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Supersonic festival review – an awesome windmill of noise and connection
This festival of heavier sounds from the fringes was a blast, from chilling Gazelle Twin to Daisy Rickman’s Krautrock-folk, noise icons Melt-Banana and locals Flesh Creep
And so it is to the hastily booked O2 Institute on Friday afternoon for Gazelle Twin, AKA Elizabeth Bernholz, who has ditched the masks and grotesque costumes she once wore on stage for a sleek pale green silk suit – to look like an 80s medium, she tells Maxine Peake in a live Q&A on Saturday – as she plays songs from Black Dog, an album about feeling haunted by her childhood home. Self-described “Welsh-language gothic rock power-coven” Tristwch Y Fenywod come off like vaporwave Siouxsie and torture genuinely uncanny sounds out of a lap guitar; Shovel Dance Collective banjo player Jacken Elswyth plays exploratory ambient epics – including a cover of a border pipes tune that pits a finely scraped drone against a lovely, skittish melody – with a sense of focus that resounds with care for her source material. Meanwhile, singer Radie Peat’s band ØXN maintain a fierce sense of tension as they bring new-wave touches to their folk-drone material (including a cover of Scott Walker’s Farmer in the City); final song Love Henry is a blaring cacophony of voice and accordion that grows ragged like a ship’s sail shredding in a storm.
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