Just noise. Horrid noise.

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I’m such a TART. Any excuse to get dressed up Jase. And so on Sunday evening, out went the shout of: To the Conga! For Wiv Music Mix! These Sunday monthly Sunday night sessions have been on my radar for sometime. But I’m usually working on Sunday evenings. A little rota tinkering around the edges, and I’ve found some space to enjoy some live music right on my doorstep.

And that’s the whole bloody point. The Congregational Church (stop sniggering) is less than two minutes over the road. Quality live music is scheduled each month, all for around £20. You’d struggle with that over at the Sunny Colch Arts Centre. Plus it’s a right bloody pain for us to get back from late at night.

Steve’s Music Mix - to give the event its correct name - is a broadly jazz based listing of artists playing in a live setting. The Sunday evening slot seems just perfect for live jazz. Elmer’s Jazz Collective rocked up at the Conga this month - an informal gathering of local musicians, put together by local jazz drummer, erm, Elmer.

The Conga actually looked great, and nothing like a Church. Even Song this most certainly wasn’t. The main space was blacked out, with plenty of stage lighting to add to the atmosphere. And blimey, it was bloody busy. I’m no good at head counts, but I’d wager possibly somewhere between 250 - 300 folk had turned out.

I made a beeline for the bar. Blood of Christ, etc. I settled on a bottle of red. Chin chin. We took up our seats, poured a glass of BOOZE and waited for the six piece to take to the stage. This is far better than Antiques Roadshow. Or even Sunday evening work.

The musicians were superb. The setlist was an exploration of some jazz standards, as well as a left field approach for finding inspiration. Solos featured heavily, allowing the trumpet, saxophone, keys, jazz guitar and double bass to showcase their individual skills. Elmer held it all together with his sticks.

This felt like a local approach to a professional performance. SHOUT OUT to the various local hands who were volunteering and helping out with the desk, front of house and bar etc.

I found myself head nodding as the evening - and the BOOZE - continued. The set became very funky in the second half. Two and a half hours later and the house lights came on. That was bloody brilliant. I’ve really missed live music. Now it’s back, and right on my doorstep. Nice.

Heavy Ozrics vibes. I love this kind of shit. It’s so easy to get lost in the music and allow it to take you where you want to be. I day dreamed half the morning away with the album on heavy rotation. I still haven’t a clue what it’s all about. I don’t think you’re suppose to know. It could easily have been recorded in 1995, 2005, 2015, even 2025.

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R.E.M. outtakes. Bland as fuck.

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Proof that there aren’t actually 1,001 albums you must listen to before you die.

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Next!

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I don’t want to come across as a language snob, but I did struggle with this on account of the Portuguese. I tried to look beyond the language barrier, and focus on the music. But it was a little doom and gloom. The ballads work better than the attempts at Porto party tunes. The spoken word tracks had me skipping. And not in a good way.

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This rambles an awful lot. It’s an album that has ambition, as well as staying power. Unfortunately I wasn’t around for the full journey. It was all very competent and technically strong. It was just far too heavy for me. Bailed after track 3.

⭐ ⭐

I love mixtapes. They remind me of the remix albums from back in the day. There’s no pressure or expectation to come up with something outstanding. They stand alone as a snapshot in time - then you move on to the next project. There’s such a light touch going off here with Noname. Characters drift in and out. The light funk behind the vocals adds a breeze. Very decent.

⭐ ⭐ ⭐

“If Anne Pigalle provided the final, torch‑lit monologue of ZTT’s first great era, then Act were the epilogue — the last fully staged production before the label stepped into a different decade and a different identity.”

The ZTT Collectors Page on Facebook is throwing up some great insight, as well as some musical gems. I wouldn’t claim that I’m a ZTT collector; G Force knitwear and Forest retro kits are bothering my bank account more than rare mid 80’s 12 inches. But Act were a new one on me.

There’s a three hour plus compilation on Spotify. I thought I would give a few tracks a listen on Thursday morning. A couple of hours later and I still hadn’t come up for air.

At a push, Propaganda were my fave ZTT artist. Frankie were the BALLS, Art of Noise in the original guise were the oddities. The brief Grace Jones flirtation is pop perfection.

Overlaying all ZTT artists for this period was the hybrid aesthetics of Trevor Horn’s crisp, industrial production, and Paul Morley’s, ahem, artistic vision.

The Act compilation has all of the above. It could quite easily be Propaganda with a little more pop polish. There’s even a BONKERS cover of Heaven Knows I’m Miserable Now.

I’m struggling to think of a contemporary label, or even a musical movement, that carries the same ethos and defining principles of early ZTT. Motown had it in spades. Ditto for Factory. ZTT was perhaps the last manifesto label.

I’d love to read a definitive history of the label. I’m surprised that nothing has yet been written. Maybe the magic behind the curtain is best left undisturbed? Careful what you wish for, etc.