| Identifier | 9269899 |
| Created At | Tue May 23 2023 23:54:00 GMT+0000 (Coordinated Universal Time) |
| Media Type | FLAC |
| Note |
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| Source Info | Factory-matched pair of Schoeps CCM 41V microphones (DINa mounted) ->
Marantz PMD661 recorder with Oade Concert Mod (-18 dB gain/44.1 kHz/24 bit WAV) |
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| Microphone Location | 3 metres in front of the left PA stack |
| Tech Note | * applied minor amount of variable amplification for consistency across recording * attenuated sound of audience * added fades * split tracks * converted to 16 bit-> FLAC (compression level 8) [libFLAC 1.2.1 20070917] |
| Trades Allowed | |
| Taper Name | Ian Macdonald (ianmacd) |
Performance
| Bat For Lashes 2012-11-27 Paradiso, Amsterdam, The Netherlands | |
|---|---|
| Set 1 | Lilies What's A Girl To Do? Glass Travelling Woman Oh Yeah All Your Gold [banter] Marilyn Horse And I Laura Lumen Prescilla A Wall Sleep Alone Pearl's Dream [encore break] The Haunted Man [banter] Daniel |
| Set 2 | |
| Set 3 | |
| Comment | This gig had originally been scheduled to take place before the summer, if I
remember correctly, but was postponed so that Natasha Khan could finish work on her third album, 'The Haunted Man'. I arrived just a little too late to record Race Horses' supporting set, but I was able to listen to most of it. I can't say that I was gripped by them. Bat For Lashes is a different kettle of fish, however. I enjoyed them/her quite a lot; more than I expected to, in fact. Not only do the songs hold up well to live scrutiny, Ms. Khan is irresistibly likeable, too. Her enthusiasm cascades from the stage and the smiles on the faces of her band speak volumes on her behalf. I don't have much else to say about this, really. The comparisons are already so well-worn that I don't feel inclined to point out the ones that I feel actually hold water. Besides, Khan stands on her own two feet and needs no bolstering from being likened to others with whom she shares a few largely coincidental qualities. Personally, I like the direction Khan is moving in with her latest album. I find it more engaging than the first two outings. The highlight of the set for me is unquestionably 'Marilyn', with Khan's vocal aerobatics entering the stratosphere and encountering the spirit of a 'Blue Bell Knoll' era Elizabeth Fraser. Alright, yes, I just lapsed into a comparison, but it dealt with only one song and it's the last I'll make; I promise. There were quite a few chatty girls at this gig. A couple of them spent some time staring at me, probably because I was focused on the PA, whereas their attention was fixed on the band; when they weren't fucking chatting to each other, that is. So, whilst I may very well look weird, because I appear to be in some kind of trance, I think you normal people, who go to gigs by an artist whose music you profess to love and then proceed to talk over it all evening, are the fucking weird ones. Once again, supercardioid microphones are a godsend. Don't leave home without them. (Unfortunately, a couple of days later, I did exactly that, and so the recordings of MONO and Dirty Three I had hoped to bring you from Le Guess Who in Utrecht will now not materialise). 'Moon And Moon' appeared on the set-list in brackets as the first song of the encore, but was not played. The sound in the Paradiso on this occasion was truly glorious and this really shines through in the recording. As always, samples are provided to help you decide whether this is worth the share ratio depletion for you. |