nyctaper Recordings

concert discussion and free flac downloads

Tyvek: April 11, 2015 Silent Barn – FLAC/MP3/Streaming

April 24, 2015


Though entirely reductive, it’s tempting to read into Tyvek’s music the state of post-crash Detroit—to hear in the songs’ disintegrating fidelity that city’s crumbling infrastructure. But if Tyvek aims to critique Detroit, they also look to celebrate it. There’s a lot of hope and optimism in their music and that’s what was most apparent when Tyvek stopped by Silent Barn on their short April tour. The band played to the diehards upfront who sang along to every lyric and reacted to every song as if Tyvek main-man Kevin Boyer was speaking some spiritual truth, every lyric an indispensable wisdom. Whether it’s navigating the city’s geography (new song “Gridlock”), playing shows and crashing in basements (“Midwest Basements”), or feeling awkward at parties (“Scaling”), in each song there’s a resonant experience for a mid-twentysomething or mid-thirtysomething.

The front half of this set is devoted to songs off Tyvek’s upcoming record, while the back half delivers on the hits. New songs include “Gridlock,” “A Form Outside,” “The Origin of What,” “Tip to Tail,” and “Count It Off,” some of which will appear on the next Tyvek album. The rest of the set is devoted to all—okay, many—of the songs on any Tyvek fan’s wishlist: “Underwater,” “Midwest Basements,” “Scaling,” and crowd-favorites “Air Conditioner” and “Give It Up” from their earliest recordings.

Perhaps Tyvek’s best-known song, ”Frustration Rock” caps the set off and concludes with an extended outro of “Henry My Son,” a traditional English folk song which was later popularized by Pete Seeger on his Childrens Concert at Town Hall album. It’s a puzzling—yet somehow entirely appropriate—performance of the song. A childrens’ parodic corruption of a traditional (according to Seeger’s telling), it narrates a child’s accounting to his mother of his day spent in the woods eating eels. Ultimately I’m not sure if this choice of covers reveals anything about Tyvek’s music—but I’m also not convinced that it isn’t somehow to the key to it all.

I recorded this set with the AKG’s in front of the soundboard at about 11’ high along with a soundboard feed. The fidelity falls slightly this side of raw, but it matches Tyvek’s aesthetic nicely. Enjoy!

Download the complete show: [MP3] | [FLAC]

Stream the complete show:

Note: All of the material on this site is offered with artist permission, free to fans, at our expense. The only thing we ask is that you download the material directly from this site, rather than re-posting the direct links or the files on other sites without our permission. Please respect our request.

Silent Barn
Brooklyn, NY

Exclusive download hosted at
Recorded and produced by Eric PH

Soundboard (engineer: Yaman Palak) + AKG C480B/CK61 (FOB, LOC, PAS) > Roland R-26 > 2xWAV (24/48) > Adobe Audition CC (align, balance, mixdown) > Izotope Ozone 5 (EQ, compression, tape exciter) > Audacity 2.0.5 (amplify, fades, downsample, dither, tracking, tagging) > FLAC (16/44.1, level 8)

Tracks [45:17]
01. Gridlock
02. A Form Outside
03. The Origin of What
04. Underwater
05. Tip to Tail
06. Midwest Basements
07. Count It Off
08. Scaling
09. Air Conditioner
10. Give It Up
11. What Were They Thinking
12. Stop Start
13. Returns
14. Frustration Rock > Henry My Son [traditional]

Support Tyvek: FacebookBuy On Triple Beams and Nothing Fits from In the Red

Blitzen Trapper: April 17, 2015 City Winery – Flac/MP3/Streaming (Neil Young Harvest show)

April 23, 2015

BT City Winery
[screen shot from this video]

Blitzen Trapper has always been a band who embraces their influences. Whether it be country-folk, 70s rock or even Zep, we’ve seen the band play some pointed covers over the years. I even had the pleasure of seeing lead singer Eric Early perform an outstanding mini-Dylan set at the Complete Last Waltz show in 2013.

For this year’s Record Store Day, Blitzen Trapper took it to the next level — releasing a limited edition vinyl of a complete performance of Neil Young’s Harvest recorded live in Portland last Fall. Accompanying the release, the band went on a small tour playing Harvest along with a selection of their own material. We caught the early show at City Winery on Friday, a venue that so impressed us during last weekend’s Mountain Goats shows. Despite the still-daylight starting time, the band came out ready to play with four of the own songs right out of the gate. The set’s centerpiece piece began with the familiar opening chords of the plaintive “Out on the Weekend” (streaming below), a performance so spot-on that we knew this would be a pleasure to behold. The remainder of Harvest was equally impressive — extraordinarily faithful to the original renditions while adding a very Trapper-like flavor to each number. The rest of the set was equally well played as the band worked through a fine selection of BT classics, highlighted by the well-jammed ten-minute “Thirsty Man” and a terrific version of “Furr” that we’re also streaming below.

I recorded this set with the Schoeps cards mounted on a pole about 10 feet in front of the soundboard and mixed with an excellent feed provided by the band’s touring FOH Engineer Nathan Vanderpool. The sound quality is superb. Enjoy!

Download the Complete show [MP3] / [FLAC]

Stream “Out on the Weekend” (Neil Young cover):

Stream “Furr”:

Blitzen Trapper
(Early Show)
City Winery
New York NY

Digital Master Recording
Soundboard + Audience Matrix

Soundboard [Engineer Nathan Vanderpool] + Schoeps CCM4u Cardioids > 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

[Total Time 1:24:06]
01 Black River Killer
02 Not Your Lover
03 Love The Way You Walk Away
04 Lady on the Water
05 Out on the Weekend
06 Harvest
07 [banter – record store day]
08 A Man Needs a Maid
09 Heart of Gold
10 Are You Ready for the Country
11 Old Man
12 There’s a World
13 Alabama
14 The Needle and the Damage Done
15 Words (Between the Lines of Age)
16 Fletcher
17 Thirsty Man
18 [encore break]
19 The Man Who Would Speak True
20 Furr
21 [banter – NY]
22 Might Find It Cheap

If you download this recording from NYCTaper, PLEASE support Blitzen Trapper, visit their website, and purchase their official release from the Store at their website [HERE].

Ex Hex: April 18, 2015 Chaz’s Bull City Records (Durham, NC) – FLAC/MP3/Streaming

April 22, 2015

photo by PJ Sykes
[photos courtesy of PJ Sykes via Merge Records]

Yeah, I’ve heard the dings on Record Store Day. That it detracts from the record-buying impulse of the other 363 days of the year (since there are two RSDs). That it’s just record companies creating fake scarcity to move often second-tier product. That it’s overly dominated by corporate artists and Jack White hawking his latest gimmick releases, and that those big artists gum up the pressing plants for everyone else. That the no-returns system and opaque distribution system hurt the record stores more than they can help.

To which all I can say is, come out on RSD to a store like Chaz’s Bull City Records in Durham, NC, and leave your politics and preconceptions at home. Here’s what I saw: a line down the street to get into a small, independent record store on an unassuming block of Durham. Shelves stuffed to the max with RSD releases and other material half-empty by five hours in. Oh, and then there was the matter of the Merge Records show held in the parking lot, with Lagunitas providing beer-by-donation in the parking lot, NYCTaper recording the live sound, and our friends at WXDU streaming the site’s live mix. Maybe Record Store Day isn’t the only day of the year when a small independent record store ought to have a line out the door and three killer bands playing to hundreds of people in its parking lot. But it sure was a good excuse for it.

The day’s biggest draw, the Ex Hex, came out absolutely on fire. Out in front, Mary Timony and Betsy Wright fully committed to the band’s garage-rock aesthetic, making that modest parking lot stage feel like something much more. The 40-minute set covered most of the band’s very-well-regarded 2014 Merge release Rips, as well as a new song. Ex Hex made for the perfect draw for the day, with a sound that looks to vinyl’s 70s heyday without remaining mired in it. Almost every single one of the Rips songs is an upbeat earworm, from the bouncy leadoff to the set, “Don’t Wanna Lose” to the pop-rock of “Radio On”. But if the set showed off the band’s skill at the three-minute song, it also gave the ladies at least one opportunity to really shred, as “Beast” exploded the album version into a long-form rocker with a formidable guitar jam. Whether you were at Chaz’s for the records, or just for the live music, it was a hell of a day to celebrate music.

I recorded this set with a soundboard feed from engineer John Koelle combined with Schoeps MK4V cardiod microphones at the stage lip. The sound quality is outstanding. Enjoy!

Huge thanks to Ex Hex, Merge Records, Chaz’s Bull City Records, WXDU, Lagunitas, and everyone who came out for this event.

Download the complete show: [MP3] | [FLAC]

Stream the complete show: 

Ex Hex
Chaz’s Bull City Records
Durham, NC USA

Exclusive download hosted at
Recorded and produced by acidjack

Soundboard (engineer: John Koelle) + Schoeps MK4V (stage lip)>KC5>CMC6>Edirol R-44 [OCM]>2x24bit/48kHz WAV>Adobe Audition CS 5.5 (align, mix down, fades)>Izotope Ozone 5 (effects, EQ)>Audacity 2.0.3 (track, amplify, balance, downsample, dither)>FLAC ( level 8 )

Tracks [Total Time 39:34]
01 Don’t Wanna Lose
02 Waterfall
03 [new song]
04 Waste Your Time
05 How You Got That Girl
06 New Kid
07 Hot and Cold
08 Beast
09 Radio On
10 You Fell Apart
11 Outro
12 Everywhere

If you enjoyed this recording, PLEASE SUPPORT Ex Hex, visit their website, and buy Rips directly from Merge.

photo by PJ Sykes

Hiss Golden Messenger: April 17, 2015 Haw River Ballroom (NC) – FLAC/MP3/Streaming

April 20, 2015


The best Hiss Golden Messenger songs are the ones about a search for spiritual peace as well as life’s basic comforts, the ones that revel in doubt. I thought a lot about that as I watched the band play their first hometown gig in quite a while. The band’s most recent EP is called Southern Grammar, after the song originally featured on their Merge Records release Lateness of Dancers, and that got me to thinking what “Southern grammar” could mean. The language of the modern South is one of a stubborn constancy bred with ecstatic change, and nowhere is that more evident than in North Carolina, and even more specifically, at this picturesque complex along the Haw river. After driving through miles of deep country, you come upon a collection of structures that includes a “general store“/gas station stocked with a deep microbrew selection and gourmet food, a puppeteering center, a “butchery” (they sell a delicious hot dog with a schmear of pimento and cheese and bacon slivers), a pub, a brewpub specializing in “farmhouse ales“, some luxury condos down the street in a renovated cotton mill and dye house, and finally, the crown jewel of it all, the 800-capacity Haw River Ballroom, which the band sold out on this Friday night.

Does that remind you of anywhere? If you live in Brooklyn, you might be thinking of Williamsburg Bushwick Bed-Stuy Crown Heights almost any neighborhood. But that’s in New York City, where sentimentality has always taken a back seat to the imperatives of commerce. Historically, at least, the South has been a more hidebound place. The rural parts of it, for sure.

What does any of that have to do with Hiss Golden Messenger? Well, like this resurgent part of their adopted home region, Hiss Golden Messenger changes quickly without abandoning tradition. They’re a band who, after Taylor described my September 2014 recording as “what we sound like now”, sounded only part-way similar on this day in April of 2015. The “new” South changes its clothes, changes its tune, to a degree, but in what is new, there will always be those deep strains of something old. Same with this band.

In the case of HGM circa-this-week in 2015, the something old is ’70s AOR, the country-flavored, jammy rock of Creedence Clearwater Revival and the like. Joined by Nashville’s finest living guitarist William Tyler as a special guest, along with Brad and Phil Cook of Megafaun on guitar and bass, and Matt McCaughan on drums, the fivesome rocked the Haw River Ballroom in the way that’s only right for a hometown show. With regular saxophonist Matt Douglas on tour with the Mountain Goats, the guitars redoubled their efforts in his stead. The net effect was songs more muscular and immediate, a musical place where a song like “I’m A Raven (Shake Children)” has absolutely never sounded better, and the deep sadness of “Call Him Daylight” found itself taking a back seat to the insistence of the honky-tonk guitars. Several of the band’s big tent numbers felt more prominent: “Saturday’s Song” and “I’ve Got A Name for the Newborn Child” in particular sidling up to a brand-new one tentatively titled “Say It Like You Mean It” that added some heavier guitars to the proceedings, with Tyler adding his own psychedelic wash to the mix. I’ll admit, I missed the more measured pace of previous versions of “Daylight”, where the words get more space, but that’s alright; if you don’t quite connect with any particular version of an HGM song, there’ll always be another on the way.

That doesn’t mean, by any stretch, that this show was all good times and fluff. There was the opening number, “Brother, Do You Know the Road” (featured on Southern Grammar), whose call and response was more poignant than ever. It’s about the way out out of a sense of worthlessness, about the storm that’s passed over, but not before the rain was found. By the time the main set closed with “Southern Grammar” we were meditating on that road again, the flashes of darkness evident even through the song’s feel-good sound.

The encore brought it all together, with Taylor dedicating “Red Rose Nantahala” to the state’s Tea Party governor, Patt McCrory, whose recent back-tracking does little to hide his past agenda. There stood Taylor on his home turf, pleading “Well let me be the one I want / well let me love the one I want”, and you felt that same question rising from the hearts of so many people in this fine state that have had their basic decency denied them under that false mantra of “tradition”. But before things got too heavy-handed, Taylor shifted gears as he does so well, ending the night with a disco ball and Sam Cooke’s “Having A Party”, as if reminding us all that we were all friends, here at least.

In all, this was the longest HGM set I’ve been in attendance for, and one delivered with the confidence that comes not only with success, but being at home. It laid bare HGM’s own tensions between tradition and evolution, and that revealed something else worth knowing about this still-growing band. That they not only have the capacity to change, but the urgency to. They’ll keep traveling the unfamiliar country, and keep taking the long way home.

I recorded this set with Schoeps MK4V cardiod microphones and a soundboard feed provided by the Haw River Ballroom staff, with the generous assistance of my friend and prolific North Carolina taper Dan Schram. The sound quality is excellent. Enjoy!

Download the complete show: [MP3] | [FLAC

Stream the complete show: 

Hiss Golden Messenger
Haw River Ballroom
Saxapahaw, NC USA

Exclusive download hosted at
Recorded and produced by acidjack

Tracks [Total Time 1:25:46]
01 Brother, Do You Know the Road?
02 [banter]
03 Call Him Daylight
04 Saturday’s Song
05 Say It Like You Mean It [new/working title]
06 [banter2]
07 Mahogany Dread
08 [banter3]
09 I’ve Got A Name For the Newborn Child
10 Day O Day (A Love So Free)
11 Lucia
12 [banter4]>Blue Country Mystic
13 I’m A Raven (Shake Children)
14 Southern Grammar
15 [encore break]
16 Red Rose Nantahala
17 [banter5]
18 Having A Party [Sam Cooke]

M.C. Taylor – Vocals, Guitar
William Tyler – Guitar
Matt McCaughan – Drums
Phil Cook – Bass, Vocals
Brad Cook – Guitar

If you enjoyed this recording, PLEASE SHOW YOUR SUPPORT by buying Hiss Golden Messenger’s records from Paradise of Bachelors and Merge Records, as well as HGM’s online store.

The Hum Residency: April 13, 2015 Manhattan Inn – FLAC/MP3/Streaming

April 19, 2015

[Elizabeth & the Catapult. All photography courtesy of David Andrako]

If you caught last week’s post about week one of the Hum Residency, you already know the deal — Hypnocraft Presents brings us a monthlong, Monday night series held at the Manhattan Inn in Greenpoint, featuring musical collaborations among a diverse range of predominantly women artists, together with live projections. By design, the events have a spontaneous, free-flowing feel to them, with the artists wedged in around the centerpiece of the restaurant’s back room, a large white piano, used intermittently by the bands. Surrounding the artist on all sides are the fans, unsure of exactly what to expect, but knowing it should be something interesting and important.

The second week’s lineup was especially diverse, featuring songwriter Deli & Ashley Jackson on harp, the violist and singer Hannah Epperson, folk pop from Elizabeth & the Catapult, and an abstract guitar performance from Indigo Street of Shy Hunters and Shelley Burgon on harp, all of it backed by lush projections by Sofy Yuditskaya.

Ashley Jackson began with two solo harp pieces, the second a fascinating version of Angelica Negron’s “Technicolor” with loops added in. Jackson was then joined by singer-songwriter Deli Neblett. Deli, of Nashville, began her very first New York show (!) with a set of guitar songs that felt even more delicate when backed by Jackson’s harp, as Neblett’s voice looped in the background to provide a ghostly ambiance to her arrangements. Her songs have a stylistic daring to them that sets her apart from her peers; the phrasing in “Boating” is hers and hers alone. “Grown Again” may remind you a little of Grouper, but it has a more organic sensibility than her work, despite the loops. Neblett’s future NYC shows should be worth a look.

Stream Deli & Ashley Jackson

[Hannah Epperson]

Violinist and vocalist Hannah Epperson felt in command of the situation from the get-go, promising to tame her usual volubility. I’d have been happy to hear her talk more, personally, but her playing belonged as the highlight. Of her two songs, the expressive “Farthest Distance Apart” really nailed it for me, with Epperson’s vocals about the transient nature of attention in modern society sure to hit home with most of us.

Stream Hannah Epperson:

Then came time for Elizabeth & the Catapult (in this case, the “Catapult” was guitarist/vocalist Chris Cubeta), who let loose with a rollicking, devil-may care kind of a set that found Elizabeth moving between the piano and wandering the stage with her guitar, joining her musical partner for vocals on “Go Away My Lover”, which we first experienced at Elizabeth’s Backyard Brunch Session a couple years ago. Here, Elizabeth sounded more forceful and assured than ever, earning plaudits as well as some deserved laughs for both her all-too-recognizable lyrics about relationships and her equally-deserved hate for hashtagging. Elizabeth & the Catapult’s set was so on point, in fact, that she even got an “encore” of sorts, turning her song “More Than Enough” into a crowd singalong.

Stream Elizabeth & the Catapult:

Perhaps the evening’s most surprising set came from Indigo Street and Shelley Burgon, who closed things down with an intense set of ambient instrumental music that created the perfect vibe for ending the night. Their choices — Burgon’s “Time Between Times Variation Three” and the theme from “To Kill A Mockingbird” — were cerebral, cinematic numbers that were a joy to see being created. They truly created the sort of “hum” this event is about, a warming of the heart, brain and soul, an oasis of reflection capable of taking place even in a crowded bar. It was something special.

Stream Indigo Street and Shelley Burgon:

I recorded this set with a soundboard feed together with Audio Technica 4051 cardiod microphones up close on the performers. While some ambient noise can be heard from the crowded bar up front, as well as bits of DI hum here and there, overall the sound quality of the sets is quite good. Enjoy!

Download all four sets: [MP3] | [FLAC]


The Hum Residency
Manhattan Inn
Brooklyn, NY USA

Exclusive download hosted at
Recorded and produced by acidjack

Soundboard + Audio Technica 4051>Edirol R-44 [OCM]>2x24bit/48kHz WAV>Adobe Audition CS 5.5 (fades, adjust levels, align, mix down, compression)>Izotope Ozone 5 (effects, imaging, EQ)>Audacity 2.0.3 (track, amplify, balance, downsample, dither)>FLAC ( level 8 )

Ashley Jackson
01 John Riley [Kati Agocs]
02 Technicolor [Angelica Negron]
03 [banter]

Deli and Ashley Jackson
04 Sepiatoned Rainbow
05 Boating
06 Grown Again

Deli Neblett – vocals, guitar
Ashley Jackson – harp
Hannah Epperson

01 Catenary
02 Farthest Distance Apart


Elizabeth & the Catapult

01 [intro/Happy Birthday]
02 Thank You For Nothing
03 Happy Pop
04 Go Away My Love
05 When My Time Comes
06 [banter]
07 Secrets
08 [banter2]
09 More Than Enough

Elizabeth Ziman – Vocals, piano, guitar
Chris Cubeta – guitar, vocals


Indigo Street and Shelley Burgon

01 Time Between Times Variation Three
02 Theme From To Kill A Mockingbird

Learn more about these great bands and buy their records: Deli | Ashley JacksonHannah Epperson | Elizabeth & the Catapult | Shy Hunters | Shelley Burgon


Waxahatchee: April 9, 2015 Music Hall of Williamsburg – FLAC/MP3/Streaming

April 16, 2015

Processed with VSCOcam with b2 preset
[photos by Jill Harrison]

We last saw Waxahatchee, aka Katie Crutchfield, in the least ideal of circumstances, after Hurricane Sandy had prevented her band from joining her for the Don Giovanni showcase at Music Hall of Williamsburg. Nonetheless, she played a memorable, vulnerable impromptu solo set that captivated us and had a lot of fans. Now, in 2015, she was back at MHOW with a full band that included her twin sister, Allison (of Swearin‘) and Ashley Arnwine of Bleeding Rainbow and Pinkish, who brought the musical skill to bring her songs to life. An Alabama native, Crutchfield took off with her second album, Cerulean Salt, but it should be her recent Merge Records release, Ivy Tripp, that takes her to the next level, giving her both the biggest sound, and the biggest exposure for it, yet. This show was way sold out, and I suspect that’ll be a trend.

This show kicked off with one of Ivy Tripp‘s best songs, “Breathless”, followed by a more rocking track from that album, “Under A Rock”. From there, the band jumped primarily between the last two albums, including a fiery “Waiting” and the leadoff single to Ivy Tripp, “Air”. Crutchfield’s strength lies in both the phrasing and style of her voice as well as her vocal content; she’s not afraid for her audience to actually hear what she has to say. Her songs can cut you to the quick; they’re personal, rich, and forceful.

In addition to more muscular full-band numbers, Waxahatchee didn’t shy from returning to her solo roots, performing an encore that included two of the standout tracks from her first record, “Grass Stain” and “Noccalula”, along with new track “Summer of Love”. She may have come a long way from her lo-fi solo roots, but what makes Crutchfield great hasn’t changed.

hi and lo recorded this set with Neumann KM140 cardiod microphones and a soundboard feed (please provide the engineer’s name if you’ve got it). The sound quality is excellent. Enjoy!

Download the complete set: [FLAC] | [MP3]

Stream the complete set:

Music Hall of Williamsburg
Brooklyn, NY USA

Exclusive download hosted at
Recorded and produced by hi and lo

Soundboard (???) + Neumann AK40 > LC3 > PFA > Sonosax SX-M2 >> Sound Devices 744T @ 24 Bit / 48 kHz >> Izotope Ozone 5 (effects) >> Audacity 2.0.3 ( final edits and tracking ) >> FLAC ( level 8 )

Tracks [Total Time 55:07]
01 Breathless
02 Under A Rock>
03 Misery Over Dispute
04 Lips and Limbs
05 Waiting
06 Less Than
07 The Dirt
08 Lively
09 Poison
10 Brother Bryan
11 Blue
12 Grey Hair>
13 Air
14 Coast To Coast
15 La Loose
16 Peace and Quiet
17 Bonfire
18 [encore break]
19 Grass Stain
20 Summer of Love
21 Noccalula

If you enjoyed this recording, PLEASE SUPPORT Waxahatchee, visit her website, and buy Ivy Tripp here.  

Photo Apr 09, 11 25 04 PM

the Mountain Goats: April 12, 2015 City Winery – Flac/MP3/Streaming

April 16, 2015

Mountain Goats City Winery 2 (2)
[screen cap from capnkoons video here]

There are times when the people who book shows make the perfect pairing of a band and a venue and this weekend the Mountain Goats and City Winery were a marriage made in heaven. We caught both nights with two different NYCTaper contributors but we both were in complete agreement that these were outstanding shows in large part because of where they took place. City Winery prides itself on being a “listening room” — a place where people who come to see an artist perform respect the music. There is literally a pre-show message to refrain from talking during the music. For Mountain Goats fans however, the warning may not be actually necessary. They may sing along with the lyrics (all known by heart) and call out the most obscure requests in between songs, but when the band is playing, the listening is happening. And City Winery is both large enough to satisfy the two-night ticket demand for this band, and small enough to maintain a nice level of intimacy.

The Mountain Goats are currently on tour in support of Beat the Champ, which is ostensibly John Darnielle’s tribute to the early days of professional wrestling of the 1970s and early 80s. But as with the Mountain Goats music, there’s much going on beneath the surface of these songs. The basic routines that made wrestling attractive to a suburban kids of the time — identifiable heroes and villains, fluid loyalties, physical comedy, and deception — are all themes that Darnielle is comfortable covering in Mountain Goats material as symbols of wider human truths. For example, the protagonist in “The Legend of Chavo Guerrero” (streaming below) becomes the “good guy” foil to Darnielle’s abusive stepfather and “Southwestern Territory” becomes a parable for the musician’s life on the road. In a lengthy show at City Winery, these and other Champ songs fit well within a career spanning setlist that offered a “gimmick” of its own. The band had played a pared-down “basement” set for the City Winery’s video series this week and enjoyed the experience so much that the actual stage plot on this night featured a small drum kit and Peter Hughes fretless bass — an “unplugged” set-up if you will. There were also some change-ups, as usual set-closer “This Year” appeared very early in the set, and “No Children” featured a complete-song vocal performance by the crowd while Darnielle led the chorus while standing on a table in the audience. Other highlights of this terrifically entertaining set included personal favorite “Up The Wolves” (also streaming below), “Foreign Object” with the outstanding horn work from new band member Matt Douglas, and a goofy acoustic cover of the Grateful Dead’s “St. Stephen” — and of course a significant amount of John’s usual humorous banter. While the Mountain Goats will not be back in NYC until next year — the current tour runs through June and then its off to Europe in the Fall — we expect that when they do the NYC shows will again be at City Winery. At least we hope they are, since this was one of my favorite tMG shows of the many I have seen.

I recorded this set with the Schoeps cards clamped to the same beam that acidjack used for the previous night’s show and mixed with a superb soundboard feed by longtime Mountain Goats FOH Brandon Eggleston. The sound quality is quite excellent. Enjoy!

Download the Complete Show [MP3] / [FLAC]

Stream “Up The Wolves”:

Stream “The Legend of Chavo Guerrero”

Mountain Goats
City Winery
New York NY

Digital Master Recording
Soundboard + Audience Matrix

Soundboard [Engineer: Brandon Eggleston] + Schoeps CCM4u Cardioids > Edirol R-44 (Oade Concert Mod) > 2 x 24bit 48kHz wav files > Soundforge (level adjustments, mixdown, EQ, set fades) > CDWave 1.95 (tracking) > TLH > flac (320 MP3 and tagging via Foobar)

Recorded and Produced by nyctaper

[Total Time 1:45:07]
01 [wrestling intro]
02 Get Lonely
03 [banter – basement]
04 Werewolf Gimmick
05 This Year
06 Animal Mask
07 Slow West Vultures
08 [banter – weapon]
09 Foreign Object
10 Luna
11 Deuteronomy 2:10
12 Shot in the Dark [Ozzy Osbourne]
13 [banter – audible]
14 Steal Smoked Fish
15 St. Stephen [Grateful Dead cover]
16 Cotton
17 The Ballad of Bull Ramos
18 Cry for Judas
19 Pigs That Ran Straightaway Into the Water, Triumph Of
20 Love Love Love
21 Choked Out
22 Up the Wolves
23 The Legend of Chavo Guerrero
24 [encore break]
25 The Diaz Brothers
26 [banter – fiefdoms]
27 Southwestern Territory
28 No Children
29 [second encore break]
30 Amy aka Spent Gladiator 1

If you download this recording from NYCTaper, PLEASE SUPPORT The Mountain Goats, visit their website, and purchase Beat the Champ from the Merge Records website [HERE].

Spray Paint: April 4, 2015 Union Pool – FLAC/MP3/Streaming

April 15, 2015

Spray Paint
[Photo by Walter Wlodarczyk]

Austin treble-punks Spray Paint wrangle more of a racket out of two guitars and a drum kit than most bands do with twice the instruments. Their minimalist onslaught is one of restraint, confining their infectious riffing to two or three minutes at a go (save for the eight-plus-minute “Cory’s Theme” that I’ll venture to guess has yet to be performed live). They’ve got three albums under their belt—two for Sacramento’s S-S Records (one self-titled, the other Rodeo Songs) and their latest, Clean Blood, Regular Acid, on Austin’s Monofonus Press. Spray Paint must write ’em even faster than they play ’em because a fourth, titled Punters on a Barge, is due out June 1 on Homeless.

Spray Paint showed up looking slightly road-weary at Union Pool last week, supporting Pampers along with Monofunus label-mates Beech Creeps. Nonetheless they delivered an energetic set, playing tracks drawn from across their recorded output. Picking favorites is a losing proposition here, so excuse the list of songs that follows. “Spock Fingers,” “Pink Pus,” and “Squaw” all hail from their earliest 7″s on S-S, which are way OOP so you’ll have to monitor Discogs closely if you want to grip one of those. Off the S-S LPs, they play “Canadian Trash,” “Bring Dumpster Back,” “George’s Theme,” and “Ultimate Umpire.” From Clean Blood, Regular Acid it’s “Rest Versus Rust” and then they follow with a couple off the forthcoming Punters on a Barge, “Ian’s Theme” and an ode to baseball’s unsung middle relief pitchers, aptly titled “Middle Relief.”

I recorded this set in the same manner as the Beech Creeps set from the same night. The full assault of Spray Paint’s set is captured here. Enjoy!

Spray Paint will be touring Japan and Australia in May and June. Check their website for details.

Download the complete show: [MP3] | [FLAC]

Stream the complete show:

Note: All of the material on this site is offered with artist permission, free to fans, at our expense. The only thing we ask is that you download the material directly from this site, rather than re-posting the direct links or the files on other sites without our permission. Please respect our request.

Spray Paint
Union Pool
Brooklyn, NY

Exclusive download hosted at
Recorded and produced by Eric PH

Soundboard (engineer: Leah) + AKG C480B/CK61 (FOB, LOC, PAS) > Roland R-26 > 2xWAV (24/48) > Adobe Audition CC (align, balance, mixdown) > Izotope Ozone 5 (EQ, Tape Exciter) > Audacity 2.0.5 (amplify, fades, downsample, dither, tracking, tagging) > FLAC (16/44.1, level 8)

Tracks [27:55]
01. Bring Dumpster Back
02. Ultimate Umpire
03. Spock Fingers
04. Squaw
05. Pink Pus
06. George’s Theme
07. Rest Versus Rust
08. Ian’s Theme
09. Middle Relief
10. Canadian Trash
11. Cussin’

Support Spray Paint: WebsiteFacebook | Bandcamp | Buy Clean Blood, Regular Acid from Monofonus Press | Preorder Punters on a Barge from Homeless

The Hum Residency: April 06, 2015 Manhattan Inn – Flac/MP3/Streaming

April 13, 2015

[photos courtesy of David Andrako]

The Hum Residency is a collection of over 30 artists collaborating at Greenpoint’s Manhattan Inn every Monday night in April. In the evening, Manhattan Inn is a bar and restaurant featuring a baby grand piano and rotating pianist in a lovely candle lit room in the back. After 10pm, the space is transformed into a concert venue, tables on the floor quickly whisked away while dinner patrons sitting in custom-made wooden booths, dessert plates and the check in front of them, prepare to enjoy a special evening of music in what will be a standing-room only crowd.

Each Monday night features three sets of collaborating artists and for the first act of this night, Brooklyn’s Teletextile and Belle Mare huddled around the house piano. Teletextile is no stranger to intimate sets as we previously featured them for an indoor Backyard Brunch session in 2011 and both bands delivered an equally good performance.

For the second act, Renata Zeiguer of Cantina and Cassandra Jenkins shared the floor creating a seven piece ensemble complete with drum kit. The floor was impassable, cables and guitar peddles covering every last inch of available space on the floor, and the artists were literally surrounding my microphones.

The final act was the powerful duet of Shilpa Ray amd Deva Mahal. Shilpa is releasing a new album called Last Year’s Savage on May 19, 2015 (Northern Spy Records), and she’ll be playing a record release show at Rough Trade on May 23rd.

I recorded this unique set using a pair of Schoeps MK4 Cardioid microphones on-stage in the a classic ORTF setup which was re-positioned for each artist. The audience recording was mixed with a soundboard feed provided by Manhattan Inn’s Engineer John. The audience was incredibly respectful during this intimate set and the results are outstanding. We hope you enjoy!


Download the complete show – Teletextile and Belle Mare: [MP3] | [FLAC]

Download the complete show – Renata Zeiguer (Cantina) and Cassandra Jenkins: [MP3] | [FLAC]

Download the complete show – Shilpa Ray and Deva Mahal: [MP3] | [FLAC]

Note: All of the material on this site is offered with artist permission, free to fans, at our expense. The only thing we ask is that you download the material directly from this site, rather than re-posting the direct links or the files on other sites without our permission. Please respect our request.

1 (1)

The Hum Residency
Manhattan Inn
Brooklyn, NY

Exclusive download hosted at
Recorded and Produced by hi and lo

Source: Soundboard (Engineer: John) + Schoeps MK4 (ORTF) > KC5 > PFA > Naiant PFA > Sound Devices 744T @ 24 bit / 48 kHz

Teletextile and Belle Mare:

1. Gold Green
2. All the Time
3. Rehearsed Lines
4. The Boat of the Fragile Mind
5. Distant Places
6. Girl

Cassandra Jenkins and Cantina:

01. Basement Bug
02. Cartoon
03. Wayside
04. Follow Me Down
05. Disco Death Dance
06. Hotel Lullaby
07. Tennessee Waltz
08. Shame

Shilpa Ray and Deva Mahal:

1. Empire City (Deva Mahal)
2. I’d Rather Go Blind
3. Genie’s Drugs
4. Dedicated to the One I Love
5. Too Late
6. Shilpa Ray’s Got A Heart Full of Dirt

If you enjoyed this recording, please support The Hum Residency by visiting their Facebook page and attending any of their FREE Monday night shows at Manhattan Inn in April!.

The Mountain Goats: April 11, 2015 City Winery – FLAC/MP3/Streaming

April 12, 2015


John Darnielle possesses the writer’s gift of universality. From his very specific songs come truths that touch the hearts of listeners who have never lived his life. You may never have felt the humiliation of being a burned out tweaker, sweating it out in a dingy hotel room, but you understand what it means to feel you’re at rock bottom. You know what it is to be dumb and wild and free. You know what it is to desperately, desperately, survive a year that hasn’t gone the way you hoped. In John’s quirky  new songs about wrestling from Beat the Champ there are classic themes about underdogs and alienation, themes that you don’t need to wear a mask to understand. The Mountain Goats built their fervent fan base not on the strength of riffs but on words. Listening to Darnielle’s stories, feeling the emotions he projects, his heart becomes your heart; his trials, yours.

The Mountain Goats played NYC shows on this tour both at Webster Hall and two nights at City Winery, in lieu of a single large show at Terminal 5 or a similar venue. For that, we can be grateful, as City Winery — where as John said, he could actually see the back of the venue from the stage — vibed perfectly with what he wanted. For this tour, the regular trio of Darnielle, Jon Wurster and Peter Hughes is joined by the NC-based journeyman and Swiss army knife of a musician Matt Douglas, who has now appeared on this site with three different bands, if you count his solo show. The addition of Douglas on sax, guitar, horns and keys adds welcome texture and complexity to the full-band numbers, and takes some pressure off of Darnielle, whose massive catalog is always a challenge on tour. The intimate room amplified the songs’ emotional heft; it was a joy to see the rather well-heeled crowd of (probably) former nerds, geeks and rejects sing along to one of Darnielle’s most approachable verses:

people were mean to you
but i always thought you were cool
clicking down the concrete hallways
in your spiked heels
back in high school

That’s Darnielle’s magic, distilled: A song about a single person that many of us could see in ourselves, even if what made us different had nothing to do with spiked heels. If proof were ever needed of the value of being yourself, Darnielle and his slow-burning but runaway success would be the best of it. That he has created an entire community of people who feel the same way is his gift to all of us. Happiness isn’t conformity, or cowing to others’ idea of who you ought to be. It’s doing every stupid thing that makes you feel alive, and the joy you feel at coming out on the other side, still breathing. Long live The Mountain Goats.

I recorded this set with Schoeps MK41 supercardiod microphones in a position forward of the board, along with a stereo feed of The Mountain Goats’ engineer Brandon Eggleston’s excellent house mix. The sound quality is outstanding. Enjoy!

Download the complete show: [FLAC] | [MP3]

Stream the entire set:

The Mountain Goats
City Winery
New York, NY USA

Exclusive download hosted at
Recorded and produced by acidjack

Schoeps MK41 (FOB, ROC, PAS)>KC5>CMC6>Sound Devices USBPre2 + Soundboard (engineer: Brandon Eggleston)>>Edirol R-44 [OCM]>2x24bit/48kHz WAV>Adobe Audition CS 5.5 (align, mix down, adjust levels, fades, downsample)>Izotope Ozone 5 (EQ, exciter, imaging)>Audacity 2.0.3 (track, amplify, dither)>FLAC ( level 8 )

Tracks [Total Time 1:33:56]
01 [intro]
02 Get Lonely
03 The Ballad of Bull Ramos
04 Love Love Love
05 [banter1]
06 Palmcorder Yajna
07 Animal Mask
08 [banter2]
09 Luna
10 Deuteronomy 2:10
11 [banter3]
12 Beyond the Mysterious Beyond
13 Raja Vocative
14 Woke Up New
15 Steal Smoked Fish
16 Never Quite Free
17 Song for Dennis Brown
18 Stabbed to Death Outside of San Juan
19 Foreign Object
20 This Year
21 The Legend of Chavo Guerrero
22 [encore break]
23 You Were Cool
24 Southwestern Territory
25 Amy aka Spent Gladiator 1
26 [encore break 2]/piano jam
27 No Children

John Darnielle – Vocals, guitar, keys
Matt Douglas – saxophone, guitar, keys, horns
Peter Hughes – Bass
Jon Wurster – Drums

If you enjoyed this recording, PLEASE SUPPORT The Mountain Goats, visit their website, and buy their records from their online store.

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