The first thing that always hits you when approaching any stage LCD SoundSystem is about to inhabit is the magnitude of the undertaking you are about to bear witness to. There's more equipment than what you could use to fill a small market Guitar Center. Perhaps even a mid-market one. Good luck finding a lot of the vintage stuff used on-stage. A lot of it is discontinued, or not in a price range befitting mere mortals. And, hell, that's why we love this band, right?
The question of the hour?
At least my hour. Everyone in my immediately friend group just nodded as I attempted to explain this pretty funny/not so funny joke. It's a joke and a genuine curiosity - Which/where is the actual master clock? As in, the midi clock, or cv pulse, etc, that's driving all the synthesizers to be in sync?
Sometimes I think it's that 16 ch in unit in front of Nancy. There's even a whole back end to this whole set up that we can't even see that could be the source. Other times, I think it's a module that sits stage right behind pat. There's always a medium height case with either a board or midi transport device of some kind. Would actually love to know.
Another Curious Question:
If Nancy is using a synth that pre dates 3.5mm standard patch cable, where does she get her replacement cords? I guess she could always make them but these look machine made so I find that gets to actually believe.
These are the things I think about while watching one of my favorite live acts. I think it's a beautiful thing; to take them in live and try to understand how they do what they do. I guess this is why musicians are such weirdos.
Thumbs Up
Past experiences at the knockdown center have left me disappointed with their 'ADA' setup. I was surprised to found out they had done something and constructed a raised platform. Normally, I'd be using this, so I appreciate the setup. Tonight I was headed for dead-center, though. So when the Security Guard asked me, "Need ADA?" I got to say, "Nope, no thank you."
A somewhat unpreventable bummer at Knockdown Center CAN BE their sound mix. The venue is an old warehouse with concrete as far as the eye can see. Of course the soundwaves are going to react in strange ways.
Sadly, sometime the bass gets lost and muddled oddly into the way of other frequencies. Something could probably be done to acoustically treat this, but this is audiophile snobbery I'm diving into
The opener; Public Circuit
One word; Killer! A 3 piece driven mostly by percussion. The first moment which caught my attention was when the singer made an immediate attempt to hit a cymbal that was beat to fuck with his microphone and it just fell to the floor. The guy couldn't have given less of a shit and that was the signal this would be interesting.
Channeling screamo vox which I frankly couldn't understand, their singer impressed me more with his sporadic stick/no stick/hit pad however possible. His timing was uncanny for hand-slapping the shit out of some module I was too short to see the make/model of.
I'm not sure how they sound on record, or a word of what that singer said but it was a good as hell set.
LCD SoundSystem
This was my fifteenth (!) LCD SoundSystem show. Like the first, and all that followed, precision was the aim of the game. To this day, I do not understand fundamental things about their set up. I've mostly come to terms with it but questions will always arise (see above).
This evening saw the first time that the band played 'Tonite' to kick things off. It was a hell of a way to get started.
Sticking with songs from their more recent works, the second song was on the second time I was treated with 'X-Ray Eyes' live. I'm not sure what general consensus is on this song, but it has definitely grown on me. At first, I did not know what to make of the lyrics but with time, I have found them to be just as weird as we can expect from James Murphy any other time, so, they get my approval.
Almost stereotypically, Daft Punk Is Playing at My House sits real high on my list of favorites for LCD SoundSystem tracks of all time. It was a great change of pace and kick in the ass for the 3rd song of the set.
I Can Change and You Wanted a Hitflowed together efforlessly, breaking ear drums until we all got to go real deaf during Tribulations. Those 3 songs together really brought it up, despite the lack of the usual coupling of Movement WITH Tribulations, but I wasn't complaining.
Skipping Down the Setlist
North American Scum followed by Dance Yrself Clean may have restored my faith in humanity. Played during the second encore, these classics were followed by more classics: New York, I Love You but You're Bringing Me Down and All My Friends before we realize there's no third encore, it's done, show is over - Until tomorrow - And for like a few more weeks...
The visuals manage to get more and more intense as the years this residency continue. At times, I'm closing my eyes while head bobbing. No complaints at all though. Every time is the best time catching these guys for nearly ten years since their return.
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