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16/08/2017

David Gilmour exalta público da América do Sul em novo vídeo




Nesta terça-feira (15), o David Gilmour divulgou mais um pequeno trecho de seu novo DVD “Live In Pompeii”, através de seu canal no Youtube.

No vídeo, que tem pouco mais de um minuto e meio, o vocalista fala sobre a experiência em seus shows na América Latina: “O público é incrivelmente entusiasmado e tão educado ao mesmo tempo. (…) Muitas pessoas me diziam que as pessoas da América do sul eram a melhor audiência e eu falava “Sim, sim, claro, é o mesmo de todo o mundo”, mas elas estavam certas.”

A turnê pelo continente Sul-americano começou em dezembro de 2015, em dois show em São Paulo, passando por Curitiba, Porto Alegre, Buenos Aires e se encerrando em Santiago, no Chile.

Na ocasião, além de quatro shows feitos no Brasil, foram realizadas apresentações na Argentina (uma em Buenos Aires) e no Chile (uma em Santiago).

Recentemente Gilmour divulgou dois vídeos, quando apresenta um unboxing da edição luxuosa do "Live At Pompeii", e outro teaser, desta feita trazendo a canção “A Boat Lies Waiting”. Confira abaixo:





Fonte: Nação da Música

15/08/2017

Roger Waters – The Wall disponível no Netflix




Para quem possui conta no Netflix, a boa notícia é que desde 08/06/2017 o documentário está disponível

Concluída a turnê “The Wall Live”, Roger Waters juntou-se a Sean Evans para roteirizar e dirigir “Roger Waters The Wall”, lançado em 2014. O resultado é um documentário no qual, para citar uma das falas de Waters no filme, tanto a música quanto a narrativa questionam o “apego a dogmas que se revela em ação política que mata pessoas”.

O documentário explora e expande a imagem do “outro tijolo no muro”, trecho do refrão de “Another Brick in the Wall”. O trabalho de edição faz com que essa metáfora ganhe diferentes significados no filme. Assim, ela pode ser lida tanto como imagem da busca de proteção (ainda que limitadora) em momentos de angústia e desespero, como em “Mother”, quanto como representação da perigosa ilusão de proteção que é prometida pelo discurso reacionário do fortalecimento de fronteiras. Todos esses sentidos o filme se encarrega de expor para contestar crítica e sistematicamente.

No documentário, gravações do show “The Wall Live” alternam-se com cenas de Waters no Maroeuil British Cemetery e no Cassino War Cemetery, onde jazem ex-combatentes das duas guerras mundiais. Essas cenas também funcionam como desdobramento da metáfora central de “Roger Waters The Wall”. Vistos à distância, os nomes dos soldados nas lápides são inidentificáveis, de modo que acabam mesmo despersonificados e esquecidos. Com isso, reforça-se a afirmação de Waters no filme de que “a memória humana é um dispositivo falível”, sujeita que é à ação apagadora do tempo e dos macrointeresses. Diante dessa constatação, o documentário também pode ser lido como um alerta contra os riscos das inanidades da lembrança que asseguram a barbárie.

O filme ainda articula música e narrativa por meio do uso da citação literária. Diante do túmulo do seu avô, por exemplo, Waters lê o seguinte trecho de um livro de Gabriel Chevallier: “é um erro achar que tais líderes de guerra ou, atualmente, estrategistas econômicos, são impiedosos. Eles são abjetos”. Em outro momento, lemos projeções de trechos de “O Processo”, de Franz Kafka, e “1984”, de George Orwell enquanto ouvimos “Run Like Hell”. Esses excertos enfatizam o ambiente apreensivo da canção, cuja letra trata do medo gerado pela sensação de monitoramento e de perseguição que também aparece nesses romances.

A maneira como “Roger Waters The Wall” é construído faz as músicas do álbum de 1979 dialogarem com temas que ainda nos assombram no século 21. O documentário toca no modo como disputas por poder são engendradas e travadas à custa da miséria da massa de anônimos desapossados de representatividade. Com isso, expõe a perversidade das cisões por trás dos conflitos de interesse que desembocam em carnificina. Pensando na música de Waters, nas suas posturas ao longo da carreira e nos desagrados contemporâneos, cabe perguntar, citando um dos versos de “In the Flesh”: “não é isso que você esperava ver?”


Roger Waters – The Wall



Fonte: Diário da Região, Fernando Aparecido Poiana

Pink Floyd - Sapporo 1972:Direct Reel Master (Sigma 184/185) 1972-03-13 - FLAC



  Breathe (In The Air)


A segunda turnê do Pink Floyd no Japão, em março de 1972, foi mais extensa do que a primeira, composta por seis concertos em Tóquio, Kyoto, Osaka e Sapporo (um sétimo foi planejado para 11 de março em Yokohama, mas cancelado). A performance no Nakajima Sports Center, em Sapporo, em 13 de março, é amplamente considerada como a melhor da turnê, devido em grande parte a uma excelente performance da versão inicial da suite "Dark Side Of The Moon". Esta não foi apenas a última noite da excursão, mas a última vez que Floyd se apresentou com o Roger Waters no Japão.

Esta performance inicial da suíte "Dark Side Of The Moon" é uma das mais importantes versões do período de desenvolvimento deste trabalho ao longo de 1972, mesmo tendo evoluído a partir das apresentações no Rainbow Theatre, em Londres. Duas semanas antes, entre os dias 17 e 20 de fevereiro.

Os destaques, como em todas as versões iniciais da suíte, incluem a jam de guitarra / teclado bastante energética durante a execução de "The Travel Sequence" (intitulada aqui "On The Run" de forma prematura), permitindo que Gilmour e Wright se soltem da mesma maneira que fizeram durante as turnês anteriores com a peculiar riqueza de improvisos. The Mortality Sequence que é um capítulo a parte, uma forma orgânica muito diferente de "The Great Gig In The Sky", soa sombria e majestosa devido a liberdade que Wright têm em poder improvisar com toda a sua genialidade sobre as recitações de Malcolm Muggeridge.

Os vocais de harmonia são quase perfeitos em "Us And Them" e "Brain Damage". O que também vale como registro do que a banda era capaz sem as "The Blackberries" ("Venetta Fields" e "Carlena Williams"), que marcaram presença na turnê após o lançamento do álbum The Dark Side, como vocais de base. Boa audição!


The Mortality Sequence


Pink Floyd
Sapporo 1972:Direct Reel Master (Sigma 184/185) 2017
Live at Nakajima Sports Center, Sapporo, Japan - 13th March 1972
From Original Masters


  [Original]
  Disc 1

    1. Speak To Me
    2. Breathe (In The Air)
    3. On The Run
    4. Time
    5. Breathe (Reprise)
    6. The Mortality Sequence
    7. Money
    8. Us And Them
    9. Any Colour You Like
   10. Brain Damage
      11. Eclipse
   12. One Of These Days
   13. Careful With That Axe, Eugene
   TOTAL TIME (73:40)


  [Remaster]
  Disc 2

    1. Speak To Me
    2. Breathe (In The Air)
    3. On The Run
    4. Time
    5. Breathe (Reprise)
    6. The Mortality Sequence
    7. Money
    8. Us And Them
    9. Any Colour You Like
   10. Brain Damage
      11. Eclipse
   12. One Of These Days
   13. Careful With That Axe, Eugene
   TOTAL TIME (73:40)




One Of These Days



FLAC
uloz.to - (899 MB)
ou
mega.nz - (857,60 MB)








Sigma review:

It is 45 years since Pink Floyd’s only Sapporo performance. That performance, which was held at the Sapporo Nakajima Sports Center (* present Sapporo Nakajima Physical Education Center annex) on the evening of March 13, 1972, is a final day of the Japanese tour of 1972, It was also the last performance in Japan left by. Next time I think that no one thought that it would wait for 16 years even until March of 1988 when Floyd came to Japan, but that is why “only the last performance that Floyd of the 1970s left in Japan” The position on this day is a particularly impressive performance day for Japanese fans as a pair with “Hakone Aphrodite” of the previous year when it first arrived in Japan and the first performance.

Three types of recording sources are presently present in the northern earth which the Floyd visited last in the 1970s, Recorder 2 which is particularly known for the best recording condition is “COLD FRONT (AS 91 PF001) “, Sigma also produced various titles such as Disk 2 of” MEMORIES OF THE EAST (Sigma 24) “and Disk 3 of” SAPPORO 1972 (Sigma 82) “, this only Sapporo Performance It has been known as a representative source. It was the “SAPPORO 1972: DIRECT REEL MASTER (Sigma 137)” released in 2016 that appeared as a decision strike, which was actually used at the Nakajima Sports Center 45 years ago from the person who recorded this Recorder 2 Reel tape It became the title which borrowed the actual thing and turned into an audio, and of course it was the strongest 72 years · Sapporo sound source so far. However, because it was such a special grade / exceptional title, this title is sold out shortly after release and it is a translation, but this weekend the title of the legend is the title of the original Recorder 2 actual reel · master sound source and the latest 2017 I finally resurrected as a press disc 2 set CD by master coupling !!!

First of all, on the disk 1, we straight-copied the Sigma 137 board which was sold out immediately. For those who missed that old work, this is a good news, but there may also be people who seem to be “an entire copy!” But again here again, when we compiled the characteristics of Recorder 2 physical recording by providing himself / herself who was used both for this latest work and for the old work, why the disk 1 of this work is a straight copy , The reason is a glimpse from the importance of the recording.

*********

(1)
Recorder 2 actual reel tape that we recorded on Sapporo Nakajima Sports Center that day by using the recording person himself was used. Reel original sound inhabited deeply and deeply on the scene of the day Deeply innocent sound quality special class sound that is copied from this master tape · It is an exceptional thing to instantly destroy a previously issued board made with generations of tapes did. And here also included new facts that could only be confirmed with Recorder 2 actual.

(2)
One of them was the first appearance scene, and it contained about 3 minutes in total for the first appearance scene which was not recorded in each of the previously-to-be-released boards for about 2 minutes. In particular

“A”: About 30 seconds in the introduction part of “Speak to Me”
“B”: about 35 seconds in the middle of “madman in heart”
“C”: After “Crazy solar eclipse” concert ~ Sound check · Scene until about “start playing windy wind, calling storm” about 1 minute 05 seconds

… but of these, “c” was the most important scene of the new discovery. Because about 20 minutes of break is caught here in order to separate the second half from the first half of the show (= perfect reproduction of trial version “crazy”), but only this Sapporo performance is supposed to enter there It was the first time in Recorder 2 of this uncut / nonstop recording that what was “no” only in 1972 was a Japanese performance.

(3)
Quadrophonic = 4 channel speaker of course was installed in the venue of the day. As a valuable person of the recording person himself, “There is a bigger sound behind when sound goes around the place due to its effect”, and in fact the acoustic effect of this reel original sound also changes in sound pressure It is often felt. However, with each pre-launch board using generations of tapes, this effect is diminished, and hardly felt.

(3)
Also, in most of each of the earlier titles derived from this reel master, there was a stereo gap (※ slightly left) that occurred when copied. However, there is no such displacement of the localization naturally in this reel in kind, and the sound image is completely fixed to the center to the last.

*********

…. and so on?
In other words, it contains too realistic sound quality / too important scenes, so there is no room for handling. Especially at an interval of only about two minutes after the “crazy solar eclipse” concert, “exclamation wind, calling storm” will start unusual show expansion · speed feeling will be goose bumps thing. That is why these are slate copies of disc 1 as original sound sources of Recorder 2 in this work.

On the other hand, Disk 2 has become a further high-quality disc with the spot again to the sound quality that was originally excellent, and this time for the first time it recorded the remastered sound of the 2017 version adjusted with the latest equipment and the latest technology. Specifically, it adds slight delay effect = surround feeling to that sound, and it corrected so that natural sounds come out by combining a component with a slightly thinned sound with the original sound, but this is also the case with Recorder 2 It is reviving with a special sound that attracted a delicate sound and reverberation. The sound image which is sharp and expands more than the original sound is also a big appeal because it also makes a slightly stiff sound to tighten the whole sound image.

For example, a thick sound rises at the end of the introduction “Speak to Me”, but it is thicker than the same part of the old part (* = Disc 1. and later, the part touched about the old disc is the disc 1) You will find that the feeling is getting stronger and you can see that a certain weight is added to the sound. The closeness of the singing voice of Gilmore at “The breath of life” also improved in accuracy, the vividness of the natural voice and the tone of the midrange sound became more vivid and became massive. “Running around” realizes the finish which looks back on the goodness of the original reel original sound which was originally excellent, and each one of the complicated sounds which comes out with this song is able to grasp the details in detail. In addition, this time, it seems that a slight surround feeling comes out to the sound, so you can see that the drama nature of the sound by Quadrophonic in the place is skillfully attracted. In “Time”, the sound of the tom heard in the intro will come out with a tighter sound than the already-released board. The two-voice harmony by abnormal near Rick and Gilmore is also clearer and the sharpness of the garrisy sound that the guitar is scattered is also improved, so the blend feeling of the low frequency range and the high frequency range where the edge is effective is the new sound of the original sound It will make you realize the possibilities. In the early “Magical Scat” In the “The Mortality Sequence”, the brightness and resolution of the monologue SE spreading in the field rises by +1, and the floating feeling of reading by the tape collage and the dramaticity also revive with the sharpness of the outline. The sound of the organ coming out in the final stage (around 3 minutes 10 seconds ~) also makes it easy to grasp the outline of the sound, you can see that the depth and spread of the sound is getting deeper than the old one. The hard feeling of such a pleasant sound appears in the register sound at the beginning of “money” and the sound of the bass, and also the tone of the electric piano appearing in the middle stage, and that avant-garde approach is a sound with a core more than the reel original sound It will be nice to be able to listen. Also, the cymbal and hi-hat sounding behind the guitar solo (※ This is a super-close sound which also increased the resolution!) Also increased clarity, it became more pleasant with the sound that came out of the old one than the old one.

“As · and · · · ·” goes through and elaborate sounds will flow into my ear. The introduction section, the movement of 2 voices and the powerful sound of the organ played behind it are also feeling upper, and how much detail Floyd in Sapporo had been expressing sharply was another step forward You can understand with. Sounds good enough in the old board also demonstrate the power of the sound, “Madman in mind” also should be deprived more and more of the transitions of the sound that is about to escape from the midrange. You can see that the sound of the tuning before the start, the talking spirit of the surroundings is clearer than before and the thick feeling of the bass sound of the performance introduction also increases, but the base that you want to pay attention to It will be the drums behind. The impression that the hitting sound was buried a little is diminished, and the movement of the rhythm has become like to follow with the sound which is more responsive than the old one. The scene where the rhythm once disappears also has the feeling of surround sound so that the floating feeling of the sound can be realized more deeply and the sharp sound of the guitar and the organ which jumps out after the monologue also seems to be stronger in the expression of expression . The tuning scene entering after the end of song will also have a higher brightness than the one you could hear so far and you should be aware of the renewal of the sound image. And visit “Eugene, watch out for ax” is a great appeal with transparency and texture extreme to the highest value. In a sense, this remastered achievement is the finish which can be said to be the most strongly felt, and not only the refinedness of the performance sound but also the change of facial expression of the mysterious tone drifting in the gap between the sound and the sound is higher You should be pleased with accuracy. Moreover, it is certain that the scream of screaming and anguish scream unique to the last day that changed diversely to the last minute part stands out and the sharpness of the meat sound stands out, and it is surprised at the detergency of the sound which attracted the maximum attraction of the reel original sound.

… etc. In the latter half of the sentence I tried to quickly write out the differences in tone reproduction centered on the disc 2 that was remastered but this led by the latest remaster is actually the disc that was recorded on Disc 1 Sound, that is, the size of Recorder 2 original sound box. The straight reproduction of the beat of the sound which Floyd left only in 45 years ago in Sapporo and leap is the aim of this latest work and it was also the aiming goal, and the ultimate coupling which made it fruit now is here It became a reality thing. Those who missed purchasing the former Sigma 137 board which sold out immediately, as well as those who have you, of course, can not miss this absolutely because it has become the vertex board of Sapporo performance · Recorder 2 now I’d like to try this work at the weekend !!!
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David Gilmour


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