March 2026
The Rossi Bar

In the absence of our esteemed Geoff Cheesemaster, Dan Powell donned the wig and started the evening by leading a communal voice drone in memory of the inspirational and sadly missed Steve Gillitt (aka minimal impact).

The drone theme continued as Andrew Greaves began his set with a mix of washes and conversational fragments using field recordings of Steve himself. Andrew’s performance continued with several pieces related to his recent “Headspace” release. Rhythmic synth figures underpinned some dark folkish melodies, with occasional interventions from some chit-chat looped samples. The shortest of minimalist pieces followed before things took a moodier turn; expansive abstraction, as a backdrop to the darkest of analogue improvisations. Andrew lifted the mood for the final stretch, as swooshing pulses and syncopated riffs gave way to some intense, eastern flavoured lead improvisations. His set concluded with something of an homage to the early days of electronic soundtrack music; a reedy organ, a faux Theremin and a chorus of wolf howls.

All of this against a backdrop of improvised and remarkably in sync visuals from Meljoann.

For his performance, Tam Lin combined modular synthesis and intimate vocalisations. His set developed gradually from a tapestry of spare, detailed analogue beeps and crackles. In time, intimate, half spoken vocals added the most human of touches. This piece grew organically, as the sound world widened into something more wide screen. This was a lovely, slow burn of a performance; drawing the audience into silence. Gentle, low fi figures followed, morphing into subtle, filtered sequencer washes. At the midway point Tam Lin introduced an arresting tick-tock beat and some mantra like vocalisations. His set finished with a beautifully jagged pitch-drop drum figure acting as back drop to an edgier song: taking a series of several sharp turns along the way. This piece concluded with a coda of intimate, layered analogue loveliness.

Oddfellows Casino provided a performance that for once justified that oft used description; immersive. The four participants packed the small stage; Al Strachan, Eliza Skelton and Emma Papper provided a sensitively layered electronic dialogue. Musically, it was conversational improv, but highly focussed and directed by both the visuals and the voice commentary. Meanwhile, David Bramwell’s commentary drew the audience into the past and almost forgotten world of the industrial north. The words and archival images detailed a lost steel industry, drowned villages and some occasionally inaccurate memories. Stories of real lives and brutal industry, strangely haunted by ancient mythology; stories including some vocal interventions from the voice of Alan Moore. The music, the words and the images cast something of a spell within the room; it was a very special performance. However, as Dan Powell was keen to remind us; next month will be even better!

Thanks to Howard Spencer for the photos.