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@shakti – What need have I for this? What need have I for that? I am dancing at the feet of my Lord. All is bliss. All is bliss.
Among all the elements that make this such a great piece of work, I would like to highlight the way you have coaxed and captured such calm, candid and lucid reflections on the creative process from not one or two, but all three. The absence of any intrusion by interviewer, presenter or commentator means the spell is never broken throughout. Nothing jars; nothing is out of place in the whole film. It's perfect!
The opening two minutes alone are a work of art, and we already have a treasury of quotations. After Bent's words about being in the moment and Snah's about losing himself, I was really struck by what Tomas has to say – so well put and, clearly, he really feels it. His words provide a very fitting prelude to the opening titles!
@supernaut – I really liked what you said about Tomas being like a gateway for us outsiders.
I was reminded of the legend of an onstage out-of-body experience once shared by three out of the four members of Killing Joke (not Youth). See the short teaser here from 1:16, which shows just a snatch of Geordie describing this particular moment, followed by Youth and Jaz talking more generally about profound moments when playing live.
I think there is more meat on the bones about this moment in the full documentary, which is a very different animal from 'Into the Maelstrom', but, still, rather entertaining, even if you don't like the band (and plenty don't); at least you get to see Jimmy Page giving his thoughts, and it's also pretty funny in places – particlarly at the expense of Coleman, who seems to be able to be both ludicrous and sinister. His mother doesn't quite say he's not the Messiah, he's a very naughty boy, but you could believe that bit's lying somewhere on the cutting-room floor.
This guy likes it, and prefers it to The Tower. He makes some valid points. For reference, his favourite MP track is Gullible's Travels, and favourite album TDDU, so fair play.
@knoot – Many, many thanks! I'd also been looking for this. Like Phoots Flower, I appreciate your YouTube efforts too. People like you who put themselves out to share what they have are definitely cool in my book!
@bernie – I'm just echoing what others have said, but I am enormously grateful for what you do and the sheer quality of it – especially as I can only get to gigs in the UK at the moment. I am a Johnny-Come-Lately with only 5 years of following the band under my belt, but I feel very lucky to have discovered them, and then to have come across this rare, civilised corner of the internet, and on top of that to have all these goodies you keep putting our way. It's so easy to take things for granted. It's worth taking stock sometimes.
Just one thought on the question of a DVD. It is something that would get seen and reviewed by some of the music mags, and so it could bring attention and recognition.
@stereosofa – That Leuven Fool's Gold will do for me. All of Leuven is a great watch – and listen. As for as the Den Haag Wheel, as far as I am concerned it could go around forever.
That 21 minute Mountain in full, with very cool middle section – audio quality not the best, but not the worst:
@fillmore – Mid to late 70s synth-laden Ashra is wonderful stuff (and then, when that guy plays his guitar over the top of it, oh wow!)
From a different poster, Whip That Ghost:
and Fools' Gold (sorry about the apostrophe):
– audio handles the loudest, deepest rumbles pretty well.
Much appreciation for these posters.
@JERO – Your words really convey the feelings powerfully. Now I'm crying – because I wasn't there.
@TheOneFormerlyKnownAsDaniel – I agree it does not suit rock
@Phoots Flower – I completely get the point about naturalness live
I think Bent and Snah are committed to being authentic too – and that's a big part of why we love them. That is why I say some kind of pitch correction should only be used selectively, and not on the more 'rock' material. Something is needed, however, on a less-rock-more-prog epic like The Crucible, if a masterwork with brilliant musicianship is not to be rendered unlistenable in parts.
Now, could I ask anyone interested in this topic, please, to listen to these two versions of The Crucible, with the vocals in mind, and give their explanation for why one has vocals that sound pretty much in tune (perhaps with technical assistance – I know there could be other reasons) and one has vocals that, for me, are really getting in the way of my enjoyment to the extent that I am clenching everything waiting for the instrumental parts?
Is anyone else hearing what I am hearing?
Another Fools' Gold. Sound captured pretty well – light show too – and this clip gives a really good impression of a gig – one you wish could have gone to…
I should probably mention – so as not to stir up too much hope in the viewer – the clip doesn't make it to the end – not much of the beautiful outro – which is little short of a tragedy. Never mind. Incidentally, it struck me that Tomas' playing here is exactly right. Some of the fills from about 11 minutes 40 in are perfect.
In case anyone missed these:
A lovely serving of Starhammer! Washed down with Walking on the Water and Black to Comm.
+ 5 others from the same poster – same guy who posted clips from Brescia. In case you ever come this way, Antonio Bagalà , thanks. Good man. We appreciate it.
@dongonz @JERO – See my comments on Motorpsycho autotuning their vocals?? thread.
I've resurrected this topic in the light of comments made by dongonz and JERO regarding Leipzig Conne Island 16.10.2019 – comments with which I have sympathy.
I don't have technical knowledge in this area. We all know autotune/autopitch was used on Roadworks 4, after the fact (and people have their views on that). What I am not clear on is the extent to which this sort of thing can be used live 'in the moment'. I understand that this is possible. I note speculation that this was done at the Rune Grammofon anniversary show (and that sounded pretty good to these ears). It seems to me like it has been done at other shows too.
There is certainly a difference in the accuracy of the vocals' pitching comparing some shows to others. There are possible explanations to do with the room's acoustics and the performer's condition on the night.
Bear with me – I am getting to the point.
Looking on YouTube at some recent performances in particular, I think this is something we shouldn't be pretending isn't an issue. I feel like I'm being kind of sacrilegious here. I love this band so much – the material, the performances, and, sometimes, the singing. I really want to spread the word to others. So many people are missing out on a band I know they would really get into in a big way, as we all have. The trouble is: out-of-tune vocals make it a really hard sell. Some people just aren't going to get past that and hear all the great stuff. As a result, far inferior bands, but with better (as in more in tune) singers get all the attention.
I totally understand that it's not all about being in tune. Of course you want sincerity, authenticity and passion – and Bent and Snah deliver that in spades. The likes of Nick Cave wouldn't get by if it was only about singing nicely. Nick Cave doing autotune? Well, I think that would be out of the question.
But, but, but… with our guys? I think there is a case for it – selectively.
Here's where I hope they might get to, having flirted with this stuff. When doing a weighty number with a lot of harmonising like The Crucible, switch it on. When doing something ballsy like You Lied, switch it off.
Can that be done? Surely it is possible.
Otherwise, particularly in the case of some of the more recent prog-inclined epics, all that effort and all that talent put into those pieces is going a little bit to waste when interested newcomers are hearing those YouTube live clips, and feeling that they can't get past the dissonance.
I don't know whether practical or financial reasons might prevent the adoption of this policy at every show, but I really believe it would be for the better. Purists who call this cheating might be another obstacle, but those who dislike the prospect just need to get their heads around the idea that it's OK for a voice to be treated; after all, it's legitimate for everything else in the mix to be treated. Personally, if it could be only on some songs – the right ones – I am definitely in favour.
