KAREN GWYER is a US-born Londoner with a small bunch of divine releases to her name on both Opal Tapes and No Pain In Pop. Gwyer casually summons the feeling of a warmer, more futuristic Popol Vuh, other comparisons including Motion Sickness Of Time Travel, Cabaret Voltaire, Cluster or even an instrumental, more rhythmic Fever Ray.

“Rather than making straight club music, Gwyer assimilates house and techno tropes into oozy, hypnotic slow burners, as in album opener ʻSugar Totsʼ. African beats herald the action, joined by molasses-thick synths and glassy bells that chime finely somewhere in the distance. Similarly, on ʻPikki Kokkuʼ, steamy, diaphanous whispers and minimal drum patterns overlay molten synths and subtle low end. Thereʼs little resolution here; instead we have an internal lambency thatʼs warm and satisfying…. The result is an intimate and beautiful record” – Factmag

karengwyer.com

Swans return to the UK this May for a headline slot at this year’s Supersonic Festival. Expect an epic set of pulverising tunes from the visionary frontman Michael Gira & his 6 man ensemble of music veterans. Having recently unleashed their extraordinary new album ‘To Be Kind’, we know it’s going to be one of this year’s highlights, so grab your chance to see them whilst you still can. Tickets here.

UNCUT recently reviewed the album giving it a highly respectable 8/10. They also had this to say:

“…these are not delicate symphonies. Nor do Swans jam, or employ anything as rhythmically complex as syncopation or tricky time signatures. Instead, these songs roll in like dark clouds, heave and grunt like a galley slave under the lash, or beat relentlessly, like a forehead hammering against a wall. It is much to Gira’s credit that he manages to make such music not just tolerable, but gripping.” – Louis Pattison, UNCUT.

Uncut also did a short Q&A with Michael Gira:

Q: When you were interviewed while touring The Seer, you were talking about writing ‘tender’ music…

A: “Exactly, that’s “To Be Kind”. It’s a song written for my fiancee. But whatever I’m doing, whatever I’m reading, whatever I’m watching, it all goes into the records. When I am blessed with a subject or a string of words that feel coherent, I get down on my knees and lick the ground in gratitude. For me, it ins’t an easy thing to write. Subject matter isn’t really an easy thing for me to control. I find it builds gradually over the course of the record.”

Q: Is “Just a Little Boy (For Chester Burnett)” about Howlin’ Wolf?

A: “It’s not about him, no. I just kind of felt he was there with me as I was singing it. I don’t know what those words are, except me reaching back into this inner child place, which is not a sweet place necessarily. I noticed when I was singing, I was doing what the Wolf did, a bit – reaching into this unbridled id. And he did some really stupid things onstage, as did I. He’d do things like get down on the floor, get under some woman’s skirt and go like a-woooo! So I dedicated it to him.”

See Swans when Supersonic Festival returns next month! Due to the addition of a second stage and a whole new bill of exciting artists we’ve been able to release a limited number of additional tickets which have already selling fast. Don’t miss out on Swans and so much more this May 30-31st! Tickets here

Supersonic Festival 2014 Ltd Edt had sold out in the first weekend of ticket sales, but due to the addition of a second stage we’ve been able to increase our capacity and offer up another 200 tickets for sale. Half of these extra tickets have already gone! So this really is last chance saloon for those of you who want to be part of Supersonic’s 2014 return: Be quick, tickets here.

With a second stage of course comes a whole new line-up of acts and we’ve picked out some corkers for you. A mix of both well established names like Seattle resident Chris Brokaw and also those who’ve been creating a buzz more recently including Anta, Evil Blizzard, Rattle, Khünnt and Sly & The Family Drone. The festival also welcomes some local bands who’ve made an impression on us including Backwards, Youth Man and Opium Lord. For more information on all these acts and why you should see them, plus the rest of the line-up go here.

We’ve picked out some tracks from some of these performers, plus a few extra tracks from the final additions to the main stage including Pharmakon, Felix Kubin and Alien Whale. Have a listen and get geared up for what is sure to be a great weekend of music and much, much more!

https://soundcloud.com/supersonic-festival/sets/supersonic-festival-ltd-edt-1 

You can also listen to our previous playlist which includes songs from many of our other performers this year.

Get your tickets here now

Backwards. Two basses, drums, voice and electronics. The fag end of No Wave meets the ugly monotone of Hate Sludge. From Birmingham, featuring ex-members of Beestung Lips, Una Corda and Napalm Death. Disappointment Guaranteed.

Backwards soundcloud

Kaila Whyte plays guitar and sings. Adam Haitof plays bass guitar. Marcus Perks plays drums. Collectively, Youth Man storm through a venue like a bull in a china shop, levelling everything in sight. Youth Man are all about unbridled X-Ray Spex-tinged passion and the high velocity punk energy of legendary Welsh trio Mclusky mixed with an artistic edge that leans towards The Dead Kennedys’ trippier moments – throwing caution to the wind and smashing your guitar into a thousand sweat-soaked pieces.

Following the initial announcement about Supersonic Ltd Edt 2014 where tickets sold out in a weekend we are delighted to be able to  make available another 200 tickets due to the opening of a brand new venue, Alfie Birds at the Custard Factory, we just couldn’t resist partnering with this new space and adding a second stage. BUY TICKETS

Adding to an already impressive line up (including Swans, Wolf Eyes, Matmos, Sleaford Mods and many more) are an array of weird and wonderful performers, and what band fits both categories “weird” and “wonderful” more aptly than Evil Blizzard, who shall bring their critically acclaimed, uniquely bizarre noise rock to the event. Meanwhile, Pharmakon’s confrontational power electronics and deathly industrial sounds will reverberate loudly around the Custard Factory, impossible to ignore. For something different, veteran performer/film composer and member of rock bands Codeine and Come, Chris Brokaw shall perform solo in support of his latest album.

Excitingly, Khünnt (featuring Richard Dawson and Pigs x 7) shall perform at Supersonic Ltd Edt 2014, exploring the boundaries of esoteric music, from minimalist noise and ESP screams to live improvisation, fog-beat and psychedelic city mantra. From these savage sounds we traverse to the futurist pop, electroacoustic and chamber orchestra music of Felix Kubin. And on another part of the musical spectrum, Sly & The Family Drone‘s egalitarian approach will propel the audience and band together into a shamanistic setting of catharsis and anarchic celebration.

What Supersonic event is complete without something heavy? Enter Opium Lord, who’s desolate doom-sludge, filthy grooves and abrasive noise will satisfy those with a penchant for dark sounds. Also ticking the boxes for loud, visceral, imposing and intelligent music are Bristol based ANTA who have also been added to the line up.

To mark the release of their first record, a 10″ EP, on London -New York label care in the community recordings, Alien Whale have been added to Supersonic Ltd Edn, musically exploring their roots in free-form rock ‘n roll with an ecstatic energy.  Also taking to the stage at Supersonic Ltd Edn 2014 are Rattle, two of Nottingham’s most unique and recognisable drummers (Theresa Wrigley of Fists and Katharine Brown of Kogumaza) and aided by Kogumaza’s Mark Spivey shall perform their hypnotic and dance-floor filling music, that recalls This Heat or ESG.

And finally, Capsule add two exciting local bands to the Supersonic Ltd Edn bill which includes, Birmingham based, Youth Man who shall present their hyperactive, non-stop form of post-punk which sounds like the Pixies playing Minutemen covers, heavily influenced by the Dead Kennedys. Also added are Backwards, featuring ex-members of Beestung Lips, Una Corda and Napalm Death – who serve up a heady brew of distortion with two bass guitars, drums, voice and electronics.

Of course as well as adding more performers we also have a number extra curricular happenings across the weekend at the Custard Factory and other locations also. Don’t forget to check out the Bill Drummond exhibition at Eastside Projects, he shall be leading a re-enactment of two historical performances given by The17 choir. The first was in Moscow on the 28 September 2006, the second in Saint Petersburg the following day. The re-enactment will involve 34 people, 17 of whom will act the part of those that were The17 in Moscow, the other 17 will act the part of those who were The17 in Saint Petersburg.   The17 choir creates music that follows no musical history, or necessarily has words, melodies or rhythms. This is a ticketed event taking place at Eastside Projects on Saturday at 2pm.

Still to come in the near future…more information about Capsule’s inaugural ‘Labs’ (artist development and commissioning scheme) devised to create more opportunities for commissioning experimental, cross-disciplinary art, which Capsule intend to launch at Supersonic Ltd Edn.
BUY TICKETS

Sly & the Family Drone are a primal orchestra of drum rhythms, radiophonic oscillator noise and electronically-abstracted vocals. Sly’s reductionist take on music is literal: they split their drum kit to its singular base units, passing individual drums to the audience who maintain the beat while they free themselves for more noise and freestyle mayhem, ultimately eliminating any boundaries between spectator and performer. This egalitarian approach propels audience and band together into a shamanistic setting of catharsis and anarchic celebration.

“designed to blow out the fug of your enfeebled minds” – The Quietus

Bandcamp

Facebook

If the idea of a band consisting of just 2 drummers brings to mind a hippy bongo nightmare then you’ve obviously never heard Rattle. Comprising of 2 of Nottingham’s most unique and recognisable drummers (Theresa Wrigley of Fists and Katharine Brown of Kogmaza) and aided by Kogumaza’s Mark Spivey they create a hypnotic and danceable music form that recalls This Heat or ESG even whilst remaining completely their own.

Loud, visceral, imposing, intelligent. Based in the creative hub of Bristol, UK, ANTA formed in early 2010 and quickly set to establishing a fearsome live reputation. The last eighteen months have seen the band’s sound evolve from the lurching, exploratory doomscapes that defined their debut, into something considerably more concise, focused and sonically aggressive. ‘Centurionaut’ is the culmination of a year’s worth of writing, playing, refining and honing. All of the band’s hallmarks are present: kinetic, inventive drum work, guttural, throat-rattling bass, beautifully intertwined synth and organ lines and filthy, driving guitar. This time round though, the immediacy and urgency in the songs’ execution leaves you short of breath. A heavy band for whom considered songwriting and catchy hooks are as important as bruising riffs. Expect

“Centurionaut appeals to the inner headphone space cadet and outer sweaty rock ogre equally. Through celestial drones and echolocations it explores sonic spaces, rhythmic symmetry and the spiritual singularity that can only be reached via the repeated application of an unabashedly muscular riff.” – The Quietus

Webpage: ANTA

Four bassists, a singing drummer and a baby’s head Theremin. This in short is Evil Blizzard.

Mysterious, masked merchants Evil Blizzard have achieved a lot in a relatively short period after being ‘discovered’ by Manchester music legend Mark E Smith at an early gig. He immediately signed them up to tour with his band The Fall stating that Evil Blizzard “…give me hope that music is alive and kicking”. Playing a kind of grimy doom rock, the mournful vocals and psychedelic electronics veer at times towards a trippy Black Sabbath. But by and large Evil Blizzard are just the perfect storm of …oddness. Live the band employ tried-and-tested confrontation tactics such as onstage fights and pig masks. Every generation needs its own shock-rock panto, but all too often this is at the music’s expense. Not the case here. The bass riffs are both impending and hypnotic, beckoning the audience in to their own weird and dangerous world. Evil Blizzard need to be experienced, words alone just don’t do them justice.

Evil Blizzard bandcamp

Chris Brokaw is a singer/songwriter, film composer, accompanist, and rock band member living in Seattle, Washington. He has been making records and touring internationally for 20+ years, beginning with his bands Codeine and Come, who made landmark records for Sub Pop and Matador in the 1990’s. Since 2002 he has made dozens of recordings: solo albums of instrumental and vocal music, and with his bands The New Year, Dirtmusic, The Lemonheads, The Martha’s Vineyard Ferries and Wreikmester Harmonies.

He has recorded and performed live as an accompanist to Thurston Moore, Rhys Chatham, Evan Dando, Christina Rosenvinge, Jennifer O’ Connor, Steve Wynn, GG Allin and Johnny Depp.  He has composed for the Dagdha Dance Company (Frankfurt/Limerick) and Kino Dance (Boston); and scored five films, 2 of which (“Now, Forager” and “Taken By Storm”) screened in 2013 to packed houses at MOMA in New York City. His score for “ROAD” won the award for Best Original Score at the Brooklyn International Film Festival in 2005. He played as one of 77 drummers in the Boredoms’ “77 Boadrum” in Brooklyn; as one of 200 guitarists in Rhys Chatham’s “A Crimson Wave” at Lincoln Center, NYC; and The Festival in The Desert in Essakane, Mali in 2008 with his band DIRTMUSIC. He has duos with Geoff Farina (ex-Karate) playing pre WWII country blues, and with Stephen O’Malley (Sunn o)))), playing improvised abstract music.

chrisbrokaw.com

Opium Lord had a busy 2013, releasing a now sold out debut EP, playing numerous UK appearances and headlining a tour of mainland Europe. It’s safe to say they made some pretty bold statements in what was only their formation year. The band make desolate doom-sludge with a coal black heart. Filthy grooves meet abrasive noise to convey a menacing atmosphere akin to the dodgiest drinking establishments that only a band from Birmingham could make. Made up from the ashes of History of the Hawk and Stinky Wizzleteat, Opium Lord are certainly on a different level from previous ventures. Blending genres into a sonic chokehold, they will make you re-evaluate what doom can be.

Opium Lord Facebook

Supersonic are delighted to be partnering with Death Waltz Recording Company and The Duke Mitchell Film Club for One Night Only, the two kings clash – on one side the king of obscure oddities from London  on the other – the king of rare sounds from all across the globe – a boutique label specializing in obscure, rare-to-find and brilliant soundtracks.

The result can only be brilliant chaos.

For a special, one-off Supersonic event the minds behinds these two labels are putting their heads to create a one-of a kind evening stuffed with wall-to-wall madness – taking over the cinema at supersonic on 31^st May 2014, they will be presenting a programme of cinematic and audio-visual madness the like of which is never to be seen before or after.

There will be VHS tapes, an ever-decreasing quality of carbon copy films,  their respective inspirations, the worst music videos in mind, weird shorts and more than a fair share of crap horror music as well as rare and secret clips, videos, shorts and more. Nothing will be sacred, nothing will be off-limits – this will not be your usual film slot, that’s for sure.

Khünnt features Richard Dawson, as well as members of pigs pigs pigs pigs pigs pigs pigs and Blown Out.

Formed in 2006, Khünnt have fervently explored the boundaries of esoteric music, from minimalist noise, cack-rock and ESP screams to live improvisation, fog-beat and psychedelic city mantra. The latest incarnation of the band sees them spiralling down a long hole howling a gale of blighted sustain, aggravated nowhere-isms and chunks of sheer bedlam, finally splashing heavily around the bottom of the mirrored well.

Khünnt worship as one at the toes of a tortured and hopeless entity, utilising no-tune guitars, primal riffs, freeform noise, savage vocals and unrelenting repetition to manifest their perpetual entrapment in the illusion of modern life

Khünnt bandcamp

For One Night Only, the two kings clash – on one side the king of obscure oddities from London – The Duke Mitchell Film Club. On the other – the king of rare sounds from all across the globe – Death Waltz Recording Company – a boutique label specializing in obscure, rare-to-find and brilliant soundtracks.

The result can only be brilliant chaos.

For a special, one-off Supersonic event the minds behinds these two labels are putting their heads to create a one-of a kind evening stuffed with wall-to-wall madness – taking over the cinema tent at supersonic on 31^st May 2014, they will be presenting a programme of cinematic and audio-visual madness the like of which is never to be seen before or after.

There will be VHS tapes, an ever-decreasing quality of carbon copy films,  their respective inspirations, the worst music videos in mind, weird shorts and more than a fair share of crap horror music as well as rare and secret clips, videos, shorts and more. Nothing will be sacred, nothing will be off-limits – this will not be your usual film slot, that’s for sure.

If you want to experience something alternative, if you’ve had your fill of the bands, the tents and the music, come and join Spencer Hickman, Alex Kidd and Evrim Ersoy as they bring down the house for what promises to be a super-special event.

Richard Windley’s Stroh guitar; Run What Ya Brung – If Wet #4. Photo: Pete Ashton

If Wet at Supersonic will be extending their usual Run What Ya Brung feature. In collaboration with Stryx, they will select people to show and tell by providing a platform for short, informal presentations of your sonic delights; The theme of the day is ‘Extraordinary Objects‘ you can bring anything along from a Stroh guitar you might’ve made yourself [pictured] to a dolls head theramin…

Call out: Due to anticipated demand we are running this as a call out, so if you fancy showing something for a few minutes in an informal setting then please pop us an email to discuss what you might present and we will be in touch  hello[at]ifwet.org.uk. Four artists will be selected by If Wet/MortonUnderwood to show work alongside artists selected by Stryx.

supported by Birmingham City University

Richard Windley’s Stroh guitar; Run What Ya Brung – If Wet #4. Photo: Pete Ashton

If Wet at Supersonic will be extending their usual Run What Ya Brung feature. In collaboration with Stryx, they will select people to show and tell by providing a platform for short, informal presentations of your sonic delights; The theme of the day is ‘Extraordinary Objects‘ you can bring anything along from a Stroh guitar you might’ve made yourself [pictured] to a dolls head theramin…

Call out: Due to anticipated demand we are running this as a call out, so if you fancy showing something for a few minutes in an informal setting then please pop us an email to discuss what you might present and we will be in touch  hello[at]ifwet.org.uk. Four artists will be selected by If Wet/MortonUnderwood to show work alongside artists selected by Stryx.

Stryx are delighted to present Racket, our first appearance at Supersonic Festival and afternoon feast of noise, experimental and live sonic art offerings from a diverse roster of sound artists who utilise extraordinary objects and techniques to inform their practice.
Serving up a taste of some of Manchester and Birminghams’ most exciting sound artists, the bill includes; Graham Dunning, Sarah Farmer, Manoli Moriaty , Rosanne Robertson , David Birchall , Debbie Sharp with many of them participating on Saturday’s If Wet Salon.

Racket will be taking place on Sunday 1 June from 2pm at Stryx (Unit 13, Minerva Works, Fazeley Street, Digbeth, Birmingham, B5 5RS) £4 entry on the door or £3 with Supersonic ticket.

www.stryx.co.uk
Stryx is an artist led studio, project and exhibition space in Digbeth, Birmingham.

Formed by Fine Art graduates in 2012, Stryx is formed of individual practitioners who work together to foster a diverse range of events, exhibitions and projects both in and outside their studio space. Furthermore, Stryx seeks to initiate and develop regional and national artistic collaborations in order to promote and strengthen an accessible and vibrant network of ideas and practices.

Stryx is run by Sophie Bullock, Aly Grimes, Karolina Korupczynska and Emma Leppington.

The 17
Saturday 31 May, 2-4pm
Eastside Projects, 86 Heath Mill Lane, B9 4AR
34 places are available email caroline[at]capsule.org.uk with ‘BILL_17′ in the title – first come first served and for Supersonic Festival ticket holders only.

Bill Drummond will be leading a re-enactment of  two historical performances given by The17. The first was in Moscow on the 28 September 2006, the second in Saint Petersburg the following day. The re-enactment will involve 34 people, 17 of whom will act the part of those that were The17 in Moscow, the other 17 will act the part of those who were The17 in Saint Petersburg.

If you want to take part in this re-enactment you need to have a voice, two ears. And an ability to use your imagination. We need 34 people, no more no less.

Presented in partnership with Eastside Projects as part of ‘The 25 Paintings’, the first stage of Bill Drummond’s World Tour 2014-2025 and the culmination of the life’s work of Bill Drummond, artist, legendary music maker and infamous myth maker.
Exhibition continues to 14 June, Wednesday–Saturday 12-5,

The 17
Saturday 31 May, 2-4pm
Eastside Projects, 86 Heath Mill Lane, B9 4AR
34 places are available email caroline[at]capsule.org.uk with ‘BILL_17′ in the title – first come first served and for Supersonic Festival ticket holders only.

Bill Drummond will be leading a re-enactment of  two historical performances given by The17. The first was in Moscow on the 28 September 2006, the second in Saint Petersburg the following day. The re-enactment will involve 34 people, 17 of whom will act the part of those that were The17 in Moscow, the other 17 will act the part of those who were The17 in Saint Petersburg.

If you want to take part in this re-enactment you need to have a voice, two ears. And an ability to use your imagination. We need 34 people, no more no less.

Presented in partnership with Eastside Projects as part of ‘The 25 Paintings’, the first stage of Bill Drummond’s World Tour 2014-2025 and the culmination of the life’s work of Bill Drummond, artist, legendary music maker and infamous myth maker.
Exhibition continues to 14 June, Wednesday–Saturday 12-5,

Alien Whale is an improvising rock group comprised of three bulwarks of the Brooklyn underground music scene. Matt Mottel (of Talibam!) plays keys, Colin Langenus (of USAisaMonster) plays guitar, and Nick Lesley (of Necking) plays drums. The three members work across music genres and art forms and have individually collaborated with luminaries of the musical avant-garde such as Rhys Chatham , members of Fluxus, Boredoms or Sonic Youth. Alien Whale takes them back to their roots in free-form rock ‘n roll with ecstatic energy. Supersonic will mark the release of their first record, a 10” EP, on London -New York label care in the community recordings.

Alien Whale

Our annual programme of big sounds for little people returns! These Supersonic Kids Gigs act as an introduction to experimental music for children and their families. Taking place on Friday May 30th in the foyer of Symphony Hall , kicking off at 10:30am. This is a free event and recommended for children under 10 and their families.

Leading this Kids Gig is artist Sarah Kenchington who  makes, designs and adapts acoustic musical instruments. She performs on a semi mechanical pedal powered orchestra, designed to be slightly beyond her control, creating a mixture of dirty noise and plaintive almost tuneful melodies.

As well as her solo performances Sarah has performed and recorded with a range of musicians from Glasgow’s vibrant experimental music scene including Daniel Padden, Mark Vernon and Luke Fowler. She also builds large scale instruments and installations, including ‘Wind Pipes’ for Edinburgh art festival, made from salvaged church organ pipes. And ‘Sound House’ for Modern Art Oxford, an instrument made from a house.

Wind Pipes for Edinburgh from Edinburgh Art Festival on Vimeo.

Supersonic Festival wants to inspire the audiences and musicians of the future through our Kids Gigs programme. This year we will be hosting a Kids Gig event on Friday May 30th. This is a free event and recommended for children under 10 and their families. It will take place in the foyer of Symphony Hall at 10:30am.

Leading this Kids Gig is artist Sarah Kenchington who  makes, designs and adapts acoustic musical instruments. She performs on a semi mechanical pedal powered orchestra, designed to be slightly beyond her control, creating a mixture of dirty noise and plaintive almost tuneful melodies.

As well as her solo performances Sarah has performed and recorded with a range of musicians from Glasgow’s vibrant experimental music scene including Daniel Padden, Mark Vernon and Luke Fowler. She also builds large scale instruments and installations, including ‘Wind Pipes’ for Edinburgh art festival, made from salvaged church organ pipes. And ‘Sound House’ for Modern Art Oxford, an instrument made from a house.

Supersonic’s Kids Gig on May 30th will be at Symphony Hall

Margaret Chardiet aka Pharmakon was born and raised in New York City She has been making power electronics/death industrial music under the name Pharmakon for five years. As a founding member of the Red Light District collective in Far Rockaway, NY she has been a figurehead in the underground experimental scene since the age of seventeen. She points out that the environment there amongst so many other experimental artists (amongst them Yellow Tears & Haflings) inspired her to keep making increasingly challenging work. She describes her drive to make noise music as something akin to an exorcism where she is able to express, her “deep-seated need/drive/urge/possession to reach other people and make them FEEL something in uncomfortable/confrontational ways.