+ Rephlex records Djs

All enigma’s aside, the musical artist that is Squarepusher is actually
a guy from Chelmsford, England, named Tom Jenkinson. In the last 7 or 8
years, Jenkinson has made an enormous impact on electronic music. If
you look up Squarepusher in the dictionary you will find a definition
that says ‘someone who likes the ladies’ …. an apt description
perhaps for one of electronic musics weirdest exponents.

Squarepusher is a very prolific artist … one minute he’s managing to
squeeze Miles Davis-influenced jazz into drum-n-bass tracks, the next
he’s playing with reverb for hours, abandoning melody in favor of
trippy, dubby fusion. Squarepushers first few releases were on Spymania
and Rephlex. He was subsequently courted by R&S, Ninja Tune and
Warp before signing on the dotted line with Warp.

Squarepusher began his career with Warp with a single entitled ‘Vic
Acid’ single which was closely followed by the album ‘Hard Normal
Daddy’. Opening with ‘Cooper’s World’ the album showed that machines
could swing and that Tom could confidently take further musical risks
with his arrangements. ‘Chin Hippy’ on the other hand threw the
listener in at the deep end as an object example of technological
experimentalism. Harsh, cerebral, unique. Nevertheless ‘Hard Normal
Daddy’ wound up in end of year charts in magazines throughout the world
moving 75,000 copies in the

process. Incidentally all payments made by Warp were returned by Tom’s
accountant as they were out of date by the time he got around to paying
them in!

“Nothing is allowed time to settle and no idea outstays its welcome…
it takes at least four or five listens to absorb even the basic
structures of the record” was NME’s comment on the follow-up ‘Big
Loada’ release. By the time it was apparent that Squarepusher had very
much mastered his art so complex, wry, and exhilarating was the
mini-album. Tom describes

the musical process as “…pulling the music out of nowhere, not
thinking what you are doing.” “You have ideas, you get in the studio,
the ideas disappear and things start to flow,” he explains, “the songs
then exist in space somewhere between you and the machinery. When you
come out you have a souvenir of your time in this psychic space, a
space where

you are intuiting everything and not even worrying about things like chords and notes.”

To find out more check out more info on Squarepusher + Luke Vibert


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Isis create their own universe and rules, they are compromisingly heavy, slow and brutal, but apply a deftness of touch that so many other bands using the quiet/loud dynamic miss completely. They are hard to categories, but all the more interesting for it, using vocals sparingly they approach the idea of a voice as another instrument in their cannon, they want to bludgeon you but they also want you to see the inherent beauty in all that is ugly and while you imagine that a band playing ten minute slow burning epics would be boring to watch they are hypnotising and entrancing and above all exciting.

Stephen O’Malley (Sunn 0)))/Khanate) and Peter Rehberg (PITA) are two of the most celebrated artists in the world of extreme music. A collaboration taking in parallel worlds of Extreme Computer Music and Black Metal. A collision of the light and the dark. The collab came about as the two were working on a theatre production by Gisele Vienne and Dennis Cooper, entitled Kindertotenlieder.

advance tickets from

Oxbow Duo –  Eugene Robinson and Niko Wenner, the singer/lyricist and songwriter/architect of Oxbow’s mean mania, make the making of Oxbow music a thing of rarefied beauty using little more than the rudiments of guitar and voice for the non-electrical rendering of a terror no less absolute because of a lack of volume.

Exorcising demons, gang fights and classical guitars. From Milan to London to Berlin, The Robinson-Wenner Acoustic Duo, sits astride the low-fi fence like an ogre of less than obvious intent with its renditions of Oxbow’s musical back catalog, as well as music created specially for these rare events. A must see, hear, now.


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Battles features Ian Williams, a leader  in guitar
experimentations of the past 10 years as he fronted DON CABALLERO
and STORM AND STRESS, John Stanier, the Swiss timing machine behind
the kit, formerly of HELMET and currently in TOMAHAWK, David
Konopka of the Boston/Chicago phemononom LYNX and Brooklyn-based
avant-guard composer Tyondai Braxton.


Modified Toy Orchestra
Brian Duffy has been a stalwart of the circuit-bending scene for a
number of years now. He set the bar pretty high for the MTO, his
remit was only to use discarded kid’s keyboards and talking toys to
modify and circuit bend them beyond their original capabilities.
Making perfect pop songs from imperfect instruments.

This year sees a new incarnation of the orchestra, and consists of Lawrence (Pram),  Darren
Joyce (DOTB) Mike Johnston (Plone, Mike in Mono)  Joe Leach and Chris Plant.


Advance Tickets:


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Unhindered by the impositions of the vocal yoke, Chicago instro-sorcerers Pelican transcend the limits of time and space to expound upon the stunning finesse and painstaking subtlety with which they command their already indelible sonic signature. Restoring instrumental composition to its former glory is no insignificant task, and to do so with such remarkable authority and presence is a testament to the sheer will and unmitigated talent of Pelican’s membership. Levying cinematic melody upon glacial heaviness, they achieve the sort of inevitability usually reserved for weather systems and natural disasters.

Born of the ashes of seminal art thrashers Botch and Minneapolis punk heroes Kill Sadie, Seattle’s These Arms are Snakes are fast-becoming an integral part of the Pacific Northwest’s ever-dynamic musical fabric. Employing sinister guitar licks mixed with equal parts snarly vocals and a pension for spaced out musical long form – has painted the buzz heavy Snakes as anything but conventional. The band has toured endlessly, plastering both coasts with their livid live shows and with their eyes squarely focused on progressing and challenging all the current notions of hardcore, These Arms are Snakes are now poised to take their game to the next level – bringing all the passion and promise of their previous endeavors to splendid completion.

Beestung Lips

drunken, loud, fast, punk rock music (think the jesus lizard, song of
zarathustra, refused, and charles bukowski thrashed around in a


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Doors 7.30pm

Advanced  Tickets – 



Yes HE was in Throbbing Gristle, but PTV are more than that, so
much more, inventive and unpredictable this is a rare chance to see
this group on British soil. True musical visionaries with a
renegade spirit, anything could happen and probably will when they
take to the stage.


Pram make beautiful, ethereal music which doesn’t so much evoke a distant time but a far away world, one full of wonder and ripe for discovery. A soundtrackto Victorian England as seen through the eyes of a Monte Carlo cocktail, haunting and mesmerising.

Big egos, rambling post-punk grooves and twisted West Midlands wisdom are the ingredients in the Courtesy Group’s over-blown and over-stated sonic attack.
Larger than life frontman Al Hutchinson, who could only be described as the camp bastard son of Mark E. Smith and Screaming Lord Sutch, rants over the top of a heaving rhythm section.



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