nyctaper Recordings

concert discussion and free flac downloads

Guerilla Toss: October 31, 2018 Market Hotel

December 19, 2018
By

The genre-bending shamanistic space-rock collective Guerilla Toss have been a must-see live act for several years now. We caught them in a daytime slot in the Out In the Streets Festival in 2016 and then later in a support slot at Secret Project Robot when the band played literally among the crowd (and our mics) on the floor of the venue.

For this majestic set on Halloween at Market Hotel, Guerilla Toss sold out the venue that fit their aesthetic to a tee.  This show definitely had an event feel throughout the night and the band certainly lived up to the atmosphere.  Performing in front of an imported, elaborate, but appropriately spacey lighting rig, Guerilla Toss delivered a meaty ninety-minute set to their vocally devoted followers.  Personally, the highlight of the set was the seamless segue into a haunting version of Nico’s “All Tomorrow’s Parties” which seemed an appropriate cover for GT and fit right into their oeuvre.  But ultimately this show was more about the ability of this band to perfectly sync all of their classically trained abilities into a unique and compelling amalgam of modern music.  Guerilla Toss remains a must see band and this show, their biggest in the NYC market thus far, is proof that they will continue to grow their reach.

I recorded this set with the installed AT mics and a fine soundboard feed. The sound quality is quite excellent. Enjoy!

Download the Complete Show [MP3] / [FLAC]

Stream the Complete Show:

Guerilla Toss
2018-10-31
Market Hotel
Brooklyn NY

Digital Master Recording
Soundboard + Upfront Audience

Soundboard [Engineer: Eric Lemke] + Audio Technica 4051 > Sound Devices 744t > 2 x 24bit 48kHz wav files > Soundforge (level adjustments, mixdown, set fades) > CDWave 1.95 (tracking) > TLH > flac (320 MP3 and tagging via Foobar)

Recorded and Produced
by nyctaper

Setlist:
[Total Time 1:19:21]
01 Jam
02 Eraser Stargazer Forever
03 Jesus Rabbit
04 Betty Dreams of Green Men
05 Realistic Rabbit
06 [crowd]
07 Meteorological [Jane La Onda]
08 Diamond Girls
09 King’s Lead Hat [Eno]
10 Spider Heard
11 [thanks]
12 Magic Is Easy
13 Grass Shack
14 367 Equalizer
15 All Tomorrow’s Parties [Velvets]
16 Dose Rate
17 Retreat
18 Chronophobia
19 Come Up With Me
20 [encore break]
21 Operate

PLEASE SUPPORT Guerilla Toss: Bandcamp | Facebook | DFA Records Page

Ryley Walker: December 14, 2018 Baby’s All Right

December 16, 2018
By

Ryley Walker has become something of a Renaissance man in 2018, with his highly-lauded album Deafman Glance, a full-album cover of an unreleased Dave Matthews Band LP, his endlessly entertaining Twitter account, and an ongoing series of Vice articles where Ryley’s just being Ryley. Listen to some of his between song banter and it’s clear Walker loves music and knows how to engage an audience. Yet for all his extracurricular antics, the tunes are nothing if not sincere.

Somewhat surprisingly given it’s high level of publicity, Walker and band are not touring Dave Matthews tunes, but instead continue touring this year’s excellent Deafman Glance—Walker’s best album yet. Especially great here is their rendition of “Spoil With the Rest” and a pair of tunes with trumpeter Jaimie Branch, “22 Days” and “Funny Thing She Said.”

I recorded this with a pair of MBHO cardioid mics on stage in stereo DIN configuration, combined with a soundboard feed courtesy of the Baby’s crew, Dan and Jesse. The sound is outstanding. Enjoy!

Downloads available at the Live Music Archive

Ryley Walker
2018-12-14
Baby’s All Right
Brooklyn, NY

Recorded and produced by Eric PH for nyctaper.com

Soundboard (engineers: Dan & Jesse) + MBHO KA200N/603A (on stage, DFC, DIN) > Naiant PFA >> Sound Devices MixPre-6 > WAV (24/48) > Adobe Audition CC (mixdown, compression, normalize, fades) + Izotope Ozone 5 (EQ) > Audacity 2.0.5 (tracking, tagging) > FLAC (24/48, level 8)

Tracks: [1:09:03]

01. [intro]
02. Telluride Speed
03. [who loves live music]
04. The Halfwit in Me
05. [capo jokes]
06. Spoil With the Rest
07. [banter]
08. 22 Days
09. [band intros]
10. Funny Thing She Said
11. [thanks]
12. The Roundabout

Ryley Walker: guitar, vocals
Brian Sulpizio: guitar
Andrew Young: bass
Ryan Jewell: drums
Jaimie Branch: trumpet on tracks 8 and 10

Buy Ryley Walker music on Bandcamp

Dodgeball: September 9, 2018 Trans-Pecos

December 2, 2018
By


[photo by nyctaper]

Back in the last decade when every sub-genre of music had a silly moniker, a particular type of intelligent polyrhythmic punk was clumsily called “math rock”. These days there aren’t really blogs around anymore to invent awkward genres in lieu of actually reviewing the music, but the descendants of the bands who got tagged as “math rock” are having a heyday of sorts. Boston’s Pile seems to be the granddaddy of this little movement, which also includes bands like Spirit of the Beehive, Palm, and Brooklyn’s Dodgeball. In the several weeks since this September show where the band exhibited the best traits of the current crop of mathies — strong sense of rhythm, challenging but rewarding melodic structure, and a great songcraft — Dodgeball released a new four-song EP, three tracks of which appear on this recording. The EP Turns Out I Was Just Really Bored continues the evolution of a band we expect to continue to grow in stature to the point where these cozy nights at Trans-Pecos will likely be a thing of the past.

I recorded this set with the Schoeps capturing the onstage sound mixed with a solid board feed. The recording really captures the energy of the set quite well and we think it sounds great. Enjoy!

Download the Complete Show [MP3] / [FLAC]

Stream the Complete Show:

Dodgeball
2018-09-09
Trans-Pecos
Queens NY

Digital Master Recording
Soundboard + On-Stage Audience Matrix

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

Recorded and Produced
by nyctaper

Setlist:
[Total Time 26:04]
01 Edging
02 Swayze
03 Cig Bowl
04 Veggies
05 Robert Parsnip
06 Palm
07 Rock Song 1
08 Nu

PLEASE Support Dodgeball: Bandcamp | Facebook | Twitter

What We Talk About When We Talk About Taping: NYCTaper in Wired!

November 26, 2018
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The Invisible Hit Parade: How Unofficial Recordings Have Flowered in the 21st Century

Hey friends! We don’t have any new music for you this morning, but… Check out Wired for an in-depth look look at taping in the 21st century, by Jesse Jarnow, complete with some choice and insightful quotes from yours truly. We’re thrilled to get such a positive reception and we hope the article encourages people to check out some recordings. Meanwhile, feel free to ask us any burning questions you might have in the comments below.

Dirty Projectors: November 18, 2018 Elsewhere (Early Show)

November 20, 2018
By

If you ever doubt the reason to see live music, I’d refer you to the experience of watching Dave Longstreth on stage for eighty minutes with Dirty Projectors. There’s a particular joy to watching such complex, intellectual “rock” music brought to life by players of such immense talent, up close enough to see Longstreth’s fingers work the fretboard. If it’s at Elsewhere — a phenomenal-sounding club — and on a rather convenient late Sunday afternoon, all the better.

Among the waves of NYC/Brooklyn rock music in the first decade of this century, the Dirty Projectors always existed at some remove from even their mid-latter-decade contemporaries. Dirty Projectors is an unapologetically smart band, the work of a highly educated musician’s musician. It’s fitting that I last saw this band at Carnegie Hall in early 2013; if any “indie rock” band belongs there, it’s this one.

This set, the first of two the band performed at Elsewhere on Sunday, spanned the band’s five most recent albums (with Rise Above represented by the particularly affecting “Police Story” that led off the show), as well as two nuggets from the band’s Mount Wittenberg Orca collaboration with Björk. Likewise, this set represented a reasonable facsimile of Longstreth’s emotional states during the recent past, with songs like the joyous “I Found It In U” and “I Feel Energy” offset by the political rumination “It’s A Lifestyle” and the wistful “Little Bubble.” Longstreth has described Lamp Lit Prose and Dirty Projectors as a yin and yang album cycle, and that was evident here. But, while Lamp Lit is stylistically closer to the rest of the band’s recent material, there’s been a darkness in many of Longstreth’s songs before Dirty Projectors, and those, like “Gun Has No Trigger,” were well-represented here also.

To call the current band “new” is a bit of a stretch at this point; they’ve been touring this album as a unit for a while now, and it showed in their formidably well-rehearsed state. Give a quick listen to the soaring harmonies on “Cannibal Resource”, Kristin Slipp’s lead vocal on “The Socialites” or the incredible vocal precision on “When the World Comes To An End” (incidentally, the Mount Wittenberg songs strike me as particularly difficult musically) and you’ll be relieved of any concern that this band isn’t every bit the equal of the one that came before it. It wasn’t just because of Longstreth’s talent that I spent a good bit of these 80 minutes on a Sunday afternoon mouthing the word “wow.” It was hard to tell how serious Longstreth was about engaging a call-and-response situation during the final encore (“Right Now” from Lamp Lit Prose) but it soon became clear that even figuring out how to chant “right now” back at a Dirty Projectors song is a little tougher than usual singalong fare (“it loops unevenly…. that’s as well as I’ve figured out how to do it” a sheepish Longstreth said). “Right Now” proved a fitting end, encapsulating the yin and yang of the show in a single, dark but ultimately uplifting song (which Longstreth also identified as the most difficult to play in the set). The only part that wasn’t perfectly dialed in was the crowd singing “right now” — but that was kind of perfect, too.

I recorded this set with a feed of the house mix together with Schoeps MK4V microphones inside the soundboard cage. All credit for the sound of this belongs to the production team, both Dirty Projectors’ touring engineer, Teresa Murray, and the house team at Elsewhere. I hope you’re as impressed with it as I am — enjoy!

Thanks to Domino Records and Dirty Projectors for giving us permission to record the performance, along with the outstanding Elsewhere production crew.

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

Dirty Projectors
2018-11-18 (early show)
Elsewhere
Brooklyn, NY USA

Recorded and produced by acidjack for nyctaper.com

Soundboard (engineer: Teresa Murray + Tyler (house)) + Schoeps MK4V (FOB, DFC)>KC5>CMC6>>Sound Devices
MixPre6>24/48 polyWAV>Adobe Audition CC (align, mix down, fades, compression)>Izotope Ozone 5 (effects)>Audacity 2.1.0 (track, amplify,
balance)>FLAC ( level 8 )

Tracks [Total Time: 1:20:15]
01 Police Story
02 I Found It In U
03 Break-Thru
04 What Is the Time
05 Cannibal Resource
06 Temecula Sunrise
07 That’s a Lifestyle
08 The Socialites
09 Gun Has No Trigger
10 When the World Comes to an End
11 I Feel Energy
12 Cool Your Heart
13 Useful Chamber
14 [encore break]
15 Beautiful Mother
16 Little Bubble
17 [explanatory banter]
18 Right Now

Band:
Dave Longstreth
Matt Baldwin – bass, bass synth
Mike Johnson – drums
Felicia Douglass – vocals, keyboard, electronic percussion
Kristin Slipp – vocals, Wurlitzer, additional keys
Maia Friedman – guitar, vocals

PLEASE SUPPORT Dirty Projectors: web | facebook | buy Lamp Lit Prose

Daniel Bachman: August 19, 2018 Trans-Pecos

November 12, 2018
By

Daniel Bachman’s latest album, The Morning Star, opens with the side-long “Invocation” (wonderfully captured live at Hopscotch back in September) and weaves its way through two LPs worth of solo guitar, drones, field recordings, and found sounds. It’s an expansion of the palette he’s been mining since Orange County Serenade, but here Bachman’s style tips more towards ambient/drone music than he has in the past. However aside from that Hopscotch performance, Bachman is very much still doing solo guitar performances. This set recorded at Trans-Pecos back in August finds Bachman playing “Sycamore City,” “Song For the Setting Sun IV,” and “New Moon” from The Morning Star, plus “The Flower Tree” and “Wine and Peanuts” from his 2016 self-titled LP. He rounds out the originals with a few deep covers you may know: “Beautiful Eyes of Virgina” by Lemuel Turner, “Steamboat Gwine Round Da Bend” by John Fahey, and “Weary Lonesome Blues” by Roy Harvey and Leonard Copeland.

Download the complete show: [MP3/FLAC]

Daniel Bachman
2018-08-19
Trans-Pecos
Queens, NY

Recorded and produced by Eric PH for nyctaper.com

Soundboard + MBHO KA100DK/603A (on stage) > Naiant PFA >> Sound Devices MixPre-6 > WAV (24/48) > Adobe Audition CC (mixdown, compression, normalize, fades) + Izotope Ozone 5 (EQ) > Audacity 2.0.5 (tracking, tagging) > FLAC (24/48, level 8)

Tracks: [44:59]
01. Sycamore City
02. Beautiful Eyes of Virgina [Lemuel Turner]
03. Steamboat Gwine Round Da Bend [John Fahey]
04. Song For the Setting Sun IV
05. The Flower Tree > Wine and Peanuts
06. Weary Lonesome Blues [Roy Harvey and Leonard Copeland]
07. New Moon

Support Daniel Bachman: Website | Facebook | Buy The Morning Star from Three Lobed

Garcia Peoples: September 28, 2018 Music Hall of Williamsburg

November 7, 2018
By

Garcia Peoples can’t/won’t stop—it seems like they’re on every good bill and making every good bill better. A couple of their most recent shows had them in opening slots at Music Hall of Williamsburg, first for Träd, Gräs och Stenar and next for Kikagaku Moyo. We caught a recording of the former and it’s one of the band’s best gigs yet (at least that I’ve seen). Opening up with the now-classic “One Step Behind” into “Hangin’ On,” they follow with a couple newer tunes, “Break Me Down” and “I Feel So Great.” Word is the next two(!) records are in the can, both to come out on the essential Beyond Beyond is Beyond label. Jesse Jarnow summed up the Garcias’ appeal nicely in this recent Relix review and I couldn’t agree more, calling their album Cosmic Cash “an underground musical cryptocurrency for our supremely fucked-up age.” I feel pretty great too now that you mention it.

Garcia Peoples have a bunch of shows coming up, including a year-end West Coast tour with Howlin’ Rain (attendance is mandatory folks), but if you’re in NYC your next chance to catch them in action is at Union Pool on November 14.

Downloads available at the Live Music Archive

Garcia Peoples
2018-09-28
Music Hall of Williamsburg
Brooklyn, NY

Recorded and produced by Eric PH for nyctaper.com

Soundboard + MBHO KA200N/603A (at SBD) > Naiant PFA >> Sound Devices MixPre-6 > WAV (24/48) > Adobe Audition CC (mixdown, compression, normalize, fades) + Izotope Ozone 5 (EQ) > Audacity 2.0.5 (tracking, tagging) > FLAC (24/48, level 8)

Tracks: [33:46]
01. One Step Behind >
02. Hangin’ On
03. Break Me Down
04. I Feel So Great

Buy Cosmic Cash via Bandcamp

Träden (Träd, Gräs och Stenar): September 28, 2018 Music Hall of Williamsburg

October 30, 2018
By

The concentration of great psych bands coming out of Sweden these days is astounding: Dungen, Goat, Hills, Centralstödet, The Janitors. That’s just to name a few that are on my radar and I’m sure I’ve barely scratched the surface. But the most well-known psych band to come from Sweden  is almost certainly Träd, Gräs och Stenar (Trees, Grass and Stones) and they undoubtedly loom large for the younger generation.

Today they’re called Träden, but shifting band names and performers has always been part of the deal for the group that started off in 1967 as Pärson Sound, which became International Harvester, then just Harvester, before settling on Träd, Gräs och Stenar in about 1969. Despite their reputation as DIY hippies—or perhaps because they were just that—a wonderful amount of documentation survives, with recent archival releases highlighting how incredibly vital and popular their music still is today. Though Pärson Sound never released a proper album, a three-LP set documents their early experimentation. International Harvester/Harvester released two records, Sov gott Rose-Marie and Hemåt, both recently collected as part of the Remains box set. And more than six LP’s worth of live Träd, Gräs och Stenar material was collected in a box set from Anthology Recordings a few years ago (their studio albums from the 1970s remain sadly out-of-print).

Träden is just the latest iteration of this band, using both names interchangeably on tour (their first to hit the U.S. since 2004). The sole original member of the band is Jakob Sjöholm, who joined in 1970 (in time to play on the second studio album, Rock för Kropp och Själ). He’s joined by musicians from some of those great bands I mentioned above: Hanna Östergren (Hills) on drums, Sigge Krantz (Archimedes Badkar) on bass, and Reine Fiske (Dungen, The Amazing) on guitar and vocals. Their live repertoire includes songs from their new self-titled album, as well as older Träd, Gräs och Stenar songs like “Rock for kropp oct själ” and the well-known “Sanningens silverflod.” “När Lingonen Mognar” appears on Träden’s album, but was also originally released on Harvester’s Hemåt. Whether you call them Träden or Träd, Gräs och Stenar, the music itself is timeless.

Download: [MP3/FLAC]

Träden (Träd, Gräs och Stenar)
2018-09-28
Music Hall of Williamsburg
Brooklyn, NY

Recorded and produced by Eric PH for nyctaper.com

Soundboard + MBHO KA200N/603A (at SBD, DIN) > Naiant PFA >> Sound Devices MixPre-6 > WAV (24/48) > Adobe Audition CC (mixdown, compression, normalize, fades) + Izotope Ozone 5 (EQ) > Audacity 2.0.5 (tracking, tagging) > FLAC (24/48, level 8)

Tracks: [1:16:46]
01. Hymn
02. När lingonen mognar
03. Rock for kropp oct själ
04. Punkrocker
05. Tamburan
06. Tänkte bara undra
07. Sanningens silverflod
08. I ljuset av din dag
09. Hoppas du förstår

Buy Träden via Bandcamp

Parlor Walls: October 18, 2018 Saint Vitus Bar

October 25, 2018
By

If you haven’t checked out Parlor Walls since their excellent 2017 album, Opposites, then put your headphones in and turn your ears on. This set at Saint Vitus should be a must-listen for those of us who’ve followed Alyse Lamb’s career since the early ’10s, and those new to the party. Three of the newer songs – “Neuromancer”, “Love Complex” and “Low Vulture” are represented on the band’s May 2018 EXO cassette, and are among the band’s best work yet, pushing further into No Wave territory and somewhat away from some of the free jazz flourishes that appeared on Opposites. Parlor Walls’ songs are noisy, astringent documents of our time, complicated, unsettled and at-times brutal. Lamb has always been that special type of performer who doesn’t seem to need an audience; her unflagging intensity comes from within rather than without. (If you don’t believe me, see how she and drummer/keyboardist Chris Mulligan bring it alone in a Paste Magazine sound studio). It’s incredible that she and Mulligan can pack this much into their songs performing as a duo (their albums have additional bandmembers, in the most recent case, multi-instrumentalist Jason Shelton); like the full-time Brooklyn duo Yvette, they fill the stage without the extra bodies. If unrest is the overarching theme of these jittery pre-election days, Parlor Walls is the right soundtrack.

I recorded this set with Schoeps MK4V microphones at the soundboard combined with house FOH Jeff’s excellent mix. The sound quality is outstanding. Enjoy!

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

Parlor Walls
2018-10-18
Saint Vitus Bar
Brooklyn, NY USA

Recorded and produced by acidjack

Soundboard (engineer: Jeff) + Schoeps MK4V>KC5>CMC6>>Sound Devices MixPre 6>24/48 WAV>Adobe Audition CC (align, mix, compression, fades)
>Audacity 2.1.0 (track, amplify)>FLAC ( level 8 )

Tracks [Total Time 30:09]
01 Neuromancer
02 Love Complex
03 Pinafore
04 Spinning Gold
05 Ignite
06 Low Vulture
07 Cover Me
08 Birthday

PLEASE SUPPORT Parlor Walls: bandcamp | website

Object Hours: September 8, 2018 Merge Records/OCSC Day Party, King’s (Raleigh, NC)

October 22, 2018
By


[Photo courtesy of Dave Schwentker]

Sometimes the daytime action at Hopscotch can be even more intense than the evening, as showcases like the Merge/OCSC day party at King’s have a habit of bringing out top local talent to draw the local crowd. For my money, few local acts are more exciting right now than Carrboro, NC’s Object Hours, whose bandcamp helpfully promises to keep songs “under 25 minutes for your sake.” The band’s instrumental explorations, at least during this set, aren’t quite that long, but it’d be just fine if they were. The players — Nora Rogers, Jenny Waters and Harrison Haynes — are vets of a number of bands, and that experience and confidence shows in their improvisational style. For any fan of modern music for heads, add Object Hours to the top of your list — this is a band to watch.

Our man Dave Schwentker made this recording from an optimal spot in the venue using an Olympus LS-10 and its included mics. The sound quality is excellent. Enjoy!

Download the complete show: [MP3/FLAC]

Object Hours
Merge/OCSC Day Party
King’s
Raleigh, NC  USA

Recorded by Dave Schwentker

Tracks
01 Fuse Blower/Vikings
02 The Turning Point
03 Fear Based Excellence

SUPPORT Object Hours: bandcamp | Instagram

Support nyctaper

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