Paddy Steer is a Zelig-like character along the timeline of Manchester’s musical activity. It’s a testament to his musicality that he has played with such a wide range of music and artists over the years, be it as a bass player, drummer, Hawaiian guitarist etc. or all these roles at the same time. In rejection of the notion of ‘immaculate reproduction’, live performances from Paddy’s own project err more daringly and admirably on the frontier of chaotic abstraction, expression and focussed blunder, dice rolling down the hill in case of duende, as from behind his stacked array of instruments, the anarchically intrepid punk gargles through a vocoder with his xylophone, all a-clatter under disco lights and doilies. He creates his tools, as he creates his craft, here from scratch, there from new, ever from long-garnered experience that includes running the massive ensemble Homelife, years hence. In style he is unique on the circuit that knows him, on which similarly his blinkered resolve and capacity to create must be unparalleled.