Known/Unknowns – Flat Pack Film Festival event

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Room 1.
THREADS
ARMY OF FLYING ROBOTS 

BEE STUNG LIPS

Room 2.
THE DIRTY CAKES
HOT RODDY
BELA EMERSON

+ films/djs/cake/record stalls

only £5 – more details coming soon

8pm – 2am

Room 1.
THREADS
Formed out of the despair of human living to counteract the grim realities of failed life. THREADS hitting the scene like an Atomic bomb hitting Sheffield. Worlds greatest d.i.y stadium rock band no messing!
Ex-every band ever!
http://www.myspace.com/threads333

For further details about Flat pack festival check:
http://www.flatpackfestival.org

ARMY OF FLYING ROBOTS
One of the UK’s brightest underground grindcore/hardcore bands, expect lots of screaming over lots of blastbeats and very dirty guitar noise.
http://www.myspace.com/armyofflyingrobots

BEE STUNG LIPS
chaotic, drunken, loud, fast, punk rock music (think the jesus lizard, song of zarathustra, refused, and charles bukowski thrashed around in a blender).
http://www.myspace.com/beestunglips1

room 2.
THE DIRTY CAKES
The Dirty Cakes are a fusion of influences ranging from pre-war Berlin
cabaret to jazz, swing and metal.
http://www.myspace.com/thedirtycakes

HOT RODDY (Wrong Music)
Chris Cook lived in Brighton, has been making electronic music of all kinds
for many years and operating under the names Remote and Hot Roddy, plays sitar along with his beats at every gig. In 2004, Cook also started to play gigs as Same Actor, using various stringed instruments building up
soundscapes on the fly using no pre recorded or pre sequenced material, but playing with alternative tuning systems and world rhythms.
http://www.myspace.com/sameactor

BELA EMERSON (amazing set of cello and effects)
“Bela plays cello like you’ve never heard it played before, looping bowed
and plucked string rhythms through pedals, warping the sounds into spacey and industrial noise, beating out accompaniment on the body of her
instrument. A more captivating, physical performance you are not likely to
see.” Brighton Source, November 2006
http://www.myspace.com/belaemerson

Films include Legalize Murder (A True Black Metal Comedy) Directed by: Joseph Salerno & Nick Warden
http://www.designconfederacy.co.uk/trailers.htm

and PAPER RAD a Pittsburgh, PA/Northampton, MA collective that has
bubbled under the elastic waistline of the world’s slacks for over a
decade, tickling its privates and filling its diapers. This collective
first started churning out cortex hemorrhaging lysergia comics and
moved on to bands, videos, snack foods and installations. Past videos
for the band for bands have included LIGHTNING BOLT (on LIGHTNING
BOLT’s POWER OF SALAD LOAD 041) and the PICK A WINNER video compilation
(LOAD 050). Think of this group showing up to the 80’s dance party with
tazers and ketamine, and you waking up at the bottom of the ball tank
at CHUCK E. CHEESE. Not suitable for work, but definitely suitable for
family occasions!
http://loadrecords.com/bands/paperrad.html

Art installation bt The Outcrowd
http://www.myspace.com/theoutcrowdcollective

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ELECTRIC WIZARD + CAPRICORNS + MISTRESS

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After several months of speculation & uncertainty, the longstanding recording artists, Electric Wizard are now ready to officially unveil a new line up & announce a tour.

Following the departure of former drummer Mark Greening (drums), the band recruited the punishing skills of former Iron Monkey drummer Justin Greaves to fill the position behind the kit.

Jus Oborn decided to recruit the services of a second guitarist, Liz Buckingham, who had previously played with legendary cult all girl New York Doom/Crust band 13 and more recently with Southern Lord recording artists Sourvein. Filling in the bass position is friend of the band Rob Al-Issa.

 

 

 

At last, an ensemble from the UK underground that is challenging, Fresh & invigorating; emerging from the granite wastes of London, England comes the towering behemoth known as Capricorns.

The recent history begins in early Spring2003 when Nathan Bennett & Kevin Williams (current members of renowned soundscape rock outfit Bridge & Tunnel) realised they were both desperately seeking a proper conduit for their surfeit metal influences. After a few brief writings sessions they felt they had enough basicmaterial to warrant enlisting their long time friends Dean Berry(formerly of Iron Monkey) on bass and Chris Turner (from Orange Goblin) behind the kit.

 

 

 

 

 

Formed in Birmingham during 1999, MISTRESS have released two albums to date Ñ “Mistress” and “The Chronovisor” Ñ to rave reviews and have gigged with the likes of NAPALM DEATH, MAYHEM, ELECTRIC WIZARD, BOLT THROWER and EXTREME NOISE TERROR. Their hard-to-pin-down sound comes across as a sickening sludge/grind/doom hybrid, reminsicent of the early U.K. grind scene of the late ’80s and early ’90s, and has been described as “a vile musical bastard, a bilious, screaming, snot-faced sludge orphan with all the taste and decorum of a sexual encounter in Wormwood Scrubbs.”

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Red Sparowes + Ramesses + Una corda

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RED SPAROWES (members of ISIS  Neurot)
RAMESSES (ex – ELECTRIC WIZARD)
UNA CORDA

TICKETS ON SALE
http://www.seetickets.com

Red Sparowes is comprised of Bryant Clifford Meyer on guitar/vocals (Isis), Jeff Caxide on bass/guitar (Isis), Josh Graham on guitar/vocals (Neurosis visuals and acclaimed video director), Greg Burns on bass and pedal steel (also of Temporary Residence dark chamber folk sextet Halifax Pier) and Dana Berkowitz on drums (formerly of Converge offshoot The Cignal).

To find out more check:
www.neurotrecordings.com/artists/red-sparowes/index.aspx
www.redsparowes.com/

RAMESSES was born in England, February 2003. The seed of inspiration that gave birth to the band came from Mark Anthony Greening. Earlier during that bitter winter, he had parted ways with the band he’d drummed for since its creation, Electric Wizard, and wanted to continue to push his (now world famous) insanely creative drumming. Similarly, Tim Bagshaw, his long-time friend, had also left Electric Wizard, looking to leave behind what he saw as the boredom of the bass in favour of the guitar. Their departures shocked both the media and fans alike, who are still debating the reasons why…

to find out more info check:
www.hcp-industries.demon.co.uk/ramesses/

UNA CORDA – Chorus infused melodies buttered with breakout steel riffs

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kid commando + noise noise allore! + the arm

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KID COMMANDO (sweden – tigerbeat6)
NOISE NOISE ALLORE
THE ARM

KID COMMANDO hammer out on short pieces of total-noise-punk-attack. They are Sweden’s most frantic noise kids and give an experience of intense chaotic rock’n’roll that sounds like ‘The Jon Spencer Blues Explosion’ on acid. A lot of acid… Power Violence meets R&B

Two guitarists and one drummer, the members of Kid Commando seem to be in constant battle with the instruments they play. Every note a painful struggle. Every drum fill, next to impossible. Art damaged sandpaper rhythms cut jagged grooves into normalcy. They call it” new funk”. Kid Commando hail from Gothenburg, Sweden. This year they released “Holy Kid Commando” on Ache Records, an album chock full of awesome, churning, battle-scarred drone chords and propulsive drumming funking every song through from false start to chaotic finish. In 2002 Kid Commando toured the UK with the now-defunkt Arab on Radar (who went on to spawn the Chinese Stars). The band are currently working on an album for Kid606’s label, Tigerbeat6, to be released in April 2005.

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Noise Noise Alore – members of Calvados Beam Trio, Deadsunrising and Solway Fifth show their fruitier side with an awesome yet somehow very wrong live show. Prepare yourselves for small pants and high socks.
     
The Arm…West Midlands based trio who merge awkward, mathcore riffs with melody and subtle electronica.
www.the-arm.co.uk

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5ive + Ramesses + Mistress

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5IVE
RAMESSES (ex electric Wizard)
MISTRESS

Ongoing travels through the far reaches of interstellar soundscapes At a velocity that rivals that of darkness creeping over the horizon, 5ive slowly but surely grips with its sonic mantras, hypnotizing audiophiles into trance-like states of aural ecstasy. Similar to a black hole in its colossal power, 5ive’s ability to suck in the consciousness of spectators into its realm of existence remains unrivaled by any other force in the universe.
Utilizing various vintage effects, guitars, tube amplifi-cation units, speaker cabinets and an early 20th century drum kit of monstrous proportions, 5ive are one of the few acts that actually live up to the definition of superlatives such as ³heavy² and “crushing” adjectives often tossed around carelessly by critics. Creating massive walls of analog energy that defy easy categorization, the duo have thus far managed to create the equivalent of a space shuttle pharmacy, composing mini-symphonies that hang in the atmos-phere, with effects similar to Ambien, Xanax, Valium and other synthetic sedatives. And while the layers of sound that crash and resonate are certainly enhanced by illicit chemical compounds, 5ive¹s hymns are a new type of drug, lulling the listener into a deeper spectrum of transcendence.
(label mates of ::scissorfight/dukes of nothing/old man gloom)

 

 

RAMESSES was born in England, February 2003. The seed of inspiration that gave birth to the band came from Mark Anthony Greening (who was incidentally named after the movie Cleopatra, that stars Elizabeth Taylor). Earlier during that bitter winter, he had parted ways with the band he’d drummed for since its creation, Electric Wizard, and wanted to continue to push his (now world famous) insanely creative drumming. Similarly, Tim Bagshaw, his long-time friend, had also left Electric Wizard, looking to leave behind what he saw as the boredom of the bass in favour of the guitar. Their departures shocked both the media and fans alike, who are still debating the reasons why…

 

 

 

Formed in Birmingham during 1999, MISTRESS have released two albums to date “Mistress” and “The Chronovisor” ‹ to rave reviews and have gigged with the likes of NAPALM DEATH, MAYHEM, ELECTRIC WIZARD, BOLT THROWER and EXTREME NOISE TERROR. Their hard-to-pin-down sound comes across as a sickening sludge/grind/doom hybrid, reminsicent of the early U.K. grind scene of the late ’80s and early ’90s, and has been described as
“a vile musical bastard, a bilious, screaming, snot-faced sludge orphan with all the taste and decorum of a sexual encounter in Wormwood Scrubbs.”

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Mono + Black Galaxy

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 MONO (Japan)
BLACK GALAXY (ex scorn/napalm death)

 

Event Details:
Mono. What these four, angular Japanese twenty-somethings in thrift-store garb unleashed on the perfectly unkempt gathering of hipsters at Tonic that night was a pure, unadulterated exercise in ritual guitar execution. Bloodless, yes, but no less scarring. Knees buckled, teeth rattled and eyes rolled back in perfectly coiffed heads as a musical apocalypse-a magma throw-rug-was draped over the audience. Even as members of the crowd tried to jam clinched fists into their ears to muffle the cattle call of Armageddon, they couldn’t bring themselves to leave the tiny hall. If this was death-or deafness at the least-then they were satisfied having the soaring, battering, bone-jarring guitars of mono supply that final ringing in their ravaged ears.

When a band from Japan detonates the place like Mono did that night, certain parallels are unavoidable. So here goes: Mono are not the bomb, they are a bomb.

Formed in 2000, Mono is Takaakira Goto (guitar), Tamaki (bass), Yasunori Takada (drums) and Yoda (guitar). Their first full-length record, Under the Papal Tree, was touched by the hand of John Zorn, who put the disc out on his Tzadik label.Papal Tree found a home amongst the post-rock minions of Japan, but received little fanfare in the fare-skinned corners of the world-thanks in large part to the heavy swaths of Sonic Youth and Mogwai-style pyrotechnics that dominate the album.

But on their ominous sophomore disc, One Step More and You Die, mono has conjured up their own version of pummeling guitar rock: and it is pitch black. Layering eerie, vapor trails of ambient white noise, with napalm waves of primordial guitar, mono creates a nightmare dreamscape where sound takes on physical form, makes a fist and buries it into your gut.

Need proof? Check out album centerpiece “Com(?)”. An epic 15:57 long, listening to it is like standing in a roaring wind tunnel, guitars whipping up a maelstrom, drums throwing sucker punches in your face, bass exploding in your brain pan. You could swear the flesh is being peeled from your bones in excruciating strips. A Matisse dipped in pig’s blood and painted over with the ink-blotted tails of cobras, Mono is beautiful; Mono is violent.

“When the audience gets smaller, we get more violent, ” says Takaakira…”we try to kill them by sounds.”

 

Links:
http://www.mono-44.com – more info on mono

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Oxbow+Mistress

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OXBOW – (USA)
MISTRESS
+ FILM SCREENING OF ‘MUSIC FOR ADULTS’ a documentry about oxbows
exploits

OXBOW
the quiet kill off the country road, the time before the time when everything went wrong and the last 16 hours of that great love affair are the seminal beginnings of OXBOW. Designed to be the last aural will and testament of failed humanity, OXBOW actually garnered listeners from among the ranks of the fucked, with their 1990 release FUCKFEST (cfy/pathological). followed by KING OF THE JEWS (cfy), THE BALLS IN THEGREAT MEAT GRINDER COLLECTION (pathological), as well as LET ME BE A WOMAN (brinkman/crippled) and a dizzying travelogue into the land of the lost, SERENADE IN RED (crippled/SST), both recorded by the estimable STEVE ALBINI. And now three years into a new millennial kind of madness, OXBOW releases AN EVIL HEAT (neurot), recorded by GIBBS CHAPMANN (red house painters, faith no more) to an ever increasing critical acclaim.

“As loud as a slaughterhouse and almost as messy, and probably more cathartic than any release you’ll hear this year.” –Alternative Press Magazine

“(A) daredevil dive into the abyss of the abject.” The Wire

“When OXBOW explode it’s with a metaphysical heaviness, drawing in intangible elements, breathing with indescribable import, like a late-periodColtrane freakout” Careless Talk Costs Lives

“The greatest art rock band in the world.” VICE Magazine

www.theoxbow.com/

MISTRESS
“From the writhing social underbelly of darkest Birmingham, monstrous slabs of monolithic grinding doom sludge, drunken chaos, agonising slow mammoth sounds”
Metal Hammer

http://www.geocities.com/stomp666/index2.html

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Oxes + Solway Fifth + Calvados Beam Trio

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Oxes
Solway Fifth
calvados Beam Trio

whoopee!!! let the party begin oxes are back in brum, for those of you who haven’t seen these guys in action now is your chance and for those of you whom had the pleasure before, you know what a fine night lies ahead. support comes from our favourite west brom kids solway fifth + brums finest three some calvados beam trio

Oxes are a trio which have risen from the twisted wreckage that is the city of Baltimore. Armed with matching day -g lo yellow shirts and construction – sign orange flex- fit trousers, cordless electric guitars, a stack of drums and lip-curling stage antics, they commence at once with their metallic atonal scapery and vicious backbeats, stretching their harmonic-tinged pick stabs and angular riffs into far-flung directions, yet retain enough resiliency to quickly recoil, redirect and charge headlong into a brick wall or two.

They do not wear protective headgear.

On stage, Oxes are to rock venues what hyperactive children are to daycare centres. They are the fury dressed in shortpants. The drummer refuses to sit still, stopping midbeat to readjust his shorts, or pausing to gawk at the audience. The guitarists go from posing on black boxes positioned at the front of the stage to wandering backstage and amongst the unsettled crowd, where they flawlessly transmit the rock to their amplifiers by remote.
These live antics, whatever their humourous intentions, should not detract from the serious rocking qualities of thier music. An Oxes song, for all its atonal riffs, abrupt changes, and crashing drums and mathematical tendencies, is not a mish mash of guitar licks, trig equations and drum solos. Oxes combine these tasty, virtuoso elements with fliud transitions, odd stops and starts, false endings, phony introductions, manic aggression, and considerable aplomb. Add feature

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Check Engine + Solway Fifth + Deadsunrising

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check engine (members of sweep the leg johnny)
solway fifth
calvados beam trio

Summer 1993. South Bend, Illnois. A basement: Check Engine, mark one, comes into being. they have one song, called “Por-San”, named after the industrial strength cleaner that was the only foe our bathroom feared. That Check Engine lasted long enough to hang out several times with Carlo, and Rossi, wreck the life and livelihood of one Vincenzo Carrasco and play one show, a battle of the bands in April ’94. That was enough for a time. The Next Six Years.

Elsewhere in the world: Steve Sostak and Chris Daly are playing in Sweep The Leg Johnny. For six years they work as hard any band on the planet recording and releasing one full and one mini album on Southern (with another due later in 2002) and touring Europe and the US one what seems like a perpetual loop. Brian Wnukowski is playing in Big’N and Paul P. Joyce is playing bass in Lynx. Come 2002 and these kids have come together as a stable line up and are set to make thier first release a self titled album on Southern. What does Check Engine sound like? Two vocalists, two guitarists, a drummer, a bassist and a sax player. Complex little rock songs. Big Star if Chilton had grown up listening to Tangerine Dream and Drive Like Jehu? I don’t know. Next question? When Paul and Brian first lock on a rhythm its, Love at first rumble. After that, Chris and Joe get to the business of weaving guitars. Then there’s the singing – two singers, one not quite the lead singer, the other not quite the back-up – twining together lines in different meters, mirroring each other in a staggered echo or matching up syllable to syllable while singing slightly different words. As for the words themselves, Joe’s songwriting is all about hate and heartbreak, and dead German intellectuals; don’t get your hopes up there. Focus instead on the love-match Brian and Paul orchestrate between their own elemental force and the goofy trickery of guitars that know each other far too well. Or the way Steve uses the sax and his voice as extensions of one another, threading through and threading together everything else.

for further details : www.angiesmells.com/checkengine/

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Cave In + Deadsunrising

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Cave In (Usa)
Deadsunrising

Since their incarnation in April 1995, Cave-In hasset their course for progress. What originally started as four high school boys exploring their love of metal has come around to being four guys who are considered to be independent music’s most solid bet for a brighter, heavier future. A bastion of imagination and musicality, Cave-In crafts compositions that are epic inscope and sound. Cave -Inbegan work on their breakthrough rcording, ‘Until your heart stops’, in 1998 at God City recording studios with Kurt Ballou (converge) at the helm. The result was a fierce and blistering set of unorthadox heavy metal that garnered the band international notoriety and tours with heavyweights Isis and Neurosis.

It was during this time that Cave- In’s rehearsals took a marked turn for the different. The metal gave way to epic space, and prog-rock penchant to detail, but the approach stayed true to their roots and was no less aggressive.

While everyone in the band is only a meagre 21, the result of 5 years intensive evolution often sounds like a lifetime of training.

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Oxes + Geiger Counter + Calvados Beam Trio

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Oxes
Geiger Counter
Calvados Beam Trio

Oxes are a trio which have risen from the twisted wreckage that is the city of Baltimore. Armed with matching day -glo yellow shirts and construction – sign orange flex- fit trousers, cordless electric guitars, a stack of drums and lip-curling stage antics, they commence at once with their metallic atonal scapery and vicious backbeats, stretching their harmonic-tinged pick stabs and angular riffs into far-flung directions, yet retain enough resiliency to quickly recoil, redirect and charge headlong into a brick wall or two.

They do not wear protective headgear.

On stage, Oxes are to rock venues what hyperactive children are to daycare centres. They are the fury dressed in shortpants. The drummer refuses to sit still, stopping midbeat to readjust his shorts, or pausing to gawk at the audience. The guitarists go from posing on black boxes positioned at the front of the stage to wandering backstage and amongst the unsettled crowd, where they flawlessly transmit the rock to their amplifiers by remote.

These live antics, whatever their humorous intentions, should not detract from the serious rocking qualities of their music. An Oxes song, for all its atonal riffs, abrupt changes, and crashing drums and mathematical tendencies, is not a mish mash of guitar licks, trig equations and drum solos. Oxes combine these tasty, virtuoso elements with fluid transitions, odd stops and starts, false endings, phony introductions, manic aggression, and considerable aplomb. Holding their own while playing with such giants as Shellac, U. S. Maple and Don Caballero, OXES are creating a genre of their own: Confrontation ROCK! With an in your face approach towards performing, the OXES demand your attention and once they have it, they aren’t letting go. Its the right combination of greed energy and time travel.

Geiger Counter is made up of two members of the experimental/post-rock 3-bass group Rothko – Jon Meade (guitar) and Crawford Blair (bass), along with Jason Carty (guitar) and Paul Westwood (drums). Geiger Counter began in 1994, but broke up when Jason left to go to college. The band reformed a few years back out of the ashes of Bel Geddes, another instrumental rock band which also featured Jon with Mark Beazley of Rothko and Bradley Teale. When Jason returned from college Geiger Counter reformed with Paul and Crawford taking up the rhythm section, completing the current line-up that we know today.

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