REGIS Necklace of Bites

Total Page:16

File Type:pdf, Size:1020Kb

REGIS Necklace of Bites DESCRIPTION Necklace Of Bites is a vital volley of early Regis artillery sourced from 12"s issued by Downwards c. 1998-2000. Effectively a reshuffle of his 2000AD self- titled CD compilation of 12"-only cuts, it features his Jim Jones -sampling "Solution (Voice)" amid a ruck of prime, dark, and killer late '90s techno girders. Revolving definitively monotone and snaky templates for the Birmingham techno sound forged by Regis (alongside Surgeon , Female , Mick Harris , and Justin Broadrick ), Necklace Of Bites is built in the driving, distorted, and highly utilitarian style that spilled out of Brum's Q Club in the mid '90s, and which continues to infect the sets of DJs such as Helena Hauff and Blawan well into 2019. Back before main room techno became meme-ified as "business techno", these tracks were the Black Country shirehorses of peak-time DJ slots across the UK, EU, and the world. Influenced as much by Jeff Mills 's Axis and Purpose Maker 12"s and hard-ass Chicago house as original '80s industrial and post-punk, the dozen tracks epitomize Regis's signature distillation of proper, blue collar club sounds, made for those who like to play hard and all night, and as such they're future-proofed for use over 20 years later. In particular, the set highlights Regis's hypnotically sexy and arguably rare use of vocal sampling in the inexorable, REGIS militant charges of "Execution Ground", "Baptism", and "Purification (Endless)", while his use of a muffled Jim Jones sample on "Solution (Voices)" predates his use Necklace Of Bites of Jones in BMB by half a decade. More to the point, the compilation also holds precious DJ tool bruisers in the likes of his lip-bitingly infectious roller "Wound Us", Label and the industrial galvanics of "Adolescence" and "Rites" that still kill in the DOWNWARDS modern day. Newly remastered and vinyl cut at Dubplates & Mastering. Edition of 500. TRACKLISTING Format 01. Solution (Voices) 2LP 02. Wound Us Catalog Number 03. Solution (Music) DWN 003LP 04. Executive Handshake 05. Adolescence UPC 06. Execution Ground N/A 07. Rites 08. Purification (Endless) Store Price 09. Rise $16.99 10. Baptism 11. The Right Side Of Reason 12. On The Wheel Release Date HIGHLIGHTS 11/22/19 • Remastered reissue of late '90s Regis bangers, first compiled and issued as Territory Regis in 2000. NORTH AMERICAN EXCLUSIVE • Includes a handful of beat-less oddities and the Jim Jones -sampling "Solution Genre (Voices)". FILE UNDER - R - ELECTRONIC • Essential '90s techno tackle that still does the damage. • New master and vinyl cut by Dubplates & Mastering, Berlin. • Edition of 500. Also available: (BLACKEST 013CD) REGIS: Manbait CD [5055869539296] (BLACKEST 013LP) REGIS: Manbait 2LP [5055869539289] (DNLP 002R-LP) REGIS: Gymnastics (21st Anniversary Edition) 2LP [N/A] (HOS 588CS) REGIS: Play Neutral Cassette [843563112120] Press Contact: [email protected] Exclusively Distributed by 60 Lowell St, Arlington, MA 02476 ph: (781) 321-0320 • fx: (781) 321-0321 [email protected] .
Recommended publications
  • Australian 'Dubmorph'
    Australian Dub Morphs Now Researched by : Alex Thomas & Roger Hanney Planned and prepared by : Alex Thomas & Roger Hanney " I don't think we can just point to the seventies and say "well they were being political so we are because we're using their kind of music". I think we have to become political ourselves, I think if we are writing music and we want to be revolutionary then we have to take a look at our own lives, we have to look at our own music and the way that we're actually writing and the way that we're living, not to the way that dub artists were living in the seventies. We're in a completely different paradigm now and I think that has to be referred to ." Kate Crawford ( B(if)tek ) "We're all working within a cultural context which includes what happened in the seventies and eighties. We don't have to be aware of that. All we have to be aware of is what we're doing right now and anyone working in that sort of cultural context will have all those same influences implicit in what they're doing and what they're listening to at the time." Bo Daley ( Dark Network ) "It's not about the music. It's about the community which is created by the music." Seb ( Sub Bass Snarl ) This paper is not a definitive history of the evolution of dub in Australia. This paper is not about Jamaican dub occurring in Australia. The focus of this paper is on the musics that have arisen in this country which could most accurately be described as dubmorphs.
    [Show full text]
  • The History of Rock Music: 1976-1989
    The History of Rock Music: 1976-1989 New Wave, Punk-rock, Hardcore History of Rock Music | 1955-66 | 1967-69 | 1970-75 | 1976-89 | The early 1990s | The late 1990s | The 2000s | Alpha index Musicians of 1955-66 | 1967-69 | 1970-76 | 1977-89 | 1990s in the US | 1990s outside the US | 2000s Back to the main Music page (Copyright © 2009 Piero Scaruffi) The Golden Age of Heavy Metal (These are excerpts from my book "A History of Rock and Dance Music") The pioneers 1976-78 TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. Heavy-metal in the 1970s was Blue Oyster Cult, Aerosmith, Kiss, AC/DC, Journey, Boston, Rush, and it was the most theatrical and brutal of rock genres. It was not easy to reconcile this genre with the anti-heroic ethos of the punk era. It could have seemed almost impossible to revive that genre, that was slowly dying, in an era that valued the exact opposite of machoism, and that was producing a louder and noisier genre, hardcore. Instead, heavy metal began its renaissance in the same years of the new wave, capitalizing on the same phenomenon of independent labels. Credit goes largely to a British contingent of bands, that realized how they could launch a "new wave of British heavy metal" during the new wave of rock music. Motorhead (1), formed by ex-Hawkwind bassist Ian "Lemmy" Kilminster, were the natural bridge between heavy metal, Stooges/MC5 and punk-rock. They played demonic, relentless rock'n'roll at supersonic speed: Iron Horse (1977), Metropolis (1979), Bomber (1979), Jailbait (1980), Iron Fist (1982), etc.
    [Show full text]
  • Student Withdraws Complaint Fight Breaks out Between Theta CM, Job
    FRIDAY Freshman Brian Lundy PARTAN DAILY becomes Spartan's leading receiver. Page 6 V 0L 99, No. 50 Published for San Jose State University since 1934 November 6, 1992 Student My achy-breaky back withdraws vi complaint Student cites lack of time BY KERRY PETERS Spartan Daily Stall Writer A complaint against the Campus Democrats alleging verbal and physical threats has been dropped. Marcia Holstrom, the student who filed the letter of complaint, decided to drop her charges. "It's just not worth it:' Holstrom said. "I don't have the time, and I don't have the energy to fight it:' The complaint, addressed to Dan Buerger, execu- tive assistant to Interim President J. Handel Evans, was filed last week after Holstrom interrupted a Campus Democrats press conference on Oct. 22 at Tower Quad. Holstrom said she interrupted the con- ference because she objected to the group's use of the university seal which she thought might lead people to believe SJSU was endorsing Arkansas Gov. Bill Clinton for president. When Holstrom came forward at the event, sever- al members of the group hosting the event verbally attacked her, Holstrom said, and threatened to "take care of her later:' prompting her to file the complaint. However, members of the Campus Democrats and other people who participated in the event PATTI EAGAN SPARTAN DAILY denied Holstrom's charges. Carol Sullivan, In her step training class, pushes her students to the limit every Tuesday and Thursday at 1:30 p.m. in the Spartan Complex. Holstrom said that after talking to Phil Sanders, Step training is a type of aerobics that emphasizes a cardiovascular workout and muscle toning without the stress to the joints.
    [Show full text]
  • 'Transgression and Mundanity: the Global Extreme Metal Music Scene'
    ‘TRANSGRESSION AND MUNDANITY: THE GLOBAL EXTREME METAL MUSIC SCENE’ Keith Daniel Harris Thesis submitted for the degree of PhD Goldsmiths College, University of London January 2001 [NB: This is a reconstructed version of the original text from the original chapters, which were not at the time combined into a single document. There may be some minor differences with the formatting of the printed version.] 1 ABSTRACT Extreme Metal musical genres have challenged conventional notions of ‘music’ by developing an impenetrable sound that verges on formless noise. Extreme Metal music is produced, disseminated and consumed by musicians and fans who shun publicity within a set of obscure institutions that ensure the music’s global ‘underground’ circulation. Within the confines of obscurity, musicians and fans explore in a highly ‘transgressive’ manner such themes as death, war and the occult, sometimes flirting with neo-fascist and racist discourses. This thesis develops the concept of ‘scene’ as a method of investigating Extreme Metal music and practice. The concept is theorised through an engagement with a wide variety of literatures, notably subcultural theory, theories of community and critical theories of space. The concept is developed so as to provide an ‘holistic’ method of drawing on a wide variety of incommensurate literatures and conceptual frameworks. Through the concept of scene, this thesis examines how the Extreme Metal scene is ‘experienced’ by its members. Detailed ethnographic, interview and other data are presented from case studies in Israel, Sweden and the United Kingdom. It is argued that scene members explore transgressive experiences that constantly threaten to exceed the confines of the scene.
    [Show full text]
  • Birmingham Art Zine
    the We Are Eastside Leading independent arts in Birmingham magicwww.weareeastside.org Capsule Fierce Festival Eastside Projects Grand Union Flatpackcity Festival Ikon contents welcome to birmingham ( Welcome to Birmingham Presented as part of We Are Eastside presents Birmingham The Magic City as part of City States at the !th Liverpool Biennial — welcome to the hidden Organisations Liverpool Biennial ' Capsule The UK Biennial of Contemporary Art undergrounds, blushing civic pride and future visions of our ‘magic’ ) Eastside Projects City States city. Our title The Magic City is borrowed from a proposed artwork % Fierce by Birmingham collective BAZ (Birmingham Art Zine), themselves #& Flatpack Festival #* September – "* November "&#" #" Grand Union #&am–)pm, daily inspired by a sign that originally welcomed visitors to Birmingham, #' Ikon Free entry Alabama, USA. BAZ want to build a new version of the sign next to the planned terminus for HS", the hi-speed rail network destined #% Eastside, Digbeth Liverpool John Moores University for Eastside, Birmingham. BAZ, like Sting, believe everything and ‘Upper Eastside’ Copperas Hill Building +, -.. Ben Waddington Birmingham does is magic and want the world to know about it, especially people in Liverpool! Sponsors "& Visit Birmingham "" Birmingham City University Eastside and Digbeth are the oldest parts of Birmingham and the "( Millennium Point heart of what the city represents. Birmingham’s reputation as We Are Eastside is a consortium an industrial city started here, with foundries, metal workshops ") Social Practice: Fo(u)r Shades of Grey of cultural leaders representing and tanneries dating back to medieval times. The area’s factories Dr. James A Hellings independent arts within Birmingham’s cultural sector.
    [Show full text]
  • GRAUZONE.INFO Nr. 32
    TERMINE so. 16. jän. pmk INFOBEISL: Die Konsens Fabrik - Part One nr. 32 (Doku / Kanada 1992) GRAUZONE.INFO jän. | feb. ´05 do. 20. jän. pmk SCORN(uk) Mick Harris - Ex-Napalm Death, Painkiller, usw., Einer der interessantesten Musiker der letzten zwanzig Jahre und Großmeister der dunklen Beats und Bässe kommt... Support: NOEaum (live-elektronics) und DJ GESEKtIPO so. 23. jän. pmk INFOBEISL: Die Konsens Fabrik - Part two so. 30. jän. pmk INFOBEISL: Gegen die NatO-Sicherheitskonferenz Vortrag und Film mo. 31. jän. pmk CuRSED (can) Total death`n`roll! Very intensive Punk/Metal/Hardcore Hybrid! REtaLIatE (at) Metallischer Hardcore vom Feinsten... so. 06. feb. cafe sub! INFOBEISL: Drei tage Bürgerkrieg in Österreich - 1934 Vortrag und Film mi. 09. feb. pmk BREatHER RESISt (us) Total-Power-Chaoscore ala CONVERGE meets DILLINGER ESCAPE PLAN meets JESUS LIZARD und DEADGUY BuG (ibk) Tirols Noisefabrik No.1! so. 13. feb. pmk INFOBEISL: themenabend Frauen und Feminismus Filme & mehr fr. 18. feb. pmk BOUNZ THE BALL, RENTOKILL, HSD by HSD so. 20. feb. pmk INFOBEISL: Genua und die Folgen Vortrag und Film / mit der Volxtheaterkarawane mi. 23. feb. pmk tHE OCEaN (de) Ambientmetal Soundtrack Doomrock VItaLY tCHERNOBYL & tHE mELtDOWNS (ibk) sa. 26. feb. pmk AMEN 81, RUIDOSA IMMUNDICIA, KURWA APARATA by faulzahn.tk so. 27. feb. pmk INFOBEISL: und wir bewegen uns doch. Soziale Bewegungen in Österreich. Buchpräsentation mit dem Autor Robert Foltin di. 15. märz workstation MOHO (esp) plus Support by faulkzahn.tk & pressure drop sa. 19. märz pmk RIFu (nor) Hardcore/Punk with a strong political message! COmING FIRSt (stb) (y)our favorite local hc-punk-crew...
    [Show full text]
  • Napalm Death Hatred Surge Mp3, Flac, Wma
    Napalm Death Hatred Surge mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: Hatred Surge Style: Hardcore, Punk, Crust MP3 version RAR size: 1549 mb FLAC version RAR size: 1185 mb WMA version RAR size: 1102 mb Rating: 4.5 Votes: 534 Other Formats: APE AHX RA MP3 WMA AAC AC3 Tracklist A1 What Man Can Do 2:48 A2 Instinct Of Survival 2:47 A3 Abbatoir 3:45 A4 Control 2:35 A5 Sacrificed 1:37 A6 So Sad 4:33 A7 Caught In A Dream 2:14 A8 Private Death 2:08 A9 Cheswick Green (Live) 2:01 Credits Bass – Nuts Drums – Rat* Guitar – Just* Vocals – Nik* Notes Recorded 23rd October 1985. Sold at their concerts and by mail. Other versions Category Artist Title (Format) Label Category Country Year Hatred Surge - Demo Napalm Never Healed none 1985 (LP, Ltd, Num, none Unknown Death Records Unofficial, Gre) Napalm Hatred Surge (Cass, Not On Label none none Unknown Death S/Sided, Unofficial) (Napalm Death) Hatred Surge - Demo Anal.Gin Napalm Anal.Gin 1985 (CDr, Anal Gin Records Bulgaria Unknown Rcds 004 Death Rcds 004 Unofficial) Anal.Gin Napalm Hatred Surge (CDr, Anal.Gin Anal Gin Records Bulgaria Unknown Rcds 004 Death Unofficial) Rcds 004 Total Fucking Napalm Hatred Surge Demo none Destruction none Mexico 2005 Death 85 (CD, Unofficial) Records Comments about Hatred Surge - Napalm Death Zepavitta the band information on this post is wrong the line up on this tape (also left to right in the picture on the tape cover) was Justin Broadrick - Guitar, Nick Bullen Vocals and bass and Mick Harris - Drums, the line up listed was the original line up before Mick joined and they became the "grind" band we know today, it even says on the cover flap..."The Line Up has Changed And So has The Music Style" Zacki as far as i know, the credits are correct.
    [Show full text]
  • Riff Types, Timekeeping Cymbals, and Time Feels in Contemporary Metal Music
    Transcending Time (Feels): Riff Types, Timekeeping Cymbals, and Time Feels in Contemporary Metal Music Jose M. Garza, Jr. NOTE: The examples for the (text-only) PDF version of this item are available online at: hps://www.mtosmt.org/issues/mto.21.27.1/mto.21.27.1.garza.php KEYWORDS: heavy metal, rhythm and meter, time feels, riff, drums, cymbals, popular music, subgenres ABSTRACT: Over the past fifteen years, much of the music-theoretical scholarship on heavy metal has addressed metric processes (Lucas 2019, Capuzzo 2018, Hannan 2018, Lucas 2018, Lennard 2016, Smialek 2008, Pieslak 2007) and the use of the voice (Smialek 2017, Young 2018). A significant portion of the literature deals with the band Meshuggah, but the music of countless artists scaered across manifold subgenres remains unexplored. Widening the focus on such a large repertoire not only helps remedy this issue, but serves to inform one recent music-theoretical topic that relies on a broad stylistic understanding: time feels. To date, scholars have mainly limited the discussion of time feels to the kick and snare drums (e.g., de Clercq 2016), and indeed, these instruments ultimately determine a feel. I argue, however, that different uses of guitar, bass, and cymbals can reinforce, clarify, or contradict the feel laid down by the kick and snare. In this article, I describe several categories of guitar and bass riff types and timekeeping cymbals. I then discuss how their associations with certain time-feel contexts inform further analyses. To this end, I draw from post- millennial metal music in various subgenres including black metal, death metal, doom metal, grindcore, metalcore, progressive metal, sludge metal, and thrash metal.
    [Show full text]
  • Metal Music Since the 1980S
    Marrington, Mark ORCID: https://orcid.org/0000-0001-5404-2546 (2017) From DJ to djent- step: Technology and the re-coding of metal music since the 1980s. Metal Music Studies, 3 (2). pp. 251-268. Downloaded from: http://ray.yorksj.ac.uk/id/eprint/2328/ The version presented here may differ from the published version or version of record. If you intend to cite from the work you are advised to consult the publisher's version: http://dx.doi.org/10.1386/mms.3.2.251_1 Research at York St John (RaY) is an institutional repository. It supports the principles of open access by making the research outputs of the University available in digital form. Copyright of the items stored in RaY reside with the authors and/or other copyright owners. Users may access full text items free of charge, and may download a copy for private study or non-commercial research. For further reuse terms, see licence terms governing individual outputs. Institutional Repository Policy Statement RaY Research at the University of York St John For more information please contact RaY at [email protected] Mark Marrington, From DJ to djent-step: Technology and the re-coding of metal music since the 1980s Mark Marrington trained in composition and musicology at the University of Leeds (M.Mus., Ph.D.) and is currently a Senior Lecturer in Music Production at York St John University. He has previously held teaching positions at Leeds College of Music and the University of Leeds (School of Electronic and Electrical Engineering). Mark has published chapters with Cambridge University Press, Bloomsbury Academic, Routledge and Future Technology Press and contributed articles to British Music, Soundboard, the Musical Times and the Journal on the Art of Record Production.
    [Show full text]
  • Content Orchid
    OPETH Content Orchid CELESTIAL SEASON Solar Lovers AVANT-GARDE METAL 1 A Brief And Incomplete History MR. BUNGLE Of An Ongoing Experiment Disco Volante VED BUENS ENDE... Written In Waters 1980s 4 FLEURETY Min Tid Skal Komme CELTIC FROST MISANTHROPE Into The Pandemonium 1666...Theatre Bizarre VOIVOD RRRÖÖÖAAARRR 1996 25 VOIVOD Nothingface BAL-SAGOTH Starfire Burning On The Ice- Veiled Throne Of Ultima Thule early 1990s 8 MYSTICUM SCORN In The Streams Of Inferno Vae Solis OXIPLEGATZ DISHARMONIC ORCHESTRA Worlds And Worlds Not To Be Undimensional Conscious ARCTURUS Aspera Hiems Symfonia THE 3RD AND THE MORTAL Sorrow AMORPHIS Elegy ULVER Vargnatt 1997 33 CYNIC Focus BETHLEHEM Sardonischer Untergang DIABOLOS RISING Im Zeichen Irreligiöser 666 Darbietung UNHOLY SEPTIC FLESH The Second Ring Of Power The Ophidian Wheel TIAMAT SIGH Wildhoney Hail Horror Hail ANUBI 1995 17 Kai Pilnaties Akis Uzmerks Mirtis KOROVA OPETH A Kiss In The Charnel Fields My Arms, Your Hearse ARCTURUS La Masquerade Infernale 1999 55 ENOCHIAN CRESCENT CARNIVAL IN COAL Telocvovim French Cancan STRAPPING YOUNG LAD THE KOVENANT City Animatronic THE DILLINGER ESCAPE PLAN ARCTURUS The Dillinger Escape Plan (EP) Disguised Masters IN THE WOODS... IN THE WOODS... Omnio Strange In Stereo ANGIZIA SAMAEL Das Tagebuch Der Hanna Anikin Eternal SOLEFALD 1998 47 Neonism BEYOND DAWN DøDHEIMSGARD Revelry 666 International OXIPLEGATZ PECCATUM Sidereal Journey Strangling From Within STILLE VOLK OPETH Ex-uvies Still Life KOROVA Dead Like An Angel 2000 65 THE KOVENANT AGHORA Nexus Polaris Aghora BAL-SAGOTH FLEURETY Battle Magic Department Of Apocalyptic Affairs ULVER Themes From William Blake's The RAM-ZET Marriage Of Heaven And Hell Pure Therapy DøDHEIMSGARD FANTOMAS Satanic Art The Director's Cut Imprint 68 them their own.
    [Show full text]
  • Grindcore – Eine ›Extreme‹ Mutation Des Metals? Zur Diskursivierung Des Grindcore 2012
    Repositorium für die Medienwissenschaft Andreas Salmhofer Grindcore – eine ›extreme‹ Mutation des Metals? Zur Diskursivierung des Grindcore 2012 https://doi.org/10.25969/mediarep/3767 Veröffentlichungsversion / published version Sammelbandbeitrag / collection article Empfohlene Zitierung / Suggested Citation: Salmhofer, Andreas: Grindcore – eine ›extreme‹ Mutation des Metals? Zur Diskursivierung des Grindcore. In: Rolf F. Nohr, Herbert Schwaab (Hg.): Metal Matters. Heavy Metal als Kultur und Welt. Münster: LIT 2012 (Medien'Welten 16), S. 207–224. DOI: https://doi.org/10.25969/mediarep/3767. Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Weitergabe unter Attribution - Non Commercial - Share Alike 3.0/ License. For more gleichen Bedingungen 3.0/ Lizenz zur Verfügung gestellt. Nähere information see: Auskünfte zu dieser Lizenz finden Sie hier: https://creativecommons.org/licenses/by-nc-sa/3.0/ https://creativecommons.org/licenses/by-nc-sa/3.0/ Andreas Salmhofer Grindcore – eine ›extreme‹ Mutation des Metals? Zur Diskursivierung des Grindcore Einleitung und grundsätzliche Fragestellungen Sobald Grindcore, Grind oder lediglich die Endsilbe -grind vorkommt, ist für Metal- oder Punk-Fans klar, dass hier von extremen musikalischen Auswüch- sen die Rede ist. Grindcore hat das Wesen eines rhetorischen Sinnbildes und fungiert als Metapher in einer Rhetorik, die der Musik das Attribut ›brutal‹ zuordnet. Dieser Begriff genießt zwar bis dato eine äußerst inflationäre Ver- wendung im Metal-Diskurs und steht in der Metal-Primärliteratur gleichbe- rechtigter Weise neben etablierten Genrebegriffen, wie etwa Death Metal oder Black Metal, wenn auch als äußerst eng definierter Genrebegriff, doch bleibt er in der (wissenschaftlichen) Sekundärliteratur marginalisiert oder gänzlich un- berücksichtigt.
    [Show full text]
  • Exhibition Guide
    the We Are Eastside Leading independent arts in Birmingham www.weareeastside.org magic Capsule Fierce Festival Eastside Projects Grand Union Flatpack Festival Ikon city contents welcome to birmingham Welcome to Birmingham Presented as part of We Are Eastside presents Birmingham The Magic City as part of City States at the th Liverpool Biennial — welcome to the hidden Organisations Liverpool Biennial Capsule The UK Biennial of Contemporary Art undergrounds, blushing civic pride and future visions of our ‘magic’ Eastside Projects City States city. Our title The Magic City is borrowed from a proposed artwork Fierce by Birmingham collective BAZ (Birmingham Art Zine), themselves Flatpack Festival September – November Grand Union am–pm, daily inspired by a sign that originally welcomed visitors to Birmingham, Ikon Free entry Alabama, USA. BAZ want to build a new version of the sign next to the planned terminus for HS, the hi-speed rail network destined Eastside, Digbeth Liverpool John Moores University for Eastside, Birmingham. BAZ, like Sting, believe everything and ‘Upper Eastside’ Copperas Hill Building Ben Waddington Birmingham does is magic and want the world to know about it, especially people in Liverpool! Sponsors Visit Birmingham Birmingham City University Eastside and Digbeth are the oldest parts of Birmingham and the Millennium Point heart of what the city represents. Birmingham’s reputation as We Are Eastside is a consortium an industrial city started here, with foundries, metal workshops Social Practice: Fo(u)r Shades of Grey of cultural leaders representing and tanneries dating back to medieval times. The area’s factories Dr. James A Hellings independent arts within Birmingham’s cultural sector.
    [Show full text]