Tuesday, 24 April 2007
POW-TRAY-TES - THATS HOW YOU SAY PORTRAITS IN STOKE . . . . .
TIFF - "MANNY"+2015.jpg)
SELF-POWTRAYT
ADAM
CLATTERED WITH 2 CIGARETTES
EXCESS - ANGEL ROW, NOTTINGHAM
“Excess” is a collection of works by Graham Dolphin, Tom Gallant, Izima Kaoru, Hentain Patel and Hancock and Kelly (Off-Site Live Performance) on display at the Angel Row Gallery, Nottingham from 11 November to 13 January.
After wandering the gallery swigging my free glass of wine for a few moments I began to see two common themes developing between the works in the exhibition. The first is the idea of craft and process , this is most prominent in the painstakingly manipulated fashion magazine covers of Graham Dolphin, Tom Gallants use of the Japanese craft of Kitami to make intricate paper cut outs and Hetain Patels video of himself using the traditional Indian craft of henna body tattooing to explore the link between his culture and his own anatomical structure.
The second is the Idea of Pattern, this ties all of the piece together but is most clearly visible in Izima Kaorus colourful large scale prints of ‘Landscapes with a corpse’ and Hancock and Kelly’s Piece (performed live Offsite at DC tattoo Parlour) in which a remembered wallpaper from a childhood home is tattooed onto the artists back.
It has to be said that the main areas of focus that this exhibition is trying to explore is not really my cup of char. And as such I felt a little distant from the work displayed from the outset, despite a second glass of free wine, how had I never clocked you get free booze at exhibition openings!. As I walked around I felt like many of the pieces were a little flimsy in terms of actual content, seeming to show more in terms of technical skill than trying to convey any sort of serious idea or concept. Certainly to my mind anyway.
I was close to reaching the same conclusion with Tom Gallants “The Collector: Persian Rug II (after Morris)” .. I was close to calling it a wasted night (apart from the free booze) until the paper cuts that make up the 3 ½ foot Persian rugs pattern in mind-boggling intricacy, began to speak in a language I could understand.
Once you are drawn into closer inspection of the piece layer upon layer of content begins to appear in front of your eyes. A guilty pleasure crept up my spine as I slowly started to realise that the tiny strands of paper that make up the piece are in fact a sea of pornographic flesh, flowers become vaginas, birds tails become penises and all sorts of other clever little visual crossovers. I seemed to have been the only person to notice this at that moment in time and as I stood with my nose almost pressed against the glass of the frame scanning the piece a small crowd formed around me, I should have expelled my gut wind into the ignorant bar-steward’s nostrils! Can‘t a man enjoy art in peace! but I restrained myself.
This could have been very low brow piece if done any differently but I really enjoyed the way it lured you into its dirty little secret by looking so benign and ‘crafty’. The mounting of the rug on glass a few inches above the wall aided to highlight the delicate nature of the piece and also helping to draw the eye into the work. This work definitely made the visit a worthwhile experience for me, otherwise I would have just considered it an ironic pre-bar before marching on to ‘The Goose’ for a few light ales with the ageing, stained, chavvy cattle that frequent it on a Friday night in Nottingham.
After wandering the gallery swigging my free glass of wine for a few moments I began to see two common themes developing between the works in the exhibition. The first is the idea of craft and process , this is most prominent in the painstakingly manipulated fashion magazine covers of Graham Dolphin, Tom Gallants use of the Japanese craft of Kitami to make intricate paper cut outs and Hetain Patels video of himself using the traditional Indian craft of henna body tattooing to explore the link between his culture and his own anatomical structure.
The second is the Idea of Pattern, this ties all of the piece together but is most clearly visible in Izima Kaorus colourful large scale prints of ‘Landscapes with a corpse’ and Hancock and Kelly’s Piece (performed live Offsite at DC tattoo Parlour) in which a remembered wallpaper from a childhood home is tattooed onto the artists back.
It has to be said that the main areas of focus that this exhibition is trying to explore is not really my cup of char. And as such I felt a little distant from the work displayed from the outset, despite a second glass of free wine, how had I never clocked you get free booze at exhibition openings!. As I walked around I felt like many of the pieces were a little flimsy in terms of actual content, seeming to show more in terms of technical skill than trying to convey any sort of serious idea or concept. Certainly to my mind anyway.
I was close to reaching the same conclusion with Tom Gallants “The Collector: Persian Rug II (after Morris)” .. I was close to calling it a wasted night (apart from the free booze) until the paper cuts that make up the 3 ½ foot Persian rugs pattern in mind-boggling intricacy, began to speak in a language I could understand.
Once you are drawn into closer inspection of the piece layer upon layer of content begins to appear in front of your eyes. A guilty pleasure crept up my spine as I slowly started to realise that the tiny strands of paper that make up the piece are in fact a sea of pornographic flesh, flowers become vaginas, birds tails become penises and all sorts of other clever little visual crossovers. I seemed to have been the only person to notice this at that moment in time and as I stood with my nose almost pressed against the glass of the frame scanning the piece a small crowd formed around me, I should have expelled my gut wind into the ignorant bar-steward’s nostrils! Can‘t a man enjoy art in peace! but I restrained myself.
This could have been very low brow piece if done any differently but I really enjoyed the way it lured you into its dirty little secret by looking so benign and ‘crafty’. The mounting of the rug on glass a few inches above the wall aided to highlight the delicate nature of the piece and also helping to draw the eye into the work. This work definitely made the visit a worthwhile experience for me, otherwise I would have just considered it an ironic pre-bar before marching on to ‘The Goose’ for a few light ales with the ageing, stained, chavvy cattle that frequent it on a Friday night in Nottingham.
DRAWING WITH LIGHT - THE SHIRE GALLERY, STAFFORD
As I bustled into the “Shire Gallery“ off the cold streets of Stafford the woman on the reception desk eyed me like I’d just escaped from the prison up the road, the hoody and scarf over my face I was wearing to fend of the cold had backfired on me. Its not a preposterous notion, I suppose, the Prisons had regular escapes in the last few years and whose to say a recently emancipated felon wouldn’t want to culture himself after months or maybe years of pool tournaments and sodo-mistic showers. But I digress, the point is an uneasy battle of wills and eyes (because that’s all she could see of me) was initiated between me and the little brown haired snipe on reception for the rest of my time in the gallery. I was on her turf and she wanted me to know it. This was the start of an uncomfortable visit. . .
“Drawing with Light” is a collection not of drawings with light but a loose collection of light related art works awkwardly crammed into the entrance of the Town House in Stafford comprising of works by Joanne Berry, Rob & Nick Carter, Raphael Daden, Cia Durante, Michael Shaw and Tony Stallard.
I got another dirty look off the woman as I began my odyssey around a world of light.
The first piece fighting for wall space was an untitled triptych of three photographs that didn’t deserve the wall space in the first place. Florencia Durante’s use of long exposure photography while moving a light around in front of the lenses is just not interesting or technically skilled. The fact that she’s then put these light trails over a three portraits of old men does really do much to save it. I tried not to let this bad start affect my overall openness to the exhibition but I could now feel the little bint at the desk staring daggers at me now, through the back of my hood.
Thank god the next piece I my eye arrived at (there was no need for a change in position, unfortunately) was something that had some relevance to my own interests. Rob and Nick Carters images of light trails made by interpreting music using a machine called a Harmonograph. This is basically interpreting music into mathematical form and then using that to create an artistic product and I find this to be something hugely interesting it combines the three essential ways that people try to interpret the world :Mathematics, Science, Art (huge subjects) in simple continuous lines.
I simply could not believe how much interest I provided to the young woman she had been looking at me now for a good 10 minutes without any real sort of relent, maybe she was falling madly in love with me. . . . Thankfully the next piece was around the corner! Unfortunately the piece was actually the worst piece of art that has ever fouled my retinas, maybe the convicts had all been on a foundation course and this was there exhibition?
Tony ‘Double ‘Ard Bastard‘ Stallard’s ‘Alpha’ is a work dealing with the ‘glimpsed nature of light’ which means that you look at this pile of shite through a hole. When you do look through this hole your greeted by a Bruce Naumann style neon light piece in a very shoddy looking space. There was literally a paint can left in the space. When I came back from the hole I looked at the garb an it specifically said that this was an intentional part of the piece and beyond that it offered no explanation. I was left utterly bewildered by this and it proved to be the final straw.
I rounded the corner to the square gaze of her, she must have been staring at me through the wall! I was sweating profusely as pulled the push handle and bundled through the door once again out onto the cold nasty square of Stafford in mid-winter.
Out of the frying pan into the freezer.
“Drawing with Light” is a collection not of drawings with light but a loose collection of light related art works awkwardly crammed into the entrance of the Town House in Stafford comprising of works by Joanne Berry, Rob & Nick Carter, Raphael Daden, Cia Durante, Michael Shaw and Tony Stallard.
I got another dirty look off the woman as I began my odyssey around a world of light.
The first piece fighting for wall space was an untitled triptych of three photographs that didn’t deserve the wall space in the first place. Florencia Durante’s use of long exposure photography while moving a light around in front of the lenses is just not interesting or technically skilled. The fact that she’s then put these light trails over a three portraits of old men does really do much to save it. I tried not to let this bad start affect my overall openness to the exhibition but I could now feel the little bint at the desk staring daggers at me now, through the back of my hood.
Thank god the next piece I my eye arrived at (there was no need for a change in position, unfortunately) was something that had some relevance to my own interests. Rob and Nick Carters images of light trails made by interpreting music using a machine called a Harmonograph. This is basically interpreting music into mathematical form and then using that to create an artistic product and I find this to be something hugely interesting it combines the three essential ways that people try to interpret the world :Mathematics, Science, Art (huge subjects) in simple continuous lines.
I simply could not believe how much interest I provided to the young woman she had been looking at me now for a good 10 minutes without any real sort of relent, maybe she was falling madly in love with me. . . . Thankfully the next piece was around the corner! Unfortunately the piece was actually the worst piece of art that has ever fouled my retinas, maybe the convicts had all been on a foundation course and this was there exhibition?
Tony ‘Double ‘Ard Bastard‘ Stallard’s ‘Alpha’ is a work dealing with the ‘glimpsed nature of light’ which means that you look at this pile of shite through a hole. When you do look through this hole your greeted by a Bruce Naumann style neon light piece in a very shoddy looking space. There was literally a paint can left in the space. When I came back from the hole I looked at the garb an it specifically said that this was an intentional part of the piece and beyond that it offered no explanation. I was left utterly bewildered by this and it proved to be the final straw.
I rounded the corner to the square gaze of her, she must have been staring at me through the wall! I was sweating profusely as pulled the push handle and bundled through the door once again out onto the cold nasty square of Stafford in mid-winter.
Out of the frying pan into the freezer.
A RANT & RAVE WITH DAVE
Detonate is Nottingham’s biggest and most popular Drum and Bass night, run at Stealth and Rescue Room’s every two week’s. It pulls in a lot of the big names in Drum and Bass such as Andy C, High Contrast and Pendulum and as such has developed a massive following within the student and non-student communities alike. It was recently voted the best Drum and Bass night outside of London and seems to be on a meteoric rise to being one of the best Drum and Bass nights in the country!
Now I’m going to be flying the face of popular opinion by saying this, but Detonate is shit. I’m not saying its always been shit, but it is now, I’ve been going to most of the nights for the last few years and I’ve seen it getting steadily worse and worse, paradoxically as it’s got worse people have seemed to love it more and more. Something is definitely awry here! Let me explain my reasoning to you and ill let you make your own decision. When I first started going the D’n’B scene was still very much an underground thing, when Andy C and all the other big acts were still making a name for themselves, apart from Hype, Dillinja and Bryan Gee obviously. It was fairly cheap to get in and you could enjoy a night out to some good music without having to fight your way through club to get anywhere. The DJ’s who played put real effort into there set’s to get the crowd going, deploying all of the little tricks to make the night special. It genuinely was a spot on night, just enough of a crowd to give a good atmosphere but not to many to make it into a sweatbox.
The big change came with the release of Pendulum’s remixes of the Prodigy’s “Smack My Bitch Up” and “Voodoo People”, these I hate to say it but “Pop Rock” Drum and Bass tunes broke the scene to a much larger market and with that came a massive influx of attention from students into the rock and Indy scene who wanted to look cool and different by listening to Drum and Bass. The Prodigy had been accused of killing the first Rave Scene in the 90’s with the release of “Charlie” and now they had passed the baton to Pendulum. Now I’m not slagging the Prodigy off there one of my favourite bands, but it is both ironic and hopefully coincidental that it’s there
music that has broke the scene to a larger popular audience and therefore effectively ruined it. “New Rave” and “Indy Rave” are unfortunately here to stay like a malignant tumour eating away at the heart of the scene that cannot be operated on.
It was when this influx of Students and Middle Aged sexual Predators after the Students, came that Detonate stopped being about the music and atmosphere and became a cash cow for the people who run it. When you first get into a type of music you obviously are going to listen to the big names as mentioned before like Andy C, Pendulum, High Contrast, Hype and the ilk because of this the line-ups started to become repetitive re- hashes of the same few big names with a few up and coming’s acts (who often perform better than the main acts) thrown in as a warm up. The problem is that people really don’t take the time to check out any other names in D’n’B, they just stick with what they know, the reason for this escapes me completely.
It’s a question of supply and demand I guess, the people want to see these acts so they get booked regularly but with that comes some inherent problems. Firstly DJ’s don’t change there sets every few weeks, so its more that likely that if you see an act more than once in a couple of months you are pretty much guaranteed to hear the same set. Secondly if a DJ knows he’s going to be playing to a packed club where people are literally just there so they can see that DJ, not for the music but so they can say they’ve seen that DJ they wont put any effort into the set! Many times I’ve seen DJ Hype at detonate and he hasn’t scratched once or Andy C not bothering with any beat juggling! These are there trademarks, the cornerstones of their act and they don’t even need to bother! I don’t think I’ve ever heard a Dubplate or VIP tune played in my entire time going to Stealth! You may as well be listening to a student DJ playing all the popular tunes and fork out a tenner for the pleasure. The music has definitely taken a backseat nowadays, the DJ’s playing are almost commodities, they go in play a lame set and the crowd lap it up because its DJ so and so, they walk away with a wad of cash and the crowd walk away proclaiming how good they were to all there friend’s! Fucking Madness!
Detonate has come to signify everything that is wrong with the rave scene at the moment. The last night I went to was Detonates 8th Birthday with Andy C, the ticket cost me 15 pounds (a ludicrous amount) for one of the worst nights out I’ve ever had out! The problem with the amount of people who now go to Detonate is that Stealth is simply not equipped to handle the amount of people that go, The club has a capacity of around a thousand with Rescue Rooms included in that number. Stealth itself has a capacity of 700 people, this would be fine if people were evenly distributed throughout the two clubs but all to often all one thousand people are rammed into just Stealth with Rescue Rooms pretty much ignored. This was certainly the case on the 8th Birthday I could barely get through the door of the main room because the place was so full! The aroma of sweaty bodies lingered in the air like a thick fog people were queuing 10 people deep at the bar to buy a can of Red Stripe for 3 quid, robbing bastards.
When you’ve got a main room that’s vastly over capacity and filled with people who are on a combination of booze and drugs there’s bound to be a lot of aggravation and a lot of people who cant handle what they’ve taken so they fall about the place like idiot’s, wherever I turned all I could see was people looking angry, fucked or both. This isn’t really the sort of atmosphere you want at a Rave! Everybody goes into there own little ’Fuck Off’ mode. After literally fighting and shouldering my way through the crowd to the dance floor, where the crowd become so dense that you could not tell where one person started. I suppose this was the optimum situation for the sexual predators in the crowd! The ability to sexually harass without looking like a pervert! Every here and there you could see a 30 or 40 something with a big grin on there face, you’ve got to wonder do these people go home and put D’n’B on to relax when they get home from a hard day at the office? I somehow doubt it! their there for one reason and one reason alone to try and pull some pissed / fucked student chick. DARKNESS!
Once I had actually managed to get onto the dance floor I wanted to get off as quick as I possibly could, it was literally impossible to dance! People were gyrating into each other and jumping up and down due to the lack of room, the heat and the sweat were almost unbearable! Andy C was on the decks, playing the usual selection of tunes I’d heard hundreds if not thousands of times before, he looked worn and haggard. A very different man from the young bloke I had been watching in the same spot a few years ago absolutely tearing the place to bits, with me screaming my head of and waving my arms in praise. You could tell that he’d already played at least two or three clubs elsewhere in the country that night, peddling the exact same banal, bland set probably to a riotous response every time. I couldn’t bare to stay in it for more than five minutes before having to begin the epic journey to get my way out of the crowd which took another ten minutes at least. My question to you is why on earth would you pay 10 - 15 quid regularly to go to a club where the artists play sub-standard sets, you cant dance let alone move and you have to pay an extortionate price for a can of warm beer that gets knocked out of your hand by the surging masses the second you turn away from the bar? To me it seems utterly ludicrous, but it apparently it’s absolutely brilliant according to the rest of the D’n’B scene! Either I’m a jaded old man at 21 or the people who say that Detonate is amazing have never actually been to a good rave and therefore don’t know any better!
Having said all these negative point’s I must admit there is some hope for Detonate to regain it’s former glory. This comes by virtue of the fact that they have decided to replace the Hip-Hop at their nights with Dubstep / Grime. This is where Detonate is actually doing a good job of bringing something to the rave scene in Notts, outside London and Bristol there are barely any big nights that put Dubstep on and get the key Players involved such as Digital Mystikz, Loefah, Skream, Geoim, The Slaughter Mob and Nott‘s own Kode9. Not only is it bringing a new type of music to the masses, Dupstep provides a much better option to chill out to rather than hip hop because you can have a dance to it but because the tempo is much slower and the crowd much smaller you don’t burn yourself out after five minutes of dancing, whereas Hip Hop is more standing around and nodding your head, which can get boring. Detonates sister night “Detonate Presents . . .” at the social is also to be commended as it is bringing a lot of quality up and coming acts to Nott’s without having them overshadowed by the big names, this give people a chance to actually here something a bit different. To my mind this is where all the real action is going on for people who are actually into Drum and Bass for the music, harking much more back to the old Detonate where music and atmosphere were key. To be honest though if you’re looking for quality music there’s only one place to be, Blueprint.
Now I’m going to be flying the face of popular opinion by saying this, but Detonate is shit. I’m not saying its always been shit, but it is now, I’ve been going to most of the nights for the last few years and I’ve seen it getting steadily worse and worse, paradoxically as it’s got worse people have seemed to love it more and more. Something is definitely awry here! Let me explain my reasoning to you and ill let you make your own decision. When I first started going the D’n’B scene was still very much an underground thing, when Andy C and all the other big acts were still making a name for themselves, apart from Hype, Dillinja and Bryan Gee obviously. It was fairly cheap to get in and you could enjoy a night out to some good music without having to fight your way through club to get anywhere. The DJ’s who played put real effort into there set’s to get the crowd going, deploying all of the little tricks to make the night special. It genuinely was a spot on night, just enough of a crowd to give a good atmosphere but not to many to make it into a sweatbox.
The big change came with the release of Pendulum’s remixes of the Prodigy’s “Smack My Bitch Up” and “Voodoo People”, these I hate to say it but “Pop Rock” Drum and Bass tunes broke the scene to a much larger market and with that came a massive influx of attention from students into the rock and Indy scene who wanted to look cool and different by listening to Drum and Bass. The Prodigy had been accused of killing the first Rave Scene in the 90’s with the release of “Charlie” and now they had passed the baton to Pendulum. Now I’m not slagging the Prodigy off there one of my favourite bands, but it is both ironic and hopefully coincidental that it’s there
music that has broke the scene to a larger popular audience and therefore effectively ruined it. “New Rave” and “Indy Rave” are unfortunately here to stay like a malignant tumour eating away at the heart of the scene that cannot be operated on.
It was when this influx of Students and Middle Aged sexual Predators after the Students, came that Detonate stopped being about the music and atmosphere and became a cash cow for the people who run it. When you first get into a type of music you obviously are going to listen to the big names as mentioned before like Andy C, Pendulum, High Contrast, Hype and the ilk because of this the line-ups started to become repetitive re- hashes of the same few big names with a few up and coming’s acts (who often perform better than the main acts) thrown in as a warm up. The problem is that people really don’t take the time to check out any other names in D’n’B, they just stick with what they know, the reason for this escapes me completely.
It’s a question of supply and demand I guess, the people want to see these acts so they get booked regularly but with that comes some inherent problems. Firstly DJ’s don’t change there sets every few weeks, so its more that likely that if you see an act more than once in a couple of months you are pretty much guaranteed to hear the same set. Secondly if a DJ knows he’s going to be playing to a packed club where people are literally just there so they can see that DJ, not for the music but so they can say they’ve seen that DJ they wont put any effort into the set! Many times I’ve seen DJ Hype at detonate and he hasn’t scratched once or Andy C not bothering with any beat juggling! These are there trademarks, the cornerstones of their act and they don’t even need to bother! I don’t think I’ve ever heard a Dubplate or VIP tune played in my entire time going to Stealth! You may as well be listening to a student DJ playing all the popular tunes and fork out a tenner for the pleasure. The music has definitely taken a backseat nowadays, the DJ’s playing are almost commodities, they go in play a lame set and the crowd lap it up because its DJ so and so, they walk away with a wad of cash and the crowd walk away proclaiming how good they were to all there friend’s! Fucking Madness!
Detonate has come to signify everything that is wrong with the rave scene at the moment. The last night I went to was Detonates 8th Birthday with Andy C, the ticket cost me 15 pounds (a ludicrous amount) for one of the worst nights out I’ve ever had out! The problem with the amount of people who now go to Detonate is that Stealth is simply not equipped to handle the amount of people that go, The club has a capacity of around a thousand with Rescue Rooms included in that number. Stealth itself has a capacity of 700 people, this would be fine if people were evenly distributed throughout the two clubs but all to often all one thousand people are rammed into just Stealth with Rescue Rooms pretty much ignored. This was certainly the case on the 8th Birthday I could barely get through the door of the main room because the place was so full! The aroma of sweaty bodies lingered in the air like a thick fog people were queuing 10 people deep at the bar to buy a can of Red Stripe for 3 quid, robbing bastards.
When you’ve got a main room that’s vastly over capacity and filled with people who are on a combination of booze and drugs there’s bound to be a lot of aggravation and a lot of people who cant handle what they’ve taken so they fall about the place like idiot’s, wherever I turned all I could see was people looking angry, fucked or both. This isn’t really the sort of atmosphere you want at a Rave! Everybody goes into there own little ’Fuck Off’ mode. After literally fighting and shouldering my way through the crowd to the dance floor, where the crowd become so dense that you could not tell where one person started. I suppose this was the optimum situation for the sexual predators in the crowd! The ability to sexually harass without looking like a pervert! Every here and there you could see a 30 or 40 something with a big grin on there face, you’ve got to wonder do these people go home and put D’n’B on to relax when they get home from a hard day at the office? I somehow doubt it! their there for one reason and one reason alone to try and pull some pissed / fucked student chick. DARKNESS!
Once I had actually managed to get onto the dance floor I wanted to get off as quick as I possibly could, it was literally impossible to dance! People were gyrating into each other and jumping up and down due to the lack of room, the heat and the sweat were almost unbearable! Andy C was on the decks, playing the usual selection of tunes I’d heard hundreds if not thousands of times before, he looked worn and haggard. A very different man from the young bloke I had been watching in the same spot a few years ago absolutely tearing the place to bits, with me screaming my head of and waving my arms in praise. You could tell that he’d already played at least two or three clubs elsewhere in the country that night, peddling the exact same banal, bland set probably to a riotous response every time. I couldn’t bare to stay in it for more than five minutes before having to begin the epic journey to get my way out of the crowd which took another ten minutes at least. My question to you is why on earth would you pay 10 - 15 quid regularly to go to a club where the artists play sub-standard sets, you cant dance let alone move and you have to pay an extortionate price for a can of warm beer that gets knocked out of your hand by the surging masses the second you turn away from the bar? To me it seems utterly ludicrous, but it apparently it’s absolutely brilliant according to the rest of the D’n’B scene! Either I’m a jaded old man at 21 or the people who say that Detonate is amazing have never actually been to a good rave and therefore don’t know any better!
Having said all these negative point’s I must admit there is some hope for Detonate to regain it’s former glory. This comes by virtue of the fact that they have decided to replace the Hip-Hop at their nights with Dubstep / Grime. This is where Detonate is actually doing a good job of bringing something to the rave scene in Notts, outside London and Bristol there are barely any big nights that put Dubstep on and get the key Players involved such as Digital Mystikz, Loefah, Skream, Geoim, The Slaughter Mob and Nott‘s own Kode9. Not only is it bringing a new type of music to the masses, Dupstep provides a much better option to chill out to rather than hip hop because you can have a dance to it but because the tempo is much slower and the crowd much smaller you don’t burn yourself out after five minutes of dancing, whereas Hip Hop is more standing around and nodding your head, which can get boring. Detonates sister night “Detonate Presents . . .” at the social is also to be commended as it is bringing a lot of quality up and coming acts to Nott’s without having them overshadowed by the big names, this give people a chance to actually here something a bit different. To my mind this is where all the real action is going on for people who are actually into Drum and Bass for the music, harking much more back to the old Detonate where music and atmosphere were key. To be honest though if you’re looking for quality music there’s only one place to be, Blueprint.
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