Astro

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Solo project of Japanese musician Hiroshi Hasegawa of the influential noise music group C.C.C.C. Astro’s music is made using assorted analog equipment including Moog, EMS, and Flower Electronics synthesizers. His music covers a wide range of styles in the experimental psychedelic music field; from space music to psychedelically tinged harsh noise.

http://www2.odn.ne.jp/astro/

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Agathe Max

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Agathe Max is a French musician based in Lyon. She mostly performs as a solo violin act, enhanced with various loops, distortions and other effects. She has been very much on tour in the last few years sharing gigs with important international acts such as Carla Bozulich, Jonathan Kane, Rhys Chattam, David Daniell and Melt Banana. Her music is either composed or improvised, depending of the shape of the project. In addition to her musical career, Agathe Max is also a visual artist, a jeweller and an activist in the musical and artistic community in Lyon.
http://www.myspace.com/agathemax

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Dethscalator

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Like Motorhead put through a blender,  Dethscalator make music that is heavy and mentally disabled that you could place somewhere between the jabbering gush of Scratch Acid and Electric Wizard’s misery-grind. Other more contemporary reference points are Pissed Jeans and Mayyors. It’s a sick specimen with a vocalist that sounds like Oliver Reed drunk on the Michael Aspel show backed up by some of the heaviest riffs you’ve ever heard.

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http://www.myspace.com/dethscalator

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Health & Efficiency

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Their music traverses an encyclopaedia of influences; psych, folk, no wave noise and electronic perhaps being some of the more predominant. They utilise banjo, two basses, two guitars, synths, samplers and more effects and loop pedals than it’s reasonable for one band to need.
http://healthandefficiency.net

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Ruins

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Formed in 1985, RUINS has been continuing to develop and deepen their world for over 18 years. Tunes are complicated and mysterious, and songs are sung in the language of their own invention. It’s high-tension, wild, heavy, speedy, acute, and powerful. RUINS started with a noisy hardcore sound, then moved into a more technical, complicated sound, performances showcase both characteristics. True hardcore progressive sound.

http://www.myspace.com/ruinsband

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Chrome Hoof

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Initially formed as a duo by brothers Milo and Leo Smee, the band has grown into a large-scale troupe of multi-instrumentalists, including a horn & string section, a choir and Lola Olafsoye, the singer out of Spektrum.  Taking influence from the likes of Sun Ra, ESG, Goblin, Parliament-Funkadelic and Black Sabbath, it moves from soulful stadium rock, to drum machine electro minimalism which makes like James Brown at a Goblin gig, to the virtuoso disco funk of Grace Jones.  They sound like nothing you’ve heard before; or rather, they sound like stuff you’ve heard before, just never played all at the same time.  They’re a really awesome live band; they’re worth checking out for their Pavement meets Gnaw tinfoil space traveller outfits alone.

http://www.myspace.com/chromehoof

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PCM

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Friday nights at Supersonic wouldn’t be the same without PCM. Currently celebrating their 20th anniversary, this duo have been at the heart of the Birmingham electronic/dance music scene for many years but have managed to keep their music and ethos resolutely underground and “in yer face”.
Sharing bills with acts as diverse as Aphex Twin, Test Dept, Scorn, Luke Vibert and even Hawkwind (!), PCM draw from their wide-ranging influences from metal to Krautrock, 60’s psychedelia to old skool hardcore to create a whirlwind of sound that ignites any dancefloor turning it into a steaming mosh-pit.
Previous Supersonic appearances have seen exclusive collaborations with legendary metal vocalist Karl Willetts from Bolt Thrower and guitarist Steve Pike amongst others; all adding to their unique take on Drum & Bass/electronica for the 21st century.
By combining nitrous-fuelled beats and filthy subsonic basslines with alien soundscapes and horror movie unease, PCM continue Birmingham’s heritage of producing dark, heavy music but with their eyes firmly on the dancefloor.

http://www.myspace.com/p_c_m

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Stinky Wizzleteat

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[jwplayer config=”audio sidebar” playlistid=”1382″]Formed some time in 2008, Stinky Wizzleteat have garnered some sort of a reputation, leaving a trail of blood, sweat and broken amplifiers behind them.  United by a mutual love of the Bad Brains, Wizzleteat carve out a sound informed by groove from across the musical spectrum, whilst staying fully committed to heaviness, good times and volume.

.myspace.com/stinkywizzleteat

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Mugstar

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[jwplayer config=”audio sidebar” playlistid=”1378″]Are the sound of 10,000 exploding suns, pulsing with repetitive beauty and pounding like a supersonic mantra. Mugstar recall “Saucerful…” era Floyd and echoes vintage Neu! alongside the sounds of Oneida and Sonic Youth. Mugstar take the sonics of psychedelia and krautrock, drag it through the lenses of punk and post-rock, heavy as lead but driven to a repetitive extreme so that it becomes an impenetrable Krautrock hammer; much like Neu on a week long binge of testosterone.

http://www.myspace.com/mugstar

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Peter Broderick

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“Painfully young and unnervingly talented” American multi instrumentalist Peter Broderick explores minimalism and instrumentalism with tinges of folk.  In mid 2007, Peter was invited by some of his heroes, the Danish ensemble Efterklang, to move to Copenhagen and join their live band. And so he dropped his entire life in Portland and moved across the world. Since then, he has also released a series of solo albums including ‘Docile’, a mini album of piano music and an album of string compositions.

http://www.myspace.com/peterbroderick

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Devilman

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Heavy heavy dub featuring DJ Scotch Egg and Dokkebi Q. Scotch Egg plays live bass with the same manic attitude as his gameboy alongside the gruesome beats of fellow Japanese artist Dokkebi Q.

http://www.myspace.com/devilmanattack[jwplayer mediaid=”1050″]

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Lash Frenzy vs KK Null

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[jwplayer config=”audio sidebar” playlistid=”1267″]This performance is brought to you by KK Null (Zeni Geva) and Lash Frenzy(Einstellung). KK Null needs no real introduction; regarded as a pioneer ofthe experimental scene by the likes of Sonic Youth and Merzbow, what else is there to say? Lash Frenzy is Andrew Moscardo-Parker’s  sound art guise. A blatant disregard to narrative and structure combined with solid walls of sound has seen Lash Frenzy share the stage with the likes of Earth and Melt Banana. For this performance the ‘Lash Frenzy Big Band’, will be joined by Torque, Mort the Sonic and Mr Underwood (Glatze).

http://www.kknull.com/

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This performance is supported by Japan Foundation

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Part Wild Horses Mane On Both Sides

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Flautist Kelly Jones performance veers seamlessly from Anthony Braxton styled free playing to a haunted elongated droning style akin to Isnaj Dui. Pascal Nichols, the percussive element of the duo, splatters sporadically in a fractured rainfall, faintly disrupting proceedings to begin with, then forcefully propelling the musical structure into steadier rhythms. This primitive structure is forced in amplified rackets via free jazz techniques and improvisation.
www.myspace.com/partwildhorsesmaneonbothsides

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Demons (with Sick Llama)

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[jwplayer config=”video mainpage” playlistid=”847″]Demons features Nate Young, the founding member of Wolf Eyes, and have evolved from a synthesizer duo into a Visual Music trio with the incorporation of video artist Alivia Zivich.

“This duo from Detroit made the scariest damn noise album of 2007 with Evocation . Far from the typical free-for-all inanity that dominates the noise scene, Nate Young and Steve Kenney create sounds that are more in line with Carl Zittrer’s horror movie soundtracks” Blood Sausage

www.myspace.com/demonscool

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Cave

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Chicago based band on Drag City. Cave core themselves round sickeningly tight drum and bass that drive like an armoured vehicle, whilst the sinewy guitar work punctuates aggressively. Think cosmic grooves and full on psych wig out.
www.myspace.com/realreelpro

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Gnod

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Fancy partying in a 1970s drag queen bar in outer space? Well, Gnod provide the perfect music accompaniment. This is psychedelic drone rock, tribal drumming, grunge and utter filth all pushed along with a Krautrock like pulse.

http://www.myspace.com/gnodgnod
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Lichens

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Spontaneous improvisational composition by form and function is the basis for Lichens. Injecting evolution and natural process into the art form is key. Reflection of internalized experience illuminates symbiosis, serendipity and syncronicity ultimately opening the door. Mistakeisms prevail, time only tells and future past is the next window.

Robert Aiki Aubrey Lowe is Lichens. Through collaboration Robert Aiki Aubrey Lowe has worked withWhite/Light, Cloudland Canyon, Michael Zerang, Joshua Micah Abrams, Alan Licht, Hisham Bharoocha, Rose Lazar, Bird Show(Ben Vida), Doug Aitken, Butchy Fuego, Lee Ranaldo, Twilight, Lucky Dragons, David Scott Stone, Rob Barber (High Places), Patrick Smith, Koen Holtkamp (Mountains), Jonas Asher (Grasslung), Ian Wadley, Rhys Chatham and Om.

http://www.lichensarealive.com/

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Necro Deathmort

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Having equal passion for electronic and extreme music, and motivated to fill the glaring gaps in their record collections, Cookson and Rozeik began recording material under the name Necro Deathmort in 2007

The duo take their favourite aspects of doom, drone, electronica, ambient, hip-hop and dance music, and force it all together into something altogether more…Necro.  This is not ‘doom meets electronica’: this is an organic sound that owes little to current musical trends, and everything to the music that originally inspired it’s creators – this is Necrotronic…A maelstrom of dirty beats, supernatural atmospheres, agonising guitars and crushing low end.

http://www.myspace.com/necrodeathmort

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James Blackshaw

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“He’s a virtuoso of the 12 string guitar, but he’s anything but showy. He lays out patterns and shapes that subtly shift over time and lead you to a deeply satisfying mental state. Recently, driving around with the car stereo blasting his music I found myself inexplicably weeping. Why??? The music’s not sad, or even mournful really. It’s just exquisite in an ineffable way, and taps into a place, a dream place, or a pre-thought place, which each of us might recognize was always there inside of us and is suddenly revealed. Like coming home after a painful journey, I suppose…”
Michael Gira/Young God Records

http://www.myspace.com/jamesblackshaw

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