SuperSonic Festival 2012
Friday 19th to Sunday 21st October 2012The Custard Factory, Gibb St, Birmingham, England MAP
£80
Daily capacity: 2,500
Supersonic Festival celebrated its 10th anniversary this year with a typical boundary-pushing, out-of-the-mainstream, experimental line-up. What began is a single-day musical event has now blossomed to a full and varied 3 day programme. This includes much more than just the bands; hands-on workshops, stalls, exhibitions, theatre, film and a host of installations make for a packed weekend where you can't hope to see or do it all. The overall feel is friendly and laid-back, the mood matches the curators (Capsule) desire to join the boundaries between music and art for the more adventurous audience.
Friday evening showcased a reduced line-up with only half the site open, two of the four stages. Before a note had been played, most of us were drawn first to the rather amazing centrepiece installation that was Vinyl Rally. Within the arches of the viaduct that traverses the site was assembled a race-track constructed entirely of old Vinyl 33's, which suitably drew the crowds. 80's video arcade-style chassis were linked virtual reality fashion to remote-controlled model racing cars for festival attendees to pit their wits against each other.
A walk along the river to the Necrospective group exhibition at Grand Union proved worthwhile come Saturday. A group of works exploring theories in relation to violence and acting out, the suppression of our fear of mortality and how that embodies itself in technological man-made structure. Pause for thought. This and Vinyl Rally the only two installations I found time for, though others included Reverse Karaoke (Kim Gordon participatory rehearsal set-up/record sleeve decorating), Scratch 'n Phase (sound exploration), and Mortonunderwood's Noise Box exhibition.
A special collaborative performance by Mark Wagner/Sanna Charles (S&M), Conny Prantera and Emiliano Maggi (Estasy) to start the day Sunday. Titled Moon O))) the performance obviously took a nod to the drones and spectacle that are Sunn O))) shows, though lacked the usual dense fogbank. Billed as a 'mysterious voyage for the more intrepid listener', and one couldn't disagree. Opening Warehouse stage Sunday, Tomutonttu was soothing on the ears for a Sunday afternoon, an intriguing and unique electronic set that took you on a long, calm journey.
The set by Six Organs Of Admittance saw the return of Ben Chasney to the stage once again, a similarly immense set to his Rangda outing the previous day. Much improvised and seemingly effortless guitar solos and jams once more.
The most obscure and unusual set of the weekend (probably ever in my experience come to think of it. . . ) arrived in the form of noise provocateur Lash Frenzy (Ver Heroicus), performing a collaboration with Anaal Nathrakh, and Beestung Lip. An interval break on Warehouse had been used to fill the venue with such thick dry ice that you could only find your way around guardedly. A string quartet onstage started up what was one seriously loooong drone/noise/static/feedback set. The sound slowly built to be as immersive and dense as the dry ice that was continuously filling the venue. Intense strobe effects silhouetted band members. It wasn't until some way through the set that I actually realised much of action was occurring behind me in the audience, with multiple drummers, bassist and guitarist buried in a meandering, aimlessly-wandering audience.
Body / Head saw the highly anticipated appearance of Kim Gordon, performing with experimental noise guitar artist Bill Nace as a duo. The Sonic Youth woman/icon raised the quality bar again with a typically pro performance on Boxxed. Reminiscent of the more experimental early Sonic Youth works to my ears, the harmonies/melodies of Goat soon a distant memory. The assembled mass of the Oxbow Orchestra closed the festival on Warehouse in impressive style, classical strings, woodwind and brass backing the charismatic Eugene Robinson on vocals.
Overall, as a late-comer to Supersonic, the festival represented an interesting and fairly unique experience to anything I'd attended before. Particularly with regard to the diversity of contrasting acts, audience interaction, and arts crossover experience. Musically more suited to heavy/noise/drone-lovers perhaps, the more alternative electronic and guitar-based acts of the weekend more my thing usually, though the idea is to experience something new and different and discover new bands/genres. The music is definitely only half the story of this festival though, it was hard to find time over the weekend for many other parts of the programme that sounded appealing; notably the talks, theatre, historical walks and hands-on workshops.
The festival slogan 'Celebrating 10 years of adventurous music' was delivered with an eclectic line-up over diverse genres, ranging from soothing Scandinavian folk, heavy noise, Dubstep and doom-metal, through to the downright weird and obscure. Essential gear to take: Sunn O))) hoodie, industrial ear defenders, nightvision goggles, beard...
review by: Jason Wood
photos by: Jason Wood
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