Fat Out Fest!



There’s an alternative way to Fat Out Till You Pass Out this easter weekend…

Fat Out Till You Pass Out is an independent promotion based in Salford NW England. Founded in 2007 by Emma Thompson and Verity Gardner, Fat Out has grown from humble DIY punk roots into a force to be reckoned with in the Salford/Manchester independent music scene.

“It’s more important than ever to create space and support for the independent scene.”Emma Thompson, FOF Founder/Director

And FOTYPO take their DIY experimentalist attitude down to Islington Mill, Manchester this weekend, assembling their third version of Fat Out Fest with the help of some choice curators

The international line-up works through a three-day course featuring heavy psychedelic riffs from Blown Out, The Bug vs Dylan Carson of Earth, JIBÓIA, avant garde synths from Group A, or if preferable, lounge metal from Lake of Snakes.

This year sees Supersonic host its own stage on Sunday 16th April including performances from Trans Am, The Seer, Agathe Max, Rainbow Grave, Dorcha and Islam Chipsy & EEK.

With other stages curated by The Quietus, The Wire and a collaboration with Le Guess Who plus workshops, delicious food, market place, record stalls and all the glitter one could ever desire, this is set to be a weekend not to be missed.

TOP TIP: Don’t miss the new show ‘Trifle’ from Lone Taxidermist on The Quietus stage.

So c’mon, sod Cadburys, sod Galaxy, and definitely FUCK NESTLÉ and get out there and support your independent, underground music scene! FAT OUT TILL YOU PASS OUT!


Take a look at FOF 2014 here:


The Mother of all Swans interviews – Gira talks to Doran



In the Mother of all interviews Michael Gira (legendary frontman of Swans) talks to journalist and music-enthusiastic John Doran of The Quietus (a legend in his own right). This is an extensive and fascinating interview which covers everything from Howlin’ Wolf to Haiti to Francis Bacon and well beyond…

Get a glimpse into Michael Gira head by reading the interview in full over at The Quietus. For fun, we’ve picked out a couple of quotes for you below. Swans bring their monolithic live show to Supersonic’s main stage in just a few weeks. Having just released their thirteenth album in just over three decades, To Be Kind, (which has been received rave reviews: 10/10 – LouderThanWar ; 4/5 – TimeOut etc.) our audience can expect a bold and uncompromising show from one of the world’s most powerful live bands. Don’t miss your chance to see these musical titans, the last few Supersonic tickets are available from HERE.


JD: Having attended Swans gigs between albums and the Kickstarter-style demo albums, you can hear this natural kind of evolutionary process taking place. What’s interesting to me is that although it’s undeniably an organic growth, there are things that do stand out to me on the new album. Yeah, sure, it’s still monolithic, but I think the grooves are maybe funkier, maybe even sexier… is that kind of a fair comment?

MG: Yeah, that was the intent, we did sit down and say ‘lets make a sexy groove’ because we’re so sexy…[laughs]

JD: Like Alexander O’Neal or something…

MG: What I discovered on the last record was that I wanted to push forward on this one. It was about this groove and how I could really focus on that, not necessarily these big sheets of sound, but more about the possibility to find something that could just keep going forever, without feeling mechanical. So we pushed that aspect. We often focused in on the rhythms, but the idea of us actually getting funky is pretty preposterous. It’s some kind of idiosyncratic version of that I guess, but it’s a fine line for us to tread, because I don’t want to be a white boy trying desperately to grow a big butt.


JD: Something that I think is really interesting about Swans, is that you clearly came out of New York City, but if you asked most music fans, 99 out of 100 to talk about the continuum of New York groups, people would say Velvet Underground, Television, Modern Lovers, Suicide, Sonic Youth, maybe Glenn Branca, maybe Philip Glass, people usually wouldn’t say Swans. You were obviously from New York but you weren’t really a New York group, if you see the distinction?

MG: Well, I made a point of that. Whether it was career suicide or not, I don’t know, but I made a point of separating ourselves from other people in the scene, very quickly. At first we played with Sonic Youth quite a bit, we were friends, but that didn’t work out after a while and I just wanted to separate ourselves from that because I felt that was just another straitjacket, another cliché, and I wanted to make something that was ‘us’ or ‘me’ and not be attached to that.


Read in full here. The last few Supersonic tickets can be bought HERE.


The Quietus Chat To Nic Bullen About Supersonic 2012…


The fine folk over at the Quietus just had a quick word with sound artist and original Napalm Death bassist/vocalist, Nicholas Bullen, about all things Supersonic. For those curious as to what Bullen has in store for them this weekend, Nic dropped this tantalising little hint –

[It’s] predominately geared towards sound – the development of my electronic composition, which is what I focus on in the main – so I’ll be playing a 35 minute composition which has a loose base structure, but for the most part is live improvisation and processing. And that ties into the film which I’m going to show which is an excerpt of a much longer film called The Inverse Heliograph, which is predominately constructed from super 8 film, which is re-photographed, processed, overlaid and altered in terms of duration. Really it’s an audio-visual set I suppose.

Bullen goes on to discuss The Inverse Heliograph in more detail, his early days with Napalm Death, and who else he’s looking forward to seeing at Supersonic this year in the rest of the interview, which you can read in full here.

Nicholas Bullen will perform on Saturday 20th at 20:45 in the Theatre at Supersonic.


The Quietus Grill Jarboe On Supersonic, Swans & Solo Performances


It sounds like Jarboe’s upcoming tour is going to be a truly special experience, as the singer recently revealed some further details about her Supersonic performance to the Quietus

The interesting thing about the whole European tour, which includes Supersonic, is that it’s an example of my own stretch or eccentricity as a performer, in that I’m doing it with a classically trained pianist and vocalist, Renee Nelson. We’re going to be reinterpreting Swans and World of Skin classics in a very beautiful way. When that’s done, we’re coming home and then immediately going on tour with Nachtmystium, a black metal band. I don’t know how many people there are that do that kind of stretch, but I’m in my element. I’m 100% punk rock and experimental and will remain true to my roots. That’s what you get with me – you’ve got to be an adventurous audience!

You can read the full interview here, in which Jarboe also talks in depth about her contribution to the new Swans record, life on the road with Micheal Gira, and writing her memoirs…

Jarboe will perform at Supersonic on Saturday 20th October, as well as taking part in our ‘You Can Be You’ panel discussion alongside Oxbow’s Eugene S. Robinson, Crass’s Penny Rimbaud and the Quietus editor John Doran.



Trebuchet & The Quietus Interview Hey Colossus


Hey Colossus are extremely busy right now; in addition to putting out their new record (‘Witchfinder General Hospital’), preparing for their set at Supersonic and being interrogated by us recently, they’ve somehow found the time to give some more interviews, for Trebuchet and The Quietus respectively. The Quietus asked guitarist Joe Thompson about clotted cream, the music industry and what we can expect from their Supersonic performance, to which Joe replied –

Crunkkkkkk…screeeeeeee, grrrrrrrrrr, eeeeeeeeeeek, thunkkkk, clunk clunk clunk…..muted clapping…..unplugging guitar leads, packing guitars away, carrying of amps.

You can read the full Quietus interview here, and head on over to the Trebuchet site to read their interview and find out what prompted vocalist Paul Sykes to utter the immortal line –

It’s not a show if people don’t enjoy it, it’s just a bunch of people turning up somewhere.

You can rest assured that Hey Colossus will be putting on quite a show indeed at Supersonic this year. You can catch the band perform on Friday 19th.


The Quietus Interview Sir Richard Bishop


The Quietus recently spoke with Sir Richard Bishop about the new Rangda album, his decision to stream all his solo albums for free and of course, his upcoming Supersonic experience. Richard’s live performances are never less than incredible, and it sounds as though this is a musician who is truly firing on all cylinders at the moment –

[Rangda has] certainly become more confident working together since the first record came out. That only happens over time. You have to remember, the first time the three of us actually played music together was two days before the recording of False Flag, so we didn’t have much of a chance to get to know each other musically on a direct experiential level. That came later when we began touring, working things out on the battlefield, in the trenches, so to speak. But now, I know we’re capable of doing anything we want in a musical sense. It’s just up to us to determine what that will be.

You can read the entire interview here, and you can watch both Sir Richard Bishop and rangda perform at this year’s Supersonic festival on Saturday 20th October.


Six Organs Of Admittance To Be Joined By Comets On Fire Members At Supersonic!


Six Organs Of Admittance‘s Ben Chasny is an artist as prolific as he is chameleonic, with his recorded output ranging from sunny, free flowing folk to shimmering dronescapes and scorching elongated jams. You can never be completely sure what Chasny has in store for you when it comes to the band’s live performances, but the news that he will be accompanied for his Supersonc set by his former Comets On Fire band mates, Ben Flashman and Utrillo Kushner, may indicate that this could be one of his more intensive, psych-rock oriented sets. A recent review of this lineup in the LA Times described their set as thus:

Throughout the night, bassist Ben Flashman and drummer Utrillo Kushner laid down syrupy Post-Black Sabbath structures over which Chasny and rhythm guitarist Noel Von Harmonson roamed, locking into a groove for chunks of songs before loosely and gracefully turning themselves over to instrumental exploration, usually focused on Chasny’s solos.

Speaking to the Quietus, Chasny explained the reasoning for reunited with Flashman and Kushner:

I think the key energy was just getting back together with a group of friends that hadn’t all played music together in quite some time. The fact that we were all in Comets is sort of secondary to the fact that we have all played music for a long time and toured hard and knew each other pretty well sonically. It’s definitely not a Comets reunion. I mean, I don’t really think we’ve ever broken up. There has never been a point where Comets said, “We are done.” We’ve just been concentrating on other things for a while.

Chasny fans are spoilt for choice this year, as the guitarist will also be performing as part of experimental supergroup Rangda alongside Sir Richard Bishop and Chris Corsano. In the same interview, Chasny mentioned the different musical chemistries between each different group:

After playing together in Rangda I think we have a closer musical relationship now. It’s not so much a something that can be exactly pinned down as it is a more subconscious way of acting and reacting with each other. The same goes for the guys in Comets. I think as any group of people play music with each other they start to understand the space that they operate in more and more in relationship to each other.

You can read the full interview with Ben Chasny here. Six Organs Of Admittance will be performing on Sunday 21st October, whilst Rangda will perform on Saturday 20th.


The Quietus Interview Goat


Joe Clay of the Quietus recently spoke to Sweden’s voodoo lunatics Goat about their music, their upcoming live show at Supersonic and life in their remote Korpilombolo commune, which they summarise as –

A blissful, easeful & peaceful existence. At times transcendental. 24/7 beneficial activities, nudity and worship of the GREAT one. Invocations, prayers and total rejoice! The love of death and awaiting the return of the horned one…

To delve deeper into the mysteries of this fantastic band and find out more, you can read the full interview here. Make sure you catch Goat’s performance at Supersonic on Sunday 21st October, as this is sure to be a historic occasion indeed!


The Quietus Interview Dope Body


John Doran of The Quietus has recently interviewed Baltimore’s noise rock heroes Dope Body about their musical influences, their creative process and their upcoming set at Supersonic this year –


We all do our own thing and we’re all into different stuff. The songs come out of very long protracted jams, for maybe three hours while we change and change it. Each of us has different musical taste though. David is into hip hop, so you get different rhythms than you’d expect to get. The same with the guitar playing [Zachary Utz], it gets really classic rock at times but overall we try and keep things sludgy and heavy. And our band is also inspired by all Baltimore sounds, concentrated into one format: the rock band. Garage, hardcore, electronic music. It’s actually weirder for us not to use all these influences. It’s natural and organic and it just comes out this way.


You can read the whole interview over at The Quietus website, and catch Dope Body on Sunday 21st October at Supersonic.


Supersonic: A Decade Of Championing The Avant-Garde



For 10 years now, Supersonic has been tirelessly emphasising the importance and beauty of the independent spirit; one need only glance through the reams of musical mavericks that have graced the festival’s stages to see how successful their efforts have been. To celebrate, Capsule have planned a couple of events to highlight the free-thinkers that have helped turn the festival into the glorious tour-de-force it is today.

In keeping with Supersonic’s tradition of featuring enlightening panel discussions, ‘You Can Be You’ promises the audience one of the most intruiging and horizon broadening conversations to ever take place in the Custard Factory, as The Quietus Editor, Vice columnist and all-round music enthusiast John Doran takes the chair to quiz Jarboe, Oxbow’s Eugene S. Robinson and Crass co-founder Penny Rimbaud on how these extremely accomplished artists have maintained their integrity and independence whilst operating in the furthest regions of the avant-garde.

Anyone who’s ever been moved by Eugene’s feral howl and imposing stage presence, Jarboe’s dulcet tones and emotive range, or Rimbaud’s energetic drumming and sneering social commentary will not want to miss out on this. These are artists that divide opinion with their untameable drive to create, and are united in their refusal of musical standards and any perceived rules or guidelines that others may wish to impose upon them, but how is this passion sustained through times of difficulty? Will there ever come a time where this deep-seated desire to create is satiated? There’s only one way to find out… See you there!

Running with this theme of independent creators, Jason Forrest of the new online TV site Network Awesome has curated a film prgramme entitled ‘3 ______ And The Truth’, a loving tribute to the maverick minds that created things that only they ever could, ranging from the ingenious to the downright bizarre! The Network Awesome site features a number of specially made programmes, curated by visionaries like John Zorn and Barry Adamson, and is well worth checking out!


The Bug – Acid Ragga Review – The Quietus


The prolific and ever unpredictable Kevin Martin (AKA The Bug) will once again be bringing his heavy dub basslines and grimey dancehall vibes to Supersonic this year. Kevin has just put out another 7″, and according to the fine folk over at The Quietus, it’s a very heady concoction indeed…

His latest project – the first ‘proper’ new Bug material since 2008’s London Zoo – is another scientific endeavour: an exercise in genetic recombination, triggered by a long-unanswered question that’s apparently been burning in Martin’s mind for years: “What happens if I cross acid house with ragga?” Leading up to the release of his long-awaited new Bug album proper Angels & Devils, his Acid Ragga 7″ series attempts to answer that question via a series of gene splices that transfer traits from each test subject into a new and virulent third form, a sort of Frankenstein’s monster of the electronic dub world that roars along at breakneck speed.

You can read the full review over at The Quietus website, and also hear a preview of the record’s title track!

If you like The Bug, then you won’t want to miss out on this year’s performances from elusive electronica merchants Hype Williams and hyperactive dubstep lunatics Devilman.


Supersonic Festival – Taster events feat King Midas Sound and more


Supersonic Festival, the world renowned event for adventurous music, art film and beyond is celebrating its 10th birthday.. We love a party so are expanding our celebrations by hosting two very special taster shows in London and Birmingham in August. These events showcase the sorts of artists programmed at the festival, and celebrate our passion for adventurous new music.
Taking place at  Eastside Projects, on Saturday 4th August King Midas Sound System and JK Flesh, joined by Iron Fist Of The Sun, Laurence Hunt and Sarah M Farmer will bring, abstract, abrasive and titanic sounds into the walls of this converted art gallery/warehouse space in Digbeth. Tickets are £15  for five brilliant acts, and we’ll be running a lovely real ale bar.

If you’re London inclined, a Supersonic Festival taster will take place on Thursday 9th August at Corsica Studios, in association with The Quietus. This event will feature King Midas Sound (without the system), JK Flesh and Glatze (aka Sam Underwood). Tickets are available via http://www.corsicastudios.com






New Carlton Melton track



The Quietus have posted up a sneak preview of a new Carlton Melton track – have yourself a listen , and get a taster of the psych heavy bliss you’re bound to reach when they play Supersonic Festival.

lysergic San Franciscan four-piece Carlton Melton are here for all your sun hailing needs, with their new Smoke Drip 12″ that shipped on the 18th June just so it could arrive on the doorstep today. We’re pleased to be able to offer you a listen to the title track below, to give you a concentrated trip into inner space and back. Fans of Bardo Pond, Barn Owl, White Hills and all that psych-seared good stuff take note, strap in and lift off.   The Quietus


Recording: In conversation with Tony Conrad


Last year’s Supersonic Festival saw many great moments, but perhaps one of the biggest highlights was In Conversation with Tony Conrad.
John Doran (The Quietus) spoke to sonic and visual art legend, Tony Conrad, about his long line of collaborative work. Here’s your opportunity to listen again to the talk as Tony gives insight into his cross artform approach, moving between the world of visual art, film and sound. The pair also discuss Tony’s early days working with The Velvet Underground as well as other influential characters. A rare and humourous treat! Enjoy… and check back next week for another recording.

In conversation with Tony Conrad @ Supersonic Festival 2011 by Supersonic Festival


In conversation with Tony Conrad


A very special opportunity to hear a legend in the sonic and visual art world speak about this work. Tony Conrad will be in conversation at this year’s festival with the help of the ever inquisitive The Quietus.

Tony will be discussing his long line of collaborative work, plus giving us an insight into early days having worked with Velvet Underground and other such luminaries.  Tony will also be discussing his cross artform  approach, moving between the world of visual art, film and sound.

Extracts from Tony Conrad’s influential structural film ‘The Flicker’:


The Quietus Q&A


The Quietus: Q&A with editor John Doran
The Quietus is one of Capsule’s favourite sites.  Spending a few hours in their company is always a pleasure and mainman John Doran has been involved with Supersonic before, most recently hosting a Q&A with Neu!’s Michael Rother on 2010.  Here, we turn the tables and subject him to our own Q&A, courtesy of Ross Cotton.

How would you describe your relationship with Supersonic Festival?
Head over heels in love. Luckily my girlfriend feels the same way.

Which acts are you looking forward to most in this year’s line-up, and why?
Electric Wizard because they are pure, heavy evil, straight from some kind of black hole of doom. The Skull Defekts (will they find the Higgs Bosun?) will be amazing. Simeon of The Silver Apples is always amazing. WITTR, White Hills and Circle.

What has been your ultimate favourite performance at a previous Supersonic and why?
Probably either Beestung Lips in 2008 just because it was so fucked up, exciting and funny, Arbouretum in 2009 or King Midas Sound last year. Or SunnO))). It’s hard to pare it down to one set.

How would you describe Supersonic to a potential, fresh audience?
The right balance of pancreas bursting harsh noise, frollicking and cake.

What does Supersonic offer differently compared to any other festival?
The compactness of it is a real selling point. There’s always a good vibe there and you’re guaranteed to come away having seen something amazing you weren’t previously aware of.



RIP Sleazy


Peter ‘Sleazy’ Christopherson: 1955-2010

Along with the rest of Throbbing Gristle, Sleazy was a bold provocateur and activist. But he was also one of the most innovative musicians of his generation. Coil played the first ever Supersonic Festival in 2003, it was a real honour.

It is with great sadness that this morning the Quietus is having to report that Peter “Sleazy” Christopherson of Throbbing Gristle, Psychic TV, Coil and X-TG has died. He was 55, and reportedly passed away in his sleep. The news was broken in the early hours of the morning by Chris Carter and Cosey Fanni Tutti, who tweeted “Our dearest beautiful Sleazy left this mortal coil as he slept in peace last night.words cannot express our grief”. The Throbbing Gristle website simply features Sleazy’s name, and the dates of his life: 1955 – 2010.

From The Quietus

There is also a piece on the Guardian website


The Quietus talk to Hallogallo


The Quietus went and chatted to Michael Rother about Hallogallo

Michael Rother’s pedigree as a Krautrock pioneer is close to unparalleled, with a roster including Kraftwerk, Neu!, and more recently, Harmonia, his project with Cluster’s Hans Joachim Roedelius and Dieter Moebius. But it is his work with the much-missed motorik innovator Klaus Dinger for which he is best known. Latest project Hallogallo was originally intended as a reunion of sorts with Dinger, before the drummer’s tragic death in 2008. Now Rother is making his first appearances in years, with Hallogallo 2010 – consisting of Rother, the majestic Steve Shelley of Sonic Youth on drums, and bassist Aaron Mullan of the Tall Firs.

Read the full interview here


The Quietus vs Hallogallo


We’re delighted to announce a very special live interview with Hallogallo over the weekend of Supersonic Festival hosted by The Quietus. It will take place on Sunday in the Theatre Space.

The Quietus is a music and culture online magazine (recently voted Website of the Year by Record of the Day) now well into its third year of existence.

When editors Luke Turner and John Doran are asked to describe their remit, for want of anything sensible to say they often reply, “We cover all music that was recorded after 1974, the year that Kraftwerk’s Autobahn created modern popular music.” So it was with great pleasure that we were asked to be part of the festival this year, not just because of the typically excellent line-up chosen by Lisa and Jenny, but because it gave us a chance to work with former Kraftwerk and Neu! guitarist Michael Rother. On top of this we’re overjoyed by the return of Swans, Godflesh and Napalm Death, are looking forward to broadcasting our daily radio programme (tune in) and are looking forward to having a dance to Factory Floor, Gnod, Barn Owl and Gum Takes Tooth. Most of all, John is looking forward to a weekend where the only sustenance and fuel he needs will be extreme music, thus avoiding the curious incident involving a Coventry Station platform and a truncated journey down a tunnel that was full of red flames, not heavenly light that occurred in the bloody aftermath of Supersonic 2008.”

Read more HERE


Motorik Skills


Motorik Skills:Apache Beat 101 presented by Hallogallo and The Quietus

The word ‘motorik’, which literally means ‘motor skill’ in German, was originally coined by journalists to describe the minimal yet propulsive four four beat that underpinned a surprisingly small amount of leftfield German rock music from the early 70s. It was a hallmark of Klaus Dinger’s drumming for Neu!, although he rejected the term, preferring to call the rhythm the ‘Apache beat’. This metronomic approach could be heard bubbling through in Kraftwerk’s ‘Ruckzuck’, and early Can fare such as the blistering ‘Mother Sky’ and ‘Father Cannot Yell’ but was cemented as we know it now by Neu!

This beat has retrospectively come to be seen as the war drum of modernity; the pulse pushing music and the listener into the future. It is often associated – with good reason – with the great transport networks of Germany, the railway lines and the autobahns. In fact the rhythm even mimics that of a car speeding along the open road or a train clattering along the rails: fast, measured, travel never ending across Europe endless. It was the rock beat stripped back to a glittering chassis. It was the minimalist framework on which subtle improvisation could take place.

Of course, when I had the temerity to say all this to former member of Kraftwerk and Neu! guitarist, Michael Rother, he laughed and said that in fact the inspiration for this measured German rock beat had come from something altogether less mechanistic and more fluid: a game of five-a-side football including himself, Klaus Dinger and Ralf Hutter.

As a bonus to fans we’ve invited Michael Rother on stage to take part in a Q and A discussing the motorik beat, hallogallo, Harmonia and Neu!.

Hosted by  The Quietus



The Quietus talk to Swans


Michael Gira says that being in Swans used to be like “trudging up a sand hill wearing a hair shirt, being sprayed with battery acid, with a midget taunting you”. In which case, why has he resurrected the project, asks Frances Morgan

“Well, first of all, the correct term is disinter,” says a deep-pitched, sardonic and instantly recognisable voice in response to my first question about the reappearance of Swans, over a decade after their last album and tour. “Re-form… I mean, re-animate… er, re-start?” I flounder, stumbling over semantics, before I realise that the band’s originator, Michael Gira, is having something of a laugh with me.

This is something I never expected. From their formation in New York in the early 1980s with albums like Cop and Filth to dissolution in 1997 after live album Swans Are Dead, Swans’ music certainly changed and grew, the band’s sound spreading and blooming from dense No Wave assaults to sprawling, haunted songs, like ivy climbing and eventually claiming a derelict factory building. But it never let up: viewed in retrospect, Gira and his band were remarkable in being not only prolific and experimental – delving into different sounds, characters, atmospheres – but also remaining steadfastly intense, rarely sounding tired or predictable. Something big is always at stake in a Swans record, whether Gira or former co-vocalist Jarboe are roaring in anguish, hammering out a deadpan chain-gang chant, or steering a wistful melody with lyrics touching on pain, performance, sex, blood, God, power and control, damnation and redemption. But beyond the lyrics – and the stories of dysfunction and self-destructiveness within the band – it was the sound of Swans that hinted most at what that something might be. Gira has always been a brilliant arranger, adept at juxtaposing dissonance and almost sentimental melodicism; visceral intimacy and alienated machine-noise. As far back as 1987’s Children Of God, every song has its own well-defined world, every corner obsessively shaded in, whether a waterlogged country lament like ‘Our Love Lies’, Jarboe’s silvery psychedelic ballad ‘In My Garden’, or snarling, vast tour de forces ‘Sex, God, Sex’ and ‘Beautiful Child’. Later, field recordings would be added to the picture, but not necessarily in the ambient way the term suggests: taped conversations, overheard dialogues from parents, lovers, strangers, appeared in the mix, the effect both poignant and unnerving.

Read full interview – The Quietus


Michael Gira review of new Swans release


Michael Gira has reactivated his No Wave/industrial/apocalyptic folk project SWANS for the first time in 13-years, The Quietus asks him for a track-by-track review.
Read full article + listen to tracks here