With edible pansies and psychedelic dragon fruit backstage, Supersonic was well on its way to obscurity, living up to the festival’s uniqueness. But nobody could quite expect what Pierre Bastien had set out for an eagerly awaiting crowd, at the outside stage of Sunday afternoon.

Kitted out with an array of home-made tranklements and devices, Bastien programmed his machinery to create hypnotic clicks and industrial repetitions. The French composer’s K’NEX-looking instruments could only be likened to Silver Apple’s device ‘The Simeon’, with a very factory-sounding element that engulfed a mesmerised audience.

Though the groove was just beginning, leading to the anticipated Nisennenmondai, who had been invited back to the festival after huge popularity last year. The Tokyo three piece certainly lived up to their legacy, building up their beats with layers of guitar/bass loops and breaking fans into a dancing sweat with Sayaka Himeno’s insane Battles-esque drumming.

Their raw, post-punk/krautrock sound was a must-see for every festival attender, with fans spewing out and around the outside stage, hoping for a glimpse of magic.

9pm saw Chrome Hoof begin their tour into a whole new, quirky dimension, as Lola Olafisoye lead her hooded wizard orchestra into performing an array of futuristic music genres. Situated in the old library, the chrome shimmered into metal and shined between electro and jazz funk, with glimmers of psychedelia, while the crowd were left astonished and tripped up with a brand new take on modern music progressive.

Yet, by far the most avant-garde act were Blue Sabbath Black Fiji, who played the outside stage on Saturday. This noise duo certainly knew how to create a racket, with sounds of impending doom and emotional fear, the audience were forced into a frenzy, reminisce of Nurse with Wound’s ‘The six buttons of sex appeal’.

Supersonic, is amongst the most surprising, enjoyable and obscure festivals to hit the UK, never failing to both amaze and open it’s audience to a whole new world of music that all too often goes undetected.

By Ross Cotton