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[Excellent photos taken for nyctaper by David Andrako]

Since it posted its inaugural recording back in 2007, nyctaper.com has tried to expose its readers to the latest music from well-known artists as well as promote newer bands that are worthy of attention.  The NYCTaper 3rd Anniversary Concert, held this year at the intimate Pianos in Manhattan, was particularly dedicated to honoring that second (and arguably more important) mission.  At a venue already legendary for exposing soon-to-be stars, four of our favorite bands took the stage and gave performances that matched or exceeded their strongest efforts to date.  Our headliner, ArpLine, has been playing nonstop in 2010, and their tightly-composed sets have continued to win over fans.  Combining technological prowess with stellar hooks and a focused delivery, ArpLine performances sound and feel big. This set, despite clocking in at a venue-mandated 36 minutes (the DJ party started at 1), did not disappoint, as the band kicked things off with their Village Voice-approved single, “Fold Up Like A Piece of Paper,” and wrapped up the night with my favorite of their songs, the rhythmic, head-bobbing “Parts Unknown.”  As this was my first full year as a contributor to the site, and one of the first bands that I weighed in for us to feature, I would like to extend my sincere personal thanks to ArpLine and their management not only for playing our show, but for their music.  And, of course, to the founder of nyctaper for making this all possible.  Most of all, I would like to thank our readers for their encouragement as well as criticism.

The sets of the other three acts, Dinosaur Feathers, Uninhabitable Mansions, and Natureboy, will be posted soon.   We recorded each of these sets with the Neumann hypercardiod microphones and a stereo soundboard feed provided by our hosts at Pianos.  The sound quality is excellent.  Enjoy!

Direct download of MP3 files [HERE].  Listen to “Parts Unknown” [HERE]

Download the Complete show in FLAC [HERE].

ArpLine
2010-05-15
Pianos
New York, NY  USA

Equipment: Soundboard + Neumann KM150>Edirol R-44 (Oade Concert Mod) (24/48)
Position: Mics at ~7′, pointed at stacks from right corner of room
Mastering: 2×24bit/48kHz WAV>Audacity (mixdown, set fades, downsample, amplify channels)>FLAC ( level 8 )

Setlist [Time 36:44]
01 Speed (Rush Ah)
02 Fold Up Like A Piece of Paper
03 Make It Rain
04 Sound and Versions
05 Amplify
06 Weekend in the Colonies
07 Rope
08 Parts Unknown

If you email nyctaper for access to this recording, we expect that you will PLEASE SUPPORT ArpLine, visit their website, and purchase their excellent debut album Travel Book, when it is released this fall (the band’s Bandcamp site is no more as the album will be officially released then).

[Photos courtesy of John Ruscher with nyctaper favorites Eardrum NYC]

MV & EE is the brainchild of Matt Valentine and Erika Elder, whose recording career as has seen collaborations with dozens of other serious players.  Unsurprisingly, the band’s sound focuses heavily on Valentine and Elder’s string work, with Valentine on various guitars and Elder on pedal steel and electric mandolin.  That sound has been described as a combination of American folk and Indian ragas, or as the the Wikipedia entry puts it, “Indian raga style composition with Appalachian folk and post-psychedelic electrical experimentalism. They use Western and Eastern acoustic instruments amplified and augmented with effects such as reverb, delay, and flange. Their compositions occasionally feature vocals, which are off-kilter and rambling, while seeming drugged.”  If you happened to fall into that last category yourself last Thursday night (that is, drugged), you were well served by this set, which like the Woods set that followed, was played against the soaring, psychedelic backdrop of the Joshua Light Show.  The set was a journey that almost demanded displacement from the here and now; letting it absorb you, rather than simply paying attention, was the only way to fully get it (and maybe why The New York Times apparently didn’t).  The band played a number of new songs, as well as a cover of Bob Dylan’s “Positively 4th Street.”

I recorded this set from the center of the balcony with the DPA microphones, as with the Woods recording, and the sound is excellent.  Enjoy!

Direct download of MP3 files [HERE]

Download the Complete show in FLAC [HERE].

MV & EE
2010-05-13
Abrons Arts Center
New York, NY  USA

An acidjack master recording
Recorded and produced by acidjack for nyctaper.com
Available for exclusive free download at nyctaper.com

Equipment: DPA 4021>Edirol R-44 (Oade Concert Mod)
Position: Balcony, DFC, ORTF
Mastering: 24bit/44.1kHz WAV>Audacity (set fades, tracking, amplify channels, EQ (trim 100-400Hz, boost 10-20kHz))>FLAC Level 8

1. Intro
2. Sideswipe
3. Easy Livin’
4. [unknown]
5. Positively 4th Street [Bob Dylan]
6. [unknown]
7. [unknown instrumental]
8. Get Right Church
9. [goodbye banter]

If you email nyctaper for access to this recording, we expect that you will PLEASE SUPPORT MV&EE, visit their MySpace page, and purchase their official releases from Ecstatic Peace records [HERE].

[Photo courtesy of John Ruscher with nyctaper favorites Eardrum NYC]

Whoa.  The first few times I saw Woods, I enjoyed it – I have a soft spot for their particular brand of folkish, ramshackle psychedelia.  Back then, the band came across onstage much as they did on record, as a very DIY affair.  Which is not to say they were unusually rough around the edges for a late-2000s vintage Brooklyn band, or that they didn’t have the songwriting chops (they had been hailed early on by Pitchfork and others for songs like “Rain On”).  But they were nothing like the polished, free-jamming foursome that I saw this Thursday at Abrons Arts Center.  Backed by the Joshua Light Show, who projected molting swirls and swatches of color behind them, Woods played now-common favorites like “Rain On” and “Blood Dries Darker,” but they also demonstrated their status as the preeminent indie rock jam band.  That term, of course, is pejorative in the circles this band belongs in, but it seems fitting for a set that included an 8-minute “The Hold” and another song that stretched an impressive 16 minutes!   Joshua Light Show concerts are legendary and rare, and in honor of that, Woods came out and slayed it, giving one of the best performances I have seen this year.   With the swirling colors behind them, the band members’ interplay seemed almost magical, mesmerizing the crowd as the colors matched their rhythms.   These light shows are particularly special in that they are performed live with liquids and other mysterious ingredients, so no two shows are alike.  Do yourself a favor, and put any future Joshua Light Show concerts high on your list.  To see what The New York Times had to say, click here.

I recorded this set from dead center on the balcony with the DPA microphones.  The sound is superb.  As an added bonus, I have included a link to an earlier Woods show that I recorded on August 14, 2009 at the Bell House, when they opened for Dungen.  The evolution in even this short amount of time is, I think, revealing.

Download the complete shows on the Live Music Archive: [ABRONS ARTS CENTER] | [BELL HOUSE]

ABRONS ARTS CENTER SHOW:

BELL HOUSE SHOW:

Woods
2010-05-13
Abrons Arts Center
New York, NY  USA

An acidjack master recording
Recorded and produced by acidjack for nyctaper.com
Premiere download exclusively at nyctaper.com

Equipment: DPA 4021>Edirol R-44 (Oade Concert Mod)
Position: Balcony, DFC, ORTF
Mastering: 24bit/44.1kHz WAV>Audacity (set fades, tracking, amplify channels, EQ (trim 100-400Hz, boost 10-20kHz))>FLAC ( level 8 )

Tracks
01 Intro
02 Creeps
03 Blood Dries Darker
04 To Clean>Get Back
05 Bend Beyond
06 Rain On
07 Suffering Season
08 Down This Road>The Hold
09 The Hold (continued)
10 I Was Gone
11 [Goodbye banter]

BONUS RECORDING

Woods
2009-08-14
The Bell House
Brooklyn, NY  USA

An acidjack master recording

Equipment: AKG ck91 cardiod capsules (Busman active mod)>custom battery box>R-09HR (24bit/48kHz)
Location: Mics mounted DIN on custom kwon bar on pole clamped to left corner of SBD cage, 10ft total height
Processing: WAV>Audacity (smooth peaks, tracking, downsample to 16bit/44.1kHz, amplify each channel to -0.1dB)>FLAC ( level 8 )

Tracks:
1. Intro
2. The Creeps
3. Blood Dries Darker
4. [banter]
5. Rain On
6. [segue/soundcheck]
7. Get Back
8. To Clean
9. The Number
10. Down This Road
11. The Hold
12. The Hold Cont.
13. Twisted Tongue

If you email nyctaper for access to these recordings, we expect that you will PLEASE SUPPORT Woods, visit their MySpace page, and purchase their official releases, including their latest, At Echo Lake, from Woodsist Records.

[Photos courtesy of Anthony Cuellar at TLC Blog]

Someone forgot to tell The Joy Formidable (that’s for-MID-able for those of us in the U.S.) that they aren’t playing in stadiums just yet.  We have raved about them repeatedly on NYCTaper, and if you read this site, the facts are well-known to you.  By which, I mean that the band delivers a set that is beautifully cacophonous, filling every inch of whatever space they are in, making their music larger than they are.  They bring a pop sensibility to a dense, wall-of-sound style that sounds like My Bloody Valentine had a baby with Annie Lennox (or something like that).  As bands these days go, TJF give off that ‘pre-rockstar’ vibe a bit more than most; the sense that while not many are seeing them now, many more will, soon enough.  This Welsh band (now by way of London) arrived in the U.S. back in January as an unknown quantity.  In the space of four months, they have played the hell out of NYC and elsewhere, with the crowds becoming larger and larger as they’ve continued.  This Mercury Lounge show was an unplanned coda to their latest U.S. jaunt, and a resplendent one.  Industry honchos and increasingly fervent fans packed Mercury despite the early set time (9pm), and the band delivered what we have now come to expect, a short, tight, dramatic set that covered most of the landscape of their newly released EP, A Balloon Called Moaning as well as some additional songs, including the new (to me, at least) “Anemone”.  This show ended, and enough had been said: They have proven what they came here to prove.

But if you read this site, you don’t need convincing.  This is a document of the last time anyone will see this band in a venue as small as Mercury Lounge for quite awhile (or so I predict).  As with our other recordings, I recorded this set with a combination of the soundboard feed and mics.  A word of listener advice – if you are playing this back on a more modest system (say, a car stereo or inexpensive earbuds), you will likely want to turn the bass down a bit for maximum enjoyment.  Our rig captured the wall of sound perfectly, but the house mix was not timid in any way.  Enjoy!

Direct download of MP3 files [HERE]

Download the Complete show in FLAC [HERE].

The Joy Formidable
2010-05-10
Mercury Lounge
New York, NY  USA

An acidjack master recording
Recorded and produced by acidjack for nyctaper.com

Equipment: Soundboard+DPA 4021>Edirol R-44 (Oade Concert Mod)
Position: Clamp to right of soundboard cage, about 9.5? up
Mastering: 2×24bit/44.1kHz WAV files>Audacity (mixdown, set fades, EQ, tracking, amplify channels, downsample to 16bit)>FLAC ( level 8 )

Tracks: [Total Time: 44:00:00]
01 The Greatest Light Is the Greatest Shade
02 Cradle
03 The Last Drop
04 Austere
05 Ostrich
06 Greyhounds In The Slips
07 banter
08 Anemone
09 intro/banter
10 Whirring

If you email nyctaper for access to this recording, we expect that you will PLEASE SUPPORT The Joy Formidable, visit their website, and purchase their debut EP A Balloon Called Moaning from the Black Bell Records website [here] or from the store at the TJF website [here].

[She Keeps Bees at the Green Man Festival, August 2009.  Photo courtesy of Rachel Lipsitz at littletrousers.com]

She Keeps Bees vocalist Jessica Larrabee can claim an impressive line of predecessors and contemporaries, the most obvious of the former being Janis Joplin, and the closest of the latter being Heartless Bastards‘ Erika Wennerstrom.  That Larrabee elicits such comparisons is not an accusation of plagiarism, but a testament to the power of her delivery.  Together with drummer Andy LaPlant, She Keeps Bees play unpretentious, raw blues rock without apology or extra bullshit.  The band’s spare production – evident on their records, particularly the excellent Nests, as well as in their stripped-down live show – provides the perfect vehicle for that voice, cracking with heartbreak in one song, exhorting a lover in another, wailing in exultation the next.  This band isn’t out to win awards for changing the game, but they are playing it at a hell of a high level.

Although they hail from Brooklyn, I first discovered She Keeps Bees through a British taper friend who had caught them opening for another band in the UK.  Perhaps it was fitting then, that my live introduction to them came as they opened for nyctaper favorites The Joy Formidable (whose set will be posted soon) at the Mercury Lounge.  Catch their free show this Wednesday, May 12, with the excellent band Papa at Brooklyn Bowl and see for yourself.

I recorded this set from the usual spot in the venue with the DPA microphones combined with a stereo soundboard feed.  The combination produced a recording of exceptional clarity and high quality.  Hear it for yourself on the posted sample, “Ribbon.”  Enjoy!

Direct download of MP3 files (HERE).  Listen to “Ribbon” (HERE).

Download the Complete show in FLAC [HERE].

She Keeps Bees
2010-05-10
Mercury Lounge
New York, NY  USA

An acidjack master recording
Recorded and produced by acidjack for nyctaper.com

Equipment: Soundboard+DPA 4021>Edirol R-44 (Oade Concert Mod) (24/44.1)
Position: Clamp to right side of SBD cage, 8ft total height)
Mastering: 2×24bit WAV>Audacity (mixdown, set fades, downsample, tracking)>FLAC Level 8

01 Pile Up
02 Release
03 banter
04 Gimme
05 “I Don’t Believe You”
06 Wear Red
07 Get Gone
08 [unknown]
09 Ribbon
10 Cold Eye

If you email nyctaper for access to this recording, we expect that you will PLEASE SUPPORT She Keeps Bees, visit their website, and purchase their excellent records from your favorite retailer.  Amazon link here.

[Photos courtesy of Charles from TheMusic.FM]

Twin Sister’s sound has a European feel to me – the first reference that came to mind was Stereolab – and that was borne out by their live set, which combined synth-driven pop like the set closer “All Around and Away We Go” with more shoegazy pieces like “Milk and Honey”.   Opening for the Morning Benders, Twin Sister packed the room despite their “opening band” status.  Lead vocalist Andrea Estella also adds to their Euro aesthetic, with her breathy, hypnotic delivery that sharpens and smooths at unexpected intervals.   The band’s excellent new EP, Color Your Life, garnered raves on Pitchfork, and we expect enthusiasm for them to only increase as they go out on a summer tour this July with Bear In Heaven (though sadly, there are no NYC dates).

I recorded this set upfront with the DPA 4021 microphones in a mobile setup.  This method captured the sound from the stage and the room perfectly.  Enjoy!

Direct download of MP3 files (HERE).  Listen to “Lady Daydream” (HERE).

Download the Complete show in FLAC [HERE].

Twin Sister
2010-04-28
Mercury Lounge
New York, NY  USA

An acidjack master recording
Recorded and produced by acidjack for nyctaper.com

Equipment:  DPA 4021>Denecke PS/2>Sony PCM-M10 (24/44.1)
Position:  Mobile rig, FOB, DFC
Mastering: 24bit/44.1kHz WAV>Audacity (set fades, tracking, amplify, smooth peaks)>FLAC Level 8

Tracks
01 I Want A House [fades in]
02 Eastern Green
03 Lady Daydream
04 Milk & Honey
05 Saturday Sunday
06 banter
07 Daniel
08 All Around and Away We Go

If you email nyctaper for access to this recording, we expect that you will PLEASE SUPPORT Twin Sister, visit their website, and order Color Your Life direct from Infinite Best Recordings here.

[Quasi performing in St. Paul, MN, April 15, 2010.  Photos courtesy of Adam Bubolz.  See his Flickr stream here.]

Drummer Janet Weiss’ kit was about the only piece of equipment that Quasi brought to the Bowery Ballroom show that didn’t malfunction.  First to go was Joanna Bolme’s bass amp, which she replaced with a loaner from NYC openers Blair.  She continued to have problems with her bass, the bass amp, and the mix all night.  Guitarist/”Rocksichordist”/vocalist Sam Coomes’ guitar pedals, and the aforementioned Rocksichord (looks like a piano, sounds like a piano crossed with a guitar) didn’t fully cooperate either.  Luckily, the members of Quasi are accustomed to being flexible, and (in Coomes and Weiss’ case), they have played together for over 15 years, so they made what other bands would easily have made a stage-walkoff, hissy-fit disaster of an evening into a classic rock n’ roll show.  Despite their evident frustration with their gear, Coomes thrashed about the stage like a kid 20 years his junior, at points standing atop Weiss’ kick drum, and crashing/throwing himself into the aforementioned Rocksichord (hilariously labeled “Fragile Musical Instrument” on its back) several times.  I did consider, for a moment, that some of that abuse might not have been helpful to the gear malfunction issues.  Weiss, now retired from Sleater-Kinney, but still on the roster (along with Bolme) for Stephen Malkmus & the Jicks, took the gig like the seasoned professional she is, joking with members of a fired-up crowd as well as playing her ass off through a 17-song set that covered new material from the Pitchfork-approved American Gong as well as older classics like “You Fucked Yourself” and a magnificent rendition of “Sea Shanty”.  The American Gong material oozed stylistic diversity, with the band equally at home with the countrified twang of “Rockabilly Party”, the ballad “Laissez les bons temps rouler” (”Let the Good Times Roll”) and the straight-up rocker that opened the show,  “Repulsion”.  Perhaps my favorite of the new songs was the 8+ minute “Bye Bye Blackbird” that closed out the main set, which (free of gear issues) showed off Quasi at their best, playing off of each other perfectly.

“You’re not like other cities.  You’re very different, you’re very unique, and we appreciate it.  You had some very unique heckling, and we liked it,” Weiss said, smiling, underscoring what a strange night it had been.  Sometimes you learn more about a band when they’re really in the weeds.  The members of Quasi showed why their fans love them (and why so many other bands hire them) – they gave us a great rock show, circumstances be damned.

I recorded this set from the left side of the soundboard cage, with the DPA 4021 mics positioned at eye level with the sound engineers in the cage.  The result is a recording of excellent clarity, balance and definition.  Enjoy!

This Recording is now available for Download in FLAC and MP3 and to Stream at Archive.org [HERE].

Quasi
2010-04-22
Bowery Ballroom
New York, NY  USA

An acidjack master recording
Recorded and produced by acidjack for nyctaper.com

Equipment: DPA 4021>Naiant littlebox>Sony PCM-M10
Position: Clamp to left of SBD cage, extended right toward SBD cage, mics pointed at stacks
Mastering: 24bit/44.1kHz WAV>Audacity (set fades, tracking, +2dB boost 10kHz+ range, downsample)>FLAC Level 8

01 Intro
02 Repulsion>
03 Nothing From Nothing
04 tuning/banter
05 Rockabilly Party
06 You Fucked Yourself
07 Sea Shanty
08 Little White Horse
09 tuning/banter/false starts
10 Master & Dog>
11 Death Culture Blues
12 banter
13 Everything and Nothing at All
14 Birds
15 Laissez les bons temps rouler
16 false start/banter
17 intro jam
18 The Rhino
19 Good Time Rock & Roll
20 Bye Bye Blackbird
21 encore break/banter
22 Bad, Bad Leroy Brown jam
23 It’s Raining
24 banter
25 Heaven and Hell

If you email nyctaper for access to this recording, we expect that you will PLEASE SUPPORT Quasi, visit their website, and purchase American Gong and their other excellent releases directly from Kill Rock Stars here.

[Photos by Lauren Colchamiro]

Caspian are America’s answer to Mogwai.   I hate to use that kind of shorthand when talking about an instrumental rock band – it is already too easy to lump disparate bands with a very loosely defined common theme together.  After all, Explosions in the Sky (who we have recorded before) and God is an Astronaut don’t sound that much alike, and neither do Caspian and many other bands.  But having seen this Boston-based band live, I do think mine is an apt comparison, or at least, it describes the band’s set at The Studio at Webster Hall accurately.  Like the well-loved Scotsmen I compared them to, Caspian’s music thrives on the loud-soft dynamic, with the ability to shift from calm to storm in a split second.   In Caspian’s particular case, their live sound this night tended toward the heavier, more blunt-force end of the spectrum, toning down some of the textural richness found on their records.  Part of this is probably because the fans like it that way.

The band seemed gratified by the enthusiastic turnout, pointing out that NYC was the closest date they were doing to their home in Boston, and that we felt almost like a “hometown crowd.”   For their last song, the band was joined for “Sycamore” by members of the opening acts for a massive, multi-drummer blowout on a scale I haven’t seen since my last Boredoms show!  Caspian are touring the U.S. right now in support of their most recent album, Tertia.  They have a few East Coast dates left before their swing takes them through the midwest and west coast, and then Europe.  Don’t miss them – this music is best experienced live.

I recorded this set way up front with the DPA 4061 miniature omnidirectional microphones.  The result is a very “in your face” recording that captures the awesome power of this band perfectly.  Although there is some annoying crowd chatter audible during the opening 2 minutes, and some chatter from the bar that you can hear during quiet passages, it is generally smooth sailing for the most part (it’s not like you could hear anything over the band anyway).  Enjoy!

Album art by Michael Ricci is available here.

This Recording is now available for Download in FLAC and MP3 at Archive.org [HERE].

Caspian
2010-04-15
The Studio at Webster Hall
New York, NY  USA

An acidjack master recording
Recorded and produced by acidjack for nyctaper.com

Equipment: DPA 4061 (Coresound “HEB”)>Sony PCM-M10 (24/44.1)
Position: FOB, DFC, about 10? from stage, HRTF
Mastering: 24bit/44.1kHz WAV>Audacity (set fades, tracking, EQ, amplify each channel, downsample)>FLAC Level 8

Tracks (65min runtime) (thank you to the first commenter for the setlist corrections)
1. Intro/annoying girl talking
2. La Cerva
3. Malacoda
4. Interlude
5. Of Foam and Wave
6. banter
7. Concrescence
8. Moksha
9. Quovis / Further Up / Further In
10. encore break
11. Brombie
12. banter
13. Sycamore

If you email nyctaper for access to this recording, we expect that you will PLEASE SUPPORT Caspian, visit their MySpace page, and purchase Tertia and their other excellent releases here.

[Not very good iPhone photo by acidjack]

In the Great Recession (or whatever you wish to call it), only a handful of states could claim to having taken the beating that Florida did. The Sunshine State, once a land of promise and (mostly) fulfilled retirement fantasies, was laid waste to by the crisis, its optimism shattered to its core. But, sometimes, turmoil is a boon to art. Call it coincidence, but it seems that around the time that Florida busted out, the state also started to crank out quality music. As we mentioned in our preview of this show, Lil Daggers are one of the bands that have emerged from the Sunshine State. At Glasslands on Sunday, Lil Daggers brought their garage-rock to NYC for the first time and showed why they have been hailed as the next big thing from Florida.

This show was recorded with a combination of DPA omnis and Beyer cards and the sound is excellent. Enjoy!

Download the MP3 files [HERE].

Download the Complete show in FLAC [HERE].

Lil Daggers
2010-04-11
Glasslands
Brooklyn, NY

An acidjack master recording
Recorded and produced by acidjack for nyctaper.com

Equipment: DPA 4061 + Beyerdynamic MC950>Edirol R-44 (24/44.1)
Position: Balcony, center, MC950s clamped and pointed at stacks, 4061s in PZM mounts, 3′ split on balcony front
Mastering: 2x24bit/44.1kHz WAV>Audacity (mixdown, set fades, adjust levels, tracking, amplify each channel, downsample)

Tracks (please help to fill in the missing tracks)
01
02 Y Tu Sabe
03 Hungry
04 King Korpze
05 banter/tuning
06
07 U.S. Leather

Please Support Lil Daggers if you download this show, and visit their Bandcamp Page to purchase their official releases.

[Photo by acidjack]

This was my first time seeing Acid Mothers Temple in their fifteen-year history, so perhaps the other fans more familiar with the band knew a bit more what to expect than I did – an intoxicating sonic journey that blew minds and eardrums.  The already-legendary Japanese psych-rock band, led by guitarist Kawabata Makoto, has operated on-and-off for the last fifteen years as a collective, and only in more recent times as a tightly-knit, core band.  And their sound, believe you me, is heavy, a wall of music that crescendoes and, then, seemingly, crescendoes still further.  Most songs segue seamlessly from one another; the show is relentless and tight.  No wonder members of the crowd had been following the band across the U.S. – they are that kind of band, the type to inspire fanatics.  Count me in.

I recorded this set from the optimal spot in the venue with the DPA microphones.  The crowd was focused on the music and the recording is excellent.  I should note – as I said up top – that I am not familiar with the band’s music, and therefore I could use commenters’ help on the setlist.  There may also be some imperfect tracking, which is a combination of my inexperience with their music and the relatively seamless nature of the set.  As it is best experienced as a complete piece of music, I do not think that will detract from the listening experience.  Enjoy!

This Recording is now available for Download in FLAC and MP3 at Archive.org [HERE].

Acid Mothers Temple
2010-04-07
Knitting Factory
Brooklyn, NY  USA

An acidjack master recording
Recorded and produced by acidjack for nyctaper.com

Equipment: DPA 4021>Naiant littlebox>Sony PCM-M10 (24/44.1)
Position: Clamp to right side of SBD cage, mics at 9?, ~NOS
Mastering: 24bit/44.1kHz WAV>Audacity (set fades, tracking, slight EQ, amplify each channel, downsample)>FLAC ( level 8 )

Tracks (thanks to the commenter for the setlist)
01 Opening jam
02 Improvisation > In O to Infinity
03 More Improvisation
04 Pink Lady Lemonade
05 The End Jam
06 Pink Lady Lemonade
07 Cometary Orbital Drive
08 encore break
09 Dark Stars in the Dazzling Sky

If you email nyctaper for access to this recording, we expect that you will PLEASE SUPPORT Acid Mothers Temple, visit their website, and purchase their records here or at your favorite retailer.  Please note that certain releases can only be purchased directly from the band at their website.