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Tamino about the quality of a live album – Spotify for artists


Like many pop-cultural patterns, the live album has been completely disrupted by technology. In the 70s, they were mythological documents that gave fans an extremely rare opportunity to give their raw artists a raw experience, making them the next best thing after cutting a front row ticket to a concert. But in the CD era that aura was significantly reduced, as bootlegs expanded and were often bought in smaller record stores. Then, in an effort to corner the market, some bands – e.g. Pixie-As soon as fans left the venue, the night performance started offering burning, this is the audio version of a march-table T-shirt. And when user-created video-streaming services emerged in the 2000s and everyone, including smartphones, became the documentary of an amateur concert, the live album was at risk of becoming an ancient middleman in an era where fans could instantly capture a bunch of concert footage.

But while concert recordings may not once be its elusive star-makers, a live record can still be a treasure for both an artist and their fans: it provides an original snapshot of an evolutionary stage এমনকি even if, or especially if, their There is only one release. After the release of his debut album, Amir, In 2018, Brussels-based Kruner Tamino The historic Ansien hosted a three-night stand sold at the Belgian Theater, where he and his backing band Colin Greenwood (aka Tamino, one of the most inspiring players, Radiohead). On occasion, Tamino decided to record the show for his own entertainment, without any intention of releasing it properly.

But the performances that Tamino recorded proved to be more than just a golden memento. Where Amir He was presented as a smoky-ringed conjunctiva in the Cohen / Gainesburg vein. Live in Ancienne Belgique The EP sees him emerge as a fearless art-rock improviser, finalizing and embellishing his songs, while replacing the play with a full cover. Chris ColonelOf Single Serenade, “You. Here, Tamino explains why releasing a live set was understandable to him at this early stage of his career.

Photo courtesy of Tamino Shore Fire Media

Photo courtesy of Tamino Shore Fire Media

Spotify for Artists: You originally recorded these shows for the next generation. But in releasing this EPT, was there anything special about you that you wanted to showcase?

Tamino: I think we grew up a lot as a band, so me and the boys had more advanced moments on the set, which you can listen to in a song. “So it goes. ”I definitely wanted to show how far we’ve come since we made our first album. And there was Chris Cornell’s song, which I covered – it’s a special moment too. I definitely wanted to show it to people, to pay homage to him. I also like that it was only played in concert, and not in the studio. I don’t think I’d record a cover song in a studio unless it’s for radio or something else.

You mentioned the song “So It Goes”. Original Just five minutes of embarrassment. The live version is more than twice the length. Was it something that evolved biologically over time?

Yes, of course. It was really like playing the song night after night and always trying to explore the boundaries of improvement and sometimes it goes too far! But it is necessary. Sometimes, we still go a long way, but when you learn a lot as a band and also as an individual musician. It just happened naturally with this song. After the first [Ancienne Belgiques] The concert, Colin wasn’t playing this song, but then during the second night sound check we were right, during the improvisational part of “Hey Man, Join”, and he did, and it was a great match right away.

If you listen to the live version, will you see the original?

Not really. I see concerts and recordings as two completely different things. When recording something, I never think, “Oh shit, how do we play it live?” I don’t even understand people who come to a concert just to hear the same version from the record, because then I would say, “Just stay home and listen to the record!” Of course, listening back for an improvement isn’t always a good thing – you think, “Oh shit, maybe I shouldn’t have sung that line there!” But you don’t want to cover one of your own songs. I was there for a while, when I was preaching a lot [for the first album]. I wanted to play the song exactly the way I recorded it, thinking it would make a lot of people happy, but I was really tired of it and it forced me to play the song the same way every time. So something has changed in my mind and now I play the song but I feel like playing it.

Listening to your EP, it’s easy for an audience to imagine themselves sitting in the regal, balconied Ancien Belgian theater, lost in this regal performance. What is the impact of your game on the venue?

I’m not consciously adapting to the room, but I’m certainly affected by it – for example, if it’s too cold. Sometimes, the venue really keeps A / C like crazy and I don’t like it! I’m feeling cold, and it’s very difficult for me to connect with the audience. You can see it in the videos of the artists on the talk show [in cold studios]- Artists do not feel very comfortable. When it’s too hot, I really like it, although it’s not the healthiest thing, because a lot of people become unconscious. But it takes me to the right headspace to connect with the audience.

– Stuart Berman



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