Something is strange with the sound of Doug Martschs microphone. Every time Built to Spilt the singer opens his mouth it becomes so much echo it sounds like he is singing through a tin can out of an empty industrial building. Probably it should be so, because the sound is neither addressed or commented during the concert time. I do not think in any case, it's a little hard to hear what Martsch says in the few and short mellansnacken.
somehow is well the lack of sångljudet also quite suitable. ”Keep it like a secret”, the album that Built to Spill is at Debaser in order to play from start to finish, was created in a 90-talistiskt lo/fi-climate where the motto was ”the skevare the better”.
the core of Built to Spill, rather just a small part of a kind of meat-and-potatoes-alternativrock where Martsch and the other pours on with all effektboxar and the guitars they have, sometimes in the oväsenskaskader, sometimes in short solos, sometimes in the whistling melody lines. Not least in the protracted, ever-shifting, ”Broken pieces” which ends the regular set.
Martschs songwriting is certainly the right harsh and crackling dry, but the scene gives the volume and the band's range them a greater weight and a kind of knyckig energy.
his flanellskjortiga comfort zone going really bad. Never become more obvious than when Built to Spill among the encore on The Kinks ”Waterloo sunset”, probably one of the fourteen, the fifteen finest, most precise and carefully written pop songs that have been recorded. This is the sound of the as that someone sat a delicate English tea set in the lap of a hungover Neil Young, and then sent him out on a rodeo, a crazy horse.
It is not one of the most pleasant konsertögonblicken I have experienced.
Read more music reviews by Mattias Dahlström, for example, if it is unbelievably attuned jättebandet Tedeschi Trucks Band.