Tredici Bacci: January 25, 2017 Sunnyvale

February 15, 2017
By


[still from this video]

I walked into the main building of The New England Conservatory of Music as a youngster in the Fall of 1975 when my older sister enrolled at the school. My childhood recollection is of a large staircase in a classic large atrium like something out of a 19th Century mansion. I left with the feeling that this was an important and serious place in the world. All these years later, I find that NEC is the oldest music school in the country — dating back to 1867. But the more impressive aspect of NEC is that its still a vibrant institution producing some of the best new musicians in a vast array of fields. Last year we welcomed to these pages the amazing Guerilla Toss, a band consisting primarily of graduates of NEC. This year its Simon Hanes, a former sometime member of GT whose band Tredici Bacci reflects his own eclectic and unique approach to composition undoubtedly honed inside of the classic halls of the New England Conservatory.

The music of Tredici Bacci is in some ways nothing like we’ve ever featured here before. Hanes’ fixation on Italian movie soundtracks from the 1970s is surely odd, but when the music is so meticulously constructed and utterly true to the form it has the effect of affording the listener the opportunity to conjure a movie plot in their imagination while Hanes soundtracks the image. At Sunnyvale in January, Tredici Bacci was a ten-piece band of prime musicians who projected Hanes’ compositions onto our imagined technicolor movie screen. The set was a relatively short thirty minutes, but accomplished what it set out to do — with precision, style and some humor. Tredici Bacci released their new album Amore Per Tutti (NNA Tapes) in November and this set featured two tracks from that album, a couple of older cuts and what appears to be some newbies. What is obvious from seeing Tredici Bacci live is that Simon Hanes has a fertile musical mind and we can expect to see more of Hanes and his many musical projects on these pages moving forward.

I recorded this set with the Schoeps cards mounted at the front and center of the stage and mixed with a nice board feed. We were initially skeptical that the recording could balance the full band, but after a fairly standard mixdown of the sources, this recording really does a superb job of capturing the band in all its glory. Enjoy!

Download this Recording in FLAC or MP3 from our Bandcamp page [HERE].

Stream the Complete Show:

Tredici Bacci
2017-01-25
Sunnyvale
Brooklyn NY

Digital Master Recording
Soundboard + On-Stage Audience Matrix

Soundboard + Schoeps CCM4u’s > Sound Devices 744t > 2 x 24bit 48kHz wav files > Soundforge (post production) > CDWave 1.95 (tracking) > TLH > flac (320 MP3 and tagging via Foobar)

Recorded and Produced
by nyctaper

Setlist:
[Total Time 28:40]
01 Introduction – Winter Fireworks
02 Columbo
03 Swedish Tease
04 Motto
05 Sesso In Futuro
06 Hey, Come On Motherfucker

The band on this night:
Sami Stevens: voice
Abby Swidler and Siv Brun Lie: violins
Joanna Mattrey: viola
Dan Pencer and Will Greene: saxophones
Ezra Weller: trumpet
Jesse Heasly: bass
Peter Moffett: drums
Simon Hanes: guitar

Please SUPPORT Tredici Bacci: Facebook | Bandcamp | Purchase Amore Per Tutti via NNA Tapes [HERE]

Suuns: February 11, 2017 Saint Vitus (Early Show)

February 14, 2017
By


It’s not easy to be a live band like Suuns. When you make spare, often trancelike music that relies on repetition, fueled by loops and electronics as well as live players, you need to be more than competent on your instruments; you need to be technically almost flawless. Their music can indeed put you in a trance, but the communion is broken if anything — almost anything — is out of time or introduced at the wrong moment. The amazing thing about Suuns is that nothing ever is — if “precision” was their band name instead, it wouldn’t be wrong. Their latest album Hold/Still continues their streak of infallible, tight production, made all the more impressive this time by the fact that they reputedly recorded most of it live. Hearing the songs live, it’s somewhat easier to believe. Suuns songs often tend toward modern paranoia and anxiety, but in execution of them, the band members’ melding of the human and technological is at ease.

On this winter night, the band played two full sold-out sets at Saint Vitus, an intimate, appropriate clime for the band’s dark, almost claustrophobic sound. Drawing on elements of krautrock and electronic music, Suuns’ sound is as distinct as it is penetrating. If escapist fare like “La La Land” and whatever pabulum won most Grammys last night is hailed as the right cultural output for our times precisely due to its unreality, Suuns owes equal claim to the title precisely because it sounds like just this moment. When vocalist Ben Shemie intones the single lyric from “Resistance,” over a fractured guitar line and its vaguely militaristic backbeat, you almost forget that this song was actually written in 2015. It meant something different to me when I first saw it, nearly two years ago to the date.

To that end, another exciting song to see come to fruition was “Infinity,” a number the band has worked on in various forms for several years, but finally laid down for Hold/Still. After a solid dose of newer material for the bulk of the set, Suuns took us back to their first record, Zeroes QC, for a bit, with “Arena” making an appearance, and the set closing with one of their best early songs, “Pie IX.” If Hold/Still is any guide, this band’s next few years are going to be equally fertile ones.

I recorded this set with Schoeps MK4V microphones and a soundboard feed. The sound quality is excellent. Enjoy!

Download the complete show: [MP3/FLAC/Apple Lossless]

Stream the complete show:

Suuns
2017-02-11
Saint Vitus
Brooklyn, NY USA

Exclusive download hosted at nyctaper.com
Recorded and produced by acidjack

Soundboard + Schoeps MK4V (at SBD, PAS)>KCY>Z-PFA>>Zoom F8>2x24bit/48kHz WAV>Adobe Audition CC>Izotope Ozone 5>Audacity 2.0.5>FLAC ( level 8 )

Tracks [Total Time 1:01:12]
01 Images du Futur
02 Music Won’t Save You
03 Powers of Ten
04 Instrument
05 Translate
06 2020
07 Resistance
08 Infinity
09 Paralyzer
10 Arena
11 Edie’s Dream
12 Pie IX

If you enjoyed this recording, PLEASE SUPPORT Suuns, visit their Facebook page, and buy their albums on their bandcamp site or from Secretly Canadian.

Dean and Britta: December 15, 2016 Philadephia

February 12, 2017
By


[photo credit]

In 2010, Dean and Britta released 13 Most Beautiful: Songs for Andy Warhol’s Screen Tests, a soundtrack for the pop artist’s black and white film clips of his “superstars” that was commissioned by the Andy Warhol Museum in Pittsburgh. The selection of subjects vary from the well-known (Lou Reed, Dennis Hopper) to the iconic (Edie Sedgwick, Nico) to the obsure (Paul America, Freddie Herko) but all are connected by their work with Warhol. The album incorporates Wareham/Phillips original compositions, one unreleased Luna track, a lost Velvet Underground cover and several other covers in a project that provides emotionally apposite tributes for these historical figures.

In December of 1966, the Velvet Underground and the Exploding Plastic Inevitable first appeared in concert in Philadelphia at the Y as part of the Philadelphia Art Festival. Many of the subjects of 13 Most Beautiful were in attendance and captured for history via photographs that were displayed at the Y’s 50th anniversary of this pivotal moment in the City’s art and musical history. The ultimate celebration of the half-century anniversary occurred in mid-December with a performance by Dean and Britta of their tribute album.

The set began with a pre-recorded intro of the ambient “Richard Rheem Theme” as the band entered the room. Thereafter, the 13 album was performed in its natural order. This was not however a strictly album-order performance but rather featured in-between song descriptions of the characters and history of the subjects — the funny, sad and often tragic lives of Warhol’s iconic subjects. Dean and Britta clearly have connected personally with this material and the result was a concert of great emotion that is one of my favorite ever performances by the couple.

The recording was captured by Kubacheck from a very advantageous position with his best mobile rig and the sound quality is superb. Enjoy!

Download the Complete Set [MP3] / [FLAC]

Stream the Complete Set:

Dean and Britta
2016-12-15
Gershman Y
Philadelphia PA

Digital Master Audience Recording
Recorded from Front of Board

MBHO 603a – KA-500 > Naiant Tinybox > Roland R-05 > 24bit 48kHz wav file > Soundforge (level adjustments, EQ, set fades) > CDWave 1.95 (tracking) > TLH > flac (320 MP3 and tagging via Foobar)

Recorded by Kubacheck
Produced by nyctaper

Setlist:
[Total Time 1:11:44]
01 Richard Rheem Theme
02 Ann Buchanan Theme
03 Teenage Lightning and Lonely Highways (Paul America)
04 It Don’t Rain in Beverly Hills (Edie Sedgwick)
05 Silver Factory Theme
06 International Velvet Theme
07 Herringbone Tweed (Dennis Hopper)
08 I Found It Not So (Mary Woronov)
09 I’ll Keep It With Mine (Nico)
10 Incandescent Innocent (Freddie Herko)
11 Eyes In My Smoke (Ingrid Superstar)
12 I’m Not A Young Man Anymore (Lou Reed)
13 Knives From Bavaria (Baby Jane Holzer)

SUPPORT Dean and Britta: Website | Discography | Facebook

Bridget St. John: October 21, 2016 Schoolhouse

February 9, 2017
By

It was a rare treat when Avant Ghetto Presents brought the British folk legend Bridget St. John to Brooklyn, regaling a crowd of dedicated onlookers with tales from the center of the folk revolution and a compliment of her and others’ finest work. In today’s America, St. John may not be quite the household name of some of her best-known British folk peers, having largely withdrawn from the music scene after her fourth album, 1974’s Jumble Queen. But, for real aficionados of the modern folk tradition — this show’s sponsor among them — St. John is a leading figure.

This crowd, at the Schoolhouse in Brooklyn, treated St. John with the reverence she deserved. The space may not have been an actual Greenwich Village club circa 1970, of course, but the space and vibe felt like its obvious heir, a group of people bound by something more than inhabiting the same room, searching for the same enlightenment. As St. John covered songs from musical fellow-travelers of hers like John Martyn and Michael Chapman — with both of whom she has recorded — she transported us to a time that birthed a generation, one that feels increasingly distant. As she introduced “Just Like A Woman,” she said “it’s taken me a long time to find my space” in the work, but now, she has. The choice felt especially significant, pre-election, at a time when the role of women has been so much-discussed. Listening to it again now, its resonance is changed, perhaps more powerful.

Of her major period albums, St. John focused especially on her first and third, 1969’s Ask Me No Questions and 1972’s Thank You For in the setlist, but we also heard several numbers, like “Castaway,” “Mon Gala Papillons,” and “The Hole In Your Heart” that she recorded in connection with a tour of Japan in 2010. Seven years after that, and the re-release of her first three albums, we hope that St. John’s contributions will continue to receive the greater attention they deserve.

I recorded this set with a soundboard feed together with Schoeps MK4V microphones at the stage lip. The sound quality is excellent. Enjoy!

Thanks to Jeff Conklin of Avant Ghetto Presents for sponsoring and inviting us to the show. Check out Jeff’s WFMU radio show here.

Download the complete show: [MP3/FLAC]

Bridget St. John
2016-10-21
Schoolhouse
Brooklyn, NY USA

Hosted at nyctaper.com
Recorded and produced by acidjack

Soundboard + Schoeps MK4V (onstage)>KCY>Z-PFA>>Zoom F8>2x24bit/48kHz WAV>Adobe Audition CS 5.5 (fades, align, compression)>Izotope Ozone 5 (EQ,
effects)>Audacity 2.0.3 (track, amplify, downsample, dither)>FLAC ( level 8 )

Tracks
01 Castaway
02 [banter1]
03 Back to Stay [John Martyn]
04 Lizard-Long-Tongue-Boy
05 Nice
06 [banter2]
07 Just Like A Woman [Dylan]
08 [banter3]
09 Mon Gala Papillons
10 Hole In Your Heart
11 [banter4]
12 Rabbit Hills [Michael Chapman]
13 [banter5]
14 Fly High
15 [banter6]
16 Lazarus [traditional]
17 [banter7]
18 Ask Me No Questions

If you enjoyed this recording, please support Bridget St. John: Twitter | Buy Her Records

Tim Presley: January 26, 2017 The Bowery Ballroom

February 7, 2017
By


[photos courtesy of Will and We All Want Someone blog]

Though we’re well acquainted with White Fence, Tim Presley has for the time being shelved that band in favor of going solo under his own name. The first record to appear as such is the The Wink, a buzzed and jittery work which was produced by Welsh musician Cate Le Bon, also Presley’s touring partner. The album is a departure from the fuzzy garage psych of White Fence, as Le Bon’s presence pushes Presley into intimate and unexplored territory. As I mentioned in my review of her set from the same night, Le Bon and her band also backed Presley for his opening set. Listening to the two side-by-side, you’ll notice a cohesive presence and song structure between them. Presley and band played the entirety of The Wink, in order, save for “Moment,” from his experimental W-X side project. Incidentally, no White Fence tunes were played until Cate Le Bon’s encore when she and Presley did a duet on “Chairs in the Dark.”

I recorded this set from our usual location in the venue slightly to the left of soundboard in the balcony area, with a board feed from Bowery FOH Kenny. As usual for the venue, the sound is excellent. Enjoy!

Download: MP3/FLAC

Stream:

Tim Presley
2017-01-26
The Bowery Ballroom
New York, NY

Recorded and produced by Eric PH for NYCTaper.com
Photo by Will Oliver

Soundboard [engineer: Kenny] + AKG C480B/CK63 > Roland R-26 > 2xWAV (24/48) > Adobe Audition CC (align, compression, mixdown, normalize, fades) + Izotope Ozone 5 (EQ) > Audacity 2.0.5 (downsample, dither, tracking, tagging) > FLAC (16/44.1, level 8)

Tracks [49:17]
01. O’Guardian A
02. The Wink
03. Can You Blame
04. Solitude Cola
05. Goldfish Wheelchair
06. Long Bow
07. Morris
08. ER
09. Underwater Rain
10. Kerouac
11. Clue
12. Moment
13. Aura Aura

• Facebook
• • Buy The Wink and White Fence records via Drag City

Dump: January 25, 2017 Union Pool

February 7, 2017
By

James McNew’s Dump is a project that gives a certain kind of joy. It gives the listener a chance to both appreciate McNew’s contributions to Yo La Tengo — where he’s played bass for more than two decades — and to hear what’s going on in his head and his alone. McNew’s songs — and his well-chosen covers — rest on a skillfully crafted series of loops and samples rather than a band, and show off what’s going on in his head and his alone. “Modest” is a word that gets thrown around in reviews of Dump material, and it’s true that McNew’s presentation is as unflashy as they come (though he did, deadpan, introduce the “band” as “we”), but these songs go well beyond the scope of mere bedroom recordings.

Witness McNew’s opening number at this Union Pool show, which was his version of Bobby Charles’ country-blues number “I Hope”. The song is a gem — also covered by Elvis Costello on National Ransom — but McNew’s version is a more radical departure from the original, with the backdrop formed by a shimmering loop that adds to the melancholy of the lyrics. We also heard some new numbers, “Weather Blues” (which had the strongest echoes of James’ other band) and “Feelings 2,” which were followed by a classic Dump cover from 1993, “So Sedimentary” (originally from Faith and John Hubley’s 1972 film Dig). The night ended with another Dump classic, the title track from Superpowerless. 

I recorded this set with Union Pool engineer Robert’s house mix, plus Schoeps MK5 cardiod microphones. The sound quality is excellent. Enjoy!

 Stream and download this recording at our bandcamp page:

 

Dump
2017-01-25
Union Pool
Brooklyn, NY USA

Exclusive download hosted at nyctaper.com
Recorded and produced by acidjack

Soundboard (engineer: Robert) + Schoeps MK5c (at SBD, PAS)>KCY>Z-PFA>>Zoom F8>2x24bit/48kHz WAV>Izotope Ozone 5 (EQ, effects, image)>Adobe Audition CS 5.5 (align, mixdown)>Audacity 2.0.5 (track, amplify, balance, downsample, dither)>FLAC ( level 8 )

Tracks
01 I Hope [Bobby Charles]>
02 Weather Blues>
03 Feelings 2
04 So Sedimentary
05 Superpowerless

If you enjoyed this recording, PLEASE SUPPORT Dump, follow James on Twitter, and buy Dump’s LPs from Amazonfrom Discogs, on iTunes, or from your local music retailer.

Support nyctaper

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