The new year is nearly upon us and the time for reflection is nigh; our journey throughout 2017 has been one of progress, expansion, and hard-graft, with a dedicated family of talented creatives growing along the way – here’s a bit of what we’ve been up to: Continue reading
PLAYdifferently’s ethos is simple: the tools used to mix and perform should be as creative and unique as the artists that use them.
Brainchild of Allen & Heath specialist Andy Rigby-Jones and music tech maestro Richie Hawtin, (and in conjunction with the event) the MODEL 1 “performance instrument” has now been toured all around the world, allowing artists to achieve stunning fluidity and unparalleled individuality in their sets – so when this touring exhibition collided with the hulking and scene-reviving Printworks, magic was destined to happen. Continue reading
Birmingham City Council has revoked the Rainbow Venues’ license in a bold move akin to the Fabric controversy, that to many, still seems fresh. Venue safety and security, the war on drugs, and the future of club culture have once again been called into question with strong views surfacing on all sides – and with it, some lessons too. While any death is clearly tragic, is closing influential venues the answer?
CRANE – a whole new party entity – has been generating something of a buzz, in and outside of the Birmingham area. Opening back in September, the venue has already hosted a diverse line-up of not just music, but everything from food exhibitions to light festivals. But words and critique can only achieve so much; experiencing the venue in full rave swing, it’s fair to say the hype is justified.
Amongst dilapidated warehouses, secluded backstreets, and decaying memories of an industrial boom city, a compelling integration of Birmingham diversity, and creativity, is underway. a central hub for those keen to express their vision, building on the notion that this “second” city has something more to offer – that ‘something’ is listening sessions.
Emerging to a hopeful crowd, composed, sharp suits adorned. A moody, deep red emanates from the stage, silhouetting the members of the band with understated intensity, echoing the now unmistakable artwork of Interpol’s seminal album debut, ‘Turn On the Bright Lights’. An album that marks the beginning of one the most important sounds of the 00’s post-punk revival, and a chilling reminder of the paranoia, uncertainty, and confusion endured in a post-9/11 New York City.
An amusing anecdote I submitted to Boiler Room, selected alongside some other finalists as part of their “Best Festival Anecdotes” competition:
Innocently walking the festival pathway I came upon some lads brandishing a bag of Haribo’s and a small bottle of “XXX” chilli sauce. The challenge, they told me, was to eat a pinprick amount of the ominous red liquid in exchange for a Haribo, the catch? No grimacing allowed, you had to take the heat like a boss, show no pain, show no fear.
Fortunately, I’m exceptionally robust when it comes to hot dining and took the pinprick of heat without a hitch. Unfortunately at this point, oozing with swagger, my booze-induced bravado got the better of me.
- Torous headlined the Subside Bar on October 18th
- Support was provided by Aramantus and King Corpse
- The show, whilst brief, was a breathless run-through of the band’s discography
Raw, passionate, and with a characteristically brooding intensity, this was a personal and fan-centric performance from celtic-inspired metal trio Torous. Returning to the city for a one-off headline show ahead of their tour, Torous took to Birmingham’s Subside, an appropriately intimate setting in one of the finest rock & alternative bars in the region.