Blog Archives

Chuck Johnson: March 24, 2016 Union Pool and March 29, 2016 Trans-Pecos

April 29, 2016
By

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We saw a lot of our friend Chuck Johnson lately, between his one-of-a-kind full band performance at the Three Lobed Sweet Sixteen Spectacular, to these two NYC shows, the latter of which we sponsored. Both of these performances — the first at Union Pool, the second at Trans-Pecos — showcased Chuck’s recent album on Trouble In Mind Records, Velvet Arc. It’s a more electric-focused project than some of his other recent work, but continues with their strong sense of narrative, and Chuck’s refreshing, ingenious phrasing. We were grateful that Chuck was able to make time for two New York performances — and that we were able to sponsor one of them. Chuck is back out west and off the tour trail for a bit, but we’ll be waiting for his return.

The Union Pool set was recorded by EricPH in our usual manner in the venue, with engineer Doug’s soundboard feed and AKG microphones. The Trans-Pecos show was recorded with Schoeps MK4V microphones at the stage lip only. The sound quality of both is excellent. Enjoy!

Download the Union Pool show: [MP3/FLAC]

Download the Trans-Pecos show: [MP3/FLAC/ALAC]

Stream the complete shows:

Chuck Johnson
2016-03-24
Union Pool
Brooklyn, NY

Exclusive download hosted at nyctaper.com
Recorded and produced by Eric PH

Soundboard (engineer: Doug) + 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 [37:43]
01. Florets
02. [tuning]
03. Sail Away Ladies
04. [tuning]
05. Anamet
06. Middle Water
07. [tuning]
08. Velvet Arc

________________________

Chuck Johnson
2016-03-29
Trans-Pecos
Queens, NY USA

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

Schoeps MK4V (stage lip)>NBob Cables>PFA>Zoom F8>24bit/48kHz WAV>Adobe Audition CS 5.5 (align, mix down, compression)>Izotope Ozone 5 (EQ, effects)>Audacity 2.0.3 (track, amplify, balance, downsample, dither)>FLAC ( level 8 )

Tracks
01 Florets [fades in]
02 [tuning]
03 Sailaway Ladies
04 [tuning2]
05 Anamet
06 Middle Water
07 Velvet Arc

Support Chuck Johnson: Website | bandcamp | Trouble In Mind Records 

Lee Ranaldo: March 29, 2016 Trans-Pecos

April 28, 2016
By

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One of those only-in-New York things: you’re out in Ridgewood on a Tuesday night to see a solo guitar player (Chuck Johnson), and the opening act is freaking Lee Ranaldo. Since the demise of Sonic Youth, Lee has been a busy man, putting out two well-received solo records. If these new songs are any guide, there’s going to be a lot more where that came from. What’s striking about seeing Ranaldo in the many settings where we’ve seen him — from the Sonic Youth days to a mind-bending improv performance with Tim Barnes at the opening of Market Hotel, to this solo acoustic performance at Trans-Pecos — is the assuredness with which he plays, the singular dedication and quality that comes through in every single thing he does. The decades under his belt as a professional musician serve not to weigh him down, but as with the finest artists, to free him to do exactly what he chooses, when he chooses, and do it well. These new songs show Lee’s continuing development during the post-Sonic Youth Between the Times & the Tides and Last Night On Earth era, when Ranaldo first embraced more straight-ahead songwriting in the solo realm versus his previous experimental efforts. While we’ve heard “Let’s Start Again” before, at last year’s Trans-Pecos show, the rest of these songs were new numbers, some of which Lee has tried out sporadically at other appearances. Even in their stripped-down form, the complexity and strength of these songs was obvious, and Ranaldo’s vocals have never sounded better. This was a welcome burst of energy from a master of his craft; we can’t wait to see what comes next.

I recorded this set with Schoeps MK4V microphones at the stage lip near Lee and his guitar, coupled with a soundboard feed and Audio Technica 853 microphones in the audience to capture the ambiance of the room. The sound quality is excellent. Enjoy!

Download the complete set: [MP3/FLAC]

Stream the complete set: 

Lee Ranaldo
2016-03-29
Trans-Pecos
Queens, NY USA

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

Soundboard + Schoeps MK4V (stage lip, DFC) + Audio Technica 853c>PFA (ROC, at SBD)>>Zoom F8>3x24bit/48kHz WAV>Adobe Audition CS 5.5 (align, mix down, compression)>Izotope Ozone 5 (EQ, effects)>Audacity 2.0.5 (track, amplify, balance, downsample, dither)>FLAC ( level 8 )

Tracks [Total Time 31:11]
01 [intro]
02 Let’s Start Again
03 Circular
04 Electric Trim
05 Last Looks
06 Thrown Over the Wall

SUPPORT Lee Ranaldo: Website | Store

Waco Brothers: April 13, 2016 Union Hall

April 25, 2016
By

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Correspondent NeilD writes:

The Waco Brothers may be credited as the godfathers of “insurgent country” — they were set to release the first single on Chicago’s Bloodshot Records back in 1995 until it turned out some members were out of town, leaving Waco co-frontman Jon Langford to go it alone — but their influences have always been far broader than just taking classic country and infusing it with punk energy. A quick perusal of their nine-album oeuvre turns up covers of songs by Johnny Cash and Roy Acuff, sure, but also Neil Young, Gram Parsons, T. Rex, and even Syd Barrett-era Pink Floyd; their latest and first full album in more than ten years, “Going Down in History,” matches a strong set of typically astringent originals with covers of both Texas cowpunk pioneer Jon Dee Graham (“Orphan Song”) and the Small Faces (“All or Nothing”), with the album dedicated to the latter’s keyboard player Ian McLagan, who died a little over a year ago.

The Wacos were born and raised in tiny Chicago bars (the original genesis of the band was as a way for Jon and fellow guitarist/vocalist Dean Schlabowske to earn free drinks), which made the Brooklyn stop on this tour altogether appropriate: With its stated 100-person capacity stretched to the breaking point and the volume cranked up way past 11, Union Hall was sweaty and ear-shattering throughout this hour-and-a-half set. Highlights included an outstanding “Walking on Hell’s Roof” from 2000’s Electric Waco Chair — with a blistering violin solo courtesy of guest Waco and frequent Langford collaborator Jean Cook — plus a healthy sampling of songs from the new album, including Schlabowske’s hauntingly catchy “Receiver,” Tracey Dear channeling the Clash’s Mick Jones more than ever on “Had Enough,” and Langford’s “Building Our Own Prison,” with its takedowns of big-box-store culture and Malvina Reynolds-inspired “tick-tack, clackity-clack” refrain. For the encore, drummer Joe Camarillo ceded the drum throne to founding Waco (and longtime Mekon) Steve Goulding, as the band kicked into a song that started out as a mashup of “Pinball Wizard” and “Folsom Prison Blues,” before veering off into those covers of “Interstellar Overdrive” and “20th Century Boy” that were staples of the Wacos live playbook long before showing up on last year’s covers album “Cabaret Showtime.”

The set was recorded with AT-853 mics suspended from the Union Hall ceiling, mixed with a board feed. Huge thanks to Union Hall soundman Alex, to venue booker Shannon Manning (not just for bringing the Wacos to Brooklyn and for her support of NYCTaper but for the timely supply of a chair so I could reach the aforementioned ceiling), and to Langford, Schlabowske, Dear, Camarillo, Cook, and Alan Doughty for reinvigorating the band after a long semi-hiatus.

Download the complete show from its page on the Live Music Archive: [MP3] [FLAC]

Stream the complete show:

Waco Brothers

Union Hall
Brooklyn, NY
April 13, 2016

Soundboard > Sony PCM-M10 > WAV (24/48) + AT853 cardioid mics > SP-SPSB-1 battery box > Sony PCM-M10 > WAV (24/48) > Sound Studio (light dynamic compression and mixing) > FLAC (16/44.1) > Tag > FLAC
Recorded and mastered by neil d

01 intro
02 See Willy Fly By
03 Red Brick Wall
04 Had Enough
05 Receiver
06 Going Down in History
07 Harm’s Way
08 Pigsville
09 Devil’s Day
10 Too Sweet to Die
11 Walking on Hell’s Roof
12 All or Nothing
13 Plenty Tough and Union Made
14 Fox River
15 Building Our Own Prison
16 I Fought the Law
17 Revolution Blues
18 Do You Think About Me
19 Orphan Song
20 White Lightning
21 Big River
22 Pinball Wizard/Folsom Prison Blues/Interstellar Overdrive/20th Century Boy

You can learn more about the Wacos and purchase their albums at:

http://wacobrothers.com/wb/
https://www.bloodshotrecords.com/artist/waco-brothers
https://wacobrothers.bandcamp.com/

Courtesy Tier: March 30, 2016 Trans-Pecos

April 22, 2016
By

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It took an impromptu interview with two of us and the band Courtesy Tier for me to realize that we had been following them for six years. Having first impressed at a Backyard Brunch Session, then at our CMJ show, we were struck early on by the easy interplay between Layton Weedeman and Omer Leibovitz who, being a duo who play blues-driven rock n’ roll, earn easy comparisons to The Black Keys. But at the 2015 Rough Trade show we wrote about recently, the band had expanded to a three piece, and with Alex Picca on bass, the three became more than the sum of their parts. The band is promoting their Little Rock EP, in anticipation of a full-length album they are hard at work on, and we were thrilled to have them join us to preview some of that material such as their new single, “When You Were Young.”

While they may share a gulf in years with Wussy, for whom they opened this Trans-Pecos show, Courtesy Tier share many good qualities with their stagemates that night: an unpretentious, quality-based approach to music; an ability to write distinct, memorable songs around a cohesive sound; and a general ability to grab control of a room. I’d hazard that much of the audience at this show was new to Courtesy Tier, so we knew we’d made the right pick for an opener as we watched the crowd grow throughout their set, rather than the all-too-common flight for the bar. But then, you’d have had to be crazy to bolt during any of these songs, from the propulsive kickoff track and longtime band favorite “Cold” to the lighters-in-the-air closeout singalong, “Home.”

As with the Wussy set, I recorded this with Schoeps MK4Vs at the stage lip, Neumann KM150s on the room, and a soundboard feed from David Fine. The quality is outstanding. Enjoy!

Download the complete show: [MP3/FLAC]

Stream the complete show: 

Courtesy Tier
2016-03-30
Trans-Pecos
Queens, NY USA

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

Schoeps MK4V>NBob Cables>PFA>Aeta PSP3 + Soundboard (engineer: David Fine) + Neumann KM150 (at SBD, ROC, PAS)>>Zoom F8>6x24bit/48kHz WAV>Adobe Audition CS 5.5 (align, mix down, adjust levels)>Izotope Ozone 5 (EQ, compression, tube effect)>Audacity 2.0.3 (track, amplify, balance, downsample, dither)>FLAC ( level 8 )

Tracks
01 Cold
02 [removed]
03 [banter1]
04 Childish Blues
05 And We Don’t Know
06 [banter2]
07 When You Were Young
08 Jackson
09 Roll On
10 [banter3]
11 Home

SUPPORT Courtesy Tier: Website | Facebook | Get “When You Were Young”

Gunn-Truscinski Duo: March 26, 2016 Three Lobed Sweet Sixteen Spectacular, King’s (Raleigh, NC)

April 20, 2016
By

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[photo courtesy of David Schwentker]

Though his solo career has been the (very successful) focus of late, many of us were first exposed to the virtuosic guitar playing of Steve Gunn via his perfect pairing with the drummer John Truscinski. The duo produced a pair of outstanding albums on Three Lobed RecordingsSand City and the masterstroke Ocean Parkway, each with an indelible connection to desert blues, Indian ragas, American folk, and psychedelia. By our count, though, their last live shows doing this music were in 2012, including the Hopscotch Music Festival and 285 Kent shows that appeared on this site.

That made it especially exciting to experience the group’s return to a stage where we’ve seen them before — at King’s in Raleigh, NC. This time, we were celebrating the sixteenth anniversary of Three Lobed Recordings, and in a sense, the reissue of both of the duo’s albums by the label this year. Building on Gunn’s dynamic afternoon solo set, the pair gifted us three songs filled with precise interplay and hypnotic guitar work. Gunn dug deep on the guitar work during “Ocean Parkway” and “Banh Mi Ringtones,” the latter’s signature melody leading the pair into an explosive, noisy jam that iced the cake for those of us who love seeing these two play together about equally to our love for Gunn’s solo outings. After “Banh Mi” wound back to its subtler beginnings, the pair closed with “Wythe Raag” from Sand City, which managed to evoke both the namesake Brooklyn street and legendary musical style for which it’s named. That number likewise came in the three parts, building to another sprawling noise climax before its mystical, melodic closing. As Gunn prepares to tour his new record, we hope these two will find time to continue to work together — it’s something not to be missed.

I recorded this set as with the other sets from the day, with a combination of multiple soundboard channels from engineer Brad  Womack’s feed, together with onstage Schoeps MK22 mics and mounted MBHO mics in the center of the room. The sound quality is simply phenomenal. Enjoy!

Download the complete show: [MP3/FLAC]

Stream the complete show:

Gunn-Truscinski Duo
2016-03-26
Three Lobed Sweet Sixteen Spectacular
Kingís
Raleigh, NC USA

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

4x Soundboard channels (engineer: Brad Womack) + MBHO 603a/KA200N (FOB, DFC, PAS) + Schoeps MK22 (onstage, ORTF, DFC)>KC5>CMC6>Aeta PSP3 >> Zoom F8>8x24bit/48kHz WAV>Adobe Audition CS 5.5 (align, mix down, compression)>Izotope Ozone 5 (EQ, effects)>Audacity 2.0.3 (track, amplify, balance, downsample, dither)>FLAC ( level 8 )

Tracks
01 [intro]
02 Ocean Parkway
03 [tuning]
04 Banh Mi Ringtones
05 Wythe Raag

PLEASE SUPPORT Gunn-Truscinski Duo, visit Steve Gunn’s website, and purchase the new Ocean Parkway/Sanc City re-release and their other releases directly from Three Lobed [HERE]

The Mountain Goats: April 17, 2016 City Winery

April 18, 2016
By

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[photo courtesy of music_defined‘s instagram page]

As noted in our review of the New Haven show, the concept of this Mountain Goats tour grew up around the band’s City Winery gigs of last year, of which we recorded both. That the band found inspiration in this particular room isn’t surprising; while some younger fans may not be used to seeing bands in more sedate environments, this venue must be an absolute dream for any performer who plays a wide dynamic range of music and whose fans hang on every word. The Mountain Goats took the stage at one of last year’s shows not with the type of upbeat number you’d need to launch a typical club gig, but with the gorgeous “Get Lonely,” which set the tone for an evening of wide-ranging sounds and deep catalog dives. Yes, the pro-wrestling-themed Beat the Champ made a few appearances, including a stripped-down take on “Foreign Object” and an inspired “Werewolf Gimmick,” and an encore of “Southwestern Territory,” but the deep dives were the real meat of the evening. John Darnielle reached all the way back to 1993 for “Water Song II,” followed by “Horseradish Road,” from 2000’s Coroner’s Gambit, played so rarely of late that Darnielle skipped a verse. Not that a rough spot here or there matters; only the hardest heart wouldn’t have wept at the night’s fragile, emotional peak, from “Steal Smoked Fish,” followed by “Black Pear Tree,” to “Lakeside View Apartments Suite” to “Ezekiel 7 and the Permanent Efficacy of Grace,” the night’s most musically dense number, and a note of hope.

Among many gifts, Darnielle’s ability to swing from spinning metaphors about wrestling to such deep emotional fare, and back to lighter-hearted territory like “Damn These Vampires.” Despite the seriousness of the material, Darnielle’s freewheeling, conversational style with his audience makes the show itself intimate and light; especially in this seated, dinner situation, it feels like being part of a very large living room show. And, as we’ve noted before, Jon Wurster’s drums, Peter Hughes’ bass and multi-instrumentalist Matt Douglas give Darnielle a backdrop that adds discipline and welcome twists to both new and old songs.

Darnielle closed with one of the band’s most poignant recent numbers, “Spent Gladiator 2.” As with “No Children,” the closer of the 4/12/15 City Winery show, Darnielle performed most of the song in the audience,  circling through the crowd, singing the lyrics without amplification. That refrain, to stay alive, just stay alive, felt like both the universal plea that it is and a personal one to each of us. If you were lucky enough to be sitting there, having taken in this exceptional hour and a half, you knew life was worth living.

I recorded this set with a feed of engineer Brandon Eggleston’s live mix, together with Schoeps MK41V microphones mounted on a post forward of the board. The sound quality, as with all of our City Winery recordings of this band, is exceptional. Enjoy!

Download the complete show from its page on the Live Music Archive: [MP3] | [FLAC]

The Mountain Goats
2016-04-17
City Winery
New York, NY USA

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

Soundboard (engineer: Brandon Eggleston) + Schoeps MK41V (FOB, ROC, PAS)>KC5>CMC6>>Zoom F8>2x24bit/48kHz WAV>Adobe Audition CS 5.5 (align, mix
down, adjust levels, light compression)>Izotope Ozone 5 (EQ, effects, image)>Audacity 2.0.5 (track, amplify, balance, downsample, dither)>FLAC (
level 8 )

Tracks [Total TIme: 1:32:53]
01 Woke Up New
02 Until I Am Whole
03 Maize Stalk Drinking Blood
04 [banter1]
05 Werewolf Gimmick
06 Get Lonely
07 [banter2]
08 Foreign Object
09 [banter3]
10 Water Song II
11 Horseradish Road
12 Steal Smoked Fish
13 Black Pear Tree
14 Lakeside View Apartments Suite
15 Ezekiel 7 and the Permanent Efficacy of Grace
16 Wild Sage
17 Damn These Vampires
18 Game Shows Touch Our Lives
19 See America Right
20 The Young Thousands
21 Liza Forever Minnelli
22 [encore break]
23 Southwestern Territory
24 Up the Wolves
25 [banter4]
26 No Children
27 [banter5]
28 Spent Gladiator 2

SUPPORT the Mountain Goats: Website | Twitter | Buy Official Releases | Tour Dates

tmg-JLB

Acid Mothers Temple: April 6, 2016 Knitting Factory

April 14, 2016
By

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Each Acid Mothers Temple performance is special in some way, but this year’s New York jaunt was notable for the arrival of a greater-than-usual number of new songs. In the case of this Knitting Factory show, after a wild “Dark Star Blues in the Dazzling Sky” came the first of those new jams, “Wizard,” a psycho-blues number whose harmonica intro hurtles into a spasm of guitars.

In fact, a majority of this set was built around new material, though of course the usual standouts “Pink Lady Lemonade” and “Cometary Orbital Drive” also made an appearance. If you checked out our recording of the Mercury Lounge show from the day before this one, you were turned on to “Another Nanique Dimension” and “Blue Velvet Blues” as well as the aforementioned “Wizard,” but this show closed on an even more usual note, with a new, chant-driven number that has not made an appearance (at least in recorded fashion) at any other time so far on this tour. The song highlighted the value of the two female vocalists who joined them on this tour, providing a distinctly Eastern, spiritual slant to the end of the show. The band will wrap up this U.S./Canada jaunt on April 18th in Los Angeles, but we can guarantee they’ll be back next year.

nyctaper and I recorded this set with a combination of Neumann KM150 hypercardiod mics and Schoeps MK4V cardiod mics, combined with a soundboard feed from house engineer Rob. The sound quality is excellent. Enjoy!

Download the complete show from its page on the Live Music Archive: [MP3] | [FLAC]

Stream the complete show:

Acid Mothers Temple
2016-04-06
Knitting Factory
Brooklyn, NY USA

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

Neumann KM150 (ROC, PAS) + Soundboard (engineer: Rob) + Schoeps MK4V (ROC, PAS)>Aeta PSP3>>Zoom F8>6x24bit/48kHz WAV>Adobe Audition CS 5.5 (align, mix down, compression)>Izotope Ozone 5 (EQ, effects)>Audacity 2.0.3 (track, amplify, balance, downsample, dither)>FLAC ( level 8 )

Tracks [Total Time 1:20:50]
01 intro jam>Dark Star Blues in the Dazzling Sky
02 [tuning]
03 Wizard>
04 Pink Lady Lemonade>
05 IAO Chant>
06 Pink Lady Lemonade
07 [tuning2]
08 Blue Velvet Blues
09 Another Nanique Dimension>
10 Cometary Orbital Drive
11 [new song 2]

If you enjoyed this recording, PLEASE SUPPORT Acid Mothers Temple, visit their website, and buy their records here.

Yo La Tengo: April 9, 2016 Landmark Loew’s New Jersey Theatre (Jersey City, NJ)

April 10, 2016
By

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[photo via Bork Lord‘s twitter feed]

Yo La Tengo ended their most recent tour last Saturday at the shabby-chic Landmark Loew’s Jersey Theatre, a cavernous space made intimate by the positive vibes headed from the stage and to it. The usual contingent of longtime fans were out in force for this weekend show, and the band rewarded us with a setlist that reflected their Fade-era habit of dividing the show into acoustic and electric portions. As this tour wasn’t, strictly speaking, to promote last year’s Stuff Like That There, the band jumped around their catalog a good bit more, with the electric set a particularly sweet offering for the more improvisational-minded among us. The extended outro jam on “Before We Run” that led into the slow version of “Big Day Coming” was a strong moment there, as was the segue of “Sudden Organ,” “Autumn Sweater,” “Decora,” and “Ohm” that made up the bulk of the set. But that’s not to slight the acoustic set, either, where the acoustic treatment of “Deeper Into Movies” was particularly affecting, along with new favorites like “Rickety.” By the time the encore came around there were the usual calls for hyper-obscure covers (which the band has served up in abundance on multiple WFMU marathons), most of which were ignored, though we did get Wire’s “Too Late.” The band sent us off, as they often like to do, on a quiet note, with the noisy Electr-O-Pura classic “Tom Courtenay” rendered as a solemn coda with Georgia leading the way on vocals. Now it’s time for the band to enjoy a little downtime and recharge the batteries, as they await a handful of summer festival dates. Meanwhile, we’ll be excited for what they come up with next.

I recorded this set with a soundboard feed from Yo La Tengo engineer Mark Luecke, together with Schoeps MK41V microphones. Given the challenges of the venue acoustics, this relies heavily on Mark’s soundboard feed. The sound quality is, overall, excellent. Enjoy!

Download the complete set: [FLAC/ALAC/MP3]

Stream the complete set:

Yo La Tengo
2016-04-09
Landmark Loews Jersey Theatre
Jersey City, NJ USA

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

Soundboard (engineer: Mark Luecke) + Schoeps MK41V (at SBD, PAS)>KC5>CMC6>>Zoom F8>2x24bit/48kHz WAV>Adobe Audition CS 5.5 (align, re-image SBD, adjust levels, mix down, compression, limiter, fades)>Izotope Ozone 5 (EQ, effects, image)>Audacity 2.0.3 (track, balance, downsample, dither)>FLAC ( level 8 )

Tracks [Total Time 2:13:34]
Set One – Acoustic
01 My Heart’s Not In It [Darlene McCrea]
02 Periodically Double or Triple
03 Rickety
04 Automatic Doom [Special Pillow]
05 Did I Tell You
06 Black Flowers
07 Somebody’s In Love
08 I’ll Be Around
09 Deeper Into Movies
10 I Feel Like Going Home

Set Two – Electric
11 [intro jam]
12 Sugarcube
13 Let’s Save Tony Orlando’s House>
14 Shaker
15 Before We Run>
16 Big Day Coming
17 Sudden Organ>
18 Autumn Sweater>
19 Decora>
20 Ohm
21 Pass the Hatchet, I Think I’m Goodkind
22 [encore break]
23 Drug Test
24 Too Late [Wire]
25 Tom Courtenay (acoustic)

If you enjoyed this recording, PLEASE SUPPORT Yo La Tengo, visit their website, and buy Stuff Like That There and their many other fine releases from Matador Records.

CfpS5pSXEAAFO5c.jpg-large

Steve Gunn: March 26, 2016 Three Lobed Sweet Sixteen Spectacular, King’s (Raleigh, NC)

April 8, 2016
By

gunn-schwentker
[photo by David Schwentker]

In case you live under a rock, Steve Gunn is a pretty big deal in the independent music world. Along with working with Kurt Vile, he’s released a sprawl of killer records, from his duo work with John Truscinski, to his collaborations with Hiss Golden Messenger, Mike Cooper and the Black Twig Pickers, to his work with GHQ, to his singer/songwriter solo work. There is no version of Steve Gunn that isn’t great, that isn’t able to worm its way into your brain and stick there, and maybe make you think in the process.

Like Bardo Pond, Gunn is another artist that Three Lobed Recordings has been aligned with for a long time, and the fact that Steve would take the stage twice at the Three Lobed Sweet Sixteen Spectacular, in celebration of the label’s sixteenth anniversary, says what you need to know about his commitment right back. If (as it would seem) Gunn will prove to be one of the Three Lobed alumni with the greatest popular appeal, it won’t be because he’s abandoned the spirited, inventive and challenging style of playing that early fans have always cherished. The proof of that lies in this single set from King’s, as Steve closed out the morning portion of the day with just three long songs. Sure, “Old Strange” is a bit easier to hum along to than GHQ’s “Four Trees,” but it’s still fifteen freaking minutes long, as played here, with the lyrics and the chorus almost afterthoughts amidst the guitar work that almost makes you forget there’s just one of him up there. That doesn’t discount one of Gunn’s other most-loved and longest epics, “The Lurker (Extended),” which graced the Not the Spaces You Know, But Between Them boxed set on Three Lobed, and arrived in stunning form here. He closed with “Mr. Franklin,” another relatively uncommon number in his current tour repertoire, and readied himself for the second half of this day, when he would join John Truscinski for their first duo set in several years (that recording coming soon).

You owe it to yourself to hear where Steve is going next — preorder Eyes on the Lines here, and check out the new single “Conditions Wild” on YouTube.

I recorded this set in the same manner as the other recordings from the day, with Schoeps MK22 open cardiod microphones onstage, MBHO microphones in the audience, and a multichannel soundboard feed from Justin Perrachon. The sound quality is outstanding. Enjoy!

Download the complete show: [MP3/FLAC]

Stream the complete show:

Steve Gunn
2016-03-26
Three Lobed Sweet Sixteen Spectacular
King’s
Raleigh, NC USA

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

2x Soundboard channels (engineer: Justin Perrachon) + MBHO 603a/KA200N (FOB, DFC, PAS) + Schoeps MK22 (onstage, ORTF, DFC)>KC5>CMC6>Aeta PSP3 >> Zoom F8>6x24bit/48kHz WAV>Adobe Audition CS 5.5 (align, mix down, compression)>Izotope Ozone 5 (EQ, effects)>Audacity 2.0.3 (track, amplify, balance, downsample, dither)>FLAC ( level 8 )

Tracks
01 [intro-Cory Rayborn and Steve Gunn]
02 Old Strange
03 [banter/tuning]
04 The Lurker (Extended)
05 [banter/tuning2]
06 Mr. Franklin

SUPPORT Steve Gunn: Website | Three Lobed Recordings | Paradise of BachelorsPre-Order the New Album

Bardo Pond: March 26, 2016 Three Lobed Sweet Sixteen Spectacular, King’s (Raleigh, NC)

April 6, 2016
By

bardo-schwentker
[photo by David Schwentker]

Sixteen years ago, longtime rabid music fan and newly minted law student Cory Rayborn came up with an audacious, maybe even ridiculous idea: He would press a ten-inch containing some unreleased Bardo Pond material and sell it for money. Anyone who knows much about the economics of record labels, or the vagaries of vinyl production — especially in the vinyl-challenged year 2000 — knows that usually translates to “lose a bunch of money and piss off a bunch of customers in the process.” But a funny thing ended up happening: First there was that Bardo record, Slab, of which the 500-LP run would go on to sell out. Not but another couple releases in came Purposeful Availment, an 8-CD series that also featured Bardo Pond.  Then there was TLR-012, an LP of Bardo Pond playing with Tom Carter, followed in short order by the Cypher Documents CD. Then another CD series, Modern Containment, found Bardo back on Three Lobed, with their Adrop CD. There are more than ten others since, right up to 2014’s Shone Like A Ton and Refulgo releases and their contribution to the Parallelogram series last year. Out of Three Lobed Recordings‘ 117 total current releases, the Philadelphia-based band makes up not only the largest percentage of the label’s releases, but they’re the label’s original reason for being.

Since that first 10″, Three Lobed has grown, but its original mission hasn’t changed. The label has kept things willfully weird, releasing everything from Bardo Pond’s feedback-soaked psychedelia to the drone/free jazz sounds of Glacial (Lee Ranaldo, David Watson and Tony Buck), to the Parallelogram contribution from Alan Bishop, Bill Orcutt and Chris Corsano, capped with its brain-damaged cover of Cream’s “Politican,” to the delicate guitar work of Danny Paul Grody, to his work with Hiss Golden Messenger and Steve Gunn. Both the Three Lobed name and its iconic logo suggest not just an expanded but an integrated, functioning mind, and at the root of all those seemingly disparate releases has been Rayborn’s, a font of curatorial taste. In his mind, all of these radically different sounds belong together, and in his presentation of them, he connects the dots.

So it meant a great deal, to Rayborn personally and to the followers of the Three Lobed experience, for Bardo Pond’s evening set to close out the marathon of music that was the “Sweet Sixteen Spectacular,” and for them to do with a sprawling, career-spanning set that represented their first return to North Carolina in thirteen years. “Kali Yuga Blues” began the night, with Isobel Sollenberger’s moan floating above the guitar haze. After another Peace on Venus number the setlist went twenty years back to 1996’s Amanita for “Be A Fish” before hurling into what may have been the first live performance of their Parallelogram contribution, “Screens for a Catch (Fur Bearing Eyes)”. Along with four new songs, the band threw in one of the very oldest — “Absence” from Bufo Alvarius — followed by another older number, “Straw Dog,” from Lapsed. Drug references by the band are as prolific as its catalog, and by this point in the evening, even the sober among this crowd had probably lost their sense of time. The set’s, and the night’s, spiritual peak came during the new song “Moment to Moment,” a twelve-minute deep dive into the band’s vision, with each of us led through the deep bed of guitar by Sollenberger’s flute, her voice howling ahead into the void.

There was no encore, but one wasn’t needed after the last song, “Tommy Gun Angel,” whose lyrics about rejoining the primordial ooze, melting away like the snow, gave a long-eyed perspective to the proceedings. Every little contribution makes up part of a larger one, a few more positive ions added to the charge of existence. You never know where a dorm room dream like putting out a ten inch record for one of your favorite bands might take you. It might end up something just for you and the smallest group of friends. Or it might be something great.

I recorded this set with four soundboard channels from King’s engineer Brad Womack, together with Schoeps MK22 microphones onstage and MBHO microphones hung from the ceiling in the middle of the room. Save for a one-second glitch during the first song, the sound quality is outstanding. Enjoy!

Download the complete show from its page on the Live Music Archive: [MP3] | [FLAC]

Stream the complete show

Bardo Pond
2016-03-26
Three Lobed Sweet Sixteen Spectacular
King’s
Raleigh, NC USA

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

4x Soundboard channels (engineer: Brad Womack) + MBHO 603a/KA200N (FOB, DFC, PAS) + Schoeps MK22 (onstage, ORTF, DFC)>KC5>CMC6>Aeta PSP3 >> Zoom F8>8x24bit/48kHz WAV>Adobe Audition CS 5.5 (align, mix down, compression)>Izotope Ozone 5 (EQ, effects)>Audacity 2.0.3 (track, amplify, balance, downsample, dither)>FLAC ( level 8 )

Tracks
01 [intro]
02 Kali Yuga Blues
03 Taste
04 Be A Fish
05 Screens for A Catch (Fur Bearing Eyes)
06 Two Planes
07 [banter]
08 Crossover
09 Out of Reach
10 Absence
11 Straw Dogs
12 Pine Trees
13 Moment to Moment
14 [tuning]
15 Everyman
16 Tommy Gun Angel

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