| Identifier | 9269901 |
| Created At | Tue May 23 2023 23:54:00 GMT+0000 (Coordinated Universal Time) |
| 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) |
| Checksums | eb56e19a9841ff61131e72ef857fd8dd *flac/01_unknown.flac 7d579192934d849244860e80bc5bc89f *flac/02_banter.flac f0a46c664c2503068868f7914cf66531 *flac/03_butterfly_effect.flac 07ab575338146c7510a6f2bb018e1ba9 *flac/04_banter.flac f5e4ee6853a8a70a8462645aba819208 *flac/05_what_sound.flac 298a98a5072df4d6bcf920f5a770fae2 *flac/06_gabriel.flac d973f1a886104ab17c952c07eb540ce3 *flac/07_nobody_else.flac ecfd415d375220321a54ba5a893df0aa *flac/08_the_spectacle.flac 74c2a0922960b6e24917d3155be508f4 *flac/09_wise_enough.flac 6c9b737c9ff06c8ae6b623a33afd6168 *flac/10_banter.flac 82f0de18010816cf3b179b6987811cc6 *flac/11_god_bless.flac a5fdb64a65d26fe79fb2486b983d3f18 *flac/12_banter.flac ada7fd6e0c6882cadb876f347ebf2e3a *flac/13_górecki.flac 3039bdd86c3a4651797542a7e75f75d7 *flac/14_encore_break.flac 4089e84e093ea52bd1443251f3a78ca7 *flac/15_lullaby.flac 5b242df2879c23043ed01a346bc25ec6 *flac/16_banter.flac 16b2e701be4a254fc0a6ae2f37136a89 *flac/17_trans_fatty_acid.flac f83060007207d5af8825bd5f23489533 *flac/checksums.ffp |
| Microphone Location | 6 metres back from the left-hand side PA |
| Tech Note | Lineage: Audacity 2.0.3 * applied variable amplification for consistency across recording * added fades * split tracks * converted to 16 bit -> FLAC (compression level 8) [libFLAC 1.2.1 20070917] |
| Trades Allowed | |
| Taper Name | Ian Mcdonald (ianmacd) |
Performance
| Lamb 2013-03-02 Paradiso, Amsterdam, The Netherlands | |
|---|---|
| Set 1 | [unknown] [banter] Butterfly Effect [banter] What Sound Gabriel Nobody Else The Spectacle Wise Enough [banter] God Bless [banter] Górecki [encore break] Lullaby [banter] Trans Fatty Acid |
| Set 2 | |
| Set 3 | |
| Comment | Cross-linx is described by its organisers as an annual festival with "an
artistic mission to provide a programme of international, innovative artists who inhabit the border area between classical music and avant-garde pop". It's a lofty goal and some artists fit the bill better than others. As popular as The National are, for example, it's hard to understand why they were picked as the 2011 headliners for a festival with this one's philosophical bent. Or the excellent Sharon Van Etten that same year, as another example. After skipping 2012, the festival seems more on course this year to go beyond merely providing good music to actually accomplish the underlying artistic mission. It's going to be a long evening. I hope to catch four, maybe five acts this evening. Given the programme, I predict that the Paradiso will have been converted to a seated venue this evening, but the prediction turns out to be wrong. Well, more seats means fewer punters and this travelling festival has already managed to sell all of its tickets for Amsterdam. First up are Lamb, one of two acts due to play in the main hall tonight. They are joined this evening by the Amsterdam Sinfonietta, a fifteen-person-strong string section. The Paradiso occupies a place in Lamb's musical history as the site of their last ever gig in 2004; last ever, that is, until the inevitable reunion. Bands no longer break up, of course; they merely go on sabbatical. Still, Lou Rhodes is keen to tell us that the announcement of the 2004 Paradiso shows as the band's last ever wasn't a cynical marketing ploy to stimulate sales of the DVD that was filmed of the occasion. And it couldn't have been, really, because it took Lamb a further seven years to even get around to releasing the audio-visual document of those gigs. I'm enjoying Lamb a lot. Their similarities with Massive Attack and Portishead are well-documented and undeniable, but they have as much claim to the sound of trippy beats and breathy vocals as anyone. Lou Rhodes oozes stage presence. Combined with that voice, it's an irresistibly sexy experience. Andy Barlow, on the other hand, is a bit full of himself. He comes across as something of a (pea)cock, and from the expression on the faces of a couple of the Sinfonietta, I think they probably think so, too. It doesn't matter one jot, though. Barlow has the beats down and of that there can be no doubt. And you have to admire the man's enthusiasm for what he's doing. As much as I'm digging the music, I want it to end on time. There's a gap of only ten minutes scheduled after Lamb before Rachel Grimes starts tickling the ivories down the road from here. It's going to be tight, even if things run on time, which so often they don't. And this occasion is no exception. The band finish their main set on time, but then play an encore. Patrick Watson, the next and final artist scheduled to play in the main hall this evening, isn't due to start for another hour, so there's even time to extend the encore to two songs. Leaving now just wouldn't feel right, so I stay. As I turn off the recorder after Lamb's excellent set, it's 20:52. Grimes is due to start playing in three minutes and it'll take me that long just to reach the Paradiso's front door. Oh well. Lamb were terrific, so I don't regret staying until the end. In fact, 'Trans Fatty Acid' was the absolute highlight of the set. The quality of the recording is excellent. I had very few people in my vicinity, save for a couple of unbelievably pig-ignorant shit-for-brains who chatted during the quiet intros to a couple of the songs. You'll hear them with headphones, but they're not too obtrusive over normal speakers. |