YOU’RE NOT HUMAN & Solfo Booking presents:
dälek (Ipecac Recordings)
Shapednoise (Type / Cosmo Rhythmatic)
Ossia (Young Echo / Blackest Ever Black)
Tuesday 24th November ’15 // 7.30pm till late.
Tickets £11 ADVANCE + £1 Booking Fee. Available from,
YNH – http://
and Bristol Ticket Shop.
Hailed by critics as risk takers and pioneers for a new generation of hip-hop, Dälek are back on the road in 2015 with a line up that features MC dälek at the controls, DJ rEk (original dälek DJ) on turntables, and Mike Swarmbots on samplers & effects. They are set to return with their signature mind numbing, genre bending blend of beats, noise, and lyricism.
Their incredible back catalogue and history consists of numerous ground breaking records: Gutter Tactics (2009),Abandoned Language (2007), Absence (2005), From Filthy Tongue Of Gods And Griots (2002) – all released on Ipecac Recordings, the original album, Negro Necro Nekros (1998) – initially released on Gern Blandsten, and successful studio & live collaborations with Young Gods, Techno Animal, Faust, KID 606, Zu, and Velma.
Touring extensively for over a decade, Dälek have smashed stages at some of Europe’s biggest Music Festivals: (Eurockéennes, Dour, Rocksikde, , Rock Dans Tous Ses Etats, Asymmetry, Iceland Airwaves, Massive Attack’s Meltdown Festival and ATP … just to name a few.) and have shared stages with influential artists such as KRS One, Tomahawk, The Melvins, TOOL, Grandmaster Flash, Jesu, Dillinger Escape Plan, Pharcyde, RJD2, DeLa Soul, Prince Paul, Lovage, ZU, Black Heart Procession, Gaslamp Killer, Earth, Flying Lotus, the Bug, Mastodon and Fantomas.
Live, their shows are an intense event that often end in a shoved mic stand and sonically assaultive layers of sound. Always original, Dälek stuns crowds and will blow you away with their words and music. Witnessing Dälek live is like coming face to face with the bastard child of Public Enemy and My Bloody Valentine. An amalgamation of the heaviest noise that the Velvet Underground ever unleashed and the knowledge spit by the likes of Rakim, that leaves you in a trance and sends shivers down your spine from the haunting beats intertwined with ambient textures and noise-scapes, that are carried by a powerful raw flow from one of the most charismatic MC of his, or any era.
Based in Berlin, this Italian’s boundless compositional approach has lead him to some superb musical achievements. Intense, grinding, propulsive and immersive, his one-of-a-kind style has proven to be undoubtedly versatile. “His music’s physical in the way that fevers and heartbreak and fear are physical, affecting every sense at once and casting a shadow over every inch of your periphery.”(Fact magazine, 2015)
He debuted in 2013, with a limited-edition cassette on Hospital Productions—a label owned by Dominick Fernow AKA Prurient/ Vatican Shadow. Not much later, he released the truly aggressive “Until Human Voices Wake Us” on Opal Tapes, venturing in more vanguard realms.
In 2015, Shapednoise premiered a new audiovisual project, “Metaphysical”, together with visual artist sYn. This deep and dense creation explores the textural complexities of the sonic and physical world we live in. The duo focuses on the duality of unanswerable questions—What is beauty? What is natural? What is noise? What is music?—, thereby inviting audiences to act not as mere art consumers, but also take active part in a dialogue on the metaphysics and the aesthetics of sound and image.
The RBMA-curated closing night of 2015’s CTM Festival in Berlin witnessed him teaming up with two of today’s most daring figures. Conceived as a one-off performance for the festival, London’s bass deconstructionists Mumdance and Logos hooked up with Shapednoise, to present a project they dubbed The Sprawl.
The number of collaborative projects Shapednoise has been involved in is just endless. The list includes Justin K. Broadrick, Black Rain, AnD and others. He is now also joining forces with Demdike Stare’s Miles Whittaker. This intriguing team is known as Boccone Duro.
However, Shapednoise’s commitment to music does not end there. Beside his own compositional work, he co-founded REPITCH Recodings, together with Ascion and D. Carbone.
He is the experimental gatekeeper at REPITCH and has kept this style at the forefront of the label’s focus. Subsequently, in November 2014 with the help of his associates he launched the new label Cosmo Rhythmatic showcasing the abstract, noisy and organic side of REPITCH. Under that label’s umbrella, Shapednoise has managed to release some exciting works such as, “Apophisis” by Shapednoise himself and Black Rain, or “Peau froide, lèger soleil” by Vigroux and Pan Sonic’s legendary Mika Vainio.
“Blackest Ever Black presents Red X, the debut release from Young Echo member Ossia. 10 unyielding minutes of noise-strafed, rootical techno backed with two more abstract, uncanny studies in reverb and delay. One of the Bristol underground’s most vital behind-the-scenes operators, Ossia runs the RWD>>FWD mail-order and oversees the Peng Sound, No Corner and Hotline Recordings labels, among others. Though you may have clocked his appearances as DJ Oa$is on FuckPunk, the label he runs with Vessel, Red X is his first proper solo offering.
The title track was made during the winter of 2014/15, inspired by Peter Tosh’s personal taped diaries: mysterious reel-to-reel recordings in which the reggae star documented his dissatisfaction with city life under Babylonian rule, and his mistrust of certain people around him, in the run-up to his murder in ’87. Recorded using sliced source material, Roland synth, re-sampled guitar and a rowdy one-take session with the open spring reverb thundering through echo pedals, hard delays and distortion, ‘Red X’ brilliantly bridges dubwise, isolationist electronics and modern soundsystem dynamics, the stoic half-step of its opening section gradually hewn apart with a ruffneck 4/4 thump, warping sub-bass and a hellfire of high frequencies.
Spacious, spry and airy, but with the threat of violence never far way, B1 ‘Ice & Blood’ feels like something picked up on an ebbing pirate signal, with deep blue synths holding fast against stepping razor drum edits. The deep, dread ambience of B2 ’Blood & Ice (Version)’ was coaxed out of an acetate dubplate of ‘Ice & Blood’, and the crackly old 7” run-out groove of Tosh’s ‘Oh Boombaclat’, shot through ’70s Copicat tape-delay and an array of effects. It powerfully evokes the the last breath, or perhaps first gasp, after the rain, after the violence. Peace at last.” – http://