Holy Water To The Stage, Please!

 

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Behold, the mighty Muson synthesizer!

It was back to Totally Wired in Chorlton-cum-Hardy last Thursday, and the scene of the previous ghostly goings-on during election night in June. The Lloyds is a big venue, and I like playing there a lot because it has a "lay" crowd of very appreciative Thursday night drinkers who are up for something different. This time, I hoped to make peace with the unquiet spirit of Martin Hannett. Did I manage it, or did he cause even more spectral mischief? 

PP Roy was on first, and was using the most glorious synthesizer I've ever seen. A Muson synthesizer from 1978. His wife told me later that she bought for next to nothing. Though limited in scope, this baby has a 10-note sequencer and (according to the spec at Polynomial) 2 note polyphony and (ahem) MIDI! Quite how the makers implemented that last facility several years before it was even a twinkle in Dave Smith's eye is probably just wishful thinking on the part of a seller. Speaking of which, these things go for several hundred dollars! Anyway, PP's sound is always interesting, and this time it was a blend of slow, laid-back beats played on a lovely old Roland Rhythm Plus PB-300 combined with a harder noise-driven sound. Simultaneously energising and relaxing. 

PP Roy with a lovely selection of toys!

We were next. Everything started well, with Gory Corners and Monday Can Wait going down well with the audience, but the sound suddenly started playing up, with top end cutting out. The tweeters seemed to be switching on and off at random. Tom and a couple of technically-minded people busied themselves over the mixer, but there was no pattern to it. Someone suggested it was because I had a limiter on the master channel. I know this isn't the case. This is exactly the same processing chain I've used for the previous 18 gigs. The verdict by the end was to drive the desk a lot harder next time. That, I can definitely do! I'm definitely not complaining about any of this, by the way. I think it's great that the ghost of Martin Hannett is taking an interest in our work, LOL! It's the closest we'll probably ever get to working with a superstar producer! 

 

My sausagy fingers belting out Monday Can Wait

 Rollmopski was up next. I reported on their curious sound when I saw them at NIAMOS in Hulme. A beguiling mix of slide guitar, Theremin, and modular synth, with a side order of desktop Prophet V. This latter item proved to be troublesome. It had to be plugged in way in advance and allowed to warm up before the tune button was pressed, or it would start to wander as the components heated up. However, during one track, the duo had to stop because the Prophet had decided to spontaneously follow its own tuning! Was Martin Hannett joining in again? We'll probably never know for sure, but this was beginning to be an evening the Ghostbusters would certainly appreciate. 

The complex and unusual sound of Rollmopski

Finally, it was the turn of Mistrust, who included an excellent version of Love Will Tear Us Apart in his set, as well as his very bouncy song a bout trains ("Yellow And Grey"). Did it appease Mr Hannett? Well, Mistrust has since said that he couldn't hear his piano, even though it's the same signal chain he's been using for a long time. 

Mistrust, belting them out!

 And so, a very agreeable (if haunted) summer evening drew to a close. I decided to put together a quick road trip video to try to capture the experience of EMOM life. I'm not sure I managed it, but judge for yourself.

The next Jon And Libby gig is on Saturday 10th August at The Station in Ashton-under-Lyne. It's a full 40-minute set in support of We shall Overcome, which supports the least fortunate in society. We'll be showcasing some cracking new tunes as well as current bangers. We're on with Echodelic and the mighty Hardaker and Zux! It's a great cause, so please get on down there. We promise you a great time.