Supersonic 2012 – Here’s To Another 10 Years!

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It’s hard to believe that almost two weeks have passed since we were all frantically rushing around the Custard Factory, putting the final touches to the various wild man posters around the site and screwing in the last few records to the Vinyl Rally’s MDF floor before hordes of music fans rushed in to bask in the eclectic and adventurous sounds that Capsule had loving curated this year – and what a lineup it was! There was truly something for everyone, as Friday ran the gamut between JK Flesh’s absolutely punishing industrial dub, the surreal electronica of the Small But Hard showcase, the free-wheeling cosmic riffery of Hey Colossus, the toy tinkering soundscapes of Modified Toy Orchestra, and of course, the triumphant return of drum’n’bass dark lords PCM to the Supersonic stage.

Saturday brought even more surprises, from the gentle folk strains of Dylan Carlson’s new material to the unholy combination of Merzbow and Oxbow’s Eugene and Niko, a full-on audio explosion that wiped clean the mental state of everyone in attendance. I also have to give praise to the incredible drummer that accompanied Masami Akita’s astonishing feedback theatrics, augmenting the sonic devastation with some jazzy splashes, tribal belligerence and even some well timed blastbeats without ever failing by the wayside of Akita’s incendiary slabs of twsited sonic debri, which is no mean feat! A rare UK showing from Bohren & der Club of Gore was utterly captivating, enveloping the Boxxed venue in a dense, melancholy atmosphere and transporting the audience into the starkest of film noir settings for the entire duration of their set.

Meanwhile, Drunk In Hell’s molasses thick sludge onslaught and Zeni Geva’s vitally intricate sonic attack provided a satisfying ammount of musical filth to wallow in, forcing heads to bang and mosh pits to errupt. Zeni Geva may only exist as a two-piece now, but that hasn’t hindered KK Null and Yoshida’s fury at all, with Null especially firing off an arsenal of bewildering noise outbursts alongside his standard riff warfare via a series of baffling pedals. The icing on the cake was undoubtedly the astonishing avant-electronica of Hype Williams; bathing the entire Warehouse in a thick, eerie fog, the enigmatic duo proceeded to fuse together dub, noise, jazz, musique concrete, electro and garage influences into an uncategorizable and unforgettable performance. As Copeland’s beautiful tones danced across the bizarre volley of sounds emanating from Blunt’s corner of the stage, in which gullet-rattling dub basslines collided with squealing trumpets and reverb drenched car alarms, it was hard to shake the feeling that we were witnessing something of a musical revolution!

In keeping with Supersonic’s inclusive ethos, even youngsters were catered for with this year’s kid’s gigs, in which we bore witness to the heartwarming sight of a room full of children grooving along to the expansive psych voyages of Flower/Corsano Duo – and who knows? In 10 years time, some of these children may be taking to our stages themselves to blow your mind with their sonic wares…

Sunday boasted perhaps one of the most spectacular running orders in Supersonic’s illustrious history, with all manner of heavy weights awaiting today’s eager audience. Gnod’s triumphant set in Boxxed was astonishing, the over-powering throb of their sublimely heavy krautrock-isms gradually reconfiguring the pulse of each listener, unwittingly tuning into their psyche and forcing them headfirst into a cosmic thrill ride the likes of which would make even Timothy Leary baulk at the sheer intensity of it all. Elsewhere, Justice Yeldham revealed to us all the mind mangling sounds that lay dormant in a single piece of glass, Lash Frenzy created an imposing and lucid arena in which achieve total sensory overload, and the mighty Ufomammut invited us to accompany them on a voyage deep into the heart of their latest two-record opus, ‘ORO’. Once these guys peak there’s no force in the universe that can restrain them, and the riffs are flowing thick and fast (or should that be slow?) tonight. Whilst both the ‘ORO’ records are impressive in their own right, combined they are a true force to behold, and to witness this incredible odyssey in the flesh is an awesome experience!

A tough act to follow indeed, but mysterious Swedish voodoo merchants Goat were more than up to the challenge. Taking to the stage in colourful robes, ritualistic gaments and erm, a golden robot mask, the band’s vibrant psych-rock/afro-beat concoction instantly whipped the crowd into a frenzy. Racing through all of their ‘World Music’ debut (including instant classics like ‘Goatman’, ‘Let It Bleed’ and ‘Run To Your Mama’) but allowing their songs a bit more room to breathe, the Swedes kicked out the jams with an infectious energy and by the time the extended version of ‘Det som aldrig förändras / Diarabi’ brought their revelatory set to a close, you’d be hard pushed to find a single member of the audience who wasn’t sporting an enormous ear-to-ear grin. Incredible!

Finally, the Oxbow Orchestra provided an enthralling end to this year’s celebrations, reinterpreting some of their classic songs and even treating us to some choice cuts from their upcoming full-length ‘The Thin Black Duke’. Their performance was at once intimate and gripping, but without losing any of the potent intensity that has made the band such a force to be reckoned with over the years. This was due to be Supersonic 2012’s final performance, but it seems you, the audience, had other ideas, as an impromptu and sublimely hypnotic drum circle erupted in the beer tent just outside. As the ringing in our ears began to subside, the communal and strangely rhythmic clinking of pint glasses against benches and a sea of warm smiles was a perfect finish to this year’s festival.

Of course, I’m only scratching the surface of Supersonic 2012 here; beyond the numerous delights of this year’s musical lineup, there was a whole plethora of extra-curricular activities. The sight of a fresh-faced individual feverishly clutching at a copy of their own recently pressed Kim Gordon collab on their way back from the Reverse Karaoke installation become a pleasingly common sight over the weekend, and the procession of startingly costumed members of the Outcrowd throughout the festival site on Sunday was a source of much ceremonial excitement. The ear mutilating sounds of Lucas Abela’s Vinyl Rally were a definite highlight, featuring one of Lucas’ most ambitious track layouts to date. Volunteers hastily scrambled alongside the track as Lucas himself sat within the makeshift nerve centre of the rally, tinkering away whilst the assembled throng routinely found themselves astonished by the sheer spectacle of it all.

And of course, there’s the massive contribution that you yourselves paid to the festival, by arriving in your dozens and flooding the Custard Factory with enthusiasm, joy and good vibes. This year’s edition of the festival was one of the finest of the past 10 years, a truly excellent way to celebrate a decade of passionate experimental arts programming – here’s to another ten years!

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A Quick Introduction To Bohren & der Club of Gore

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It’s an honour and a total privilege to be able to witness the breath taking Bohren & der Club of Gore at this year’s Supersonic. The self-styled “doom jazz” masters haven’t graced these shores since 2008 and there’s no guarantee they’ll be returning anytime soon, so fans of their elegant, captivating sound are understandably freaking out right now. If you’ve yet to become acquainted with this stunning four piece, then allow us to introduce you to your new favourite band…

1994 – Gore Motel

On ‘Gore Motel’, the band’s debut, the Club of Gore adhered to a more traditional rock structure of guitar, bass and drums (oh, and mellotron, naturally), and this startling album comes across like a jazzy Earth, juxtaposing ominous downtuned dirges with subtle jazz flourishes. The band would mine similar territory with their 1995 double album, ‘Midnight Radio’, before embarking on an even darker, jazzier direction…

2000 – Sunset Mission

Losing a guitarist can be a crippling blow for many lesser bands, but after six-stringer Reiner Henseleit had bowed out, the Club of Gore recruited the inimitable talents of saxophonist Christoph Clöser and delivered one of their greatest records, the stunningly beautiful ‘Sunset Mission’. A richly atmospheric journey through dark city streets, this was film noir jazz at it’s most gripping, slowly enveloping the listener in it’s sumptuous soundscapes and smoky, late night ambience. The word ‘masterpiece’ is oft abused in this day and age but this is one record that truly deserves such an accolade; mandatory listening for both jazz and ambient fans!

2002 – Black Earth

After the stunning ‘Sunset Mission’, the Club of Gore were clearly on a roll, and delivered their break-through album ‘Black Earth’ just two years later. After catching the attention of musical maverick Mike Patton, ‘Black Earth’ was reissued on his Ipecac record label, bringing the beautiful sounds of Bohren & der Club of Gore to a much wider audience. Musically, ‘Black Earth’ shares many similarities with ‘Sunset Mission’, but pushes the material in an even darker direction; this is a progression, rather than a sequel.

2008 – Dolores

If 2005’s ‘Geisterfaust’ had hinted at a more ambient manifestation of the Club of Gore, ‘Dolores’ was where the band wholeheartedly embraced the minimalist ideals they had toyed with all along. Evidently this move paid off, with the quartet managing to evoke a vibrant cornucopia of emotions with some of their starkest music to date. This was Bohren’s sound reduced down to it’s bare skeleton, allowing the sombre and beautiful core of their music to ring out between the sparse, isolated notes, and it was no less gripping for it!

2011 – Beileid

Never a band to conform to expectations, their last album ‘Beileid’ saw the Club of Gore recruiting the vocal talents of Mike Patton for an utterly bizarre yet strangely beautiful cover of the German hair metal band Warlock’s ‘Catch My Heart’, mutating the song into a melancholy jazz ballad and stretching the notes out to dwell in the spaces inbetween. ‘Beileid’ may be Bohren’s shortest record, but it packs no less of a punch, as the band continue to expand their sound and subtly branch out into new territory. Where they progress from here is anyone’s guess, but it’s going to be a pleasure finding out!

Bohren & der Club of Gore will perform at Supersonic Festival on Saturday 20th October.

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Dylan Carlson: First Look At His Drcarlsonalbion Solo Material

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Drone fans have been anxiously anticipating what Earth main man Dylan Carlson’s solo material was going to sound like, but the wait is almost over. Carlson is due to release ‘La Strega and the Cunning Man in the Smoke’, his first record under the name Drcarlsonalbion, as part of Southern Records’ prestigious Latitudes series (which has previously seen exclusive releases from the likes of Bardo Pond, Grails, Ariel Pink, Bohren & der Club of Gore, Haxan Cloak and many, many more) on October 16th, and the first few reviews have started to trickle in. The record consists of 7 folk inspired tracks and a cover of PJ Harvey’s ‘Last Living Rose’, and judging by these quotes, it sounds like we’re in for a treat –

Where to even begin with this album? Much like the mellotron and field recordings of ‘Edward Kelley’s Blues,’ the genesis can found in a recent trip to the British Isles, with Carlson researching our indigenous folklore and traditional faire folk. The probing field recordings lend levels of abstraction to gently spoken poetry; a sound which is somehow both atonal and blissfully melodic.

Rob Batchelor, Beard Rock

Carlson has created something evocative and quite special. Transplanting the droning guitar style he uses with Earth and using it as musical bed while shimmering and almost bluesy guitar licks are laid over the top. Boozily drifting past and literally sounding like orange-drenched Autumn sunsets across a glade in the forest. I know, right?

Tight To The Nail Reviews

You can read all of Rob Batchelor’s review here, and click here to read Tight To The Nail’s analysis. ‘La Strega and the Cunning Man in the Smoke’ is released on October 16th. Carlson will be touring the UK in support of the record, culminating in a performance at Supersonic on Saturday 20th October. We can’t wait!

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Bohren & Der Club of Gore

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BOHREN (English translation: Drilling)

If you enjoy it slow and low, Germany’s  Bohren & Der Club Of Gore will very likely do the trick. In fact, with each subsequent release the German quartet’s music grows increasingly refined.

Bohren are often dubbed doom-jazz, though this hardly defines the sound. Consider, maybe, the recent crop of jazz-oriented Rune Grammofon releases, then remove 1/2 of the notes and replace any and all folksiness with foreboding minimalist dirge and a Sunn 0))) streak. Now, mix in some John Cage, because Bohren & der Club of Gore are masters of silence, using space and shadows to create (and maintain) dynamics. They appeal to listeners of black metal as well as drone. But for all of that gloom/doom, one  could also see them appealing to fans of minimalist ambience and spare electronics, as well those who enjoy adventurous “out” jazz. But regardless of your genre identification, you’d do best to concentrate, and let it work its way into your head. Time is on their side.

http://www.bohrenundderclubofgore.de/

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