Moor Mother: Punk, Poetry and Justice

 

“Moor Mother might be the most radical – even the most useful – Afrofuturist artist to emerge for years.”– WIRE

 

Moor Mother is the viscerally charged output of Philadelphia based artist and activist, Camae Ayewa. In line with her own description her music weaves between “blk girl blues”, “project housing bop” to “slaveship punk”, with these self made categorisations allowing Moor Mother to be fluid and interdisciplinary with her expression. Her music is often harsh, confrontational, projecting both the cathartic anger of punk and the expansive improvisatory spirit of Sun Ra into an output that is consistently grounded in a sense of history and story-telling. Through her blending of hip-hop, samples, spoken word and free jazz into collages that shudder with both pride and anger she charts centuries of abuse against black people, the differing textures working in tandum to create a strange, jarred beauty.

Her poetry, music, and ‘D-I-Y time travel’ become tools in depicting ugly truths; often harsh, often strange, always imperative and significant to building a better future for black America. Her advocacy for Afrofuturism- the movement that visualises utopian prospects for black culture- means that her artistry speaks of a painful past as a step toward envisioning what is yet to come. Each branch off the art of Afrodiaspora is united by a desire to create contexts that ‘encourage a process of disalienation’, and Ayewa creates music that implicates, names culpabilities, and creates a space to learn from difficulty. This is not an imagined future, but one instead which creates art as a distortion and reconsideration of the present.

 

“Her music is deliberately raw and unfiltered, like human feelings”FADER

 

Her debut album Fetish Bones on Don Giovanni records was released in 2016 to critical acclaim. Named 3rd best album of the year by The Wire Magazine, number 1 by Jazz Right Now and appearing on numerous end of the year lists from Pitchfork, Noisy, Rolling Stone, and Spin Magazine, she has since released ‘The Motionless Present’ commissioned by CTM X VINYL FACTORY 2017, as well as fronted the groups Irreversible Entanglements, Moor Jewelry and 700bliss.

We are honoured to have Moor Mother bring her powerful message to the Supersonic Stage this June as Robert Aiki Lowe’s guest curation, following 3 days in the The MOOG Sound Lab as our artist in residence, hosted by Royal Birmingham Conservatoire. Watch her below speaking with Moog Music Inc on using sound as an agent of resistance.

 

SHARE:

MX World to support OUTLANDS Matana Roberts and Kelly Jayne Jones performance

 

We are hugely excited to announce that MX World will be supporting Matana Roberts and Kelly Jayne Jones in their upcoming Supersonic Presents performance in May. This event will be hosted at Centrala, Birmingham, in conjunction with OUTLANDS experimental music initiative.

By combining traditional methods and styles of song writing, sampling, sound collage and audio-processing techniques, Mx World evokes a sense of space, texture and movement through sound. Music and performance is approached as a means of escapism, fantasy and catharsis for both the listener and performer, with the London based artist (aka Poppy Tibbetts) creating atmospheric, experimental pop music with a powerful vocal presence.

 

LISTEN TO MX WORLD HERE, BUY TICKETS HERE.

 

SHARE:

Wolves in the Throne Room: A black metal masterclass

“…continually push and alter limitations and expectations of what the genre of metal is and what it has the chance to become.”– The Line of Best Fit

 

During the Summer of 2002 at an Earth First rendezvous in Washington State, guitarist Nathan Weaver was inspired to create a band that merged a Cascadian eco-spiritual awareness with the misanthropic Norwegian eruptions of the 90’s. The band envisioned would strive to create a mythic space where artist and listener could strip away the mundane and tap into a more mysterious, transcendent consciousness: this is Wolves In The Throne Room.

 

 

Their latest release ‘Thrice Woven’ announces the band’s return to black metal with a story of death and rebirth, and, as you’d expect, the record is an ambitious collection dead-eyed chorales, twisted black metal bursts and grayscale, field recording ambience. From their inception the band have dealt in tremolo-picked guitar lines, deathly folk pieces, and wordless synthesizer drones alike, but within their discordant sounds a grand spaciousness is unified like a cavernous echo. The effect of guitarists Nathan Weaver, Aaron Weaver and Kody Keyworth on stage is mesmerising- a perfect reflection of the dark psychedelia of the band’s work. Their most recent soundings are more engrossed in the raw and earthy tones of their earlier sets, with their Supersonic performance this year promising to be a masterclass in atmospheric black metal.

 

“…untrammelled power and celestial beauty with a finesse that few can match.”– The Quietus

 

Indeed, Wolves In The Throne Room have become one of the most potent, highly regarded bands in extreme music. Through re-imagining black metal as an ode to rain storms, wood smoke and the wild energies of the Pacific Northwest, the listener encounters crystalline metal riffs with ritualistic laments: a connecting of the musical and the magical.

Watch them below performing live at Manchester venue Rebellion last year, and don’t miss this experience at Supersonic Fest 2018.

 

SHARE:

HAPPY RECORD STORE DAY 2018!

HAPPY RECORD STORE DAY GOOD PEOPLE!
Here’s a couple of NEW releases from our Supersonic 2018 artists you should be purchasing or pre-ordering right now:

 

The Ex, 27 PASSPORTS

 

Shirley Collins, THE BALLAD OF SHIRLEY COLLINS

 

Get supporting the independent music scene! With thanks to the labels & stores keeping it alive!

FLOAT // NEUROT RECORDINGS // THRILL JOCKEY // ANTI-GHOST MOON RAY // ROCKET RECORDINGS // EM RECORDS // MANNEQUIN RECORDS // INVADA // DON GIOVANNI // EARTH RECORDINGS // BOX RECORDS // SOUNDRAY RECORDS // WOW AND FLUTTER // DEFUNKT DIALEKT + MANY MANY MORE!

 

SHARE:

Vanishing Twin: breathing new life into psychic groove

“Angelic vocal samples, modular synths, sketchy, dissonant hammond riffs, flutes, tablas and unplaceable instruments are manipulated and exploited to their full psychotropic effect.”– Gold Flake Paint

 

Cathy Lucas (Orlando, Fanfarlo, Innerspace Orchestra), drummer Valentina Magaletti (Tomaga, Raime, Neon Neon) and bassist Susumu Mukai (aka Zongamin), with Phil M.F.U. (Man From Uranus) on strange sounds and filmmaker/visual artist Elliott Arndt on flute and percussion.

Separately, each member has been experimenting with the sonic unknown for a decade or more; together they’ve been breathing new life into mystic electronica and psychic groove since their inception in 2015. The London ensemble- under a name inspired by the absorption of Cathy Lucas’ identical sister whilst in utero- have since become known for their marrying of oblique English pop with sweeps of funk and arkestral sounds. Their acclaimed debut album ‘Choose Your Own Adventure’ was released with Soundway Records in 2016, challenging the listener to explore a realm of sounds and sonic influences few would consider putting together.

 

 

Drawing on sounds outside of the usual pop vocabulary, the group use forgotten drum machines, home-made electronics, vibraphones, tablas, and harp to invoke the esoteric psychedelia of lost soundtracks, radiophonic experiments and minimal music orchestras. Under the guidance of producer Malcolm Catto (Heliocentrics, DJ Shadow, The Gaslamp Killer), the group brings a distinctive experience to the Supersonic stage.

 

 

SHARE:

Two artist opportunities


Sarah Angliss in the Moog Sound Lab 2015

We are pleased to announce two very exciting opportunities for artists to take part in Supersonic Festival 2018

Open call: Supersonic Festival Residency, Moog Sound Lab 2018

We are delighted to announce an open call for artists to spend time in-residence at the Moog Sound Lab, hosted by the Royal Birmingham Conservatoire in partnership with the Supersonic Festival 2018 between 4 – 15 June, 2018.

A 2 day residency opportunity with support from a technician and £300 fee
Dates for the residency:
7/8 or 14/15 June

Deadline for applications: 4 May (successful applicants will be informed 9 May)
To download the application pack see – HERE


 


Rachel Lowe – ‘Revolving Woman’ 2008  Video still  Courtesy the artist

Open call: ‘FIND YOUR WORLD IN OURS’ Digital artwork commission for Supersonic Festival 2018 and Ikon Gallery.

We are delighted to announce an open call for an artist to produce a new digital moving image artwork for large-scale projection at Supersonic Festival 2018 and for screens at the Ikon Gallery in June 2018.

Supersonic Festival presents ‘Find your world in ours’ a series of newly commissioned digital artworks. The project developed with artist Mark Titchner continues his interest in the intersection between visual art and experimental music. These works will be presented both as a series of large-scale video projections during the festival (22-24 June) and on screens at Ikon Gallery. The successful applicant will have their work included within a programme of new artist commissions curated by Mark Titchner.

Artists include Anna Barriball, Sean Dower, Mustafa Hulusi, Rachel Lowe and Mark Titchner.

We are looking for a new moving image digital artwork that explores these themes in an original and dynamic way: Ritual / Repetition / Collective experience / Transcendence

Fees: £1,250 to support the production of a new work for the project.
+ Technical support is also available for the production of the work for those applicants who may not have produced digital moving image work before.
A weekend pass for the Supersonic 2018 Festival, travel expenses, accommodation.

Deadline for applications: 4 May (successful applicants will be informed 9 May)
To download the application pack see – HERE

 

SHARE:

In Celebration of The Slits: Making Women in Music Heard

 

In collaboration with MAC Birmingham, Capsule had the honour of hosting a Q&A with Slits members Tessa Pollitt, Palm Olive and director William E. Badgley following the screening of Badgley’s 5 year effort Here to be Heard: The Story of The Slits. A sell out show, the evening promised and delivered on an immensely inspiring, powerful feature celebrating the lives and work of the band and its members, following the pioneering godmothers of ‘Punky Reggae’ from their inception in 1976 to their untimely end in 2010 with the death of lead vocalist Ari Up.

 

 

The Slits were part of one of the most fascinating musical, social and political movements of the last century. It was a scene which was inherently provocative, a revolutionary product of a particular social climate, with punk scenes in Britain appearing the most political. The England of 1979 was bristled with discontent, crippled by strikes and blackouts and ruled by prejudice and inequality. It was a world which to many felt out of reach and out of touch, no less so in the world of music which had since been chorused by pop, folk, glam and soft rock. The eruption of something volcanic was almost inevitable.

Despite being an integral part of the movement, it is a tragedy that The Slits have not received the same attention as the likes of The Clash or The Sex Pistols. If an all girl rock band remains- ridiculously- a relatively rare thing today, their reception in the late 70’s meant that these girls were radicals before playing their first note. Whether it can be related to gender or not, the gleefully obnoxious antics of the group were intimidating in their in-your-face defiance, demeaning to conventions of how anyone was expected to behave in society- let alone young women.

 

“I can’t really think of anyone like us before. I think because we were women it was even more threatening because of the way we looked…I suppose you have to look at what it followed, the whole ’60s apathy thing and the fact that it was a movement, it wasn’t just one group. Something had to break at that period.”- Tessa Pollitt for Loud and Quiet

 

Amongst other punk groups The Slits insisted on playing to their own beat, being amongst the first bands on that scene to draw comparisons and inspiration from reggae music and culture for example. They were the first group of female musicians doing it on their own terms, with a sheer inability to compromise or sell themselves on their sex appeal that proved to be a major inspiration to the Riot Grrl movement in the 1990s.

Their dedication to the experimental and authentic is cornerstone to so many women in music today, a fearlessness that is no less present than for those performing at Supersonic Festival this year. The warping and defiance of identity seen in Gazelle Twin for example, the austere power of Shirley Collins‘ ballads being another; an influential part of the 1960’s with her folk-rock, storytelling showing an honest, stripped down style reminiscent of The Slits’ own approach to singing about what they found to be true. The striking work of Moor Mother bears a similar anger and protest about injustice, using this defiance to face social and political issues relevant to contemporary society.

The Slits stand as a ferocious force in herstory. We are hugely thankful to them for what they have meant to women in the music industry, and for what they will inspire in generations to come.

SEE GAZELLE TWIN, SHIRLEY COLLINS, MOOR MOTHER AND MORE SUPERSONIC WOMEN AT SUPERSONIC FESTIVAL THIS JUNE!

 

SHARE:

HOUSEWIVES

“In sonorous inebriations, Housewives tatters mental matter into an oblivion, from minimalist punches and strokes, and a full on assault of sonic permutation.” – Tiny Mix Tapes

 

HOUSEWIVES, a London based experimental four piece, create music which straddles the line between noise and sound. Austere and rhythmically charged, their music has a distinctively cold, minimalist edge; abrasive guitars blend with droning bass lines and propulsive, relentless drums.

Housewives have gone way further than the majority of their scene in changing the game for themselves, and in doing so have gained major plaudits from the independent music press and the British scene as a whole. After a sold out tape on Faux Discx they released their debut album Work with Hands In The Dark, Blank Editions and Negative Days. A split release with touring partners Massicot was shortly followed by a second live album FF061116 released with Rocket Recordings in August 2017.

 

 

Their music abandons any conventional algorithms of sound, and in turn take a piece from full-scale conversation into a minimalist dialogue between just a few instruments, musical passages, or ideas. They demonstrate a careful love for detail, creating intelligent, smaller sound structures which powerfully deliver. They serve as a great reminder of what a powerful weapon rhythm can be when approached in a really creative and unorthodox manner.

 

“Their rough-hewn rhythmically charged music has a distinct cold, minimalist sheen, but dealt with the heft of a sledgehammer. Dueling, abrasive guitars hit the ears like glass shards atop growling bass grooves and propulsive, tightly wound drums” – Manchester Wire

 

Their live approach is anti-performance, using a stark and minimal aesthetic coupled with intense and powerful compositions. Often using home made instruments, they explore unique sonic textures creating a challenging and progressive sound.

It’s the kind of music you listen to after a long bad day; music that will propel you into an infinitely better night. BE SURE NOT TO MISS THEM AT SUPERSONIC FESTIVAL THIS YEAR. 

 

SHARE:

Andrea Belfi: “A Cult Drama”

“really is glorious…” – Mary Anne Hobbs, BBC6 Music

 

To label Andrea Belfi’s status as a percussionist would be a modest descriptor. Described by BBC6 Music’s Gilles Peterson as “a cult drama”, over the course of his career Belfi has developed a unique, hypnotic style of drumming, working with the instrument across realms of electronic music to create an immersive, textured sound world.

Perhaps best known for his work with Nils Frahm’s nonkeen group, this Berlin-based Italian musician has held a variety of outfits with more than fifty collaborative records on labels such as Room40 and Miasma. Continuously proving himself to be a fascinating solo artist in his own right, May last year saw the release of his seventh studio album Ore on FLOAT Records, a striking mix of improvised drums and electronic programming intended by the artist to have the feel of a live performance.

 

 

“Change is very important, otherwise [the music] becomes institutionalised” – Andrea Belfi, Drowned in Sound

 

Having played the drums from the age of 14, Belfi’s experience as an artist has continuously grown from his diverse artistic involvement, from playing in numerous punk bands to being an art student in Milan. Moody, obscure, but in very structured, rhythmical journeys, Belfi commits to creating and constantly developing a unique sound, with the interweaving of percussive counterparts with electronica driving forward a sonic architecture with complex patterns, conveyed with the simplicity of an acoustic drum set. Recording drums over electronic patterns for Ore sets a hypnotic mood with transforms the instrument. He plays with the timeless art of variation and repetition, and his recordings deliver on transporting the listener into the mesmerising experience consistent of Belfi’s live performances.

 

For FLOAT’s Piano Day 2018 earlier this year, Andrea Belfi combined his signature methods of percussion and electronics to create a hugely special one of collaboration with pianist and composer Sebastian Plano. With minimum preparation time, these Piano Day collaborations are thrilling experiences for both the audience and performers alike.

 

 

Experience Andrea Belfi’s unequalled live performances at this year’s Supersonic Festival 2018. 

TICKETS AVAILABLE HERE

 

SHARE:

Last night’s Pigsx7, Grey Hairs and Youth Man @Hare and Hounds!

HUGE THANKS to all that came and conquered! 

We were honoured to play host to the ever raucous Youth Man, Grey Hairs and Pigs Pigs Pigs Pigs Pigs Pigs Pigs at The Hare and Hounds Kings Heath last night.

 

 

With thanks to the night’s attendees, the Supersonic Presents event delivered on a fully amped night of stormy, demonic sounds within the uniquely inspired atmosphere that our treasured Supersonic audiences bring.

 

 

Kicking off with some destructive punk from Youth Man, the night started as it was to go on with the Brummies proving why they are dubbed “the loudest live band in the UK”. Performed within the set was there newly unleashed track ‘I Don’t Know’ , taken from their upcoming EP with Alcopop! Records which will be announced later this year.

 

 

Followed by Nottingham’s Grey Hairs, the stage took a life of it’s own with raucous energy and powerful male/female vocals, recalling everything from the Stooges to Status Quo, from The Birthday Party to Black Sabbath, and bringing a surge of unique spirit.

 

 

And finally, bringing the room to a heavy-trance like state came Pigs Pigs Pigs Pigs Pigs Pigs Pigs with an epic, authoritative close. It was an honour to have these swines return to Supersonic, and we’re eager to see more of the exciting projects they have on the horizon.

Keep an eye out for our upcoming gigs via news and socials, see HERE for tickets ON SALE NOW. 

 

At the gig? Send us your pics, drop us a comment below or email alice@capsule.org.uk with your thoughts. 

 

SHARE:

Supersonic 2017 LIVE FOOTAGE release – Pigs Pigs Pigs Pigs Pigs Pigs Pigs

[Courtesy of HTF Media]

AS IF YOU NEEDED ANY MORE REASONS TO GET DOWN TO THE HARE AND HOUNDS KINGS HEATH TOMORROW NIGHT (APRIL 11TH) HERE’S PIGSX7 IN ALL THEIR SWEATY GLORY PLAYING SUPERSONIC 2017

 

THIS IS JUST A SPEC OF WHAT’S TO COME TOMORROW NIGHT
IF YOU HAVEN’T GOT YOUR TICKETS YET – ACT FAST – LIMITED ADV. TICKETS LEFT – PAY MORE ON THE DOOR

 

SUPERSONIC PRESENTS….
PIGS X7 + GREY HAIRS + YOUTH MAN // WEDNESDAY APRIL 11TH // HARE AND HOUNDS KINGS HEATH
EVENT INFO. HERE

 

SHARE:

SUPERSONIC PODCAST NO.5 – OUT NOW!

Join us for podcast no.5 hosted by Anna Palmer and Alice [with the facts] Tomlinson. Hear tracks from the new artists to be revealed for this year’s line up including our guest curator – Robert Aiki Aubrey Lowe and legendary folk singer – Shirley Collins, plus many more! As well as all this, we catch up with some Pigs from Newcastle ahead of their Supersonic Presents…show next week (April 11th) at the Hare and Hounds, Birmingham. Let us know if you’re coming along? 

ROUND UP OF THE CURRENT LINE UP:

Andrea Belfi | Croww | Daniel Higgs | DEAFKIDS |  Faka | Gazelle Twin | Goat (JP) | Group A | Housewives | Joasihno | Mario Batkovic | Moor Mother | Shirley Collins | Terminal Cheesecake | The Ex | Vanishing Twin | Wetware | Wolves In The Throne Room |  Yunohana Variations – YoshimiO (Boredoms, OOIOO), Susie Ibarra & Robert Aiki Aubrey Lowe |  Yves Tumor and more to be announced

ROUND UP OF THE CALENDAR:

Wednesday 11th April – Pigs x7 // Grey Hairs // Youth Man @Hare and Hounds Kings Heath

Tuesday 17th April – Here to be heard – The Story of the Slits @MAC

Friday 18th May – Matana Roberts & Kelly Jayne Jones @Centrala

Friday 25th May – Workshop with Kelly Jayne Jones @BIMM

Thursday 31st May – Dorcha // Rattle // Adrena Adrena @Hare and Hounds Kings Heath

22nd – 24th June – Supersonic Festival @Digbeth, Birmingham

We’ve loads to pack your ears and calendar with, peruse around this here website for more info and for tickets to any of our upcoming events, including Supersonic Festival June 22nd – 24th.

 

SHARE:

**CALL OUT** SUPERSONIC FESTIVAL MARKET PLACE 2018

Supersonic Festival – June 22-24th 2018

 

The Market Place has been a vibrant part of Supersonic Festival for many years now. It’s a space for independent distributors, record labels, poster artists and peddlers of curiosities to sell their wares, network and for you to meet each other face to face.  The Market Place is also where the bands sell their merch. This year, the Market Place will be situated in the light, glass-walled canteen of our Digbeth hub venue, equipped with a tea room serving a selection of epicurean delights.

 

This year at Supersonic, we’ve got a few spaces still available in our Festival Marketplace.
The deal? For £100, you get 2 weekend tickets to the festival and a stall to sell your goods, network and meet audiences face to face alongside likeminded folks.
For enquiries contact: alice[at]capsule.org.uk
SHARE:

SUPERSONIC PRESENTS…Dorcha (single release show), Rattle, Adrena Adrena

 THURSDAY 31ST MAY // HARE & HOUNDS // £6 adv £7 otd

THEY WOOED THE CROWD WITH THEIR MESMERISING SET AT SUPERSONIC FESTIVAL LAST YEAR AND NOW, RETURNING TO THE LIVE SETTING THIS MAY AFTER A 6 MONTH HIATUS, SUPERSONIC PROUDLY WELCOMES BACK DORCHA FOR THEIR HOME-TOWN SHOW IN CELEBRATION OF THEIR NEW SINGLE RELEASE FROM THE FORTH COMING 2018 ALBUM. WITH SUPPORT FROM THE RIOTUS RATTLE AND THE CAPTIVATING ADRENA ADRENA.

 

DORCHA

“Watching Dorcha is like being propelled into another world; they are without a doubt one of the most exciting music projects to come out of Birmingham in recent years.” Flatpack Film Festival.

Dorcha are a genre-fluid 5 piece band of synths, strings, electronics and heavy beats. A dynamic, versatile group with a refusenik attitude, Dorcha obsess over transporting listeners to a pool of shifting, nearly gothic, barely pop, experimental songwriting. Praised by the likes of BBC Radio 6’s Stuart Maconie on the Freak Zone, 2017 saw further progression in Dorcha’s recognition, with a live performance on BBC Radio 3 Late Junction, appearances at Flatpack Film Festival, Supernormal, Supersonic Festival and more. This May the band launch a brand new single from the forth-coming album set for release later this year. Bubbling with a new energy, this home-town show will be one not to be missed!

Dorcha already know their own collective mind and are starting to channel a genre defying path through the increasingly fractured musical landscape. They deliver original and ambitious ideas with attitude and commitment, combining their considerable aptitude as players with an impressive musical sensibility. They clearly enjoy what they do. In Anna Palmer they have a tenacious front woman whose ability to move convincingly from sweet song to dark folk to visceral noise is captivating. Dorcha are a tight, grounded, self assured band delivering solid ideas that demand some attentive listening.” Verity Sharp, BBCRadio3. 

LISTEN to the back catalogue

LISTEN to The Miniatures Project


RATTLE

RATTLE are Katharine Eira Brown and Theresa Wrigley. Rattle began as an experiment in crafting rich songs and melody using only drums and voice. Their music weaves and intertwines post-punk, minimalism and experimental rock, through off-kilter rhythms, patterns and counter melodies. Their debut album, ‘Rattle’ (via Upset The Rhythm and I Own You Records) led to invitations to support Animal Collective on a short UK tour and The Julie Ruin on their European tour. Their live performances, at once hypnotic, monastic and danceable entranced audiences in the UK, Spain, Belgium and Ireland in 2017. The band have just completed their second album in their home town of Nottingham, UK due for release later this year. Rattle will join Protomartyr on their UK tour in May 2018.


ADRENA ADRENA

Adrena Adrena is a collaboration between visual artist Daisy Dickinson and drummer E-Da Kazuhisa, previously the drummer of the Japanese noise band Boredoms (WEA Japan, Reprise/Warner Brothers) and currently British electronic/post-rock band Seefeel (Rephlex, Warp Records).

The duo cut a raw blend of drums, noise and organic visual work, featuring in their performances an eight foot white sphere that hangs above Kazuhisa’s drum kit and which Dickinson maps videos on to; her work was described by William Barns-Graham of Fluid Radio as ‘cosmological and transcendental, drawing attention to the wonder of the earth and our sensuality on it’.

 

SHARE:

OUTLANDS & SUPERSONIC PRESENT: YUNOHANA VARIATIONS

 

YUNOHANA VARIATIONS: ROBERT AIKI AUBREY LOWE, SUSIE IBARRA & YOSHIMIO TO TOUR THE UK THIS JUNE
Supersonic Festival proudly presents the second tour in a series commissioned by Outlands: The new national experimental music network
Following what is set to be an incredible first tour in May from Matana Roberts & Kelly Jayne Jones (TICKETS AVAILABLE HERE FOR MAY 18th IN BIRMINGHAM) produced by Qu Junktions, we excitedly bring our Supersonic curated tour of YUNOHANA VARIATIONS to the UK, with the first performance premiering at Supersonic Festival this June.

GET YOUR TICKETS

Three improvisational luminaries; multi-instrumentalist YoshimiO (Boredoms, OOIOO, SAICOBAB), avant-garde percussionist Susie Ibarra, and artist Robert Aiki Aubrey Lowe (Lichens/OM) shall be performing together as Yunohana Variations for the first time in the UK.

All three musicians come from divergent aesthetic backgrounds yet through their collaborative work, they together “enjoy crossing into various sonic territories” (Susie Ibarra).

Supersonic has had a longstanding relationship with multidisciplinary artist Robert Aiki Aubrey Lowe, he has proven time and time again that anything he puts his hand to will be extraordinary, we have no doubt that this collaboration with such accomplished artists as Yoshimio and Susie will be nothing short of awe inspiring.– Lisa Meyer, artistic director, Supersonic Festival Birmingham

YUNOHANA VARIATIONS TOUR DATES JUNE 2018

22/23/24 June Birmingham, Supersonic Festival

Tues 26 June London, Oslo Hackney, promoted by Upset the Rhythm

Wed 27 June Bexhill, De la Warr Pavilion

Thu 28 June Cambridge, Cambridge Junction

Fri 29 June Milton Keynes, MK Gallery

Sat 30 June Bristol, Arnolfini, promoted by Qu Junktions

Sun 1 July Manchester, Soup Kitchen, promoted by Fat Out

Mon 2 July Bradford, Fuse Art Space

Weds 4 July Plymouth, KARST, promoted by KARST & Peninsula Arts, University of Plymouth

Tour commissioned by OUTLANDS, produced by Supersonic Festival and supported by Arts Council England and Esmée Fairbairn Foundation.

Ticket info  OUTLANDS 

SHARE:

Yves Tumor: An enigmatic experimentalist

“both DIY and auspicious, drawing beauty from unexpected places.”– Resident Advisor

 

 

Yves Tumor is the inspired and impenetrable persona of artist Sean Bowie, a conduit for a distinctly bold aesthetic upon which his reputation for charged live performance has been built. This year, he brings to the Supersonic stage an equal reverence for light and dark, denying the self it’s longed for coherence and focusing instead on anonymity, adaptation and transformation.

 

“I like setting moods…I’m never consciously trying to make a harsh song, or a dreamy song, or a noisy, disgusting song – it’s more a mood I want to translate.”Yves Tumor for Dazed

 

Everything about Yves Tumor is marked by an uncanny allusiveness. It veers between harsh and abrasive to soft and tender, with even the most beautiful of compositions being jolted by a cold scraping of unfitting sound. He is committed to a mystique, edging, shifting, and ultimately detonating the boundaries of electronica, soul, rap and rock music into a liberated wilderness of intrepid pop.

 

 

Raised in Tennessee, Yves’s venture into music acted as a means of escaping what he alludes to being ‘dull’, ‘conservative’ surroundings. Following a move to Los Angeles he met rapper and performance artist Mykki Blanco, a perfect fitting of artists with whom Tumor found a kind of synergy, being affiliated with Blanco’s Dogfood Music Group before releasing his chilling full-length Serpent Music on PAN in 2016. His signing to Warp Records came after the surprise release of his latest album Experiencing the Deposit of Faith, an ethereal, uncanny expression of the artist through found sounds.

Yves Tumor impresses a chaos that is at once memorable, unquantifiable and signature to Bowie’s genius, creating a brave narrative which transcends existing definitions of sound and culture for all to discover.

 

Get a taste for Yves Tumor’s enchanting performance for yourself below. TICKETS FOR YVES AND OTHER SUPERSONIC ARTISTS AVAILABLE HERE.

 

SHARE:

Supersonic Festival 2018 – NEW LINE UP ANNOUNCEMENT!

Photo credit Andrea Fiumana

SUPERSONIC FESTIVAL 22ND-24TH JUNE NEW LINE UP ANNOUNCEMENT: LEGENDARY BRITISH FOLK SINGER SHIRLEY COLLINS TO PERFORM, ROBERT AIKI AUBREY LOWE REVEALED AS GUEST CURATOR, PERFORMING WITH YOSHIMIO (BOREDOMS) + SUSIE IBARRA, AND INVITING MOOR MOTHER, WETWARE AND CROWW. 

ALSO ANNOUNCED: DEAFKIDS, GOAT (JP), GROUP A, JOASIHNO AND TERMINAL CHEESECAKE

Supersonic Festival 2018 returns to the cultural hub of Digbeth in Birmingham between 22nd and 24th of June, offering a weekend full of imaginative, stimulating and downright fun experiences, placing audiences at the very heart of our programming. Championing an array of ambitious, fiercely independent, and progressive artists, each committed to doing things in their own unique way, the initial announcement included the news of the UK premiere of new Gazelle Twin material, The Ex performing the Supersonic Kids gig, and the first major large-scale project from artist-in-residence Dennis McNett, amongst many other names.

GUEST CURATOR – ROBERT AIKI AUBREY LOWE

Robert Aiki Aubrey Lowe is an artist and multi instrumentalist working with voice in the realm of spontaneous music and prolific collaborator. He has had a long-standing relationship with Supersonic Festival, first performing as Lichens at the 2010 edition, returning in 2012 for our 10th anniversary edition both performing and curating part of our film programme, and in addition, as part of legendary band OM who have performed at many of our events. We are delighted and honoured to announce that he is our guest curator for Supersonic Festival 2018. Bringing to the festival a selection of artists who push the boundaries of both performance and sound. These include…

Yunohana Variations is three improvisational luminaries, YoshimiO (OOIOO, Boredoms, Free Kitten, SAICOBAB), Susie Ibarra and Robert Aiki Aubrey Lowe performing live together for the first time. The performance will explore spontaneous composition and showcase the freedom and musical immediacy of all three artists’ ability to interplay as well as their individual unique techniques to create engaging experimental sounds.

Moor Mother is the viscerally charged output of Philadelphia based interdisciplinary artist, Camae Ayewa. Her music is often harsh and strange, projecting both the cathartic anger of punk and the expansive improvisatory spirit of Sun Ra.  Moor Mother brings her powerful message to the Supersonic Stage this June after 3 days in the The MOOG Sound Lab as our artist in residence, hosted by Royal Birmingham Conservatoire.

NYC duo Wetware build on the legacy of industrial music and New York’s long history of dance music fused with confrontational performance.  Vocalist Roxy Farman, captures the audience’s attention immediately, using her body in tandem with her voice as a weaponised vehicle for the band’s anxiety filled performance.

Croww is a Manchester based artist working around the periphery of music pecking at the corpuses of Black Metal, Flashcore and DnB and nesting new mutations of hypermodern dance music.

For me Supersonic festival has not only stood out from others of its kind by pushing it’s scope away from the one dimensional trap that is indicative of most music based festivals, but has programmed things people might not be aware of. And due to the nature of the event itself those in attendance tend to be open to investigate those things. It’s an amazing feeling to be allowed the opportunity to present sound and visual works within the framework of an established festival that gives trust to others to bring in outside perspectives.

Supersonic are also delighted to invite legendary folk singer and one of England’s most respected song collectors Shirley Collins (MBE) to perform at this year’s event, having only performed a handful of shows after a 38 year hiatus. Though Shirley Collins has been absent from the music scene for many years, her impact has not diminished, the likes of Stewart Lee and Angel Olsen laud her.

Brazilian based DEAFKIDS are Neurot Recordings’ latest signing. They juxtapose monolithic drone riffage with frantic polyrhythmic detours, and cite the syncopated beats of African drums as a major influence.

Hailing from Osaka, Japan, Goat  build compositions that explore rhythmic aspect, centering on intertwining patterns of repetitive rhythms. The trance and fatigue brought about from relentless repetition and the melody-like sounds are both urban and tribal at the same time.

Japanese avant-garde synth wave duo Group A, mix synth heavy minimal wave, avant noise, striking visuals and performance art akin to early industrial pioneers such as Throbbing Gristle or Cabaret Voltaire.

Joasihno  are Cico Beck (Aloa Input, the Notwist) and Nico Sierig, whose live set up combines robot instruments, electronics and trashy percussion. Switching between analogue synths, world percussion instruments and computer programming, they draw inspiration from experimental pioneers like Mort Garson and the melancholy of Kraut Electronica.

Terminal Cheesecake are one of England’s greatest musical oddities, chief exponents of unmerciful. head-frying psychedelia, deranged dub and electronica. Noise rock, dub, industrial and heavy, heavy psychedelia.

ROUND UP OF THE CURRENT LINE UP: 

Andrea Belfi | Croww | Daniel Higgs | DEAFKIDS |  Faka | Gazelle Twin | Goat (JP) | Group A | Housewives | Joasihno | Mario Batkovic | Moor Mother | Shirley Collins | Terminal Cheesecake | The Ex | Vanishing Twin | Wetware | Wolves In The Throne Room |  Yunohana Variations – YoshimiO (Boredoms, OOIOO), Susie Ibarra & Robert Aiki Aubrey Lowe |  Yves Tumor and more to be announced

GRAB YOUR TICKETS NOW!!

SHARE:

The Dazzling World of FAKA

For the queer, the trans, the non-conforming, the female and the black, / For those who have been alienated by mainstream culture, / For those who are constantly harassed by patriarchy and suffer at the hands of capitalism, / For copper-coloured Afro wigs, golden chokers, torn stockings and moving freely despite Lorraine’s side-eye, there is FAKA.”- Bubblegumclub

 

The exploration of gender fluidity or genderlessness has come very much to the forefront of art and performance in recent years. Within Supersonic Festival 2018 alone we have performances from the mystifying Gazelle Twin, the indefinable Yves Tumor, and, of course the enchanting, rhythmic craft of FAKA; these are all artists who serve as key examples of transforming the rules of identity in their separate ways, only confirming the interchangability of the term itself.

The artistic intention of FAKA is best epitomised by the song `Izitibane zaziwe ukhuti zibuya ebukhosini’ (Let it be known, that queerness is a thing of the Gods), released with an accompanying statement ‘this is an ode to all the powerful dolls who risk their lives every day by being visible in an unsafe world. This is a celebration of those who have fearlessly embraced themselves. Because when your identity is the cause of your suffering in the world, you begin to feel the very source of your greatness in the world’.

 

Desire Marea and Fela Gucci, are proudly representing black and queer creativity with potent sound and vision. Surpassing the ‘performance art duo’ descriptor with which they may have started, the artists explore a combination of mediums ranging from sound, live performance, literature, video and photography, creating an eclectic aesthetic. The isiZulu word faka, which means to penetrate, seductively nuances how the artists validate new vocabularies of communication about black queer identities, and in expressing themes central to their experience as black queer bodies, FAKA navigate through the “cis-hetero-topia of post-colonial Africa” through creating a safe-space in their work that allow black, queer, gender non-conforming or trans people to reflect and be celebrated. (Read more about this via. i-D, in their A-Z of South African music).

 

 

Early releases like ‘Ama Gwinya‘ (creatively described by the duo as an “afro mink luxury dove soap bar lamentation”, “post gospel pain” and “phallic chino sweat drop”) surfaced three years ago with dislodged arpeggios, bubbling soundscapes and disembodied vocals. Since their work on African artistic collective NON the two have turned toward heavier rhythms, establishing a signature danceability with driving, looping drums, refocusing the exploratory nature of early material with new sounds developed as tools to further their penetrable, unapologetic cause.

No compromise has been made here. Each element of FAKA’s artistry has been chosen and executed at the highest fidelity to their vision. Listen below to their latest release Ngizokuzingela, with more on the artists and their EP Amaqhawe discussed here in Fader.

DON’T MISS OUT ON FAKA’s PERFORMANCE AT SUPERSONIC FESTIVAL THIS JUNE. GRAB YOUR 2018 TICKET HERE.

SHARE:

Supersonic Headliner: The return of Gazelle Twin

“Elizabeth…could be Brighton’s answer to Fever Ray’s Karin Dreijer Andersson, with her queer masked costumes and avant-garde electronica. Her repertoire draws from sci-fi film scores, choral music, underwater life and the paranormal. The visual accoutrements – stark, monochrome videos, theatrical live shows – are striking, but the brooding, atmospheric scores…are thrilling enough to stand alone.”– The Guardian

 

For centuries, identity and anonymity are two themes which have been rooted in conflict within both art and broader society. For so long we have grappled with the unanswerable question of the body-mind dynamic, the correlations and joltings of the outer and the inner self.

It is producer Elizabeth Bernholz’s handling of the two in this sense which makes Gazelle Twin one of the most exciting, captivating performance artists out there. Her treatment of duality is less of a philosophical plaything, more of a visceral exploration of the body as a growing, shifting being with identity moving with it. Her conceptual work presents dystopian themes through unconventional electronic production, and extraordinary, widely celebrated live performances which incorporate these changing personas. Taking inspiration from Fever Ray’s 2009 performance at Loop Festival, she notes how “her show reminded me how powerful and liberating costume is, and I became interested in the power of disguise”.

Gazelle Twin @ Supersonic Festival 2015

In toying with anonymity in this way, Gazelle Twin bewitches audiences by masking the surface as a means of releasing what lies beneath. This certainly shone through in her 2015 Supersonic performance where she performed from her second album UNFLESH, a personal yet congenital depiction of puberty, phobia, gender identity told through a spectrum of choral voices and spoken word, backed by unrelenting industrial-pop production which helped to establish her place as a leading innovator in contemporary electronic music.

This being followed by live project, Kingdom Come (2016)- inspired by J.G Ballard’s final novel and exploring themes of tribalism, social conditioning and fascism in the contemporary suburban and consumer landscape- has since elevated Gazelle Twin’s acclaim. Commissioned by Future Everything Festival 2016 (Manchester, UK), the audio-visual performance features vocalists Jez Bernholz (BERNHOLZ), Natalie Sharp (Lone Taxidermist) and Stuart Warwick on treadmills, set against a series of films and animated text by regular collaborators Chris Turner and Tash Tung.

Gracing us with brand new material we are hugely excited for her return this year and are dying to see what she brings to the Supersonic stage. TICKETS AVAILABLE HERE.

SHARE:

The Ex: Decades of Punk

“Staying a bird, staying independent, free if you will, for three decades, that takes skill and something else, something more like heart.”John Corbett

THE EX WILL BE LEADING OUR SUPERSONIC KIDS GIG THIS JUNE! TICKETS AVAILABLE HERE VIA THE MAC WEBSITE. 

 

The adventurous, innovative Dutch band The Ex celebrate their 39th birthday this year, and with new projects, new adventures, and brand new album 27 Passports RELEASED TODAY they show no sign of slowing down.

Born out of the punk explosion in 1979, the band have maintained a defiance of categorisation, embodying the Punk DIY ethic through being completely independent of record companies, managers or roadies. Using guitars, bass, drums and voice as their starting point, The Ex have continued to musically explore undiscovered areas right up to the present day with the same curiosity and passion that they started with.

Sharing a myriad of collaborations and partners from varied musical and non-musical backgrounds- Kamagurka, Tom Cora, Sonic Youth, Han Bennink, Jan Mulder and Shellac- the sounds of The Ex are continuously evolving, particularly from their lively musical exchange with Ethiopia, where they have organised many projects and celebrated many native artists in a means of cultural exchange. One of their most striking collaborations was perhaps  with legendary saxophonist Getatchew Mekuria, an interplay of artistry which eventually led to two CD recordings and more than a hundred concerts.

 

 

“One reason we are hard to describe is that we never had an education at music school, and in that sense we are not ­influenced by any traditional playing,” explains drummer and vocalist Katherina Bornefeld. The group are very much about intuition, for toying with musical identities. Take any major musical development of the last 50 years and you can almost guarantee that they have either incorporated it into their sound or played with it and discarded it. The span of their work shows a dazzling array of sounds that range from industrial to orchestral to the jazz world.

Even now, the kind of phrases used around The Ex range from “anarcho-punk” to “improvised jazz” to “afro-punk” and “folk”, just some proof of how the group seek to deter any attempts of description, and defiance of those who try. The Ex remain a key example for other forward-thinking bands and musicians. As well as appearing on the Supersonic stage, The Ex will be inspiring the next generation of Punks in their leading of Supersonic’s infamous Kids Gig on 23rd June, a raucous event not to be missed.

 

SHARE:

Mario Batkovic: A Technical and Aesthetic Triumph

“The seated audience rise to applaud at the close, euphorically greeting an utterly captivating set.”The Skinny

 

Transcending the traditional into the modern day is hard to do well. In an ever-changing, high paced world continuously pushing for the new and original (something Supersonic certainly celebrates), the classical is welcome if it can keep up.

It is true innovators like Mario Batkovic, bridging the two so effortlessly, who recapture the joys of experimentation in music. Pushing the accordion to the unthinkable limits of its capabilities the Swiss-Bosnian artist is no doubt a master of his chosen instrument, with his proven ability to create the work of a full band of synths with a single apparatus.

 

 

“I chose the path of greatest resistance for my music voluntarily”, he admits, being on a mission to not only expand the possibilities of the instrument but to show how the accordion has enabled him a channel to explore and express a freedom that he has been denied through the various physical, social, cultural, and political borders that have existed in his life.

Signed to Geoff Barrow’s Invada Records label, Batkovic’s music refuses to be pigeonholed. Within his work he creates a staggering range of pitch, volume and timbre unknown of the instrument, immersing the listener in a whole new sonic spaciality and vivid, intricate soundscape: a technical and aesthetic triumph.

Think Yann Tiersen- delicate and melodic- meets visions of Viking warriors sailing across oceans; it’s by turns light, heavy, minimal and virtuosic, particularly when he plays so quietly you can hear nothing but the percussive tapping of his fingers on the keys.

Watch Mario below perform and discuss his work and process whilst on a beach, at Into The Great Wide Open Festival in Vlieland, the Netherlands, and experience his remarkable practice for yourself at this year’s Supersonic Festival. TICKETS ON SALE HERE

 

SHARE:

YOUTH MAN: Destructive Brummie punk

“what you get here is the visceral punk spirit alive, kicking and sounding fresh for the 21st century.”Already Heard

WE’RE DELIGHTED TO WELCOME BACK TWO OF LAST YEAR’S SUPERSONIC FESTIVAL HIGHLIGHTS TO THE HARE AND HOUNDS APRIL THE 11TH. EXPECT A NIGHT OF STORMY AMPED SOUNDS AND DEMONIC DRUMMING WITH PIGSx7, GREY HAIRS AND THE EVER RAUCOUS ADDITION OF YOUTH MAN. TICKETS ON SALE HERE.

 

YOUTH MAN

Boldly dubbing themselves “the loudest live band in the U.K.,” Youth Man stand in sharp contrast to the indie rock crooners. With their brand of punk leaning heavily toward early Californian hardcore, the band have refined their sound into an uncontrollable maelstrom of aggression that culminates and runs wild on stage.

Their Wax EP was recorded in just one session, giving indication of this band’s philosophy: to be as raw and frankly honest with themselves (and their own innate angst) as possible. Youth Man have achieved huge rock success on their own terms, whether people like it or not.

The start of 2018 saw Youth Man return with a bang – with a new record deal, a new song, and a bunch of tour dates.

The Birmingham band have signed with Alcopop! Records, and unleashed a new track called ‘I Don’t Know’. It’s taken from an upcoming EP, which will be announced later this year.

Label boss Jack Clothier commented on the signing: “Youth Man are a band we’ve been excited about since my partner, who basically oversaw the Birmingham scene back then, told me about them, and we’re absolutely delighted they’ve agreed to work with Alcopop! on this new EP. One of THE most exciting live bands around, this EP soars to new heights and will definitely tear your soul apart before patching it together way better than it was before. They were on an Alcopop! compilation back in, like, 2016 – and we’ve been chasing them ever since. Finally got ‘em. FUCK YES!”

 

SHARE:

GREY HAIRS (and existential Angst)

“they channel their smarts into ultra-stoopid riffery and obtuse chord patterns, and the results are just brilliant.”The Skinny

WE’RE DELIGHTED TO WELCOME BACK TWO OF LAST YEAR’S SUPERSONIC FESTIVAL HIGHLIGHTS TO THE HARE AND HOUNDS APRIL THE 11TH. EXPECT A NIGHT OF STORMY AMPED SOUNDS AND DEMONIC DRUMMING WITH PIGSx7, GREY HAIRS AND THE EVER RAUCOUS ADDITION OF YOUTH MAN. TICKETS ON SALE HERE.

 

GREY HAIRS

From the fertile Nottingham DIY scene, sharing members of UK underground bands as diverse and respected as Lords, Fists, Cult Of Dom Keller, Fonda 500 and Kogumaza, come Grey Hairs.

Returning from their Supersonic performance in 2017, the band seem to getting louder, faster, and a bit louder again year by year. Their latest LP “Serious Business” matches the band’s love of volume to a new-found directness and power. Every song is like a miniature world in itself, taking unexpected twists and turns that mean just when you think you’ve got them pinned they wriggle free.It’s raucous energy and quarrelling male/female vocals recall everything from the Stooges to Status Quo, from The Birthday Party to Black Sabbath but it never feels like a re-tread. Live, these songs take on a life of their own. The band might only just about stay in the saddle but it’s always a thrilling ride.

 

SHARE:

PIGS PIGS PIGS PIGS PIGS PIGS PIGS: Bringing Sabbathian riffs back to Brum

“This is classic 70s heavy metal deep-fried in iron and blood.”The Quietus

WE’RE DELIGHTED TO WELCOME BACK TWO OF LAST YEAR’S SUPERSONIC FESTIVAL HIGHLIGHTS TO THE HARE AND HOUNDS APRIL THE 11TH. EXPECT A NIGHT OF STORMY AMPED SOUNDS AND DEMONIC DRUMMING WITH PIGSx7, GREY HAIRS AND THE EVER RAUCOUS ADDITION OF YOUTH MAN. TICKETS ON SALE HERE.

 

PIGS PIGS PIGS PIGS PIGS PIGS PIGS

The pig, across many cultures and histories, holds differing connotations. From symbols of strength and abundance to being lustful and unclean, the pig is multifaceted and indefinable, just like the sounds of Newcastle born Pigs Pigs Pigs Pigs Pigs Pigs Pigs.

As you might expect from a band who share members and circles with the likes of Blown Out, Haikai No Ku, Terminal Cheesecake and Luminous Bodies, performers Matt Baty, Sam Grant, John-Michael Hedley, Ewan Mackenzie, and Adam Ian Sykes deliver on a live experience which send audiences into a heavy, trance-like state, with their album Feed The Rats on Rocket Recordings taking clear influences from doom metal and psychedelic rock music.

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

Feed the Rats is getting a repress over at Rocket Recordings. A limited run of 500 on ‘Molten Acid’ (orange/grey) vinyl. The repress of the album still comes in a luxury diecut sleeve. It’s released on 30 March however you can preorder a copy via bandcamp!

AND GET YOUR TICKETS NOW for a gig that promises to be an gargantuan April shower of distortion.

 

SHARE: