nyctaper Recordings

concert discussion and free flac downloads

Mountain Goats: April 30, 2019 Brooklyn Steel

May 5, 2019
By
photo courtesy of Drew Messinger-Michaels

It was about eighteen months ago when the Mountain Goats played an epic show at Brooklyn Steel that we were fortunate to attend and capture. So the band’s return to the venue on the tour to support their excellent new album In League with Dragons, came with some real anticipation. And man, did the band deliver. John Darnielle was particularly loquacious on this evening (check out the number of “banter” tracks), but his comments were all on point. The Mountain Goats have achieved a level of stature that’s been earned in years of tours and albums, and it seems like the band has reached that point where it can enjoy and revel in its well-deserved respect. And while Dragons dominated the setlist early-on, the band did still deliver the types of old rare nuggets that still satisfy the grizzled veterans of tMG shows. Indeed rare songs like “Jaipur” (played less than 10 times in the last 10 years), “Spilling Toward Alpha” (3 times in the last decade) , and “The Coroner’s Gambit” (played two times before 2019) are the types of setlist surprises that make us keep coming year after year. But ultimately this night was about the new album, the strength of which makes us believe that the Mountain Goats will continue to be the gift that keeps giving.

I recorded this set with the Schoeps cards raised high inside the soundboard booth and mixed with a board feed mixed expertly as always by longtime tMG FOH Brandon. The result is another superb recording of this band from this venue. Enjoy!

Download the Complete Show at Archive.org [HERE]

Stream the Complete Show:

Mountain Goats
2019-04-30
Brooklyn Steel
Brooklyn NY

Digital Master Recording
Soundboard + Audience Matrix

Soundboard [Engineer: Brandon Eggleston] + 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

Setlist:
[Total Time 1:38:40]
01 [Vivaldi introduction]
02 Done Bleeding
03 Younger
04 [Coroner’s intro]
05 The Coroner’s Gambit
06 Jaipur
07 In League With Dragons
08 Sax Rohmer 1
09 [banter – old song partisans]
10 Spilling Toward Alpha
11 [banter – seeds]
12 Going to Port Washington
13 [banter – play what you want]
14 Maybe Sprout Wings
15 [banter – not going to die]
16 Waylon Jennings Live
17 [banter – country album]
18 Clemency for the Wizard King
19 [banter – pitchfork review]
20 Cotton
21 [banter – inner ear monitors]
22 Cadaver Sniffing Dog
23 [banter – Ozzy]
24 Passaic 1975
25 Lion’s Teeth
26 Sicilian Crest
27 [encore break]
28 Have to Explode
29 Possum by Night
30 See America Right
31 Game Shows Touch Our Lives
32 [banter – the long encore]
33 No Children
34 The Best Ever Death Metal Band in Denton
35 Spent Gladiator 2

SUPPORT the Mountain Goats: Website | Twitter | Buy In League With Dragons | Tour Dates

Chris Forsyth: April 29, 2019 Rough Trade NYC

April 30, 2019
By

A few weeks ago, the internet buzzed with discussion of “indie jam,” the term coined by Steven Hyden at Uproxx and referring, as many noted in response, to a constellation of bands advanced largely by Jeff Conklin on The Avant Ghetto. (We at NYCTaper are acknowledged by Hyden too, I’m obliged to mention.) In the article, musicians like Chris Forsyth (along with Garcia Peoples, Sunwatchers, Ryley Walker, William Tyler, and many others) are credited with “an inclination to meld all kinds of music — including indie, post-rock, folk, country, jazz fusion, and, yes, punk — and take it in adventurous and often improvised directions.”

“Indie jam”—or whatever you want to call it—surely wasn’t born in an out-of-the-way amphitheater in Raleigh, NC. But in September 2013, when we were first introduced to Forsyth’s far-out jams that were clearly referencing the Grateful Dead and Television, something was afoot. Is it time for us shrug off the legacy of Kurt Cobain’s distaste for the Dead and acknowledge the ongoing intersections of indie rock and jambands? Across the aisle, jamband fans are approaching the same questions, as the podcast Beyond the Pond seeks to introduce Phish fans to music outside the jamband ecosystem.

In the meantime, while the heads have been catching up to him, Chris Forsyth has released a series of increasingly great albums. The latest is All Time Present, in which Forsyth’s singular guitar playing weaves effortlessly between varied genres, from psych rock to, yes, even dance.

On Monday night we caught Forsyth’s Brooklyn record release show, appropriately opening for Träd, Gräs och Stenar. Joined by the latest edition of the Solar Motel Band, Peter Kerlin on bass and Ryan Jewell on drums, the trio play “Tomorrow Might as Well Be Today” and “Mystic Mountain” before being joined by Pat Gubler (P.G. Six/Wet Tuna) on keys for “Dream Song” and an absolutely epic performance of “Dreaming in the Non-Dream.” Returning the favor from last month’s Garcia Peoples record release show, the Solar Moteliers are joined by Tom Malach, Danny Arakaki, and Cesar Arakaki to complete the circle with “Techno Top.”

Chris Forsyth, Garcia Peoples, Dire Wolves, and Weak Signal play Market Hotel on July 27. You can find out what magic is in store from this insanely great lineup by grabbing a ticket.

Downloads available at the Live Music Archive

Chris Forsyth
2019-04-29
Rough Trade NYC
Brooklyn, NY

Recorded and produced by Eric PH for nyctaper.com

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

Tracks [59:36]
01. Tomorrow Might as Well Be Today
02. Mystic Mountain
03. Dream Song
04. Dreaming in the Non-Dream
05. Techno Top

Solar Motel Band:
Chris Forsyth
Peter Kerlin
Ryan Jewell

3-5 with Pat Gubler
5 with Tom Malach, Danny Arakaki, and Cesar Arakaki of Garcia Peoples

Website | Facebook | Buy All Time Present via Bandamp

Acid Mothers Temple: April 20, 2019 Market Hotel

April 24, 2019
By


[photo from Kawabata’s blog]

The return of the Acid Mothers Temple stateside has become a yearly tradition and as a result the band has built its reputation in the U.S. as one of the most intense psych rock bands on the planet.  This year the band agreed to play the show on the day that has become a kind of Christmas for heads — “4-20” at Market Hotel.  Whether responding to the unique surroundings or the “holiday” atmosphere, AMT drew their largest crowd of the tour and played their longest set of the year.  This show was 90 minutes of the most intense music we’ve ever seen from this band, which has evolved in personnel in recent years, but remains anchored by the ferocious lead guitar of  Kawabata Makoto.  New-ish guitarist and vocalist Jyonson Tsu was featured in Dark Star Blues and La Novia, and the band is blessed with Tsu’s intense vocals and intuitive interplay with Makoto.  All in all, this was exactly what we’d hoped for from this band on this date, and judging by the diary entry for this date on Kawabata’s blog, the band was pretty stoked about the show too.

I recorded this set by substituting the Neumann hypers into the installed rig in the venue and the change was exactly perfect for this show.  A small percentage of the board feed was used to fortify vocals and kick drum, and overall the sound is superb.  Enjoy!

Download the Complete Show from Archive.org [HERE]

Acid Mothers Temple
2019-04-20
Market Hotel
Brooklyn NY

Digital Master Recording
Soundboard + Audience Matrix

Soundboard [engineer Allesandra Urso] + Neumann KM-150s > 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 1:23:43]
01 Blue Velvet Blues
02 Dark Star Blues
03 Chinese Flying Saucer
04 Flying Teapot
05 Disco Pink Lady Lemonade
06 La Novia
07 Pink Lady Lemonade Coda
08 Cometary Orbital Drive

PLEASE SUPPORT Acid Mothers Temple: Website | Buy Albums

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

April 15, 2019
By

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

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

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

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

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

Download the complete show from its Live Music Archive page.

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

Recorded and produced by acidjack

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

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

PLEASE SUPPORT RYLEY WALKER: Bandcamp | Dead Oceans

Avey Tare: April 1, 2019 Market Hotel

April 8, 2019
By
Photos by Justin Joffe (Twitter/Instagram)

This year marks ten years since Animal Collective released Merriweather Post Pavilion, and coincidentally ten years since the recordings of their landmark gigs at The Bowery Ballroom and Manhattan Center Grand Ballroom crashed the NYCTaper servers. Since then we’ve seen Animal Collective countless times and have covered shows by each member individually, none more than Avey Tare.

Back in 2017, Avey returned to The Bowery Ballroom to play songs off Eucalyptus and preview his most current album, Cows on Hourglass Pond. Never content to linger in the same place too long, last week’s show at Market Hotel was heavy on the Cows songs, with one song each from Eucalyptus and Down There. The sole unreleased song from this set, “Enjoy the Change,” was also played back at Bowery but surprisingly didn’t end up Cows.

I recorded this set with Market Hotel’s installed Audio Technica 4051’s, combined with a board feed courtesy of the venue and engineer, Eric. The sound is outstanding. Enjoy!

Download MP3/FLAC


Avey Tare
2019-04-01
Market Hotel
Brooklyn, NY

Recorded and produced by Eric PH for nyctaper.com

Soundboard (engineer: Eric) + AT4051 >> Sound Devices MixPre-6 > WAV (24/48) > Adobe Audition CC (mixdown, compression, normalize, fades) + Izotope Ozone (EQ, compression) > Audacity 2.0.5 (tracking, tagging) > FLAC (24/48, level 8)

Tracks [1:24:30]
01. Remember Mayan
02. What’s the Goodside?
03. HORS_
04. Eyes on Eyes
05. Taken Boy
06. K.C. Yours
07. Enjoy the Change
08. When You Left Me
09. Heads Hammock
10. Nostalgia in Lemonade
11. Saturdays (Again)

Buy Avey Tare records via Bandcamp

Garcia Peoples: March 24, 2019 Trans-Pecos

April 3, 2019
By

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

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

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

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

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

Download the complete show from its Live Music Archive page.

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

Recorded and produced by acidjack

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

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

* w/ Ryley Walker

PLEASE SUPPORT GARCIA PEOPLES: bandcamp | Facebook

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

April 2, 2019
By

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

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

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

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

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

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

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

Recorded and produced by acidjack

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

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

PLEASE SUPPORT RYLEY WALKER: Bandcamp | Dead Oceans

Garcia Peoples: March 29, 2019 Nublu NYC (with Chris Forsyth)

April 1, 2019
By
photo courtesy of Jeff Conklin

This Nublu night was ostensibly organized as the release party for Garcia Peoples new album Natural Facts with good friend of the site Ryley Walker as special guest. When Ryley decided to take some time off for personal reasons, the band invited another friend of this site Chris Forsyth, and Chris came north from Philadelphia on very short notice. The result was one of the more memorable shows in recent memory. The first set was a solid run through GP material, but it was the second set where the magic was revealed in an incredible hour-long jam sequence that approached legendary status. With Forsyth surrounded by the GP guitar section, the band added percussionist Ryan Jewell, and the double-drummer attack propelled the action through a 32-minute jam on a new Forsyth composition “Techno Top”. What followed were two covers that took the jam-packed crowd into another stratosphere. Of particular note is the tasty 1968-style high-energy “The Other One” which started on a buzz that never wavered through 19 minutes of pure bliss.

If you live in the Philadelphia area, Garcia Peoples is returning the release show favor to Chris Forsyth, as the two will perform together at Jerry’s On Front on April 27 when Forsyth releases his new record All Time Present. Our sincere recommendation is that anyone within any reasonable distance of that show on that night should not miss another magic night.

Eric and I recorded this set from an upfront location in the venue directly behind the DJ booth. The positioning did not permit a board feed, but the fortuitously placed high-end mics have yielded recordings of superb quality. We offer both for your enjoyment!

Download the Complete Recording at Archive.org

NYCTaper version [HERE]

Eric PH version [HERE]

Stream the Complete Set:

Garcia Peoples
2019-03-29
Nublu
New York NY

Digital Master Recording
Upfront Audience

Schoeps CCM4u’s > Sound Devices 744t > 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:
Set 1
[Total Time 40:07]
01 Rolling Tides
02 Feel So Great
03 Break Me Down
04 Total Yang
05 High Noon Violence
06 The Spiraling
Set 2
[Total Time 1:04:44]
07 Techno Top
08 The Calvary Cross [Richard Thompson]
09 The Other One [GD]

PLEASE SUPPORT These Artists: Garcia Peoples | Chris Forsyth

Chris Corsano & Bill Orcutt: January 29, 2019 Union Pool

March 20, 2019
By

The long-running collaboration of drummer Chris Corsano and guitarist Bill Orcutt has been characteristically slippery, as their series of ridiculously limited LPs, 7″s, and tapes appear and disappear from merch tables faster than the duo can churn out another frenzied jam. Their latest collision, and first to take place in the studio, is called Brace Up! The cover depicts a stage diver in mid-flight, heading straight for an atomic bomb’s mushroom cloud—which is pretty much the best description anyone has come up with for what these two do. Back in January, Corsano and Orcutt once again joined forces at Union Pool, each playing solo sets before recreating that same intensity of the album with a duo set.

I recorded this set from our usual location at Union Pool at the soundboard, combined with a feed from FOH Doug Graham. The sound is excellent. Enjoy!

Download both sets in MP3 and FLAC



Bill Orcutt
2019-01-29
Union Pool
Brooklyn, NY

Recorded and produced by Eric PH for nyctaper.com

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

Tracks [31:49]
01. Untitled 1
02. Untitled 2
03. Untitled 3



Chris Corsano & Bill Orcutt
2019-01-29
Union Pool
Brooklyn, NY

Recorded and produced by Eric PH for nyctaper.com

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

Tracks [29:59]
01. Untitled 1
02. Untitled 2
03. Untitled 3
04. Untitled 4

Buy Brace Up! via Bandcamp

Ryley Walker: March 12, 2019 Union Pool

March 14, 2019
By
Photo by Drew Gardner

Listen to this recording for the in-between song comedy, if nothing else.

Huh? Oh, right, but this is Ryley Walker we’re talking about — the Very Serious Musician who writes Very Serious Songs and does Very Serious Things like 55 minute psych-improv blowouts with Steve Gunn and Ryan Jewell. This is Ryley Walker, who does a 2LP song-by-song cover of an unreleased Dave Matthews album as his second record of the year — a cover album so good that it convinces music snobs that yes, Dave Matthews is actually a pretty darn great musician. Come for comedy if you must, but become lifelong believer because of the music.

This was Ryley’s second of four residency shows this month at Union Pool. In addition to a truly hilarious extended riff about garage bands at SXSW circa 2009 (with a note-accurate parody song included) and Chicago bands who fail to get picked up by Touch N Go (with a note-accurate parody song based around the riff from June of 44’s “Dexterity of Luck”), Ryley and drummer Jewell delivered a new jam (title TBD), a very familiar cover (“If I Were A Carpenter”), songs from the exceptional 2018 LP Deafman Glance, and “Primrose Green,” from the 2015 album of the same name that seems like aeons ago musically. Whether or not certain naysayers at the time made lame Van Morrison comparisons (based as much on the album’s cover art as its sound), many of those songs are really good, and it’s a joy to see them coming back in the rotation.

As I’ve mentioned before, what feels like the biggest difference from the 2015-era shows is how Walker’s live renditions more closely match the album’s style. Sure, it’s still “sad acoustic guitar indie folk man” music in a sense (as Walker put it), but “Telluride Speed” and “Spoil With the Rest” were played here more or less in the style of the album versions, versus the 14-minute jam version of “Halfwit In Me” that’s long been a tour staple. I don’t know if it means that Walker feels more comfortable with the Deafman songs as the band played them in the studio, or if these songs are just waiting their turn for the extended treatment, but either way, it’s working.

This show also features a hilarious story about taking acid in relation to a King Crimson concert (listen to the story) and some self-deprecating musings about Primrose Green. This might be the first show I’ve witnessed by a serious musician that almost seemed to spawn a new genre: sort of a Yo La Tengo Hanukkah set with a comedian, except that the comedian appears during the set.

There are two more Tuesday nights this month where you can catch Ryley Walker at Union Pool, with more special guests promised. Based on the first two, it’s pretty clear that you shouldn’t come with any preconceived notion of what you’ll hear, but be prepared to enjoy yourself. Tickets for next week’s show are here.

Doug Graham once again outdid himself behind the board. Combined with my Schoeps MK5 mics, it’s yet another excellent recording for you to enjoy.

Download the recording from its Live Music Archive page

Ryley Walker
2019-03-12
Union Pool (Residency Night 2)
Brooklyn, NY USA

Recorded and produced by acidjack

Soundboard (Engineer: Doug Graham) + Schoeps MK5c (XY, at SBD, DFC)>KC5>CMC6>>Sound Devices MixPre 6>24/48 polyWAV>Adobe Audition CC>Izotope Ozone 5>Audacity 2.2.2>FLAC ( level 8 )

Tracks [Total Time 1:04:03]
01 [intro]
02 The Halfwit In Me
03 [diaper rap]
04 [new jam 1]
05 Spoil With the Rest
06 [garage rock and Thrill Jockey rap]
07 Telluride Speed
08 [King Crimson rap]
09 If I Were A Carpenter [Tim Hardin]
10 [primrose rap]
11 Primrose Green

PLEASE SUPPORT RYLEY WALKER: Bandcamp | Dead Oceans

Support nyctaper

DISCLAIMER and LEGAL NOTICE

nyctaper.com is a live music blog that offers a new paradigm of music distribution on the web. The recordings are offered for free on this site as are the music posts, reviews and links to artist sites. All recordings are posted with artist permission or artists with an existing pro-taping policy.

All recordings and original content posted on this site are @nyctaper.com as live recordings pursuant to 17 U.S.C. Section 106, et. seq. Redistribution of nyctaper recordings without consent of nyctaper.com is strictly prohibited.

nyctaper.com hereby waives all copyright claims to any and all recordings posted on this site to THE PERFORMERS ONLY. If any artist posted on this site requests that recordings be removed, those recordings will be removed forthwith.