utilising the unwarranted noise inherent in vinyl and cassette playback.

A self-taught artist and musician, his work explores sound as texture, timbre and tactility, drawing on bedroom production, tinkering and recycling found objects.

Dunning’s background in experimental music informs his approach into whatever audio, visual, physical piece of art he is creating; experimentation and play being a main part of the process.

“My work explores time and commemoration: How people store their memories, in personal archives – photographs, audio journals, post-it notes – and what becomes of those archives. I find discarded objects interesting in themselves, for the stories that they suggest or that can be read into them. Collecting things has always held a fascination for me, both to do myself and to look at the way others do it.”

This enthusiasm in ‘the way others do it’ is probably what makes this artist such an avid collaborator. From musicians, to producers, to multi-disciplsinerary art groups such as A.A.S – Dunning, in his art-form fluidity, has created a patchwork quilt-esque archive: offering something for all kinds of art-appreciators.

Flick through his website [here]

Recently Dunning’s performance project Mechanical Techno – a teetering stack of collaged vinyl interspersed with physical interventions and extended phonograph needles – has drawn accolades from sound art and music festival scenes.

The installation of the Mechanical Techno set is an incredible thing to watch come to life; Graham is gradually joined on stage by some abstract lo-fi R2D2 sound machine, fully responsive but slightly out of whack, with it’s own chaotic wit. 

Dunning speaks fondly of Lee ‘Scratch’ Perry, who referred to dub as “the ghost in me coming out” and with his own brand of techno he certainly unleashes a whole new entity into the a-typical DJ night.

For an in depth interview with Graham from ATTN Magazine click [here]

This is set to be an unmissable, mind bending night of dance. For more info. click on the Facebook event page [here].

[TICKETS ON SALE HERE]

AND DON’T MISS OUR EXCLUSIVE OFFER OF 4 FOR £40Limited online only so get in quick!

 

 

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Colin Stetson: Musical Athlete

‘…feels like music I’ve been subconsciously craving without even knowing it exists.’ – PITCHFORK

Colin Stetson was born and raised in Ann Arbor and spent a decade in San Francisco and Brooklyn honing his formidable talents as a horn player eventually settling in Montreal in 2007.

From early beginnings in experimental jazz group Transmission Trio:

 

Stetson has gone on to collaborate with artists such as Tom Waits, Arcade  Fire,  Bon  Iver,  TV  On  The  Radio,  Feist,  Laurie  Anderson,  Lou  Reed,  Bill  Laswell,  Evan Parker,  The  Chemical  Brothers,  Animal  Collective,  Hamid  Drake,  LCD  Soundsystem,  The  National, Angelique Kidjo, Fink, and David Gilmore – to name but a few.

But above all, he is a solo artist in his own right, who has crafted a unique sonic & visual experience through avant garde and extended techniques, equipped with an eclectic musical palate.

On his solo work, The Quietus says Colin ‘has totally eclipsed the flare of these heavyweights with a series of brutalist yet ambitious and exhilarating records’. He produces enigmatic, physical, strenuous music which courses and caterwauls through a reminiscence of dark jazz, post-rock and industrial electronica.

Colin has perfected the technique of circular breathing and with his live shows, literally ties himself to the grizzly beast; as the performer and instrument grapple together in a hypnotic whirl they almost blur into one.

I guess where it started to get interesting for me was when I realised you didn’t have to only learn from or mimic other players of your chosen instrument, regardless of what it might be. So much more can be gleaned if you do the same thing with other instruments and different sound sources entirely.”– Colin Stetson

For an fascinating interview with Stetson about Mastering the Flow click [here]

Considered a prodigy in his teens, Colin was thrust in to the limelight; in freshman year he was instantly playing in a sax quartet and the main symphonic band whilst majoring in visual art. He speaks of how during this time ‘the challenge to live up to the hype is quite real.’ and as a result he has maintained a solid work ethic throughout his life, ‘it was just an all-intensive and personally challenging regimen, which pretty much sets you up for a lifetime of living that way.’.

When it comes to mastering an instrument in the way Colin has, many may envisage a vitamin D deficient recluse locked away in a dark room running scales until their fingers drop off. Practice is of course a huge factor but also the physical demands of performing in this way requires peak fitness – and Colin is something of a musical athlete.

Natural ability, practice, eclectic palate, work ethic and artistic collaboration are what contribute to creating this intriguing, well rounded musician but something which ties this all together beautifully is the immediate emotivity you hear when you put on a Colin Stetson record or watch him perform.

It was his long standing dream to work with musical hero Tom Waits. One hazy early morning in his San Fransisco home at the age of 23 the phone rings, Colin drearily answers and it’s Tom Waits on the line. He’s got his number through a mutual friend, bassist Matthew Sperry. This friend had changed the course of his life. For the next year and a half Colin and Matthew played regularly in Tom Waits’ band until one day, Colin received another life-altering phone call saying Matthew had been hit by a car on his way to work and had been killed, leaving behind a wife and 2 year old daughter. The much-loved Matthew’s untimely death had a profound effect on Stetson as he states:

“I tell the first part of the story to set up the second part of the story – what we think is all important and life-altering events when we’re young, they pale in comparison to the things that actually do touch us on a real meaningful level and change us in ways that I think are long lasting and are actually what we should be looking for in our lives.”

Such sentiments and sensitivity can certainly be heard in Colin’s rich, all encompassing sound.

Listen and watch his most recent release from the forthcoming album ‘All this I do for Glory’

Out April 28th 2017

[pre-order here]

 

TICKETS ON SALE NOW!

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Arbouretum: Mystical Landscapes

About to release their 6th studio album ‘Song of the Rose’, the prolific Arbouretum continue to wonder on through the wilderness of rock. Since their first release in 2004 the band have been perfecting their craft of storytelling in song, both lyrically and sonically.

Signed to the fiercely independent label Thrill Jockey records, Arbouretum have been called “the best of the millennial classic rock bands, a guitar-fuzzed powerhouse.” Hailing from Baltimore US, the band travels through the ever changing landscape of alt-rock with effortless motion. From brooding Americana, to dark folk, sludge, doom, psych-rock and a fleck of prog, the expanding structures lead us from the mystical, poetic lyrics of David Heumann, told over grinding grungy riffs, into guitar solos which wind into improvisations between a group of respectful players painting a vivid sonic picture in homage to their predecessors.

THE QUIETUS described 2013’s album ‘Coming out of the Fog’ as ‘..the album Neil Young and Crazy Horse should have delivered instead of the disappointing Psychedelic Pill.’

Arbouretum’s lyrics explore elements of philosophy, mysticism, redemption, and the implications of human “progress.”

“Heumann is the kind of songwriter who, when he slips in a lyric about a tree or a bird or a running river, seems to have actually observed such objects, not just read about them in books. There’s something elemental about his fuzzed-drenched, Americana-infused anthems, something both grounded and deeply mystical.”- Jennifer Kelly, Pop Matters

2011’s album The Gathering was part inspired by the ‘The Red Book’ written by philosopher Jung in 1913 and throughout the course of his writings Heumann has continued to muse over the bigger questions whilst meandering through picturesque landscapes which his Instagram mostly reveals.

“If you look at creative people throughout history, one thing that many of them have in common is going on walks. I like to put myself in that company. I prefer the scenery of the natural world than that of the human-made world. So, in that sense, it does inform my writing, though not in a literal way.” – David Heumann

From their forthcoming release, titular track “Song of the Rose” completes a trilogy of songs from past records, calling back to “Song of the Nile” and “Song of the Pearl,” which have their roots in examining Taoist and Gnostic mythic traditions. Fittingly, “Rose” is also a nod to Heumann’s ancestor Richard Lovelace, a 17th century poet who penned “The Rose.”

The glimpses you can hear of the forthcoming album sound like a scrap book of all the best tales the band have delivered so far on their 5 previous albums, woven together with a new, contemporary finesse, having recorded for the first time with Kyle Spence at his studios in Athens, GA (Kurt Vile, Luke Roberts, Harvey Milk).

Click [here] for a more in depth interview on the new release.

So, Supersonic Festival goers, come and venture through the mystic landscapes of Arbouretum this June – we know you’re bound to get lost!

Preview full track ‘Fall From an Eyrie’ off their forthcoming album, ‘Song of the Rose’


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Listen back to The Supersonic Take-over Show

On Friday night we hosted our first Supersonic Take-over Show on Brum Radio.

Over 2 hours we delved in to the first 10 acts to be announced for this year’s festival. Listening to tunes from the artists, their influences and interesting sound bites & interviews.

This is SURE to get you in the mood for our festival this June!

Big thanks to Brum Radio for hosting: www.brumradio.com

REMEMBER, tickets on sale NOW!

AND we have a special group ticket deal on with 5 weekend tickets for the price of 4 – so round up the troops!

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Supersonic Take Over Show on Brum Radio

Tonight, at 10pm, listen LIVE to Brum Radio for the Supersonic Take Over Show.

For two hours we explore the first 10 acts to be announced for this year’s festival. We play tunes from the artists, listen to their influences and inter-splice interesting sound bites and interviews we’ve discovered along the way.

You can listen along [here]

Or listen back on [mixcloud] or [soundcloud]

TICKETS ON SALE NOW!

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Associate Producer – Supersonic Festival 2017


Masaki Batoh at Bring to Light

Job Description: Associate Producer – Supersonic Festival 2017

Fee: £3,200 35 days + 5 flexi days freelance contract (40 days max)

  • 2 days per week March – May
  • 3 days per week May – July to include a full working week 12-18 June

Term: 21 Mar – 7 Jul 2017

The Associate Producer will work closely with the Executive producer to support the delivery of key aspects of the festival relating to workshops, talks and the Supersonic Marketplace – a space for independent distributors, record labels, poster artists and others to sell their wares and network with each other. They will also play a role in managing and delivering Supersonic’s Kids Gig – created for children under seven, the aim of our Kids Gigs are to introduce children to experimental music at an early age, nurturing the audiences of the future.

This post is offered as a fixed term freelance contract until July 2017. The fee will be £3,200 inclusive of VAT. The starting date is Tuesday 21 March 2017.

 

Schedule: 35 days plus 5 flexi-days (40 days max) until 7 July 2017

  • 2 days per week March – May
  • 3 days per week May – July to include a full working week 12 – 18 June

 

This role will be based at the Capsule office in Birmingham – Unit 316, The Custard Factory, Gibb Street, Birmingham, B9 4AA. The role is not suitable for remote working.

 

To apply for this post please read our Associate Producer Application Pack February 2017 and then send:

 

Deadline Thursday 9 March, 6pmSend by email with subject header “Associate Producer” to Felicity Alwell, Executive Producer, info@capsule.org.uk

 

BACKGROUND
Named by Stuart Maconie, BBC 6 Music as ‘the UK’s premier experimental music festival”, listed No.2 in The Times guide to the 50 best events of the summer (2015) and one of the 10 best European festivals by Momondo (2015). Since 2003, it has grown in scale and ambition becoming the UK’s go-to event for experimental, collaborative and otherwise out of the box musical thinking. Combining today’s burgeoning talent with legendary, one-of-a-kind performances, it creates a sense of spectacle that electrifies Birmingham.

The successful candidate will be an organised and proactive individual. They will work closely with the executive producer and the rest of the festival team to ensure the smooth delivery of this flagship festival event. This is an exciting role for an up and coming producer who wants to mark their mark and develop their career in festivals, music and live events.

 

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Call out for workshop proposals


Stephen Fowler wildman life drawing workshop

The UK’s premier experimental music and arts event, Supersonic Festival 2017, returns this June from the 16th to the 18th and we’re on the hunt for some creative minds to bring us unusual, imaginative and engaging new workshops as part of our festival weekend.

For facilitating a workshop you will be given a budget of up to £150 and 2 weekend tickets to the festival.

From high-brow to indulgent fun: we want you to craft something extraordinary so we can offer a variety of inclusive workshops for our curious audience.

Whether you’re flying solo, a group or an organisation, we want to hear ideas that embrace our passion for collaboration between both artists and audience alike, in a bid to reveal the otherwise indescribable connections between art forms and champion the unclassifiable.

So send us your proposal!

Deadline for Applications: 20 March 2017

The successful proposals will be from contributors who present an innovative idea, show a clear understanding of all-things-Supersonic; a festival which celebrates the expressive, challenging and generally out-there whilst remaining inclusive and engaging to varied audiences.

 

If you are interested in contributing, please complete this form Workshop Proposal Form and email to info@capsule.org.uk with ‘Workshop Proposal’ in the subject line.

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Steve Davis: Cued Up

 

(photo credit: Matt Bohill)

‘Steve Davis makes the point that if anyone ever tried to push him off balance, he would waver not to the left, right or backwards, but only forwards.’

– Steve Davis on snooker stance at http://www.fcsnooker.co.uk/

Steve Davis – the legendary sporting phenomenon from the 80s who took snooker to new heights and as presenter of The Interesting Alternative Show on Phoenix FM brought prog and jazz oddities to his cult audience, now turns his hands to the decks. A real game changer: a real forward thinker.

Listen back to the archive of The Interesting Alternative Show:

We at Supersonic began to wonder about the science, the physics behind being both snooker champion and superstar DJ.

An insightful article on snooker technique at http://www.fcsnooker.co.uk/ assists with this comparison:

‘Players should not be bound by principles generally laid down in previous books. If need be, they should experiment and find out if they can achieve their objectives in other ways.

“What suits one player will not automatically suit another”.

Discover the stance that works best for you and do not copy others. Try and focus on what is happening on top of the table and not what is happening beneath.’

From snooker, to turn, the table is a place Steve Davis is well on top of. He is certainly not bound by previously laid principles and experiments with an atypical approach to bringing the party.

It’s a hobby which he claims has spun out of control. His notorious 2016 Glastonbury set at the 500 capacity Stonebridge bar was mobbed by a curious turned shocked and enthralled crowd. With a packed out DJ diary since, Steve has continued to woo party goers from Bluedot to Bloc Festival. Drawing from an eclectic array of influences: Magma, Caravan, Oscar Perry, Soft Machine and Gong to name but a few – Steve spins together a unique set in his quest to deliver the music he loves to lovers of the party.

For an article on the 10 records that changed Steve’s life, click [here]

According to http://snookerdelight.com, here are the steps towards taking the perfect snooker shot:

[or as a DJ: the perfect drop]

(we’re really enjoying this metaphor)

Step 1: Determine where you want the cue ball to go

Step 2: Determine where the cue ball will strike the object ball [audience]

Step 3: Determine how to strike the cue ball – pace and position [pretty clear]

Step 4: Stand behind the intended line of the cue ball (NOTE: this is where a lot of amateur players get into trouble) [DJ booth]

Step 5: Walk into the shot in a specific consistent way [finger point]

Step 6: Feather and pause as needed […]

Step 7: Strike the cue ball [DROP]

OK I think we’ve laboured the point long enough. This is going to be a championship worthy set.

Get your tickets for Steve Davis, in association with The Hare & Hounds 10th Anniversary Series, on sale NOW at:

https://www.skiddle.com/whats-on/Birmingham/Hare-And-Hounds/Super-Sonic-Festival-Presents-Steve-Davis-(DJ-Set)/12910549/

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