“Smell the music. It smells weird,” says Lungfish’s Daniel Higgs during a set of noodling banjo. It’s a line that feels emblematic of Birmingham’s Supersonic, a festival “for curious audiences”.
If Supersonic’s bass scent is weirdness, its top notes are infinitely varied: Japan’s Goat open with a hushed silence and then build a flow of minimal percussion into a sort of hyper-Steve Reichian blur as drumsticks flurry in constant motion. Philadelphian experimentalist Moor Mother’s set ricochets all over, with her fierce spoken word being driven by harsh noise, bass music, techno and even metal, while Dutch band the Ex are all taut, recoiled energy that is unleashed in frenetic bursts of guitars.
On day two, Factory Floor’s Nik Void begins a set of rumbling drone music that soon gives way to a rather thumping…
Straight from The Guardian
(image courtesy of http://www.rosestallard.com/)
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