Back in the Loop

A more intimate setting this time.

 

Sunday 16th June was a lovely sunny summer afternoon but for some reason, even though I had a friend with me who was curious to see what we get up to at EMOM events, I was the one driving. I bet Gary Numan (whom God preserve) never has to drive people to his gigs. So, anyway, we were Shrewsbury-bound with Marjorie the Satnav leading the way, to the June 2024 EMOM at Albert's Shed. When we arrived, we were joined by a few other friends who live close by, so no pressure to get the performance right! 

This time, the sofa and club chairs that are normally way down at the front of the venue had been pushed in front of the stage. A very intimate setting, and potentially unnerving if no one claps! Seeing the whites of the audience's eyes is always an interesting experience!

Due to roadworks, slow traffic, and parking in Raven Meadow instead of Barker street, we arrived slightly too late to catch Nick Gilling's performance, but picked up the action with Al Crow. You may remember from our the last expedition to Shropshire that he has an impressive modular synth, including a Theremin, which had proved troublesome last time. This wasn't in evidence much for his performance of banging, rhythm-led techno.

Al Crow banging it out.

 Next up was Torsk, with his brand of chilled, downbeat electro dub vibe. Very cool, atmospheric and laid back, with long drones and that trademark long, slow, deep flange.

 

Torsk flanging his chilled-out way through his set.

We were next, and this time we were trying out a couple of new numbers, including a fast, jolly 12-bar number called "Why Make Music When Nobody Cares?" It all went well, and as usual I was suddenly reaching for that upper A# in the final song, and it was time to pack up. The verdict from one friend was that we produce "A full sound". Being into prog and metal, I think he meant it was a loud racket with not a lot of frequencies left under-represented. A wall of sound. Good. That's exactly what we aim to deliver. 

Us making a racket.

 While we were rattling along, Luke Twyford set up next to me. His sets are always fun, danceable and varied. A very professional sound from the music technology teacher and drummer. 

Luke Twyford bopping away.

After some technical difficulties, Mike Hadland, A.K.A Pempi started up with his blend of drum and bass. I thought his set was more industrial than the last time I saw him, and I still say he'd go down a storm at Bleep.

Pempi with an industrial drum and bass set.

 Pempi then stayed onstage for a collaboration between himself and Blue Leaf, A.K.A Duncan Knowles. An interesting, driving breakbeat-heavy yet atmospheric sound. 

By now it was nearing teatime and my passenger was beginning to make going home noises. I caught the start of Blue Leaf's set. A very accomplished take on DnB, breakcore and some slower half-speed takes on both.

Collaboration time, between Pempi and Blue Leaf

With goodbyes said, we headed off back to Darkest Cheshire in the teatime sunshine after another successful EMOM afternoon.