Flowers Must Die: Kompost

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Ask many self-styled music aficionados, and they’ll tell you that rock in the early to mid ‘70s descended into a mire of boundless self-indulgence and instrumental virtuosity, in which the a whole generation of progressively-minded musicians and listeners effectively lost the map in a feverish pursuit of excellence and one-upmanship that ended in tortuous track-times, daunting concept sagas and boundless pomposity. This phenomenon has now become the stuff of cultural cliche -after all, how many more music documentaries do we all have to watch in which footage from Emerson, Lake & Palmer’s heyday is interrupted by the Sex Pistols?

Not so in Sweden. For there, music in the countercultural heyday of psychedelia and progressive rock was an explicitly political pursuit, and central to this was the idea that absolutely anyone could make music, no matter how either expansive or limited their technical ability – indeed the egalitarian spirit that many thought revolutionary to punks in the UK was nothing new for the heads to be found enjoying the cult Swedish psychedelia of bands like Träd, Gräs och Stenar, Älgarnas Trädgård or Baby Grandmothers, borne of a free-flowing aesthetic and utilitarian mindset where inspiration was key. 

It’s exactly this lineage forty plus years later where one can find Flowers Must Die, the six-piece Swedish outfit. They pursue an improvisation-based approach removed from the codified realm of contemporary psych, and exploring uncanny and unhinged territory fuelled by diverse record collections yet unique to their own collective headspace. 

Formed while at art school – initially in an attempt to put together a Sir Lord Baltimore style hard rock band – the band quickly took on a life of its own, with Jonas’ passion for soul, disco and jazz interspersing with Rickard’s background in the local noise scene amidst a plethora of other disparate ingredients. Rickard’s brother Martin, guitarist Sven Walan and drummer Lars Hoffsten (a successful artist from the family of well-known Swedish jazz and blues musicians) soon joined the fray, before vocalist and violinist Lisa Ekelund completed the circle, spurring the band on to new levels of psychic abandon.

True to a record encompassing a countercultural rawness and experimental ethos that spans five decades, The members of Flowers Must Die’s ages range from 28 to 63, and the sound of ‘Kompost’, in all its wayward, wild glory, follows suit. The band may have taken their name originally from an Ash Ra Tempel song, whilst the strains of Amon Duul II and the repetition of Can lurk within these overgrown sonic pathways. Yet ‘Kompost’ shows them honing their improvisatory excursions into coherent songcraft amidst spectral techno and cosmic disco shapes, as the angular post-punk pop of The Sugarcubes sits alongside the narcotic clangour of prime Royal Trux, and one-take spontaneity locks horns with nocturnal revelation. It’s a potent assault that’s already seen them make converts aplenty at festivals like Liverpool International Festival Of Psychedelia, Copenhagen Psych Fest and Supernormal. 

Here the outward-looking spirit of 1971 and the anything-goes mentality of the Scandinavian freaks of yore is transposed elegantly to a modern era in need of new horizons, and in a manner refreshingly and paradoxically bereft of retro chic. What’s more, who’s to say what dimensions this alchemical force have yet to explore?

Flowers Must Die live up to their reputation with this fine first full-length offering for Record Recordings. A crucial component in Rocket’s already landmark year of releases.

CLICK HERE TO READ A REVIEW OF NEW ALBUM KOMPOST

https://flowersmustdie.bandcamp.com/

GET YOUR TICKETS FOR SUPERSONIC NOW!

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Gnod

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Mainlining a torrent of psycho-delic, reverb drenched, doomsday motorik and improvised sounds is the master and mystery of Gnod. Audiences have come to expect bizarre humanoid toasting over cosmic synth eeriness pinned down with a combination of duelling deep-vein-thrombosis juggernaut riffs and heart-pounding beats. Gnod explore the possibilities of a big, awesome sound with an uncompromising aesthetic.

To date the band have releases with Not Not Fun (USA), Blackest Rainbow (UK). Tamed Records (France) and Rocket Recordings (UK) to name a few and are gaining a cult following on the live scene in grimy venues & dark club spaces all over Europe with their head-spinning, mind-bending, bowel-shaking live shows.

ingnodwetrust.tumblr.com

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Black Mass Rising

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A lo fi experimental film exploring visions of the darkness, The Mystic, The Occult, The Religious and The Apocalypse. The film is made by Belgian artist  Shazzula Nebula who has performed in psychedelic band White Hills and is an ex member of Aqua Nebula Oscillator.

The soundtrack features:

Master Musicians of Bukkake
Kawabata Makoto
Bobby Beausoleil
Horror Illogium
Yoga
Sylvester Anfang II
Burial Hex
Sayona
Kinit Her
Rose Croix
Mourning Ring
Ga’an
Shazzula
The Entrance Band
In Zaire
Cultus Sabbati
Mater Suspiria Vision
L’Acéphale
SUM OF R
Aluk Todolo
Menace Ruine
Demonologists
http://blackmassrisingsociety.blogspot.co.uk

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Lau Nau

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Free spirited Finnish artist Laura Naukkarinen. Since the release of her celebrated debut full length Kuutarha on Chicago’s Locust Music in 2005, Lau Nau has enjoyed considerable recognition for her intimate and playful blend of ethnic tinged folk songs with curious and intuitive sounds conjured from familiar and exotic sound sources.

http://www.haamu.com/launau/index.html

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Tomutonttu

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Tomutonttu is a creature who looks after all the dust. Jan Anderzen is a Tampere based artist who rearranges images and sounds and makes the music of Tomutonttu audible. Read streams, mutilated voices, groovy animal noises and records other people have made are some of the ingredients Anderzen uses to mold his ecstatic music. Someone described it like this: a confusing close-up of music, a microcosmos of strange sound events and dirt flying around in stereo space, interacting with a logic all of their own. Jan Anderzen is also the leader of the band Kemialliset Ystävät and one of the most recognized Finnish experimental music makers. He’s actively performing around the world and his discography is a labyrinth reflecting the nature of his art.

http://www.kemiallisetystavat.com/tomutonttu/ttinfo.html

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Islaja

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Islaja is Merja Kokkonen, a visual artist and musician living and working in Berlin, Germany.
Since her debut in 2004, she has released four album-length works on Finland’s Fonal Records and one CD on Thurston Moore’s Ecstatic Peace label, as well as a series of singles on labels such as Not Not Fun and Root Strata.
She earned quick praise in the international music press for her unique vocal style and daring DIY approach to music composition, with kudos from the Wire magazine, Dusted, Pitchfork, Coke Machine Glow and Tiny Mix Tapes.
Her most recent work, Keraaminen Pää (Fonal 2010) also won praise in her native Finland, and was called “soulful, heartfelt” by Prefix Magazine while Pitchfork noted its “icy synth tones, crunchy samples and abstract gurgles.”
In addition to her solo work, she also performs with Finnish free folk supertrio Hertta Lussu Ässä, which released a full length in 2011 on Minneapolis label De Stijl records.
Islaja performs regularly at venues and festivals across Europe and the UK, and has shared the stage with bands as diverse as Animal Collective, Low, Handsome Furs, Skaters and Junip.

http://islaja.com/

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Ufomammut

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Ufomammut is a power trio formed in 1999 in Italy by Poia, Urlo and Vita, worldwide recognized as the creator of a unique brand of psychedelic sludge. With long songs, droning vocals and massive effects the band combines a monumental riffing attitude with the psychedelia of the more visionary Pink Floyd. Ufomammut’s live show is supported by the internationally acclaimed graphic and video art of Malleus.

http://www.ufomammut.com/

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Hookworms

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“Hookworms fling themselves headlong into classic 80’s/90’s psych-rock like they’re trying to break something. Hailing from Leeds and cramming themselves giddily within the well established formal properties of the genre, they walk the scorched road behind Loop, Spectrum, and any other titan of two-chord songs who’s ever slowly wah-ed a chord until they saw colors.” – Cameron Stallones (SunAraw/Sun Ark)

http://hookworms.bandcamp.com/

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Supersonic interviews

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Supersonic interviews

A number of websites have been asking Capsule for our take on the festival – why we do it, highlights from previous years, things to watch for this year. Check out our take on things below via Rockfeedback and Wiki Festivals.

Rockfeedback interview link

Wikifestivals interview link

 

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Updated Spotify playlist now available


Alexander Tucker – ‘Dorwytch’ live session

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Alexander Tucker – live video session for Spine TV

Alexander Tucker will be performing his new song-cycle ‘Dorwytch‘ at Supersonic 2011.  ‘Dorwytch‘ greatly expands his sound into a larger ensemble, featuring lushly layered strings and subtle use of synths. The suite revolves around themes of “human/plant matter transcendence” and manifested in the meditative purity of Tucker’s tones and drones. This live session also catches sight of the hairy being we’re expecting to see at Supersonic.

www.spinetv.net/video/studio-session-alexander-tucker

 

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White Hills Q&A

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Supersonic Q&As : White Hills

Hopefully you’ve kept up-to-date with all our artist Q&As.  They’ve kept us pretty busy here at Capsule HQ, so we’re thankful to the lovely people at The 405 for doing this Q&A with kraut-glam-space-rockers White Hills.  You’ll want to clicky-click this link here for all the action.

http://whitehillsmusic.tumblr.com/

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Meet Barn Owl

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Meet Barn Owl

Supersonic 2010 attendees will perhaps need no introduction to the stunning dust-trails of sound that San Franciscan duo Barn Owl create.  The band were so well received that we just had to get them back for Supersonic 2011.  In the past year, the praise for their mesmerising drones and layered feedback has slowly built up into a huge wall of superlatives.  It’s taking all our strength here at Capsule to avoid waxing lyrical about “hauntingly beautiful sonic waterfalls” and the like!  Rock-A-Rolla even went so far as to say that their 2010 album ‘Ancestral Star’ on Thrill Jockey was “the most significant experimental drone album since [SunnO)))’s] ‘Monoliths & Dimensions’”.

What you definitely get with Barn Owl is a hugely powerful immersive experience.  Frequently playing in front of modified super 8 footage, the twin guitars of Evan Caminiti and Jon Porras intertwine instinctively, equal parts slow-burning twang and spaced-out feedback drone.  It’s hard to stop those superlatives flowing.  The band have just released a new EP ‘Shadowlands‘ that adds a devotional aspect reflective of artists like Popul Vuh (especially their soundtrack for the Werner Herzog film ‘Fitzcarraldo’) and Alice Coltrane, and their new full-length ‘Lost In The Glare will be out on 13th September.  (Free mp3 here.)  Both Caminiti and Porras are solo artists releasing on labels like Root Strata and Three Lobed Recordings and Caminiti is also an established visual artist.

More information on their Electric Totem site.

Barn Owl & Jefre Cantu-Ledesma Live At The Cube (Bristol) from Fluid Radio on Vimeo.

Barn Owl – Light from the Mesa from Thrill Jockey Records on Vimeo.

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Alexander Tucker Q&A

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Supersonic Q&A no.7 : Alexander Tucker

For our seventh Q&A the questions are being fired at British experimental musician Alexander Tucker.  Tucker has become a established presence in the freak-folk-improv scene since his debut album was released by Tom Greenwood (Jackie OMF)’s U-Sound Archives label in 2003.  He released his new album Dorwytch on Thrill Jockey Records in April 2011 and will be performing it in its entirety at Supersonic.  The record breaks new ground for Tucker by combining minimalist string arrangements with electronic manipulations and drones to produce doom chamber-pop songs and psychedelic music-concrete collages.  Tucker also has a duo with Stephen O’Malley and is an established visual artist.

1. Which five words describe what you know about Supersonic?
Sonic, hairy, friendly, psych, people !

2. What can people expect of your set at the festival?
The set will include hairy yeti beings, fog, mind-bending electronics and astral projections.

3. Why make music – what does it do for you that nothing else does?
I make music to illuminate the inner being, escape the doom, conjure up the almighty spirit and to communicate with my fellow human beings.

4. Who else on the bill are you hoping to see?  (And why?)

I want to see both Circle and Pharaoh Overlord because they are both fuckin awesome, Bardo Pond because they are the best band in the world, Tony Conrad because he’s shit hot.

5. Finally, your essential ‘surviving-Supersonic’ items are.

Mary Jane, Stout, food and water, outrageously over sized metal t-shirts.
 

http://www.thrilljockey.com/artists/?id=12810

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Manchester tickets on sale now at Piccadilly Records

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Supersonic 2011 tickets now on sale in Manchester at Piccadilly Records, Oldham Street, M1 1JR.

That’s right, any Greater Manchester dwellers can get their Supersonic 2011 tickets over the counter at Piccadilly Records.  Available from today for £75 + booking fee.  Save yourself the worry of the postal service and support your local record shop, especially after the devastating fire at the PIAS warehouse last week.  Even better: order a PIAS-distributed album by one of the artists playing at Supersonic and support the labels and distribution network in a time of much need.  Could we suggest maybe Alexander Tucker, Skull Defekts, White Hills, Barn Owl or Eternal Tapestry (all on Thrill Jockey)?

http://www.piccadillyrecords.com/shop/index.php

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Meet and watch White Hills

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Meet and watch White Hills

“Fuzzed-out motorik space-rock” is what the band call it.  There’s more than a little twisted psychedelic glam in there too, but White Hills are really one of those bands that creates their own worlds.  Check out bass player Ego Sensation’s video channel to get an insight into their visual style.  It reminds the Supersonic team of Alejandro Jodorowsky’s films like El Topo and Sante Sangre – they’re filled with violently surreal imagery, all warped-out montages and jump-cut shocks.  It’s hard to work out whether this is serious, fun, deliberate or insane – or all of the above – but the sensory onslaught definitely starts to get a little more understandable when you hear from Ego Sensation:

We can barely pay our rent each month but we are willing to pull out our credit cards and go into debt each time a new iPhone promises a better connection. The joke is on us. Our greater connectivity has caused us to disconnect from our humanity. We have been sold the religion of consumerism to feed the corporate machine. We have been tricked into believing that wanting our tax dollars to pay for our own health care is treacherous to the ideals of a democratic society. H-p1 is symbolic of the simplification of complex ideas to keep the masses from questioning the system.

Amen.

http://www.thrilljockey.com/artists/?id=12183

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Teeth of the Sea Q&A

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Supersonic Q&A no. 5: TEETH OF THE SEA

From London, Teeth of the Sea play a wild, mixed-up strain of what sounds like semi-improvised jams.  Structures are amorphous, reference points are redundant as they switch modes from song-to-song – noise-rock, electronics and dubbed-out trumpet all get a look-in.  As DROWNED IN SOUND said in their review of current album ‘Your Mercury’ (Rocket Recordings, 2010), the band create “a steamy, light-starved jungle of tangled electronics and feral distortion occasionally punctuated by startlingly lucid bottom end.  For the most part Teeth of the Sea’s second record defies any worries about genre categorisation, a hermetically sealed unit with such a strong sense of self that comparisons to other music seem perverse.”

1. Which five words describe what you know about Supersonic?
Jimmy: An embarrassment of sonic riches.
Mat: Great method of karma scouring.
Mike: It goes up to 11.

2. What can people expect of Teeth of the Sea at the festival?
Mat: Manifold contact highs. Seeing us should lead to elevation. Being down wind of us should lead to inebriation.
Mike: Hair raising, teeth grinding, ear bleeding, knob twiddling, move busting, figure hugging, fist pumping, face melting, load blowing, psyche fucking rock.
Jimmy: It’ll be a bit like that climactic scene in Raiders Of The Lost Ark, only with four skinny blokes instead of the seraphim, a total absence of the Third Reich, and the added bonus of just about being able to survive to tell the tale afterwards.

3. Why make music – what does it do for you that nothing else does?
Mike: We’d have to hand over to philosopher, poet, composer and classical philologist Friedrich Nietzsche here, with his celebrated quote “Without music, life would be a mistake. Besides which, whenever I hear the sound of a needle hitting wax I get as hard as a diamond in an ice storm.” I think he speaks for us all.
Mat: Seriously, it’s the art form that allows for the greatest breadth of thinking and technique. Approach it from any angle and you can still make it dance. Which is what Supersonic is all about, right?
Jimmy: Music. Makes The People. Come Together.

4. Who else on the bill are you hoping to see?  (And why?)
Mike: The fact we’re on the same bill as Zombi is making us collectively weep tears of joy and blood. Also looking forward to Alva Noto + Byetone quite possibly ripping a hole in the fabric of space and time above the Custard Factory.
Jimmy: I’m pretty excited about withstanding Astro’s cosmic assault, but there’s literally nobody on the bill I wouldn’t pay to go and see at their own show. Plus Electric Wizard as headliners are going to be one unholy rite.
Mat: I’m already upset that I won’t be able to see everything, but I’m really excited about seeing Circle again. Mainly because the rest of TOTS have never seen them and I want to be there when THE GREATEST LIVE BAND IN THE WORLD tear them all fresh ones.

5. Finally, your essential ‘surviving-Supersonic’ items are…
Mike: all essential. Trust me.
Jimmy: We’re still trying to secure lucrative sponsorship deals with Ginster’s Pasties and Anadin Extra, so I should probably say those. The only problem with Supersonic in my experience is that I end up so thrilled by the whole shebang that I’m a mess by about 10PM, but far be it from me to suggest something as vulgar as pacing yourself.
Mat: The Bat Belt will be equipped with nerve agents, tranquilizers, military issue med kit, Tescos coupons, guitar picks and holy water. As standard.

http://www.myspace.com/thewrongjaws

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Zombi Q&A

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Supersonic Q&A no. 4: ZOMBI

Using all-analogue vintage synths and sequencers, coupled with live drums and bass, Zombi’s sound is far more expansive than you’d imagine a duo could ever be.  Taking inspiration from progressive rock and soundtracks, their music appeals to both fans of Genesis and Pink Floyd as well as touring partners like Dillinger Escape Plan and Red Sparowes.  Steve Moore, bass & synths, is the man answering our questions.

1. Which five words describe what you know about Supersonic?
Eclectic, hospitable, punctual, loud, fun.

2. What can people expect of Zombi at the festival?
Golden oldies.

3. Why make music – what does it do for you that nothing else does?
I ask myself the same thing every day, I have no idea why I still do this.

4. Who else on the bill are you hoping to see?  (And why?)
Tony Conrad!  I’ve never seen him perform live.  Also Secret Chiefs 3 and maybe Wolves in the Throne Room, haven’t seen either of them in a while.

5. Finally, your essential ‘surviving-Supersonic’ items are…
Korg Polysix, Sequential Circuits Prophet 600, Dave Smith Tetra, Fender Jazz Bass.

http://www.zombi.us/

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New Spotify playlist


Part Chimp Q&A

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Supersonic Q&A no. 2: Part Chimp.

Here’s our second artist Q&A to give you an insight into the inner-workings of Supersonic 2011. Part Chimp bring their heavy noise-rock to the festival in what will be one of their last ever performances.  It’s a real shame they’re splitting up, but that could also give you reason no.137 to book your ticket.

1. Which five words describe what you know about Supersonic?
Harvey
Milk
Birmingham
Dirty
Burgers

2. What can people expect of Part Chimp at the festival?
One of our last UK shows. If you haven’t seen us before, or it has been a while, now’s the time. If you’ve seen us loads of times, come celebrate the death throes.

3. Why make music – what does it do for you that nothing else does?
It’s a team version of primal scream therapy.

4. Who else on the bill are you hoping to see?  (And why?)
Alex Tucker, Kogumaza, and a bunch of other mates. Bardo Pond, Alva Noto, WitTR, Tony Conrad and others. Supersonic’s a good opportunity to check out an extreme blend of stuff.

5. Finally, your essential ‘surviving-Supersonic’ items are…
Earplugs, spare earplugs, the green cross code, & the paperback of “how black was our sabbath”.

http://www.partchimp.com

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Meet The Skull Defekts

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Skull Defekts news – 12″ EP out in time for Supersonic

News just in from via the Skull Defekts Tumblr site is that they should have a brand new 12″ EP out in time for their show at Supersonic 2011. If it’s anything like their stunning ‘Peer Amid’ album released earlier this year, fans of anything from Krautrock to post-punk to shamanistic yowling are in for a treat. That last element comes from legendary singer Daniel Higgs – the ex-Lungfish man has added an extra wow-factor to what was already a pretty powerful, muscular sound. If you want more words, direct from the horse’s mouth, there’s an interview with Joachim from the band on their Tumblr here and a video from a recent live show is below.  Does anyone know what effects have been used on the footage?  We like the grainy, washed-out look here in the Capsule office, but tell us how it’s done!

 

 

 

 

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Kogumaza Q&A

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We’ll be running regular Q&As with the Supersonic 2011 artists in the run-up to the festival.  Keep checking back regularly for updates.  To kick us off, we have one of the newest additions to the line-up: Kogumaza.  Over to guitarist Chris Summerlin for his insight into the band’s mesmeric fuzzouts, plus an important health and safety warning.

1. Which five words describe what you know about Supersonic?
“I think I’ve gone deaf”

2. What can people expect of Kogumaza at the festival?
I’m not best qualified to answer – my friend Hoppy said we were like a hot bath for his ears so I’ll go with that.  A hot, never-ending bath made of fuzz and echo.

3. Why make music – what does it do for you that nothing else does?
Sometimes when you’re experiencing music, usually live music, it can feel like no one party (the audience or those making the music) is in charge and there’s some sort of 3rd element involved. Like the experience transcends the sum of the parts. It doesn’t happen often (rarely as an audience member and even less so as the person making the music) but it’s enough of a unique and beautiful situation to keep returning to music-making again and again in search of it. I can’t think of any other sensory experience that is able to take shape quite like that. Apologies for sounding like a hippy.

4. Who else on the bill are you hoping to see?  (And why?)
I helped promote a show for Bardo Pond about 14 years ago in a bar in Colchester, Essex. It was the first proper band I ever helped put on. The bar had a noise limiter. They soundchecked and it kept showing red but didn’t seem to do anything bad like turn the power off, so we thought “to hell with it” and left it loud. Turned out that when the sensor went red it turned the room lights off so they played most of the show in the dark and it was awesome. That’s an important lesson to learn right there. I’m really excited that they’re playing. Looking forward to seeing Skull Defekts and Part Chimp too. Supersonic’s always been about surprises as well though, so I’m hoping the best thing on the bill is something I’ve never heard of before.

5. Finally, your essential ‘surviving-Supersonic’ items are…
Ear plugs for sure.  Also, in the middle of the outdoor area there is this weird metal pipe-like fixture sticking out of the ground with warning tape on it. I think they slot a fountain in it normally. At about 1am, if you’ve had your brain fried
enough, it might start to resemble an empty beer can, just sitting there. No matter how good you feel and how much you want to express how amazing Harvey Milk were (as was the case), don’t take a run up and kick the “can” in celebration of the majesty of rock like my good friend Ross did 2 years ago because you’ll spend the rest of the night in Sellyoak Casualty waiting for some nurses to stick your toes back together.

http://www.low-point.com

Kogumaza live at Nottingham Dot to Dot Festival in May 2011:

Kogumaza – Nottm Trent University 29.05.11 from neil johnson on Vimeo.

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Alexander Tucker presents DORWYTCH CYCLE

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British experimental musician Alexander Tucker releases his Thrill Jockey debut Dorwytch in April 2011. This record breaks new ground for Tucker by combining minimalist string arrangements with electronic manipulations and drones to produce doom chamber-pop songs and psychedelic music-concrete collages.

Tucker’s sound has developed over the years since his first self-titled solo album, which featured acoustic finger-picking, experimental electronics and was released on Jackie O Motherfucker’s U-Sound Archives label. Three years in the making Dorwytch finds Tucker refining his song craft and introducing minimalist string movements that build into dense spiraling riffs around his distinct vocals. This album will beguile and entice the listener, placing Tucker at the forefront of the experimental pop landscape.

A very special performance at Supersonic Festival will see a performance of this new material matched with projections of films made specially for the event The performance is a extension of the Alexander Tucker visual world of hair beings and other worldly creatures.

http://www.myspace.com/alexanderdtucker

 

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Teeth of the Sea

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Since their initial formation in 2006, the London-based Teeth Of The Sea have metamorphosized into the most adventurous and intrepid psychedelic rock outfit in the UK. Taking on board influences like Ennio Morricone, Eno, Delia Derbyshire, Goblin, Butthole Surfers and Harmonia, they’ve arrived at an incendiary sound that effortlessly marries the aural enlightenment of a far-reaching avant-garde sensibility with the reckless abandon of trashy rock & roll immediacy.

Teeth Of The Sea exist on a strange and beguiling astral plane, whereby the boundaries between the synth odysseys of the 70s, the guitar-noise-fuelled infernos of the 80s, horrorscore schlock, Reich-ian repetition, and a whole plethora of other cathode-ray and speaker-stack birthed epiphanies are blurred into one futuristic and fearsomely coherent whole. Teeth Of The Sea are spinning into a whole new orbit.

http://www.myspace.com/thewrongjaws

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