Very sadly the Borbetomagus show that had been scheduled for Wednesday 23rd October has been cancelled, along with the rest of the band's planned EU tour. Please contact We Got Tickets with any ticket refund enquiries.

Presented by Miles of Smiles & OTO Projects

BORBETOMAGUS

Fire-breathing saxophonists Don Dietrich and Jim Sauter duel with Donald Miller’s face-flaying guitar in BORBETOMAGUS. Formed in 1979, the trio play with a savage unity of purpose, coagulating crushing dirges and thick, screaming storms of noise that drag the listener to a point of astonished, exhilarated serenity. They cast a seething, many-tentacled shadow of influence over the Japanese and American noise scenes (attested by collaborations with such as Kevin Drumm and Thurston Moore) and stand as wild, brutish brethren to many of our finest European improvisers. Merciless, undeniable and monstrously beautiful.

"When the first hideously distorted shrieks and roars hit my ears, I nearly fell over from the raw force of it. That couldn't be a saxophone - it sounded like someone being torn limb from limb. Was that a guitar, or someone revving up a gigantic engine to the brink of explosion?" WIRE

Junzo Suzuki is a Japanese guitarist/vocalist perhaps best known for his involvement in the underground psych bands Overhang Party and Miminokoto. His solo music is stripped down form of 'ghost' blues and improvisation that recalls Loren Connors and his fellow countryman Hisato Higuchi.

His second full length CD 'Buried Sky, Spider Torn to Pieces' has just come out on Junzo's own Plunk's Plan label. He also performs with 20 Guilders, Nasca Car, Pouring High Water and Samm Bennett's Ghost Steppers.

"Some of [Suzuki's] convulsive six-string punctuation touches on the ferocious folk-poetry of Kan Mikami but there's also a ton of exquisitely dilated space which Junzo navigates with endless interlocked webs of chiming six-string guitar that's the equal of Christina Carter or Hisato Higuchi. His vocals touch on the more quizzical, breathy style of Keiji Haino and the tracks feel like they plot the vaguest contours of folk-blues logic before piloting deeper into increasingly unanchored explorations of single notes and sudden machine gun retorts isolated in dark, black space." - Volcanic Tongue