Teeth Grinder's Collection
Dead Can Dance 09/25/2012
Muziekcentrum Vredenburg, Utrecht, The Netherlands
| Source | AUD |
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| Media | CD-R 2 discs |
| Tech Notes | Source: 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) Lineage: Audacity 2.0.2 * applied selective amplification for consistency * attenuated sections of loud applause * added fades * split tracks * converted to 16 bit -> FLAC (compression level 8) [libFLAC 1.2.1 20070917] Taper: Ian Macdonald (ianmacd) |
| Microphones | Factory-matched pair of Schoeps CCM 41V microphones (DINa mounted) |
| J-Card Comment | Total running time: 121:00 "We are the children of the sun, There's room for everyone." -- Brendan Perry, 'Children Of The Sun', June 2012 "You really are a fucking retard! do you honestly think you can call my music cheesy (and then as it so happens change your fucking mind when it suits you! pathetic) What an insensitive little prick you are and I am so glad to hear I shall never be seeing or hearing from you ever again." -- Brendan Perry, Facebook, September 2012 +-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+- Against the background of continuing, almost daily bans of fans from Brendan Perry's Web-based discussion forum, and the unannotated editing (i.e. censoring) of postings by (one of) the board's moderators, the European leg of Dead Can Dance's world tour reaches The Netherlands for its first indoor concert on this continent. The setting is Vredenburg, a concert hall on the outskirts of Utrecht, in a wasteland called the Leidsche Rijn. It's a clear case of a nice venue in a terrible location. Vredenburg has great sound, but it's in the middle of nowhere. Those who arrive early for a concert find themselves unable to purchase so much as a cup of coffee, which is perhaps just as well, because there would be nowhere to relieve oneself after drinking it, either. And arriving early is something one is well advised to do here, given that seating is typically unassigned; as is the case tonight. I dislike the stress of having to compete for tickets in the moments after high profile gigs go on sale, but I dislike it even more when the frenzy is deferred until the day of the gig. The former requires me merely to be punctual and alert, whilst the latter demands that I pitch up well ahead of the actual gig in order to secure a place at the front of the queue. Anyone arriving at the venue mere minutes before the doors are due to open will therefore find himself sorely out of luck, much too late to secure anything resembling a good seat. I arrive later than intended, at 18:20, the product of heavy traffic on the motorway and getting lost on the confusing roads around Utrecht. On this occasion, there's a chill wind blowing, but it's thankfully dry. I had left Amsterdam at 17:20 and expected to be standing outside the venue by 18:00. When I arrived, a good 50 or 60 people were already queuing. I made conversation with those around me until the doors opened, then joined the other elephants in stampeding through the venue in the frantic dash for those first few precious rows at the front. I pick a seat in the fifth row, a compromise between the best view and the best sound. Truth be told, I spend a little too long deliberating where to park my arse, while the seats around me rapidly fill with punters not burdened by thoughts of the recording they are about to make. David Kuckhermann is up first, of course, playing his usual mix of hang and riqq (Arabian tambourine). Now, as in Zouk Mikael nine days earlier, he's absolutely mind-blowing. What that man can achieve with just two hands is unfathomable. He's more than a match for the band he's opening for (as well as being its percussionist). A brief intermission follows David's half-hour set and Dead Can Dance come on shortly after 21:15. Lisa looks regal in her blue velvet dress, this time instantly recognisable. In Zouk Mikael, a little over a week ago, she had looked strangely unfamiliar. The set this evening is the now familiar one with no deviations from what was played on the first leg in North America. The set is played in its entirety tonight, including the second and third encores that were lamentably missing in Zouk Mikael. Lisa is the focal point of the occasion, of course. The audience response after 'Sanvean' and 'The Host Of Seraphim' is nothing short of rapturous. In fact, Brendan launches so quickly into 'Nierika' after 'Sanvean', long before the natural end of the ovation that follows it, that one wonders whether he isn't growing tired of being the band's perennial underdog. Tonight's performance of a second encore affords me my first live experience of the revamped cover of Tim Buckley's 'Song To The Siren'. Brendan had played this on guitar during his 2010 solo 'Ark' tour, but it's been reworked here for keyboards, and to very pleasing effect. 'Return Of The She-King', the song whose initially "cheesy" impression led to my being exiled from Brendan's forum, is also aired tonight, completing the integral experience of the band's comeback album, 'Anastasis'. The track has grown considerably on me in the months since I first listened to it and is an obvious choice for the last song of the main set or one of the encores. Its climax is at once pompous and grandiose. The song nevertheless disappoints a little in its live incarnation, its stirring drum fills sampled and digitally reproduced, making a much less dramatic impression than they would if played live. Ditto Lisa's opening vocal line, which is also produced from flash memory, rather than straight from Lisa's vocal cords. It's a minor detail, however. The song still rouses and effortlessly whips up the audience on a triumphant carpet of sound. One pictures galleons leaving harbour, setting sail for some brave new world, banners flying. It's a dramatic close to the second encore. As Brendan leaves the stage, he briefly mentions the possibility of more Dutch gigs next year. That would be nice, but we'll have to wait and see. Such things have a way of not materialising. Lisa returns shortly afterwards with keyboardist Jules Maxwell for 'Rising Of The Moon', a song so similar to 'Wandering Star' that one wonders whether it isn't actually the same composition under a new name (and 'Wandering Star' was already a renamed 'Minus Sanctus' to begin with). As Lisa leaves the stage for the last time, the lights come up and many people dash for the doors to make the last train home. I wander around for a few minutes, looking for anyone I know, but those I've spoken to this evening have already left and those I haven't yet found manage to evade my attempts to locate them. The merchandise stand does brisk business after the show and I finally manage to purchase some T-shirts that will fit me. There's a very wide range of shirts on sale during this tour, with four or five designs each for men and women. I also see mugs and hooded sweatshirts. David Kuckhermann and Astrid Williamson are standing at the merchandise stand. I stop to tell David how much I enjoyed his set and then I make my way out of the venue. The only thing on my mind now is food. Screw music; I need to eat. The recording is on a par with the one I made in Zouk Mikael. In some ways, it is superior. Which you will prefer is, I believe, entirely subjective. In any case, samples are included for your approval. The recording of this gig is dedicated to my wife, who was due to join me in Utrecht, but decided not to attend after becoming soured by Brendan's recent forum behaviour. Instead, she stayed at home and looked after the children. Thank you, my dear. Next stop: Paris! |
| Trades Allowed | Yes Traded from: Ian McDonald |
| Ratings | Show: * Sound: B+ |
| Reference / Generation | A517 / 1 |
| Lists | Lossless Audiolist |
Owned by Teeth Grinder
· Last Updated May 23, 2023
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