Saw London Grammar last night at the O2 Apollo in Manchester. They were superb, the SQ was great and Hannah Reid confirmed she has the voice of an Angel.
Infiniteloop said:Saw London Grammar last night at the O2 Apollo in Manchester. They were superb, the SQ was great and Hannah Reid confirmed she has the voice of an Angel.
Electro said:Infiniteloop said:Saw London Grammar last night at the O2 Apollo in Manchester. They were superb, the SQ was great and Hannah Reid confirmed she has the voice of an Angel.
You lucky so and so , I would have loved to have been there !
You ( and others ) should post their recent gigs here so we can get some idea of what bands we go and see .
The more live music you hear the higher your HiFi street cred. *wink*
https://www.whathifi.com/forum/week-i-have-mostly-been-listening-towatching/your-most-recent-gig
Infiniteloop said:Saw London Grammar last night at the O2 Apollo in Manchester. They were superb, the SQ was great and Hannah Reid confirmed she has the voice of an Angel.
tonky said:Infiniteloop said:Saw London Grammar last night at the O2 Apollo in Manchester. They were superb, the SQ was great and Hannah Reid confirmed she has the voice of an Angel.
Me too - I'm surprised I didn't see you. - I thought the band Lo Moon were very good too.
London Grammar - and Hanna's voice - just superb - Her acapella opening singing Rooting For You - a hairs on the back of the neck moment.
cheers tonky
QuestForThe13thNote said:I don’t know what the fuss is about. Imho it’s vocal twilling gone mad, aka X factor style, with very limited melody in the music. I don’t know what people see in it. It’s an exercise in how many notes and syllables you can get out of music and the commerciality of it. It’s just a total turn off. Can anyone sing me the song that appeals. I doubt it. Sticking head in the oven time.
QuestForThe13thNote said:I don’t know what the fuss is about. Imho it’s vocal twilling gone mad, aka X factor style, with very limited melody in the music. I don’t know what people see in it. It’s an exercise in how many notes and syllables you can get out of music and the commerciality of it. It’s just a total turn off. Can anyone sing me the song that appeals. I doubt it. Sticking head in the oven time.
tonky said:Quest wrote that he didn't know what the fuss was about re London Grammar.
Earlier this year I felt the same way - I listened to them on Spotify and they didn't grab me - technically v good - but the music - bland - no thanks.
I listened to them a few weeks later on - background Sonos music while gardening. Over a period of time I had to stop the gardening because I just had to concentrate on the now excellent music. Long story short - bought both albums - amazing! - and now amongst my very favourite bands. - The voice - the layers of music - very measured - very expressive - every note counts to the overall experience - ethereal - classical - emotional - and so much more!
It took me a while to get into them - well worth the effort!
Infinite Loop - not planning to go Manchester Apollo for a while - Not heard of Angus and Julia Stone but will certainly hear them on Spotify asap.
I thought the support band, Lo Moon, had a similar sound to Talk Talk
cheers tonky
QuestForThe13thNote said:tonky said:Quest wrote that he didn't know what the fuss was about re London Grammar.
Earlier this year I felt the same way - I listened to them on Spotify and they didn't grab me - technically v good - but the music - bland - no thanks.
I listened to them a few weeks later on - background Sonos music while gardening. Over a period of time I had to stop the gardening because I just had to concentrate on the now excellent music. Long story short - bought both albums - amazing! - and now amongst my very favourite bands. - The voice - the layers of music - very measured - very expressive - every note counts to the overall experience - ethereal - classical - emotional - and so much more!
It took me a while to get into them - well worth the effort!
Infinite Loop - not planning to go Manchester Apollo for a while - Not heard of Angus and Julia Stone but will certainly hear them on Spotify asap.
I thought the support band, Lo Moon, had a similar sound to Talk Talk
cheers tonky
if you want what you describe and talent, someone like Agnes obel, hugely more talented and a much better song writer. If you keep trying to get loads of notes out of one syllable it’s tiring, and it’s not steered and concentrated on the melody. It’s a commercial style over substance and it’s just not original for me. Boring.
tonky said:Quest wrote that he didn't know what the fuss was about re London Grammar.
Earlier this year I felt the same way - I listened to them on Spotify and they didn't grab me - technically v good - but the music - bland - no thanks.
I listened to them a few weeks later on - background Sonos music while gardening. Over a period of time I had to stop the gardening because I just had to concentrate on the now excellent music. Long story short - bought both albums - amazing! - and now amongst my very favourite bands. - The voice - the layers of music - very measured - very expressive - every note counts to the overall experience - ethereal - classical - emotional - and so much more!
It took me a while to get into them - well worth the effort!
Infinite Loop - not planning to go Manchester Apollo for a while - Not heard of Angus and Julia Stone but will certainly hear them on Spotify asap.
I thought the support band, Lo Moon, had a similar sound to Talk Talk
cheers tonky
QuestForThe13thNote said:They copy an X factor type style of using lots of notes in a syllable so when you sing ‘beauty’ she might sing ‘beau’, ‘teee’, ‘eearr’, ‘arrr’. It’s going up and down. But sometimes she gets like 4-5 notes out of one syllable. Actually I counted 10 notes out of the word ‘i’ on rooting for you. That’s very commercial indeed. This is what I mean by twilling. If you watch fhe X factor on a Saturday they all do that, Rihanna, Beyoncé, arianna grande, all that ****. The great songwriters don’t do that, they can use one or less notes per sylabble and keep the musical words hitting the music melody. Eg Beatles. In London grammar it’s like the style of the music in this ‘twilling style’ which is commercial is preferential to the music melody which is there, and I don’t think music should sit below the vocalist ever. The melody isn’t that fantastic to say something like familiar by Agnes obel. The music has to please first , so that’s why someone like bob Dylan sounds great as the music and songwriting is to die for but the singing in that context is not necessarily as important. Great music is about the vocalist and the music going together often imho. I like first aid kit for female vocals which gets that balance and the songs are a lot better. I wouldn’t say I love them but they are ok. I love classic stuff like Barbra Streisand and Joan baez as the songs are superb and well sung. Diamonds and rust etc.
QuestForThe13thNote said:They copy an X factor type style of using lots of notes in a syllable so when you sing ‘beauty’ she might sing ‘beau’, ‘teee’, ‘eearr’, ‘arrr’. It’s going up and down. But sometimes she gets like 4-5 notes out of one syllable. Actually I counted 10 notes out of the word ‘i’ on rooting for you. That’s very commercial indeed. This is what I mean by twilling. If you watch fhe X factor on a Saturday they all do that, Rihanna, Beyoncé, arianna grande, all that ****. The great songwriters don’t do that, they can use one or less notes per sylabble and keep the musical words hitting the music melody. Eg Beatles. In London grammar it’s like the style of the music in this ‘twilling style’ which is commercial is preferential to the music melody which is there, and I don’t think music should sit below the vocalist ever. The melody isn’t that fantastic to say something like familiar by Agnes obel. The music has to please first , so that’s why someone like bob Dylan sounds great as the music and songwriting is to die for but the singing in that context is not necessarily as important. Great music is about the vocalist and the music going together often imho. I like first aid kit for female vocals which gets that balance and the songs are a lot better. I wouldn’t say I love them but they are ok. I love classic stuff like Barbra Streisand and Joan baez as the songs are superb and well sung. Diamonds and rust etc.
QuestForThe13thNote said:I’m just giving an opinion on it and am not criticising tastes. I’m not really bothered with the production, the tune is more important. Opera singers don’t very often twill like this commercial stuff, but where it sometimes happens it tends to be the singer is the melody and song and that process is part of it. But in London grammar this twilling isn’t part of the melody.
QuestForThe13thNote said:That’s called vibrato she is singing re that Mozart piece, it’s the same note but her tone is going up and down rather than holding a legato long single note tone. Loads of singers do that who I think are fab eg Amy winehouse Grhs. Lots of traditional female vocalists. Put your fingers up to your voice box and wiggle it and sing, and you get the same vibrato sound.
But when the London grammar lady sings ‘for me’ ‘ee’ ‘ee’ eeeyyaaa’ is many different notes at different pitches or octaves .She isn’t singing vibrato, but legato with the twilling on the lots of the ends of words.
QuestForThe13thNote said:That’s called vibrato she is singing re that Mozart piece, it’s the same note but her tone is going up and down rather than holding a legato long single note tone. Loads of singers do that who I think are fab eg Amy winehouse Grhs. Lots of traditional female vocalists. Put your fingers up to your voice box and wiggle it and sing, and you get the same vibrato sound.
But when the London grammar lady sings ‘for me’ ‘ee’ ‘ee’ eeeyyaaa’ is many different notes at different pitches or octaves .She isn’t singing vibrato, but legato with the twilling on the lots of the ends of words.