Raime: Re-establishing EDM


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

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

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

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

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

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

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

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

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

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

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

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

Sneak peak here:

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

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


More from Raime [here]



JK Flesh



Godflesh, Head of David, Napalm Death, Techno Animal, Jesu, Greymachine, Palesketcher – just some of the projects from the insanely prolific Justin Broadrick, who in his new relationship with 3by3, raises his Techno Animal moniker JK Flesh from the dead for its debut full-length outing, to once again prove his mastery of all things brutal. 
Soul-crushingly dark beats and bass, layered with Broadrick’s inimitable guitar and vocal fuzz, providing a stark contrast to 2010’s Palesketcher output, that will resonate with fans of Godflesh and the post-dubstep landscape alike.




Rising from the gutter that trickles down Lewisham Way, South East London comes the ever-mighty and ever-so-fucked-up DrumCunt.  Taking cues from grime, garage, techno, noise, rave, digi-dancehall and basically every single Sound(s) of the Universe, DrumCunt is here to save your sorry soul from the lightweight coffee table jingles passed off as “bangers” in these increasingly dark and drizzly days.

Featuring and led by Hey Colossus and Shit and Shine drummer Rhys (CNT1) and augmented by all round fellow Shitter and all round HyperBlackBass Leon (CNT2).




New Spotify playlist

Spotify playlist for Supersonic 2011


Hello folks. My name’s David and I’m the Marketing intern for Supersonic 2011. I’m based in Manchester so I have the dubious pleasure of getting to know the M6 in intimate detail over the next few months. One of my first jobs has been to put together a Spotify playlist for artists performing at this year’s festival. It’s been great to check out some fantastic acts – hope you enjoy listening. Personally I’m excited about Skull Defekts (their current record ‘Peer Amid’ with Daniel Higgs is superb), Wolves in the Throne Room, Nathan Bell and Bardo Pond. Cloaks are my newest discovery too. Liking them a lot.

Listen here:




The project of former Napalm Death drummer Mick Harris. The project was formed in the early ’90s by Harris along with Nic Bullen (one of the founder members of Napalm Death in 1981). Bullen left the group in April 1995 and the projects continues on to this day as an essentially one man show.

Industrial and experimental in nature, much of the output focuses on minimalist beats with an emphasis on very deep bass lines, often resembling dub and trip-hop in structure.





After a storming DJ set at last year’s Supersonic, we’ve invited Cloaks back for more, considered to be one of the more abstract and uncompromising production teams to have emerged from the spannered and industrial-edged UK dubstep scene. Their distorted and often claustrophobic sound, created using found sound and circuit bent instruments was first debuted on the London based Werk Discs, with their output drawing comparison to not only modern bass music but to the darker sounds of noise and industrial.



Black Sun Drum Corps


The Corps was founded by Drum Major Major Russell McEwan as an extension of Glaswegian subterranean metallers Black Sun. A mix of Scottish Highland pipe band imagery with industrial and tribal rhythms; Russell McEwan will be leading a percussion parade through the festival site. A mix of Supersonic Festival performers and audience members will be contributing percussion, creating a visceral and live massed drumming experience.



King Midas Sound


The roots of King Midas Sound were planted when Kevin Martin, industrial dance veteran and the brain behind experimental dancehall project The Bug, set about collecting together vocalists for his 2008 album, London Zoo. Where The Bug had a hard carapace, firmed up with industrial beats and dubstep bass, King Midas Sound more resembles a phantom presence: a ghostly fog of sound that seeps through air vents and creeps through cracks in window panes. Heavy with urban dread but awake to the promise of a better life.


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Cloaks DJ set


[jwplayer config=”audio sidebar” playlistid=”1142″]Cloaks are considered to be one of the more abstract and uncompromising production teams to have emerged from the spannered and industrial-edged UK dubstep scene. Their distorted and often claustrophobic sound, created using found sound and circuit bent instruments was first debuted on the London based Werk Discs, with their output drawing comparison to not only modern bass music but to the darker sounds of noise and industrial.

This solo DJ set by SteveCloaks will see the 3by3 label boss in a Dub-selector style, playing strictly Cloaks material only, in an exclusive performance for Supersonic 2010.

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Factory Floor


Everyone is raving about this London based band, you’ll find their brutal live performance stretches from dark, post-punk electronics to astute, industrial-strength minimal techno. willfully despondent female vocal and a slavering, primitive arpeggiator, gelling the two together with an eruptive frenzy of drums. It’s an interesting take on disaffected, cold-wave minimalism – something that seems to be in the air at the moment.

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OvO is a name shared by the Italian noise group led by singer Stefania Pedretti and multi-instrumentalist Bruno Dorella. OvO is one of the most interesting bands playing in this day and age. The combination of heavy riffage, bombastic drumming and vocals that could either crush concrete or lull a baby to sleep makes for an interesting blend of sound.

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Aaron Spectre started off playing drums and going to all ages shows in the wasteland of suburban Massachusetts. In 2003 he dropped out of college and relocated to Berlin, Germany, to launch his music career. He released several vinyl 12”s, and soon found a following playing at squats and raves around Europe. Spectre founded Drumcorps to synthesize the unlikely mix of electronic music production values and the raw power of American hardcore. Drumcorps shows are notoriously high-energy, cathartic affairs.
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Out of the New York underground Swans created dark, abrasive, murky, slowed-down noise rock  – their depraved lyrics stalked and disturbed throughout the 80s and 90s. After 15 years of touring and constant productivity Swans disbanded in 1997.

Talking about his decision to reactivate the project Michael Gira says:
“there was a point a few years ago during a particular show when I was on tour with Angels  Of Light, with Akron/Family serving as the backing band. It was during the  song The Provider. Seth’s guitar was sustaining one open chord (very loudly), rising to a peak, then crashing down again in a rhythm that could have been the equivalent of a deep and soulful act of copulation. The whole band swayed with this arc. Really was like riding waves of sound.  I thought right then, “You know, Michael, Swans wasn’t so bad after all…” . Ha ha!  It brought back – in a flood – memories, or maybe not memories, more a tangible re-emersion in the sensation of Swans music rushing through my body in waves, lifting me up towards what, I can only assume, will be my only experience of heaven.”

The recent reactivation of the band – with the line up of: Michael Gira; guitar, voice, mendicant friar act  (original Swans), Norman Westberg: guitar  (original Swans),  Christoph Hahn: guitar  (mid-period Swans and most Angels of Light ), Phil Puleo; drums, percussion, dulcimer etc etc  (final Swans tour and most of Angels of Light), Chris Pravdica: bass and gadgets  (Flux Information Sciences / Services/ Gunga Din) and Thor Harris: drums, percussion, vibes, dulcimer, curios, keys,  etc… (Angels of Light, now also with Shearwater) – promises to be as formidable as the early, brutal and growling noise albums they made their mark with.




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Gnaw is the sawblade-wrapped-in-razorwire brainchild of Alan Dubin (Khanate, OLD), Carter Thornton (Enos Slaughter), Jun Mizumachi (Ike Yard), and Jamie Sykes (Thorr’s Hammer, Burning Witch). Combining noise and metal in a mesh of sonic experimentation, Dubin sounds out the group with his gut-wrenching vocals, he screams, whispers, chants and generally terrifies us.

“Gnaw celebrates missing out like nobody else in the whole damn Universe” Julian Cope




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Supersonic Festival are delighted to announce the first UK sow in over 10 years for Godflesh.
After leaving the ranks of Head of David in 1988 (having previously done time in the early days of Napalm Death), Justin Broadrick wasted no time in setting up a new outfit that was arguably as epoch-defining as Napalm. Teaming up with bassist Benny Green (his cohort in pre-Napalm act Fall of Because), their new act, Godflesh, saw the hyper-speed facets of Napalm Death turned on its head with downtuned guitars and slower tempos the order of the day. A tangible sense of urban decay and alienation oozed from every pore, thus birthing Industrial Metal.

Their ‘Streetcleaner’ opus conjured up images of concrete tower blocks; cold, grey flyovers and nihilistic angst – arguably as potent a musical representation of Birmingham as the opening chords to ‘Black Sabbath’.

To this day Godflesh are revered as godheads by acts as disparate as Isis and Fear Factory, this long-awaited 2010 reformation surely bound to propel them back into the consciousness of many, staking their claim as true musical innovators.


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