Tír Na HiFi

k99_64 wrote:Cant get enough of the entire soundtrack tbh!

https://www.youtube.com/watch?v=x_artPecEaM

Brilliant, is it available as a Soundtrack/CD or only with the game?

I really dont know, even on their website they have an entire fake recording company set up with all the tracks but no cd purchase option!

http://www.wolfenstein.com/en-gb/site

Seems to be a pre order had it

I really like this.  Spike Jonze's real-time collaboration with Arcade Fire on a performance of Afterlife at an awards show last year. Oddly compulsive viewing.

This is utterly brilliant.  St. Vincent's recent concert at Primavera Sound recorded in full by Spanish TV.  Perhaps the best filmed record we have now of arguably the most exciting artist out there right now.  Despite my enthusiasm for her studio albums, there is no doubt that her live performances are more intensely powerful.  The drama is already there in the studio albums but you really get the sense that Clark is in her natural element in a live context, where she can give free rein to her guitar playing and the emotional anguish of her singing becomes more intensely acute.

Here you see in in her hand semaphore and body choreography just what she learned from working with David Byrne.  And the aggressively de-personalised stage persona she creates for herself only magnifies the very human passions she evokes in her music.  At its heart, this is deeply affecting music - very sad and personal songs of isolation set within a cold and unfeeling modern world.  

Two highlights:  the performance of Surgeon (26:20) where the Fripp-inspired arpeggiated riffs gain added intensity and evoke a sense of breathless panic as she sings repeatedly the line "Best find me a surgeon, come cut me open" and the casual brilliance of the closing guitar solo on Prince Johnny (35:16) belies the technical assuredness of her musicianship - working on her music 18 hours a day obviously taught Clark the virtue of economy and compression.

It's amazing what you stumble on when browsing YouTube. I've never heard Robert Fripp tell this story before about meeting Jimi Hendrix immediately following a King Crimson show in London in 1969. "Shake my left hand, man. It's closer to my heart."

mcq wrote:This is utterly brilliant.  St. Vincent's recent concert at Primavera Sound recorded in full by Spanish TV.  Perhaps the best filmed record we have now of arguably the most exciting artist out there right now.  Despite my enthusiasm for her studio albums, there is no doubt that her live performances are more intensely powerful.  The drama is already there in the studio albums but you really get the sense that Clark is in her natural element in a live context, where she can give free rein to her guitar playing and the emotional anguish of her singing becomes more intensely acute.

Here you see in in her hand semaphore and body choreography just what she learned from working with David Byrne.  And the aggressively de-personalised stage persona she creates for herself only magnifies the very human passions she evokes in her music.  At its heart, this is deeply affecting music - very sad and personal songs of isolation set within a cold and unfeeling modern world.  

Two highlights:  the performance of Surgeon (26:20) where the Fripp-inspired arpeggiated riffs gain added intensity and evoke a sense of breathless panic as she sings repeatedly the line "Best find me a surgeon, come cut me open" and the casual brilliance of the closing guitar solo on Prince Johnny (35:16) belies the technical assuredness of her musicianship - working on her music 18 hours a day obviously taught Clark the virtue of economy and compression.

Great recording. Quality is fantastic wish I could figure out a way of getting a wav version of that. I find the live recordings more organic and looser than the album versions. More polished performance than the olympia in Dublin which was one of the first of this tour. Looks like she has found some dollars to improve the clothing.

mcq wrote:It's amazing what you stumble on when browsing YouTube. I've never heard Robert Fripp tell this story before about meeting Jimi Hendrix immediately following a King Crimson show in London in 1969. "Shake my left hand, man. It's closer to my heart."

Ah brilliant. I love it :)

This is a wonderful performance of one of Warren Zevon's finest songs, Mohammed's Radio.  An inspirational song about the emancipatory power of music in the face of the hegemony of Establishment figures like the Sherrif and the General who actively fear its liberating power - "Be watchful for Mohammed's lamp".  It pays particular tribute to its rapturous and messianic qualities - "In walked the village idiot and his face was all aglow/He'd been up all night listening to Mohammed's radio" - which assuage the anger and resentment experienced by the listeners when confronted with the crushing poverty and hopelessness of their daily lives. There is a remarkable contrast drawn in this song between the brooding distrust of the Sherrif and the General (which actively simmers with a sense of incipient violence) and the peaceful message of hope as conveyed by Mohammed's Radio, that of "somebody singing sweet and soulful on the radio".

St. Vincent's song, Strange Mercy, is one of her finest, yet subtlest, achievements to date.  It is intentionally vague in subject, avoiding direct references, but evoking sensations of loss, anger, and deep wounding hurt in the listener, the sources of which are unclear but are conveyed by the acutely emotional numbness in Clark's vocal phrasing.  It appears to be told from the perspective of a mother, whose husband is in prison and who is raising her children by herself.  She and her children appear to have been victims of some unspoken atrocity by a corrupt policeman, and have been left permanently scarred (certainly psychologically and probably physically as well) by the incident.  There is an extraordinary image at the heart of the song, that of a mother talking to her children as they try to fall to sleep - "Oh little one I'd tell you good news that I don't believe if it would help you sleep."  The fragility of Clark's singing as she sings to her little ones suggest a mind so absent that she might be talking - barely audibly - to herself in a croaked whisper.  The heartrending lines, "If I ever meet that dirty policeman that roughed you up, that fucked you up,  I ... I don't know what", say so much about the impotence of her rage at the atrocity that she and her children have suffered as well as the emotional turmoil of a mind that has suffered too much.  Ever since I heard this song on its release in 2011, I have turned it over and in my mind, trying desperately to make sense of it and what it ultimately means.  The pivotal line in this song, "I'll be with you, lost boys, sneaking out where the shivers can't find you", offers a clue, suggesting the horrifying image of a mother euthanising her children - and quite possibly herself - as a means of delivering them from the living nightmare of a cold and hostile world in an act of the strangest of mercies.  An exceptionally powerful song and perhaps the most complete song that Clark has written prior to Severed Crossed Fingers on the current album.

This is a wonderful performance that Clark recorded in the studio for 4AD around the time of the album's release.  The understated delicacy of the patiently constructed guitar solo is particularly notable.  The musicianship is simply there to underpin the dramatic narrative of the song, as is the gentle tenderness with which Clark sings the song.  It all adds up to an intensely haunting experience.