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Though according to my companion it wasn‘t quite as good as Franz Ferdinand who we went to see a few weeks ago.
But she‘s allowed to say that, she saw MP in 93.
Ship of Fools is back!!! A first on this tour I think?
and no NOX for some days… hopes arise for tomorrow.
Hm I'd love to see that recording but fixing distortion once it's there? I would have said it's impossible but a quick search got me this:
https://toprankingstudio.com/how-to-fix-distorted-audio-recording-easily-quick/
Ts… the possiblities nowadays. 8O Special tools needed, though…
elNibi
Quote:LLM – I always get the impression of confusion in this suite,haha, isn't that its point, though…?
Nice review, thanks. I don't think I ever got The Wheel in its entirety live. It's the song that got me hooked definitely back then.
Plan #1 was also played, last song before encore. I had to leave then, though, but in that case I "only" missed The Tower.
Impressions… Well the Lurker of course was proggy and wild as we know it, but then with Spin, Crucible and Lady May it went back and forth between sonic assaults (wonderful noise section in The Crucible) and lighter, somewhat "hippie" jams and flows. Like Chrome was big, this one really comes to life on stage. While Empire wouldn't be on my wishlist, it also was quite the treat. Another proof that the setlist on paper isn't that important. With MP, all the songs shine live. Personal highpoint was Starhammer, that middle jam impro section!? Ooof now that went somewhere else. It's always nice to hear rearranged older songs, contrary to "just playing the well known favourites" as with other bands. I've had no issue with the sound, really… Standing five meters from stage on Reine's side. Big, loud, warm. No need for earplugs protecting from spiky harshness. Oh and the singing was excellent, too.
So fingers crossed for getting NOXed in Winterthur nest week. :STG:
I have a weird relationship with them. Used to be quite a fan, discovered them with Undertow when they played a 1500 people venue in my hometown as a support-support act (RATM and Fishbone would follow). They were very impressive even back then. Something different in the midst of grunge and alt-rock. Saw them with Lateralus at the same venue ten years later and that was amazing. Put up a big stadium show with lights and movies in a dense, almost intimate, venue. Then with 10000 Days and Fear Inoculum I saw them in our 10000 people hall and it was somewhat lacking. I'm not saying it was because of the venue size, I've enjoyed great shows there (Bowie, The Cure, Sabbath and whatnot) but I felt disconnected from the spectacle. But maybe I also got somewhat tired of their music, which to me became samey over the years. Soft then loud then tribal drumming and once again from the top… I still like Undertow the best of their records. Never had I thought that one day their original bass player from that album would one day be successor in one of my bands. Ha…. But I totally understand if anyone gets mesmerized by their shows. They are live art. And I'd go see them again for sure but not with a lot of traveling involved.
Btw I highly recommend the album "Replicants". It was a cover songs recording project in 1995 or 6. The original Tool bass player Paul d'Amour played guitar on that one, alongside the guys from Failure, also a brilliant 90s band who are currently recording and touring again.
About those questions and being active on social media: I wonder why the discography on the official homepage is still stuck on The Crucible. They really seem to not care.
Val de Bagnes??? Just went to the festival homepage, they're on at 16:30. That could be great, an outdoor afternoon in the alpes.
edit: assuming it's outdoors…
Quote:Making a seamless record, where every note and syllable is in place and every bass drum is identical, is no trick. Any idiot with the patience and the budget to allow such foolishness can do it.I'm always baffled by these semipro mixing youtubers who explain in detail how to achieve a flawless, concise, perfect record. Samey, anyone? Drum samples to be triggered underneath the snare to make it go smack smack smack throughout a 5 minute song with no variety or dynamics. Yeah, awesome. On the other hand you have the real pros, mostly older guys like Kramer or Visconti, who are happy to point out accidents and mishaps which added to or even made the classic songs we love. Rick Beato once put Bonham's every hit on "Fool in the Rain" right on the DAW grid to show how horrible it would sound. "Leave the hair in!" as Eddie Kramer said.
