Author: birminghamreview

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Steel Pulse Founder Basil Gabbidon Leads Trojan Records Bank Holiday Celebration At The Jam House

Writer Mark Roberts / Photographer Connor Pope


 
Trojan Records is world renowned for its powerhouse roster of reggae legends. From Lee ‘Scratch’ Perry to Desmond Dekker, Toots & The Maytals to Bob Marley and The Wailers, its influence on Birmingham can be felt through the likes of Steel Pulse and UB40 and less obvious Brummie artists like Apache Indian.

Gabbidon Band and special guests then, are the perfect band to pull off such a range of songs, supported by the Sound System Selection from Pete Sherriff, and top tunes from the decks of DJ Sammi Kaseba.


 
I arrive at The Jam House at almost exactly the open of the evening, DJ Sammi Kaseba is playing reggae bangers ranging from roots to rock steady with the occasional dub record thrown in. He is wearing what must be one of the greatest hats I’ve ever seen, blue denim, almost top hat in height, although fedora in aesthetic with a small brim.

A rum punch is being served from behind the bar. Chairs line the ceiling of The Jam House rather than the floor, hanging in perpetual suspense, I dread a Final Destination style ending for the punters on the dancefloor.

Luckily no one will be chaired this evening.


 
At the back of the stage are Jamaican flags and bunting and at around 10pm a talk-over voice, barely penetrating the hum of the crowd, appears, and with it so do the Gabbidon Band.

The band’s made up of Basil Gabbidon on guitar and vocals, Colin Gabbidon on drums, Candice Gabbidon on vocals, Paul Beckford on bass, with special guests looking amazing in their uniquely bold outfit.

It’s a true family affair, with relaxed confidence exuding from the band’s every pore.

Almost everyone on stage sings, with Gabbidon and two others taking the leads. The harmonies are flawless, the voices were buttery smooth, unique, and perfectly fitting. The rendition of each tune is both inimitable and unbelievably faithful to the original songs.

These are true, high calibre professionals.


 
As they move through ‘Simmer Down’ by Bob Marley and the Wailers, ‘The Tide is High’ by The Paragons, and ‘A Message to You Rudy’ by The Specials, I find myself remarking on how the band are masters at pace. Allowing the audience to ebb and flow between the up-paced beats of ska and the more downbeat genres of rocksteady.

The audience reacts in kind with bobs and sways reminiscent of buoys.

The movement isn’t just about the pace but shows the throughline of Trojan Records, starting in the 60s and moving through the eras of reggae. They end their first set of the evening with ‘Now That We’ve Found Love’ by Third World. The rendition moves us into the blending of reggae with other genres, specifically here funk, and really brings up the vibe for the end of the set.


 
The musicians’ solo through this almighty tune with sincerity and musical prowess, as the keys, guitar, and drums all get a showcase.

At this point the band comes off stage for a break before carrying on, it’s already 11.30m and I have an early start at work the next day so I have to leave.

I bid Basil and family a farewell and head home… ‘Now That We’ve Found Love’ will be in my head for at least the next week.


 
To hear more from Gabbidon Band go to: www.bgabbidonband.co.uk

To see more events at The Jam House go to: www.thejamhouse.com

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Punks Bad Girlfriend Introduce New Drummer And Chat City Culture

Writer Jasmine Khan / Photographer Connor Pope


 
“It was a £20 round,” says Connor as he returns from the bar at Cherry Reds. Ouch I think, before remembering that he owes me (and probably everyone else round the table) a drink. There’s four of us sitting in front of a sunny window on the second floor: Connor, Richie, Bad Girlfriend’s most recent addition Alex, and myself.

“Do you reckon I could smoke a cheeky fag out of the window?” jokes frontman and guitarist Connor Hemming.

If there’s one thing this punk band definitely isn’t lacking, it’s personality.

Bad Girlfriend have been a well-loved local band for several years now. Having recently lost drummer Billy, I’m interested to see what sounds his replacement, Alex Moulton, 27, will bring to the funked up punk that Bad Girlfriend usually play.


 
“Metal,” says Alex without blinking. Then, a waiter comes to ask if any of us have ordered a ‘hearty English’. None of us have, but we all offer to take it off his hands if he continues to struggle to find the correct recipient.

The waiter says it been 10 minutes, so Connor thinks he’s in with a shot.

“When I was a kid, I liked Metallica and Iron Maiden,” continues Alex, “but I don’t really bring that into Bad Girlfriend. I think there’s, maybe, a bit more aggression in my drumming than Billy.

“I like to hit the drums harder; the new sounds got a bit more oomph I would say.”

“Hearty English, no beans,” says an entirely different waiter. Connor’s ears prick.

“Another geezer has just come out,” says Connor “and I’ll tell you what i told him, we’re here my G.”

We all laugh, before Richie, 35, Bad Girlfriend’s bassist, refocuses us explaining the band’s main influences.


 
“60’s and 70’s garage rock, the early punk scene with Iggy and The Dolls, The Clash, basically lots of guitar music.

“Where me and Connor found common ground was in the punk scene – Cramps, Little Richard Hollar, heavy stuff.”

Connor jumps in: “It is mainly punk and that, but over the last year there’s been an emphasis on jazz and funk which has brought a real groove to the band and that’s cool.

“Sick and tired of violence at gigs you know? I want to see people boogie. I want to see some ass shaking, some love making, some heartbreaking… but I am a punk at heart.”

Bad Girlfriend are keen to let me know that they’ve got a whole new set, with eight new songs now Alex has joined the band – and the EP with their old song with Billy will be coming out next year.


 
Before we round up (and I inevitably get roped into more beers and musical chats) I want to know if Bad Girlfriend stands for anything in particular.

“We’re doing it for pure enjoyment. It’s not about making it,” says Connor, matter of fact, “just representing our city – it’s the greatest city on earth and some people don’t seem to care about it, especially the people in charge of the city.

“Birmingham’s such a mixed city. You could grow up in Solihull, but, like, you’re only 10 minutes away from Chelmsley Wood.”

“We don’t write to tick boxes, we write about our experiences of the city, of growing up in Birmingham,” adds Richie, “we’re very proud of our city.”

Bad Girlfriend will be playing together with Alex as their drummer for the first time on Thursday 1 September, at Kaleidoscope (which is free) at The Night Owl in Digbeth.

I’ll be there. And, even if punk music isn’t your thing, I’d still go because Connor’s known to chat some spectacular shit.

Bad Girlfriend – ‘Here it Comes’

Bad Girlfriend will be playing at Kaleidoscope, at The Night Owl, on Thursday 1 September – alongside Fitzroy Holt and Grave Palms. For more on the gig visit www.birmingham.thenightowl.club/event/kaleidoscope-bad-girlfriend-fitzroy-holt-grave-palms 

For more on Bad Girlfriend visit www.facebook.com/badgirlfriendbrum

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Is Strike Action Selfish?

Writer Reece Greenfield / Photographer Maddie Cottom-Allan & Reece Greenfield

We’re all no doubt feeling a lot of fear and uncertainty over rising energy bills, inflation, and economic uncertainty. We’ve no doubt heard (and likely seen) evidence of the swathes of strike action across the country. Indeed, Birmingham has been no stranger to this due to the RMT’s strike action beginning on the day before the Commonwealth Games held here from 28 July to 8 August and continuing indefinitely.

In the wake of the announcement of rail strikes by the RMT, TSSA, and ASLEF (and a string of media appearances by the charismatic Mick Lynch and Eddie Dempsey), ASLEF represented train drivers have held pickets and the CWU balloted Royal Mail staff who voted 96.7% in favour of strikes, on a turnout of 77%.

In addition to this, workers at the UK’s largest container port represented by Unite began an eight day strike last weekend, the TUC have launched a campaign to raise the minimum wage to £15, and a ballot is set to run from 15 September until 13 October asking members of the Royal College of Nurses to consider strike action.

In light of these far reaching strikes, I’m sure we’ve also no doubt heard conflicting attitudes towards the industrial action being taken this summer and more generally.

One of the most prevalent narratives is that of selfishness, arguing workers on strike are only looking out for themselves at the expense of everybody else, specifically, other working people. And it’s easy to see how people can arrive at this opinion.

Strikes disrupt our commutes, ruin our holiday plans and halt entire sections of our economy.

However, UK work forces are somewhat driven to these drastic measures because revenue strikes such as those currently being practised in Australia – where services continue but workers do not accept payment from customers – would result in Trade Unions being liable to pay extensive damages to companies in accordance with the Employment Act (1982).

Therefore, the withdrawal of labour is one of few tactics available and what I want to stress is that, when strikers gain benefits through collective bargaining, all of us benefit. It is not just union members who benefit from wage increases, improvements in terms and conditions, and other rights won through collective action.

Furthermore, when one sector strikes and gains this is an encouragement to other sectors, which is one of the reasons why there has been a snowball effect and why the establishment are so determined to smear picketing workers.

I, myself, am a trade union member. Despite working for the local authority since 2014, I have only been a paid-up member of Unite the Union since 2020. Before my time as a union member, I was an agency worker for over a year and a half, during which time I was forced to cross a picket for fear of losing my job.

Along with my own experience, I’m sure I speak for many of us when I think on how younger people working in hospitality have been, and are being, systematically shafted. We’ve all been there for friends lamenting the never-ending string of ‘AFDs’ and the dreaded close/open: Finishing at 3am to then be in at 10am the following day, which is a direct infringement of a worker’s entitlement to 11 hours between shifts.

Often our working friends are so burnt out they barely have time to cook and so are required to get food delivered from Uber Eats or Deliveroo by similarly exploited and underappreciated workers, the responsibility for whose work and pay falls entirely on themselves. Such is the plight of the ‘self-employed’.

Indeed, hospitality workers are some of the most insecure… oh sorry… ‘flexible’ workers in the economy and with ‘service charges’ and other policies rife across establishments, hoovering up tips to the top, our mates are struggling through the month with less money and less time for themselves.

Only approximately 4% of hospitality workers are union members (though this has been steadily rising). I attribute it mostly to the fact we are living in the wake of a political and economic change of climate, where the Thatcher government of 1979 – 1990 defanged unions ending the post-war consensus. As a result, many young working people today (and indeed their parents) are somewhat unaware of the importance of a unionised workforce.

But let’s not be completely dreary, union membership is on the rise and recent polling shows that a majority of Britons see the recent rail strikes as justified in the face of an onslaught from Tory politicians, legacy media pundits, and a lacklustre response from an overly cautious Labour party.

My young Brummie comrades, Trade Union membership obviously costs, and in the current climate people are concerned about an increase in their monthly expenditure. Yet, I urge you to consider it nonetheless, and to think of it as a form of insurance and community in this uncertain and exploitative age.

I urge you to show solidarity with all workers (not just those in your sector/union). We are all in this together and what benefits one, benefits us all.

For a list of/links to all Trade Unions registered in the UK visit www.gov.uk/government/publications/public-list-of-active-trade-unions-official-list-and-schedule/trade-unions-the-current-list-and-schedule

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Demarae Is Out Of This World: Multiverse 25/08/2022

Writer Jasmine Khan / Photographer Maddie Cottom-Allan 

C.F.C Studio, on the corner of Thomas and Pool Street, isn’t a space I’ve visited before. As Maddie and I pull up, the woman at the door has to turn away some walk-ins because the event’s sold out, something tells me this is going to be far from your typical gig experience.

Demarae, the director and designer of Multiverse, is a talent to be reckoned with. I find out after a quick chat with Indigo Marshall that all of the seven musicians have had a unique world designed for them by Demarae, which will play on the back wall behind them during their set.

Right now, there’s a world already playing inspired by Birmingham itself and attendees are sitting in front of it on benches and a plush mini sofa. It looks like a driving game, but I can’t see any wires so I assume it must just be a cool projection. There’s FREE soft drinks and water, and it’s BYOB, which means even though it’s a bit out of the way, it’s still a night you can do on a budget.

There’s an artist digitally painting the musicians who are yet to perform off to the left of the projection. It’s breath-taking and I discover this is Dayle Demaret-Smith, Damarae’s brother. I want Maddie to take a picture, but I’ve lost her in the Multiverse already.

The assumed projection is looking more and more suspicious, Maddie’s sat down right in front of it and I go over to investigate. It is a game, you’ve just got to find the wireless  controller (modern technology eh?) and as it turns out you can actually play in the Multiverse.

“Maddie really was the best by far, really good. You go girl!” says ANTI, 31, from Great Barr (under some mild pressure from BR’s resident comic whore).

Our hostess, Yola, takes to the floor, fluorescent orange eyeshadow reflecting the bright lights and she calls for positive energy, explaining the effort that’s gone into the event.

Yola introduces Odd Priest and suddenly the game on the projector behind her shifts and we enter Odd Priest’s universe. Flames shooting up from the ground surrounded by a football stadium become his backdrop. Odd Priest is a character in his own alternate reality, robotically pausing and staring into the crowd at just the right moment.

The graphics bleed from the back wall onto the ceiling and side walls so it feels hyper realistic. I shook and I’m pretty sure my mouth’s open like a guppy fish.

Odd priest is a great performer, his rap flow is curt, it’s clarity syncing his movements to the strong, alternative, grimey production and pyrotechnics behind him. Switching it up in the next track, Odd Priest’s vocals remind me of Mario when he sings. He’s got that sexy-smooth RnB feel, delivering runs for days..

An additional artist joins Odd Priest on stage and it’s none other than ANTI who immediately lives up to her namesake – providing it is indeed inspired by Rhianna’s best album.

Odd Priest finishes up the first set of the night highlighting both his rapping and singing skills. In combination with the excellent visuals and I’m pretty sure live mixing at points by DJ Rhexis, it feels like I’ve entered a different world.

How did Demarae even imagine this concept?

There are no breaks in the Multiverse and Brum’s very own indigo child, Indigo Marshall, takes the stage quickly after Odd Priest. Her universe is in stark contrast to Odd Priest, but the transition is subtle, and I quickly become immersed in Indigo’s paradise moon of a world.

As always, Indigo Marshall’s vocals are like warm honey, they’re classic RnB, and as they soar effortlessly above the crowd I hear someone behind sigh “she’s incredible..” and she really is.

We get to listen to a few tracks off her most recent EP The Fall and then Indigo takes us back to ‘Summer Nights’, her debut single. “Sometimes being alone is better for my soul,” Indigo sings as her hands glide and sway around her. It’s an important message to remember.

Rhexis is given the space to show off his mixing skills and the high frequency vibrations his tracks emanate. Maddie and I pop out for a smoke because as much as it’s nice to not have to wait 20 minutes for the next set, it’s always nice to be able to take five to chat about how the night has been so far.

When we get back inside, it’s time for Shenai, who our hostess-with-the-mostess introduces as “Low-fi, trippy RnB”. Shenai’s world is a soft lavender and baby pink forest, and kind of psychedelic. Her sound is atmospheric and electronic although you can feel the RnB layers underneath.

Shenai’s soft elegant voice weaves jovially around the plentiful crowd, but her lyrics are cutting as she dresses down exes that keep calling her through complex key changes and angelic, dynamic runs. She shouts out Rhexis for his production, and it’s so obvious I’m amongst a far reaching community of supportive, creative souls.

Next up, it’s local rap legend Tarju Le’Sano, and he does not disappoint. Tarju’s energy is immediately explosive, it’s pure confidence and it captivates the audience. “Kill them with kindness, I’m generation-defining,” he raps into the mic over a jumped-up, alt grime beat, “I’m an 0121 lad”.

Some tracks have more of an experimental hip-hop feel and I’m getting some of the jazz influence that Tarju mentioned in his short intro. Tarju’s world is a city bathed in red light and it’s abundantly apparent that he’s proud of his roots and proud of being a Brum boy.

“I’ll say some poignant shit later,” shouts Tarju, but for now he breaks it down, throwing a few moves while calling out both MCs and MPs who seek to perpetrate corruption and lies.

Tarju calls for love with a song that’s got a A Tribe Called Quest twang, he lets his pipes ring out for the first time in the evening and the power behind them is tremendous.

“My city, can you celebrate me, before I get seen.”
“My city, can you celebrate me, while I’m living my dream.”

Following Tarju’s is ReRe Damarae who is indeed the sister of Multiverse creator Damarae and portrait artist Dayle, but more importantly she’s a vocalist, producer, and artist herself. Her sounds got pop-esc RnB vibes and her universe reflects her complex femininity with ease.

Some tracks are mellow, ones to cry at home too. Others are vibrant and demand that you move your hips. ReRe’s universe blazes behind her as her voice dances through the audience.

There’s been a range of sounds delivered to a high standard so far, but I cannot anticipate that Yonko Leck’s performance will end with the entirety of the >THEM collective taking the floor and shouting lacerating lyrics into a hyped-up audience.

Yonko Leck’s first track is heavy grime and his lyrics traverse the political and personal.

“We’ll try not to be too intimidating” he says, as he and Lord Andrew deliver pertinement flows at a massive volume facing each other, then stomp about the stage jumping in sync like Kriss Kross but way badder.

Yonko switches it up, inviting Mellow to accompany him whose stunning voice softens the brilliantly harsh energy. Yonko delivers an almost RnB rap verse, and harmonises while Mellow sweetly sings the melodic chorus. It’s great to see dynamism in Yonko’s musical abilities.

Louis D. Prince jumps up and ramps the vibe back up, so does Lord Andrew and the next track’s lyrics catch me off guard. Despite Yonko Leck’s very apparent masculinity his lyrics challenge stereotypes perpetrated by toxic masculinity, like the one that calls out homophobia in the scene.

CreezOn is the final act of the evening, and he’s not afraid to stand at the front of his Multiverse as close to the audience as possible.

“This is the new wave of creatives in Birmingham,” CreezOn says smiling.

The audience cheers and stomps. CreezOn’s tight flow begins speaking on self-development and personal growth: “Life’s too short to be shy” he raps. The alt grime vibes are back again and there’s more than one interesting sound whizzing through that I don’t have the words to describe. CreezOn’s got a bit of a mystical edge, especially with ’Different’.

Conscious of the time and the possibility of Uber warfare, I regretfully have to dip out a few tracks before the end of CreezOn’s set. But I’ll be making the effort to see all the musicians on Punch Record’s line-up again.

And as for the director and designer of Multiverse, Demarae? I’m certain you can expect great things from him in the not so distant future.

Multiverse – Maddie Cottom-Allan 

 

For more from the director and designer of Multiverse, Damarae go to: www.instagram.com/demarae.exe/ 

For more from Odd Priest go to: www.open.spotify.com/artist
For more from Indigo Marshall go to: www.indigomarshall.com
For more from Rhexis go to to: www.soundcloud.com/rhexisuk
For more from Shenai go to: www.open.spotify.com/artist
For more from Tarju Le’Sano go to: www.open.spotify.com/artist
For more from ReRe Demarae go to: www.open.spotify.com/artist
For more from Yonko Leck go to: www.open.spotify.com/artist
For more from CreezOn go to: www.open.spotify.com/artist 

For more from Punch Records go to: www.wearepunch.co.uk
For more from Saathi House go to: www.saathihouse.org

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Bio Arts Birmingham Gets Local Artistic Babs Thinking Big (And Really Small)

Writer Emily Doyle / Photographers Mica Gray & Rob Lockley

The first edition of Bio Arts Birmingham Laboratory (or ‘BAB Lab’ for short) brought together open-minded creatives from across the region to experiment with, play with, and discuss the way living materials can be used to make art. The programme took a ‘kitchen science’ approach throughout a week in mid-August, making accessible workshops out of intimidating topics.

Working with biomaterials can sound intimidating. The perfect remedy to this was a Monday morning spent baking rye bread and challah at Stirchley’s beloved bakery, Loaf. Austrian bio-artist Günter Seyfried walked participants through his process of making ‘yeastograms’, images developed on agar plates by exposing yeast colonies to UV light to limit their growth.

Later in the week, Fred Hubble demonstrated his own methods of shaping living beings. He introduced his collection of bonsai, cultivated over years as meditations on seasonality.

Artist-biologist Matt Gale’s work exists on a much shorter time scale. He showed samples of rapidly growing wild fungi he has cloned (a more straightforward process than you would imagine) and the hardwearing mycelial materials he’s grown from the cultures.

Ceramicists Paul McAlister and Megumi Naitoh also used foraged materials, demonstrating their ‘Ceramic Commons’ 3D printing framework with wild clay gathered from Wyre Forest.

Arguably the most immediate living material for any artist to work with is the human body.

Performer and facilitator Roo Dhissou demonstrated this to great effect. Drawing on her Sikh and Punjabi heritage to embody her God/cyborg avatar, Dhissou coached participants through drawing their own larger-than-life ‘power beings’ to be displayed on the walls at BOM on the corner of Dudley Street and Hinckley Street.

The whole programme is a fusion of scientific methods, and free-reign creativity. Prop designer Cal Westbrook stitched whimsical soft-sculpture fungi. Playful artist duo Hipkiss and Graney led the group in an experimental game of ‘Mycelium Max: Fungal Road’ out in the baking sun at Hazelwell Park.

Inspired by the wood-wide-web described by the likes of Paul Stamets and Merlin Sheldrake, participants ferry large papier-mâché nitrogen and glucose particles along fabric walkways, all the while dressed in homemade costumes with more than a hint of The Wicker Man about them.

Microscopic lives also inspire miniaturist Eiair, who delivered their workshop via video call from Bangkok. Eiair’s tiny porcelain sculptures reflect the symmetric forms of microbial beings. The class provides mindful respite in a busy programme.

Meanwhile, microbiologist Connagh Redmond is zoomed in from Melbourne to talk the group through creating agar art, planting petri-dish gardens using swabs from the verdant South Loop Park.

Digital artist Rosa Francesca gave attendees a glimpse into an unseen world of her own. Wearing an EEG headset to monitor her brain activity, she spoke and sang in front of a projection she’s coded to visualise the electrical signals from her brain in a display of self-described ‘twenty-first century telekinesis’.

Over the week, various ethical debates arise. Dramaturg Rosa Postlethwaite introduced the group to the jar of sourdough starter they’ve been spending time with as part of their performance art, which examines collaboration with other-than-human species. Postlethwaite is still in the exploratory stages of the project, and seems prepared for some playful questioning.]

They’re immediately validated by the bakers at Loaf, who consider their yeast cultures as a powerful agent in the creative process.

Artist/writer and self-identifying cyborg …kruse sparked heated conversation with their proposal of an interspecies manifesto. An altar of feathers and sunflowers and cups of Darjeeling chai all round, the stage was set for a calm and reflective panel, but emotions ran high as talk turned to veganism, utopian thinking, and human rights for household pests.

Andre Reid cultivated a more easy-going atmosphere in the Modern Clay studio. Speaking about the various cultural and folkloric significances of clay, Reid invited attendees to explore the medium as a tool for community-building and reflection.

Inclusivity, commoning and shared responsibility are themes that are woven throughout the week. For Trixiebella Suen’s workshop on creating plant based paints and dyes, design activist Daniel Blyde took the group on a canalside walk to gather materials. Foragers were encouraged to take responsibility – never pick the first you see of something, never take more than half, and don’t disturb anything that’s home to wildlife.

Robin Wall Kimmerer’s principles of the ‘Honourable Harvest’ guided the practice. The Potawatomi writer and biologist is well-loved by the community at Civic Square. Copies of her book Braiding Sweetgrass were given out as part of their book exchange and a hand painted banner with her affirmation that “All Flourishing Is Mutual” hangs over the warehouse space.

The weeks’ venues were all chosen for their principles; Loaf, Artefact, and Modern Clay are all cooperatives. Civic Square (formerly Impact Hub) is a regenerative business researching radical neighbourhood economics, and BOM, where BAB Lab founder Laurie Ramsell works as Learning Producer, is a sensory-friendly space that nurtures diverse talent in creative technology.

All these spaces offer the artists on the programme plenty of opportunity to share ideas, expertise, and food throughout the week.

As BAB Lab 2022 draws to a close, there’s a strong camaraderie among the group. From microbiomes to the global environment, everyone’s left with plenty to think on. I’m sure Interesting creative responses will surface soon.

LINKS TO ARTISTS:
For more on Rosa Postlethwaite visit www.rosapostlethwaite.com
For more on Günter Seyfried visit www.polycinease.com
For more on Hipkiss and Graney visit www.hipkissandgraney.com
For more on Cal Westbrook visit www.calwestbrook.com
For more on Matt Gale visit www.mattgale.co.uk
For more on Eiair visit www.eeiiaaiirr.com
For more on Andre Reid visit www.futurespacesfoundation.org/panel/andre-reid
For more on the Ceramic Commons visit www.ceramiccommons.com
For more on Connagh Redmond visit www.clovermakesthings.com
For more on Trixiebella Suen visit www.trixiebellasuen.com
For more on Daniel Blyden visit www.instagram.com/danieljblyden
For more on Fred Hubble visit www.fredhubble.com
For more on Roo Dhissou visit www.roodhissou.com
For more on Rosa Francesca visit www.rosafrancesca.hotglue.me
For more on …kruse visit www.krusework.info