Blog Archives

David Nance Group: September 6, 2019 Three Lobed / WXDU Annual Ritual of Summoning (Raleigh, NC)

September 16, 2019
By

If there are any constants in the musical universe, surely one of them is the Three Lobed / WXDU day show (dubbed the “Annual Ritual of Summoning” during the last few go-rounds) at Kings during the Hopscotch Music Festival. So abundant are this show’s riches that you almost have to remind yourself that, no, it’s not common for one five-hour span to feature insane one-off collaborations, unusual guest appearances, new act debuts, avant-garde soundscapes and visceral fucking noise.

This year’s day show checked a couple of those boxes right away, as the Omaha musician David Nance and his current touring trio teamed up with Tyler Damon (currently of Circuit des Yeux among many projects) to flay us with dual-drummer versions of “Amethyst” and “Prophet’s Profit” from Nance’s 2018 record Peaced and Slightly Pulverized, which introduced the prolific Nance to perhaps his widest audience yet. Suffice it to say he’s taking full advantage with his performances, as Nance takes the best of classic rock n’ roll and supercharges it with the intensity of these times. From the energy onstage, you wouldn’t know that not only had Nance played a late show the night before, but that it was only noon in Raleigh, North Carolina. By the last note of “Prophet’s Profit” the tone for the day had been set. Check back at this site to see more of what this annual jam had to offer.

I recorded this set with Schoeps MK5 mics onstage, a soundboard feed, and MBHO microphones into the warm n’ fuzzy Aerco preamp back at the soundboard. The sound quality is excellent. Enjoy!

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

David Nance Group
2019-09-06
Three Lobed / WXDU Annual Ritual of Summoning
Kings
Raleigh, NC USA

Recorded and produced by acidjack

Schoeps MK5c (onstage, XY)>KC5>CMC6 + Soundboard + MBHO KA200N/603A>Aerco MP-2>>Sound Devices MixPre6>24/48 polyWAV>Adobe Audition CC>Izotope Ozone 5>Audacity 2.3.0>FLAC ( level 8 )

Tracks
01 Amethyst
02 Prophet’s Profit

w/ Tyler Damon on drums

Buy Peaced and Slightly Pulverized and more via Bandcamp

Boogarins: September 7, 2019 Hopscotch Music Festival, Kings (Raleigh, NC)

September 12, 2019
By

The Brazilian band Boogarins put on one of the most packed shows (at my favorite Raleigh venue, Kings) I saw at all of this year’s Hopscotch Music Festival, and for good reason. Not only are visiting bands from Brazil less-than-common in most parts of the States, but they’re a compelling live presence, weaving a tropicalia-influenced, trance-like groove that’s as much a head trip as a party. If Os Mutantes are the godfathers of so-called “Brazilian psych,” Boogarins are one of today’s more notable torchbearers. They’ve spent late summer hitting the stage with Mdou Moctar (who also followed them on this night), promoting their recently-released Sombrou Dúvida.

This being a festival set, Boogarins didn’t go full-throttle on the improvisation, save the nine-minute, multi-movement “Tempo.” Instead, we were treated to relatively straightforward versions of their album tracks, which is hardly a bad thing. Their second album, Manual, was nominated for a Latin Grammy, and it wouldn’t be surprising to see the new record (whose name means “Shadow or Doubt” in Portugese) take a similar tack. Boogarins will finish out this month here in the U.S.A. — don’t miss them if you have the chance.

I recorded this set with a combination of onstage Schoeps MK5 microphones, MBHO microphones at the soundboard, and a stereo soundboard feed. The sound quality is excellent. Enjoy!

Thanks to Nathan Walker and Riot Act Media for the invitation.

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

Boogarins
2019-09-07
Hopscotch Music Festival
Kings
Raleigh, NC USA

Recorded and produced by acidjack

Soundboard + Schoeps MK5c (onstage, XY)>KC5>CMC6 + MBHO MBP603a/KA200N (at SBD, PAS)>Aerco MP-2>>Sound Devices MixPre6>24/48 polyWAV>Adobe Audition CC>Izotope Ozone 5>Audacity 2.3.0>FLAC ( level 8 )

Tracks
01 Intro
02 Lá Vem a Morte Pt. 2
03 Foimal
04 [banter]
05 Tempo
06 Invençao
07 Te Quero Longe
08 Passeio
09 Dislexia ou Transe
10 Onda Negra
11 Sombra ou Dúvida

PLEASE SUPPORT Boogarins: Bandcamp | facebook

Chris Forsyth & Garcia Peoples: July 27, 2019 Market Hotel

August 6, 2019
By
[Photo courtesy of Steve Smith]

Some musical happenings are noteworthy because they’re never repeated. Others, like this team-up between Chris Forsyth and Garcia Peoples, are always as welcome as the first time. These artists have collaborated before — most notably, for NYC, at Nublu a little while back — and their comfort level with each other is evident. While the Nublu show featured Forsyth lending a hand to GP for their album release, here they returned the favor as Chris’ backing band, powering through Neil Young’s “Barstool Blues” right on through some of the standout moments on Forsyth’s latest, All Time Present (in particular, dig this version of “Mystic Mountain”). This being an NYCTaper presents show at Market Hotel, there was no curfew and no time limit, and the band took full advantage, including another digressive, head-spinning nearly half-hour version of “Techno Top” that called back to the Nublu outing.

While these artists may approach their sound from somewhat different starting points, there’s no question that their complimentary styles make for a unique and compelling package. If you happen to be in town for a Forsyth show anytime soon, he’s been appearing with a few different bands, so don’t be surprised if you get a completely different flavor on your next go round!

I recorded this set with Neumann KM150 microphones far forward of the soundboard, and a soundboard feed from house engineer RL. The sound quality is excellent. Enjoy!

Download the complete show from its Live Music Archive page.

Chris Forsyth & Garcia Peoples
2019-07-27
Market Hotel
Brooklyn, NY USA

Presented by NYCTaper

Recorded and produced by acidjack

Neumann KM150 + Soundboard (Engineer: RL)>Zoom F8>2x24bit WAV>Adobe Audition CC>Izotope Ozone 5>Audacity 2.3.1>FLAC ( level 8 )

Tracks
01 [Banter/Happy Birthday]
02 Barstool Blues [Neil Young]
03 Tomorrow Might As Well be Today
04 Mystic Mountain
05 Dream Song
06 [banter2]
07 Dreaming in the Non-Dream
08 [banter3]
09 Techno Top

PLEASE SUPPORT CHRIS FORSYTH & GARCIA PEOPLES: Buy Forsyth’s All Time Present | Buy Garcia Peoples’ Natural Facts

Dire Wolves: July 27, 2019 Market Hotel (NYCTaper Presents)

August 1, 2019
By

Dire Wolves (in its various incarnations, this one being the Exactly Perfect Sisters Band) is one of those West Coast treats we don’t get too often, so when bandleader Jeffrey Alexander brings any version of the band to town, we make sure not to miss it. This has been a prolific year for the band in NYC, with shows both at Nublu in May and Union Pool in February. We aren’t complaining — their shows come with the expectation of high originality and little repetition (in the case of those last two shows, exactly one song).

On this night at Market Hotel, presented by this site, Dire Wolves came bearing a special guest, Sunwatchers saxophonist Jeff Tobias, and a new album to jam, courtesy of our friends at Beyond Beyond is Beyond. That record, Grow Towards the Light, was represented here by “I Control the Weather” — its leadoff and arguably most accessible track, if “accessible” is a meaningful thing to say about a band whose proclivities take them into all kinds of different avant-garde spaces. The night’s opener, “Archons at the Gates of BSHWCK” began with a tribal drone that evolved into a piece of alt-universe jazz fusion, with Georgia Carbone’s vocals sung in an invented language that gave form to the music without a prescribed meaning. The subsequent “I Control the Weather>Love Everybody (For Moses)>Vibrational North Star” combo built on that impeccable start, leading to perhaps the most transporting Dire Wolves performance I’ve seen yet.

I recorded this set with Neumann KM150 microphones mounted near the stage, together with a soundboard feed from house FOH RL. The sound quality is excellent. Enjoy!

Download the complete show from its Live Music Archive page

Dire Wolves
2019-07-27
Market Hotel
Brooklyn, NY USA

Presented by NYCTaper

Recorded and produced by acidjack

Neumann KM150 + Soundboard (Engineer: RL)>Zoom F8>2x24bit WAV>Adobe Audition CC>Izotope Ozone 5>Audacity 2.3.1>FLAC ( level 8 )

Tracks [Total Time 53:40]
01 Archons at the Gates of BSHWCK
02 I Control The Weather>Love Everybody (For Moses)>Vibrational North Star

PLEASE SUPPORT Dire Wolves: Buy Grow Towards the Light | Buy their other records

Ryley Walker feat. Garcia Peoples: June 20, 2019 Rocks Off Concert Cruise

June 21, 2019
By

When you’re already committed to playing a show on a low-ceilinged boat with stripper(?) poles and questionable stabilizers, you might as well take some risks musically, too. Last Saturday’s Rocks Off Concert Cruise with Garcia Peoples (recorded live by yours truly, natch) was a choppy-watered success, but I didn’t expect to be back on that boat quite so soon.

But the return of Ryley Walker to a New York stage (even if a floating one), coupled with the fact that his backing band would in fact be Garcia Peoples, was more than enough justification. If the weather outdoors was a bit more inconsistent this go round, the water presented fewer challenges and the vibes onstage were good as ever.

What we got here were two extended solo versions of “Summer Dress” (firmly back in the rotation, it seems) and “The Roundabout,” including an expanded take on Ryley’s hilarious Nick Drake imitation (practically daring him to turn this thing into an actual song). Walker looked strong and in command up there after a little time off, and in excellent spirits even when some rough water stumbled him away from the mic once or twice. After that set, the boat-tested crew from GP came and joined Walker for a thirty-five minute collab of psychedelia, drone, and other genres that Ryley’s Twitter will surely make jokes about this morning. The jam made an already-unusual show completely one of a kind, and yet another example of how with Ryley on center stage, you really don’t ever know quite what you’re gonna get.

Given the challenging acoustics of the boat, I recorded this set up close with Schoeps MK4V microphones in a mobile setup. That turned out to be a good decision — the sound quality is excellent. Hope you dig it!

Download the complete show from its page on the Live Music Archive

Ryley Walker feat. Garcia Peoples
2019-06-20
Rocks Off Concert Cruise
The Lucille
New York, NY USA

Recorded and produced by acidjack for nyctaper.com

Schoeps MK4V (FOB, DFC, DIN)>KCY>Z-PFA>Sound Devices MixPre6>24/48 WAV>Adobe Audition CC>Izotope Ozone 5>Audacity>FLAC ( level 8 )

Tracks [Total Time 57:40]
01 [intro]
02 Summer Dress
03 [banter-pirate band]
04 The Roundabout
05 Rocks Off Jam

PLEASE SUPPORT RYLEY WALKER: Bandcamp | Dead Oceans

Garcia Peoples: June 15, 2019 Rocks Off Concert Cruise

June 18, 2019
By

Many bands struggle to display excellent musicianship when they’re standing on solid ground. An even smaller percentage can pull it off when they’re literally rocking and rolling on the second floor of the stern of a tourist boat. Garcia Peoples hopped aboard the Lucille, temporarily purposed for a Rocks Off Concert Cruise, and showed why they continue to be one of the most compelling live bands in New York today — even when they can hardly stand up straight.

You might think it hard for a band to compete with the obligatory water view of the Statue of Liberty and some unexpected fireworks over the East River, but Garcia Peoples know their audience. Hearing a jammer of a “Total Yang” (from their current release, Natural Facts) transition into the new “Hourglass” as the Manhattan skyline coasts by was a special treat, as was the brand-new song “Hotwire,” played for the very first time live on this boat. Sure you could stand outside and count the number of high-rise foreign money laundering residential towers going up all over the city’s central isle, but you’d have been a fool to miss any of the action indoors, made all the more special by the stand-in of our bud Hans Chew for the band’s often-keyboardist Patrick Gubler aka P.G. Six.

There were times during this set where things seemed sure to come unglued, through no fault of the band’s own — boat wakes can make for some rough water. But that was ultimately the one-of-a-kind thrill of this set — the added physical challenge of playing in this environment (even the audience did a lot of swaying and grabbing solid objects) makes you even more impressed with what these guys can accomplish.

I recorded this set with Schoeps MK5 cardiod microphones and a limited soundboard feed. A boat isn’t the best place to jam from a standing-up-straight or sound quality perspective, but it’s still a good quality listen. Enjoy!

Thanks to Beyond Beyond Is Beyond and Garcia Peoples for making this happen!

Download the complete set from its Live Music Archive page

Garcia Peoples
2019-06-15
Rocks Off Concert Cruise
The Lucille
New York, NY USA

Recorded and produced by acidjack for nyctaper.com

Schoeps MK5c (at SBD, ROC, PAS)>KC5>CMC6 + Soundboard>>Sound Devices MixPre 6>24/48 polyWAV>Adobe Audition CC>Izotope Ozone 5>Audacity 2.3.0>FLAC ( level 8 )

Tracks [Total Time 1:08:16]
01 bon voyage jam>
02 High Noon Violence
03 Feel So Great>
04 Break Me Down
05 [banter]
06 Hotwire
07 The Spiraling
08 Total Yang
09 Hourglass
10 Show Your Troubles Out

w/ Hans Chew on keyboards

PLEASE SUPPORT GARCIA PEOPLES: bandcamp | Twitter

Wooden Shjips: May 22, 2019 Brooklyn Bowl

May 24, 2019
By

We here at nyctaper are fans of all things Ripley Johnson. Of late, that’s meant attending the shows of his excellent project Moon Duo, who’ve graced us here in NYC several times in the past few years. But as for his larger vehicle Wooden Shjips, it’s been since 2012 that we’ve caught a live show by the band.

I’m happy to say that drought has now ended, with a show worthy of the wait. Ripley and his bandmates rolled into Brooklyn Bowl with purpose and a light show that almost made you forget you were in a bowling alley. This set spanned the band’s entire career, including their most accessible album to date, V. Two of that album’s strongest songs, “Ride On” and “Staring at the Sun,” provided a mellow tempo downshift in the middle of a set that was largely a burner, including the very-early album track “Death’s Not Your Friend” into a Ripley-fied version of the VU’s “What Goes On” to close out the main set. Not to be ignored, too, is the band’s cover of New Zealand psych lords Snapper’s “Buddy,” which we’d last seen them play in 2011.

Ripley has another important piece of news today: It’s the release date of his latest project, Rose City Band, the name a nod to his current hometown of Portland. Hopefully we’ll be seeing them around these parts before too long — and it’ll be a shorter distance between our next cruise with the Shjips.

I recorded this set with MBHO microphones up front in the venue. The sound quality is excellent. Hope you dig it!

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

Wooden Shjips
2019-05-22
Brooklyn Bowl
Brooklyn, NY USA

Recorded and produced by acidjack for nyctaper.com

MBHO KA200N>MBP603a (FOB, ROC)>Sound Devices MixPre 6>24/48 WAV>Adobe Audition CC>Izotope Ozone 5>Audacity 2.2.2>FLAC ( level 8 )

Tracks [Total Time: 1:14:44]
01 Eclipse
02 In the Fall
03 For So Long
04 Other Stars
05 Ride On
06 Staring at the Sun
07 Motorbike
08 Ghouls
09 Lazy Bones
10 Death’s Not Your Friend>What Goes On
11 These Shadows
12 Buddy [Snapper]

PLEASE SUPPORT Wooden Shjips: Buy their records from Thrill Jockey | Website

Ryley Walker / David Grubbs / Ryan Jewell / C. Spencer Yeh: March 26, 2019 Union Pool

April 15, 2019
By

Ryley Walker’s March residency at Union Pool covered all the bases of Walker’s sound, from relatively “straight-ahead” song-based performances to instrumental blowouts with friends and colleagues like Ryan Jewell and Steve Gunn. Count this final night’s performance firmly in the latter camp, as Walker and residency mainstay Jewell were joined by David Grubbs (Gastr del Sol, others) and C. Spencer Yeh (Burning Star Core) for a full set of avant-garde experimentation that found Walker stepping away from the mic but fully present as guitarist and spiritual force.

Ryley Walker’s March residency at Union Pool covered all the bases of Walker’s sound, from relatively “straight-ahead” song-based performances to instrumental blowouts with friends and colleagues like Ryan Jewell and Steve Gunn. Count this final night’s performance firmly in the latter camp, as Walker and residency mainstay Jewell were joined by David Grubbs (Gastr del Sol, others) and C. Spencer Yeh (Burning Star Core) for a full set of avant-garde experimentation that found Walker stepping away from the mic but fully present as guitarist and spiritual force.

Over the course of these residency shows (plus bonus Queens show), I’ve said my piece about Ryley Walker and “who” he is musically, so I won’t belabor the point. Suffice it to say that even if you follow all things Walker, this unique collaboration is a standout, something not likely to be repeated. Walker made it known what an honor it was for him to play with these musicians. It was equally our honor to have heard it.

I recorded this set in the same manner as the other Union Pool shows, with Doug Graham’s outstanding house mix leading the way. Enjoy!

Thanks to Union Pool and Will S for continuing to book and host interesting and experimental music in north Brooklyn.

Download the complete show from its Live Music Archive page.

Ryley Walker/David Grubbs/Ryan Jewell/C. Spencer Yeh
2019-03-26 (Residency Night 4)
Union Pool
Brooklyn, NY  USA

Recorded and produced by acidjack

Soundboard (engineer: Doug Graham) + Schoeps MK5c (XY, at SBD)>KC5>CMC6>>Sound Devices MixPre 6>24/48 polyWAV>Adobe Audition CC>Izotope Ozone 5>Audacity 2.3.0>FLAC ( level 8 )

Tracks
01 UP Quartet Jam Pt 1
02 UP Quartet Jam Pt 2
03 UP Quartet Jam Pt 3
04 UP Quartet Jam Pt 4
05 UP Quartet Jam Pt 5

PLEASE SUPPORT RYLEY WALKER: Bandcamp | Dead Oceans

Garcia Peoples: March 24, 2019 Trans-Pecos

April 3, 2019
By

Those in the know around these parts have probably seen Garcia Peoples a handful of times or more by now — they’ve maintained a hyperkinetic schedule of local and tour shows that would be the envy of any hungry young band.

Listen to this set from Trans-Pecos a couple Sundays ago and you can understand why no promoter ever says no to these guys . This band is absolutely on fire right now, its players dialed in to a level that normally takes years. Being a private event, this was a “play what you want” set for the band, and they took that to heart, leading off with an extended improv that transitioned into their cover of “Laila Pt 2” by Agitation Free (which we first heard at Union Pool) followed by “High Noon Violence” from their brand-new breakout album, Natural Facts. After a spot-on “Total Yang,” the band were joined by Ryley Walker for an extended 16-minute improv that found Walker joining Tom Malach and Danny Arakaki as a third guitarist. Adding to the special nature of the proceedings, the band was joined by semi-regular member Pat Gubler (aka P.G. Six) on keys.

As the writer Jesse Jarnow memorably puts it, Garcia Peoples are “your heady, friendly reminder that it’s alright to let the sunshine in”. Arakaki, Malach, Derek Spaldo (bass) and Cesar Arakaki (drums) are after something here that’s so much more than being a Grateful Dead-referencing tribute band. In fact, their principal resemblance to a musician named Garcia is that each of these guys are skilled musicians with a hot improvisational streak, rarely playing a song the same way twice. Their sound lives in a zone all its own, and seems sure to cast a wide net far beyond the GD/Phish crowd. It’s no accident that they cover the likes of Agitation Free and Relatively Clean Rivers more frequently than, say, this alchemical rendition of “The Other One” with Chris Forsyth.

So yes, New York-based heads will probably end up seeing Garcia Peoples whether they specifically plan to or not. But really, you ought to plan to. A band this good should be top of mind for anyone who cares about how the best live music should sound.

I recorded this set with a soundboard feed and Schoeps MK5 cardiod microphones onstage. The sound quality is excellent. Enjoy!

Download the complete show from its Live Music Archive page.

Garcia Peoples
2019-03-24
Trans-Pecos
Queens, NY  USA

Recorded and produced by acidjack

Schoeps MK5c (onstage, XY)>KC5>CMC6 + Soundboard>>Sound Devices MixPre6>24/48 polyWAV>Adobe Audition CC>Izotope Ozone 5>Audacity 2.3.0>FLAC ( level 8 )

Tracks
01 Jam>
02 Laila Pt. 2 [Agitation Free]>
03 High Noon Violence
04 [banter]
05 Total Yang
06 Pecos jam*

* w/ Ryley Walker

PLEASE SUPPORT GARCIA PEOPLES: bandcamp | Facebook

Ryley Walker & Ryan Jewell: March 24, 2019 Trans-Pecos

April 2, 2019
By

Making music is an act of generosity — the sharing of your inner self with a public that may or may not appreciate or understand it. The music in the world that is great is also the music in which the artist is most honest with her/himself. Honesty often means getting close to the dark places inside you.

Ryley Walker’s music has always embodied a certain conflict. When Walker takes a fairly straightforward folk-rock album track and turns it into a live 15-minute jazz-psych freakout, I don’t think the change is just about the “freedom” of the live setting or a fundamental dislike of the album track. Maybe that’s part of it, but I see a contest of impulses — to be a commercially approachable troubadour or the more esoteric, improvisational player he’s been since his career began. Do you want to be the guy who wears British tailoring in leafy photo shoots, or do you want to be the guy who uses his trio show with Ryan Jewell and Steve Gunn to play 50 minutes of psych jams? Walker is both of those things — he’s good at being both of those things — but one gets the sense that he isn’t totally comfortable living solely as either. I get it: A lot of us want to be more than our headline.

There’s a well-known paradox of the “sad clown” — that people who are funny are often people who aren’t happy. Anyone who has caught Ryley live or read him in Vice or reads his Twitter knows that he is certainly the former: he can be very, very funny. Listen to his lyrics as sung, and you might be surprised: Most of Walker’s songs are varying degrees of melancholic. Even a whimsical-sounding tune like “Summer Dress,” if you listen to his delivery, is more anxious than it seems: for a person with a belly full of wine singing about green pastures of desire, the narrator sounds ill at ease. The song is especially vivid for me because it’s the first one I ever heard Ryley Walker play. That very first song lacerated me; I believed the voice I heard.

Generosity. It’s sharing those darkest places in yourself, but it’s also playing a huge fan’s birthday party at Trans-Pecos in the middle of the day, even though you’ve got another show in town that Tuesday (which ends up being a jaw-dropping improv set with Jewell, David Grubbs, and C. Spencer Yeh—check back here soon). This set (a duo of Walker and Jewell) encapsulated all of the different sides of Ryley Walker at once — from his best-known song (and total live jammer) “The Roundabout” to the not-often-played-anymore “Summer Dress,” to the ending jam, which hews closer to his most recent Union Pool shows — and also kills.

That Walker puts his conflicts out there for everyone to see is not a flaw, nor is one choice he makes more true or “real” than another. They’re who and what he is — honest to the point of ache, always pushing to be something more. The late 2010s don’t feel like a moment for generous spirits, but you don’t choose when you’re born, anymore than you choose to whom, or where. Yet here he is: a generous spirit, one for whom, on this particular day, I was especially grateful.

Download the complete set from its page on the Live Music Archive.

Ryley Walker & Ryan Jewell
2019-03-24
Trans-Pecos
Queens, NY  USA

Recorded and produced by acidjack

Soundboard + Schoeps MK5c (onstage, XY)>KC5>CMC6>>Sound Devices MixPre6>24/48 polyWAV>Adobe Audition CC>Izotope Ozone 5>Audacity 2.3.0>FLAC ( level 8 )

Tracks
01 The Roundabout
02 [banter]
03 Summer Dress
04 [American Primitive rap]
05 Primrose Green
06 [HBD]
07 Pecos psych jam

PLEASE SUPPORT RYLEY WALKER: Bandcamp | Dead Oceans

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