The Futuresonic electro-art festival returns with a harder political edge.

You don't have to look too hard around Manchester to find people whose careers are defined by their time spent as out-and-out ravers. DJs, promoters, agents, managers, venue owners, musicians, journalists and those that work at record shops or labels, Manchester's music scene is littered with folk you would once have found on the floor at The Haç or in a field somewhere outside Blackburn.

Futuresonic's Dr Drew Hemment is one such rave pensioner for whom the youth culture of the late '80s and early '90s left its mark indelibly. "If you think back to when dance culture arrived, here was a new way of producing music, listening to music, a new way of going out and socialising, a new cultural form in essence," says Hemment, who is clearly more impassioned by raving's cultural significance than its shallow yet intrinsic links to hedonism. "For that moment it seemed like there were a whole new range of possibilities. It was such a creative time."

"These days it's become relatively formulaic. What we try to do with Futuresonic is, by bringing different genres, art forms and media platforms together, to create that sense of openness and creativity that initially inspired us."

The Futuresonic festival was conceived in 1995 and since then has grown in stature to become a key event in Manchester's cultural calendar. Last year's showcase included the surveillance centred 'Broken Channel' installation and live music from Bent, Ladytron and Luke Vibert.

This year's, Futuresonic line-up is yet more diverse and exciting. Music performances come from Mantis Rec.s' Brooks, famed utensil sampler Matthew Herbert, electronica heroes Mouse On Mars, Zoviet France's Ben Ponton and abstract hip-hoppers Def Jux. Club events include a Lebanese hip-hop and French/Arabic breakbeat showcase, Fat City's 9th Birthday and profile event Blacktronica with King Britt, Dego and Attica Blues.

Visiting artists include Phill Niblock and Maryanne Amacher who present multi media installations. Bangladeshi photographic artist Shahidul Alam collaborates with UK sound artist Elliot Perkins on two engaging works that examine immigration, asylum seekers and cultural cross fertilisation as part of the key 'Migrations' section of the festival.

"Last year we did some stuff on surveillance and we were stunned with the response," says Hemment, who is a reasonably politically motivated chap. "We were doing a tour last year, going all over the world witnessing first hand the way music, art and fashion translates over international boundaries. The most exciting things happen in these fields when different cultures borrow from each other," he says explaining the choice of 'Migrations' subject matter.

"The UK only has the vibe it has because of the different cultural aspects that come together here, largely brought about by immigration. So when we had all the riots in Burnley and Oldham last year, we were dismayed."

Trying to tackle some of the preconceptions about refugees and promote a debate concerning racism is both a brave and relevant move for Futuresonic, but Hemment insists that while the political leanings of individuals involved in Futuresonic have a welcome place within its platform, the festival itself is there to be enjoyed in whatever manner you care to.

"If someone wants to come along just to the music events that's fine, we're not trying to ram an agenda down people's throats. But based on the response we had last year, we know there are those who will be interested in all aspects of this year's Futuresonic, those that are willing to look beyond the beats."

Futuresonic, November 6-10.

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