Disc 1 of the Live in Tokyo packages (the 2011 performance with Jobson, John Wetton, drum berserk Marco Minnemann and the universal guitarist Alex Machacek) starts with the distinctive staccato riff of In the dead of night. In the live situation, the three-part suite from the debut album with powerful reverb effects, deep bass rumblings and ominous intro pops naturally pure. UK are here the sound of doom rockers like NIN, Tool or the late King Crimson pretty close. As if they had always played together so that Holdsworth solo fits perfectly, Wetton and Minnemann groove like there's no tomorrow and Jobson creates with minimalist equipment balancing act between pleasing retro feel and contemporary arrangements. Danger money wins in the quartet version clearly Drive; the two longtracks Starless (of King Crimson Red) and Carrying no cross screw the drama factor even further in the level. Disc 2 is other than Minnemann-Auspicious One more red nightmare rather introspective sounds Reserved: After entering with Jobsons usual virtuoso violin solo inspired Nevermore with the classic synth-guitar-duel in the middle part and psychedelic TD Rubycon hints. The desert Jazz Prog material of Caesars and ... The only thing she needs is clearly organic and punchier than the studio version therefore. And John Wetton? Has vocally so far gathered in the course of the concert that he at the end of a poignant version of Rendezvous 6:02, accompanied only by Jobson on synth, can give the best.
The musical performance of the discussed concert is brilliant and one wishes that the four come together times for common songwriting and continue the chapter UK in this form. 5 stars for the music and the repertoire value ... for the muddy sound I want to (unfortunately) just awarded a star. Either I do not understand Jobsons idea of live sound, or stylishly clad music professor has taken over in its quest to make from mixing to mastering everything myself. Clear can not and should not be a live performance as a studio sound board, but here right next to nothing: Hardly heights, the drums usually mixed back far, bass and diffuse waberig which synths like crystals under a thick layer of dust. Although sometimes quite its charm (the wide Platt rolling sound is in the dead of night well), in most places but is the tension in the mud below (about the crescendo of Alaska or the drum attacks of One more red nightmare). I have the 2013er version of the album (Avalon MICP 90070) remastered by Jobson himself, and this is phonetically similar to a disappointing level as MP3 Download. Who has an idea which version of the album, which, technically sound, the best is in a number of variations (including 2011er / 2013er, JP / KR-Import, 2xCD / 2xSHM CD + USB / DVD) has appeared, may contact: - )
