A drifting arrangement of ambient sounds and complex textures grounded by an Electro-IDM pulse. Veteran producer Mesak calls upon Finnish peers Mono Junk, Claws Costeau and Antti Hevosmaa to orchestrate a masterclass in experimental electronica. The sleeve art, rendered by artist-architect Natacha Mankowski, echoing the post-digital form of the music.
Now in its 16th year, there is nowhere else quite like Green Man. Nestled at the foot of Brecon’s mist swept Black Mountains, the site beckons an immovable sense of history, awe, and artistic spontaneity. Crumbling 19th-century ruins, towering oaks and a penchant for the vibrant further succeed in crafting a uniquely immersive festival aesthetic. Over 20,000 revelers embraced the magic at another sell-out edition.
A hefty schedule of music pioneers, a football result, and a heatwave that’s sure to become the stuff of legends, converged to create one of the most awe-inspiring three-dayers on the small festival calendar.
A familiar story is emerging and repeating: staple venues battle against the threat of closure, amid a complex web of legal debates and tenuous relationships. Operators, promoters, law enforcement, and council representatives, among a number of other voices, struggle to see eye to eye. Members of the public and media outlets falling on either side of the conversation, or somewhere in between. A haze of ambiguity hangs in the air leaving many to wonder, where the fuck does it all go from here?
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?
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.
The future of vinyl is not just guaranteed, it’s necessary.
Digbeth Dining Club, Birmingham’s independent food kings, have teamed up with dank-swag club brand MOHO for an arts-centric takeover hosted by ‘This Is Street’ – a new addition to the city’s growing line-up of creative thinkers and culturally conscious brands. So far very little has been announced but expect street sounds, food, art and a bit of street fashion to take over Digbeth on Sunday, April 1st.