Soundboard. Very Good but some varying volume and tone but all instruments very clear. Occasional on stage feedback. The gigography advises that soundcheck tracks are available however these are not on the version I have. Two discs due to the length of the gig.
The night before the "In the Hole" official release.
I've marvelled on the majesty of this iteration of the band on more than one occassion so it will not suprise readers to know that I find this a marvellous but somewhat troubling listening experience. The penultimate gig on the Antipodean tour is dominated by the recent "Room to Live" and emerging "Perverted by Language" material.
This is a particularly intense gig. The bass and drums dominate but its Rileys keyboard swirls that tend to capture the imagination. The variation between the numbers is also marked. There is a definate shift between the dense repetition of "Tempo House" and the perky pop stylings of "Room to Live" - the only constant is Scanlons tense and gravelly rhythm guitar - albeit very low in the mix- as the band shifts method and tempo.
"Slates" seems particularly angry and lacks a little focus....seems like the band is almost getting tired with the two chord thrash. However the following "Marquis Cha Cha" is remarkably chipper by comparison with some particularly deft kazoo work and bubbling bass from Steve. The reading of "The Classical" follows a similarly intense path although the guitars seem a little distant and the some degree the inner rhythm of the song is lost in the changes.
A bouncy "Gramme Friday" is somewhat confused by what appear to be out of tune guitars and some lyrical fluffs. "CB" is handled well - the insistent rhythms driving a languid/laconic Smith vocal performance. "Voxish" suffers from distant guitars with the drums dominating and some riff errors/deviations. Similarly "Hexen", which relies on the guitar comping to move, it along is slightly marred by the low mix.
"Deer Park" builds and builds and builds initially into a frenetic nine and half minute tour de force with rock steady drums which unfortunately tends to lose its way towards the end. Smith politely asks for the lights to be turned down at one point in the song.
Encores include an excellent version of "Look Know", and absolutely superb "Container Drivers" which starts with Mark stating in a strange accent "On Friday we make admission" - most odd. It concludes with an oddly inchoate "Joker" and a truncated "Sideways" which really sound pretty good.
Some highs and some lows on this - not essential due to the fact the following night is officially released however enough variation to warrant investigation.
The night before the "In the Hole" official release.
I've marvelled on the majesty of this iteration of the band on more than one occassion so it will not suprise readers to know that I find this a marvellous but somewhat troubling listening experience. The penultimate gig on the Antipodean tour is dominated by the recent "Room to Live" and emerging "Perverted by Language" material.
This is a particularly intense gig. The bass and drums dominate but its Rileys keyboard swirls that tend to capture the imagination. The variation between the numbers is also marked. There is a definate shift between the dense repetition of "Tempo House" and the perky pop stylings of "Room to Live" - the only constant is Scanlons tense and gravelly rhythm guitar - albeit very low in the mix- as the band shifts method and tempo.
"Slates" seems particularly angry and lacks a little focus....seems like the band is almost getting tired with the two chord thrash. However the following "Marquis Cha Cha" is remarkably chipper by comparison with some particularly deft kazoo work and bubbling bass from Steve. The reading of "The Classical" follows a similarly intense path although the guitars seem a little distant and the some degree the inner rhythm of the song is lost in the changes.
A bouncy "Gramme Friday" is somewhat confused by what appear to be out of tune guitars and some lyrical fluffs. "CB" is handled well - the insistent rhythms driving a languid/laconic Smith vocal performance. "Voxish" suffers from distant guitars with the drums dominating and some riff errors/deviations. Similarly "Hexen", which relies on the guitar comping to move, it along is slightly marred by the low mix.
"Deer Park" builds and builds and builds initially into a frenetic nine and half minute tour de force with rock steady drums which unfortunately tends to lose its way towards the end. Smith politely asks for the lights to be turned down at one point in the song.
Encores include an excellent version of "Look Know", and absolutely superb "Container Drivers" which starts with Mark stating in a strange accent "On Friday we make admission" - most odd. It concludes with an oddly inchoate "Joker" and a truncated "Sideways" which really sound pretty good.
Some highs and some lows on this - not essential due to the fact the following night is officially released however enough variation to warrant investigation.