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!

GRAB YOUR TICKETS NOW!

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!

SUPERSONIC TICKETS ON SALE NOW

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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!

GET YOUR TICKETS NOW!

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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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