Teeth Grinder's Collection
Dead Can Dance 10/28/2012
Bord Gáis Energy Theatre, Dublin, Ireland
| Source | AUD |
| Checksums | 5b46765c1c6f27109e94bcb876a2a9c0 flac/01_children_of_the_sun.flac 5ddb3a20d626ba9a9e7f692cd92008c9 flac/02_anabasis.flac 6b7c49b8a3f7ac1f5b213cab3bc7c0e0 flac/03_rakim.flac c30640b54b1425304b125c91e6534467 flac/04_kiko.flac 7d09d41f10d5ea8ba4684ecde2e9105a flac/05_banter.flac c5d0b3db8d15d9d9b0cdc86305c405f3 flac/06_lamma_bada.flac f3973ede4a20c5f7b772682fbe097b4f flac/07_agape.flac ee54bbd21c9d4b45fc0fce06de898f6d flac/08_amnesia.flac ac335a646e0da30503eaeb50cce6eaf3 flac/09_sanvean.flac 01dc54a38f14fee1e841896adb013101 flac/10_band_introduction.flac 808805741a9a626c46f9bd0ab44fddc0 flac/11_nierika.flac bfac4d5f99f0094c7f0aa54bec055503 flac/12_opium.flac 8d54b6568a351d4c83bfaf78bb9fa076 flac/13_the_host_of_seraphim.flac e63bce71298f5f7b299e05a96e96ae39 flac/14_banter.flac d6b5dd163bc8a2af3c6f99799e96d624 flac/15_ime_prezakias.flac 23e3e113869a99813fa462204d3256d4 flac/16_now_we_are_free.flac d4f40be6b1984d1537367d9e4a0e11a8 flac/17_all_in_good_time.flac a1df2b1da9cdae1e5ca6b3be4e7765af flac/18_encore_break.flac fd9eaff8158d33676f114b536096a1df flac/19_the_ubiquitous_mr_lovegrove.flac 9dbd847edf610731da4f8d050357691b flac/20_dreams_made_flesh.flac 5a1d2e8ca39692a6561d3c359bac85e3 flac/21_encore_break.flac 971c7c05b5eb80d4891a49df528b5b5c flac/22_song_to_the_siren.flac d18d3e2e134af76bf063be739f007fc7 flac/23_return_of_the_sheking.flac 1db93c3d4e52d1c69879d46d3d638b47 flac/24_encore_break.flac 6d4c3a0e2e60093c7213c2d35dc7d0f3 flac/25_rising_of_the_moon.flac 7fbe22777baa7e78a57f09fc3bbf72db flac/checksums.ffp e5125ff473b3e924864374bb94e91778 photos/20121028_183751.jpg bacadaa2b1289fd7ce51ea67fa5cf139 photos/20121028_183904.jpg 028b618bc6f65f495b3ee06e3258d949 photos/20121028_183950.jpg 5db8e1ca643714aa1f174e0780d487a2 photos/20121028_193501.jpg d59397cf9dcff4e37b521813fa049542 photos/20121028_193509.jpg 34356babe7ff58bb1c48ea249cd5701c photos/20121030_093914.jpg |
| 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 * manually balanced left and right channels of tracks 1 and 2 * applied 2 dB of amplification to left channel of track 3 onwards to balance channels (i.e. compensate for my location) * applied varying degrees of amplification to both channels simultaneously for consistency across recording * attenuated applause, including sample-level edits to eliminate clipping * 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: 124:06 9 gigs, 9 cities, 8 countries, 2 continents, 6 weeks and 17 recordings after it began, my personal Dead Can Dance tour draws to a close in the capital city of the Emerald Isle. I tell my wife to think of it not so much as a very expensive six week period, but more as a much more economically balanced seven year span, the previous tour having been all the way back in 2005 (at which time, of course, I told her that she should average that tour's expenditure out over the previous nine year period). To the best of my knowledge, this is the first time I have been present at both the first and last gigs of a tour. Six weeks ago, I sat in the atmospheric Roman Amphitheatre of the Lebanese town of Zouk Mikael. It was a balmy 28°C when the band took to the stage, a pleasant Mediterranean breeze wafting through the atmospheric auditorium. Tonight, it's about 5°C outside this Irish theatre, named in yet another triumph of commerce over good taste after the local utility company. It's drizzling outside and touts prowl the plaza in front of the venue, informing us that they "will buy any spare tickets" for this evening's sold-out show. I've met up with Denes, who is not a well man. He tells me that he has spent the day trawling around the city's museums and has been left decidedly unimpressed. He was even sick in the toilets of one of them, presumably due to ill health, rather than disgust at the museum's lacklustre collection. Timo is here, too. We missed each other entirely in London, but there's time for a chat before the gig and we make arrangements to meet up again afterwards. Doors are on the early side tonight, 18:30 to be precise. David Kuckhermann isn't scheduled to come on until 19:45, so the early opening time is probably just a ploy to maximise sales of alcohol. Thankfully, the venue's crassness ends with its name. Inside the auditorium, it's quite lovely, a fitting scene for the climax of the European tour. I take up residence in the second row, on the right-hand side. Looking straight ahead, it appears that I'm going to be gazing at Astrid Williamson for much of the evening. Oh no! How will I endure this hardship? On the other hand, Brendan will be standing just a few metres from me, too. Perhaps our eyes will meet across a crowded room. David Kuckhermann is as punctual as ever. He sounds fantastic this evening, much louder than usual. Yes, I'm very close to the stage, but I have been close at a couple of the other gigs, too, and he didn't sound this good then. Kuckhermann plays a couple of bum notes during his set, the first mistakes I've heard him make on the tour. He smiles to himself and makes a graceful recovery each time. The man has worked hard on this tour, arguably harder than anyone else, performing two sets a night to everyone else's one. Dead Can Dance arrive on stage at 20:45, 'Children Of The Sun' getting the show underway for the last time on the European continent. 'Anabasis' follows, of course, but this time, Brendan improvises the final section on the bouzouki. It's a subtle change, but one that I hope signals further spontaneity to come. Alas, content-wise, there is little in this evening's performance to set it apart from others on the tour, but it is rendered in fine fashion. As in London, Brendan fumbles the bouzouki on the final section of 'Kiko', but we can forgive him this minor mishap. The band are visibly relaxed and in very good humour, regularly beaming smiles across the stage to each other and into the audience. It probably comes as a great relief to them to be finally able to go home to their friends and family after six weeks on the road, a period that followed the North American leg by little more than a week. These guys have been hard at it for the better part of three months now. The sound, too, is fabulous this evening, immeasurably better than the shrill blur encountered in the Royal Albert Hall two days earlier. If this is how it sounds on the right of the second row, it must sound absolutely pristine a few rows further back, in the centre. It's a pity that I'm not recording from there, but I really have no complaint with my location tonight. The sound is great from here and my seat affords me an unbeatable view of the musicians. The only major innovation tonight comes when Brendan introduces the band after 'Sanvean'. It isn't until he does so that the lack of an introduction on any previous night of the tour becomes conspicuous. Following the final strains of 'Rising Of The Moon', Lisa dedicates the concert to her father and mentions a few of the Perry family by name, including his wife and daughter. The audience of the Dublin concert deserve a special mention as possibly the most respectful of the tour, certainly the most pleasant that I have encountered on my nine dates. They waited until the final note had rung out before applauding and resisted the temptation to drown out the introduction to the next song, no matter how fragile, upon recognising the song. I duly applaud the applauders. It must also be stated, however, that good audience behaviour was encouraged and facilitated by sensible venue policy: no drinks in the auditorium. This meant no people getting up and walking around to fetch drinks and no people kicking over empty plastic beer glasses at the most inopportune moment. I must therefore also applaud the venue's management for placing the integrity of the performance above beverage sales. It's ridiculous and crass that prestigious venues like the Royal Albert Hall allow patrons to wander in and out of the auditorium to buy beer during the performance. How long can it be before crisps and popcorn are also allowed inside? I dedicate this final recording of the tour to all fans of the band, particularly those I met on this tour, those with whom I rekindled friendship and those who have suffered unfair treatment by Brendan in recent times. Most of all, though, I dedicate this recording to my wife, who has put up with a lot of spousal absences these last six weeks, each one of which brought her an increased workload in single-handedly dealing with the children and running the home. And even on the days when I returned home, I often disappeared into my office to master the previous night's gig. Thank you for your understanding, my dear. Finally, I dedicate this recording to my three children, who no longer have to wonder why Papa keeps deserting them to spend time in the presence of a man who can't stand him. I was never really able to devise an answer to that question that a child could understand. Perhaps there simply is no good answer to that question. And what of the recording? It turned out very well. It's neither the best nor the worst of the nine I have produced of this tour, but it's almost certainly in the top half. I think it has a very nice sound and it is one I shall listen to again. As always, samples are provided to help you decide whether this is worth the share ratio depletion for you. The band now enjoy a month off before reconvening for three gigs in Mexico at the end of November, followed by a gig in Chile and another in Argentina. There was supposed to be a Central and South American tour, but it hasn't really materialised and only the aforementioned two dates are currently scheduled. It seems unlikely that more will be added at this late stage. On the other hand, there is already talk of more European dates next summer. I'll be looking forward to further announcements, but it's definitely time to shake up that immutable set-list. Enjoy! |
| Trades Allowed | Yes Traded from: Ian McDonald |
| Ratings | Show: * Sound: A- |
| Reference / Generation | A517 / 1 |
| Lists | Lossless Audiolist |
Owned by Teeth Grinder
· Last Updated May 23, 2023
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