A Place to Bury Strangers: February 17, 2015 Music Hall of Williamsburg – FLAC/MP3/Streaming

February 18, 2015

[photos by acidjack]

A Place to Bury Strangers are one of several bands that incubated in the scene (and the sound) that grew up around Death By Audio and its line of effects pedals, making it fitting that they headlined Music Hall of Williamsburg just months after that venue’s untimely end. Though the band arrived on the scene just over ten years ago (in 2003), it feels like it’s been eons in musical terms. Today, their dark tone, blown out guitar sound, and relentless, ambitious live show feels vaguely foreign to the current indie mainstream, but that is as it should be. This kind of music may or may not always be a “trend”, but it will always have the ability to seize a crowd, and keep it.

It’s fitting that the band opened with “We’ve Come So Far”: The number comes from Transfixiation, the brand-new album whose release was being celebrated that night, and it also describes this band’s history. With only one consistent member throughout (frontman Oliver Ackermann), the now-trio has continued to hone a sound much more consistent than its personnel changes would suggest. From the obvious MBV homage of their self-titled 2007 debut, the band has both added layers and stripped them away, leaving them at the more tightly focused Transfixiation, which takes a few steps back from the wall of noise to find some new melodies — and a bit of extra weirdness — underneath.

Not that you’d have been able to tell at the album release show. From the first peals of guitar noise to the militaristic percussion of “So Far Away”, the band blanketed itself in noise, barely pausing between songs. Ackerman, drummer Robi Gonzalez and bassist Dion Lunadon were only intermittently visible in a sea of smoke, pierced by a frenetic light show and backed by abstract visuals. Ackermann and Lunadon hurled themselves around the stage as a mosh pit that churned below them; this was no polite Tuesday night show. It might be fair to say you can’t really get APTBS until you’ve seen them live, or at least, it’s very hard to convey the feeling of their music through a home stereo or some iPhone headphones. APTBS’ sound demands darkness, attention and crowd participation to fully land, and over and over on this night, it did.

Band and crowd literally became one during the encore portion of the set, when the band set up just in front of the venue’s soundboard to play three more songs as the audience closed in around them, the flashes of smartphone cameras replacing the strobe lights that had been up on the stage. If it didn’t quite replicate the intimacy of Death By Audio, it showed that this band deserved to grow to a level well beyond it, and to keep going. They’re the kind of band live music was made for, and they did right by us tonight.

I recorded this set with Schoeps MK41 supercardiod microphones set up inside the soundboard cage. APTBS’ FOH, Lex, was in charge of the house mix. The sound quality is excellent. Enjoy!

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

Stream the complete set: 

A Place to Bury Strangers
Music Hall of Williamsburg
Brooklyn, NY USA

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

Schoeps MK41 (DFC, at SBD, PAS)>KCY>Z-PFA>Sound Devices USBPre2>Edirol R-44 [OCM]>24bit/48kHz WAV>Izotope Ozone 5 (effects, EQ, imaging)>Adobe Audition CS 5.5 (adjust levels)>Audacity 2.0.5 (track, amplify, balance, downsample, dither)>FLAC ( level 8 )

Tracks [Total Time 57:01]
01 We’ve Come So Far
02 I’m So Clean
03 Drill It Up
04 Fill the Void
05 Deadbeat
06 [instrumental]
07 Love High
08 Now It’s Over
09 I’ve Lived My Life to Stand In the Shadow of Your Heart
10 You Are the One [played from the floor]
11 Straight [played from the floor]
12 So Far Away [played from the floor]

If you enjoyed this recording, PLEASE SUPPORT A Place to Bury Strangers, visit their website, and buy Transfixiation from Dead Oceans here.


NYCTaper Presents: Jeffrey Lewis/Diane Cluck/Kid In The Attic at Trans Pecos – TOMORROW February 17, 2015

February 16, 2015

Jeff and Diane

When I pitched this bill to ToddP for Trans Pecos, his immediate reaction was “great bill”. And that’s because it is. Jeffrey Lewis is one of the most talented and entertaining performers to evolve from the “anti-folk” movement of the last decade and Diane Cluck writes compelling and beautiful intimate songs that capture the listener. The friends have toured together this month on the East Coast and this is the final show of that tour. The excellent new performer Kid In The Attic was chosen especially by Diane as support for this show.

We’re pleased that tickets have moved briskly for this show, but there are still tickets remaining.
HERE is the Ticketfly link.

:: NYCTAPER Presents

8:00 ::: Kid In The Attic
9:00 :::: Jeffrey Lewis
10:00 :::: Diane Cluck

915 Wyckoff Ave @ Weirfield St | Ridgewood/Bushwick Border
L-Halsey, M-Myrtle Wyckoff | 7PM | $12 | all ages

Wall Street Journal Recommendation [HERE]
Brooklynvegan Post [HERE]
Oh My Rockness “Best Shows of the Week” [HERE]
Time Out New York Recommendation [HERE] (and print below)
Queens Tribune Recommendation [HERE]

Facebook Invite Page [HERE]

Jeffrey Lewis on NYCTaper:

Diane Cluck on NYCTaper:

Time Out Print piece

moe.: October 31, 1998 Utica NY – Flac/MP3/Streaming – Dedicated to ericv

February 15, 2015

[Eric in 1996 at a moe. show – photo courtesy of Craig Hillwig and Eric Vandercar: In Memoriam]

If the horrific Metro North crash on February 3, 2015 that took the life of my friend Eric Vandercar and five others taught me anything it was only to reinforce the notion that life is inherently unfair and at times utterly senseless. Eric was a superior individual — a man with a profoundly successful career, a wonderful family and a large variety of engaging and eclectic interests. The news reports have described him as a “banker”, which is kind of like describing Lincoln as a politician. Eric was at the forefront in the creation of varieties of municipal bonds, essentially for nearly thirty years creating the finance mechanisms that allow cities to raise funds for development. In his free time Eric was also one of the most prolific and knowledgeable tapers of the last twenty years. He was also a skier, a diver, and a world traveler. Ultimately, there was very little that Eric Vandercar did not do in his too-short 53 years of life. But here we are two weeks removed from the accident, and its time that I choose to rise above the anger and the sadness and begin the healing process by remembering Eric for the good he brought to this world in the best way I know how — the recorded music.

In a way, Eric and I lived parallel lives. When we were both newly married and living a short distance apart in NYC we spent a lot of time together going to shows locally and on the road from about 1996 to 1999. When each of us had children and when the Vandercars moved upstate, we saw each other infrequently. But with Eric, it was easy to pick up where we’d left off before. The last time I saw him we chatted for a while in the taper’s section at a Phish show on Randall’s Island, and talked about those old days when we’d sit for hours in his Elizabeth Street apartment and listen and swap the latest DAT recordings.

One of the more memorable trips I made with Eric was the moe. Halloween show in Utica NY in 1998. On previous roadtrips we’d gone with groups of tapers but for this weekend jaunt it was just the two married couples driving north in Eric’s SUV. I’d never been to Utica (before or since) but my memory was a small city similar to countless others in Upstate New York. We’d booked a hotel a short walk from the venue — a classic old theatre that had been renovated and renamed the Stanley Performing Arts Center. moe. were dressed in holiday costumes and kicked of the show with a straight forward “Reaper” cover before working through familiar material from this era in the band’s history. The show is notable for the appearance of a then-obscure local guitarist Joe Bonamassa, who has subsequently gone on to have a terrific career including a Grammy nomination in 2013. Other highlights include a very lengthy segment in the second set of Timmy > Brent > Moth with varied teases and short jam interludes in the suite.

This show was recorded by Eric with his trademark B&K 4021 microphones from a position at the front and center of the balcony. I had a seat on the floor, so before the show I gave Eric my Sony portable DAT deck and a couple of tapes and he did the rest patching my deck into his deck. So while I technically have “master” tapes, these are really “ericv” masters. His master of this show has not previously circulated before now.

On playback, the second set was extracted flawlessly but the first set had a few bits of digital static. It took me three plays to get this transfer of the first set. Not bad for a pair of seventeen year old DATs that I don’t remember ever actually playing.

I will be extracting more of Eric’s DATs in the immediate future and posting them here. In a very large way, NYCTaper would not have existed without the influence of Eric Vandercar on my own personal approach to taping and trading. I’ll be talking about that influence in future posts.

This Recording is available for Download in Flac and MP3 at Archive.org [HERE]. Stream the entire show below.

moe halloween 1998

Stanley Performing Arts Center
Utica NY

Digital Master Recording
FOB Audience – First Row Center Balcony

B&K 4021 > Apogee AD-1000 > Tascam DA-P1 > Sony PCM M-1 DAT Master

DAT Master > Sony PCM R-300 > Sound Devices 744t > 2 x 16/44 wav files > Soundforge (mastering) > CDWave 1.95 (tracking) > TLH > flac

Recorded by Eric Vandercar (ericv) (nyctaper DAT patch)
Produced by nyctaper

Set 1
[Total Time 1:03:08]
01 Don’t Fear the Reaper [Blue Oyster Cult]
02 Akimbo
03 [banter – hell night]
04 Jazz Wank
05 Spaz Medicine
06 Buster
07 [banter – Utica]
08 Blue Eyed Son
09 [banter – canned food]
10 32 Things

Set 2
[Total Time 2:00:07]
11 Bring It Back Home
12 [banter – Joe intro]
13 Sensory Deprivation Bank*
14 Timmy Tucker
15 Brent Black
16 Moth
17 [encore break]
18 Plane Crash
19 Freebird [Lynyrd Skynyrd]

*with Joe Bonamassa on guitar

If you download this recording, we expect that you will PLEASE SUPPORT moe., visit their website and purchase their official releases from the moe. store here.

moe 10-31-98 Ticket

Horse Lords: February 5, 2015 Union Pool – FLAC/MP3/Streaming

February 13, 2015

Horse Lords

Horse Lords take a collage-like, mixtape approach to song and setlist construction, balancing instrumental jams with electronic texture pieces. Rather than beginning and ending, songs morph into one another, blurring the lines between compositions and styles. Hailing from Baltimore, a city that’s become well known for its rich music scene, Horse Lords perform a tightly-wound mathrock that blends the influence of African polyrhythms with motorik beats. Opening up for Chris Forsyth & The Solar Motel Band at Union Pool, their set features four untitled tracks followed by their signature tune, “Outer East,” a twelve-minute jam that explores each aspect of their sound. That song also appears on their second album, Hidden Cities, which came out on NNA Tapes this past November. It follows a few self-released mixtapes and a self-titled LP on Baltimore weirdo label, Ehse Records. What’s impressive about their performance is each player’s ability to play in the spaces between the other instruments. Nowhere does it sound like like these guys are playing over one another, despite the complex interlaced rhythms. Percussion is central to their mission. Many tracks feature two drum kits, but there’s also a percussive element to the way the other instruments (guitar, bass, saxophone, and electronics) are handled. While it was a New Yorker recommendation for Chris Forsyth that ensured a packed house, the crowd was up for diverse and experimental music and Horse Lords elicited a well-deserved, rapturous response.

I recorded this set with the AKGs clamped to the balcony combined with a board feed from Union Pool FOH Leah. The sound is excellent. Enjoy!

You can catch Horse Lords on tour with Liturgy in early April. Dates are listed on their website.

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.

Horse Lords
Union Pool
Brooklyn, NY

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

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

Tracks [38:17]
01. Untitled
02. Untitled
03. Untitled
04. Untitled
05. Outer East

If you enjoyed this recording, PLEASE SUPPORT Horse Lords. Visit their Bandcamp page, like them on Facebook, and buy Hidden Cities from NNA Tapes.

Honey: January 28, 2015 Union Pool – FLAC/MP3/Streaming

February 12, 2015

[photos courtesy of P Squared Photography]

Honey are a relatively new band who showed up hungry as the openers for Viet Cong at Union Pool recently. Composed of Cory Feierman on bass/vocals, Dan Wise on guitar/vocals and Will Schmiechen on drums, these guys showed up ready to play, putting even the very talented headliners on notice that mediocrity would not be accepted. The band members’ skill reflects some their resumes; one or more of them have been part of Amen Dunes, Psychic Ills and Stupid Party. Likewise, early invites to play with the likes of J Mascis, King Tuff, Endless Boogie, Crystal Stilts and Destruction Unit tell us that other bands are taking notice.

The band plays hard-charging rock n’ roll with a punk edge, reminiscent of an early, less self-serious Soundgarden.  After choosing the bold leadoff of a cover of Can’s “Connection”, the highlights of this set for me were “Monk”, a pounding number that made a fine lead-in to “Motherfucker Longhair”. Wise got his best showcase on “Enough”, where he was left plenty of room to solo despite the abbreviated set time. Honey expects to have a new LP release in the next couple of months, which should only continue to raise their profile in 2015.

I recorded the set with Schoeps MK4V cardiod microphones and a soundboard feed from house engineer Doug. The sound quality is excellent. Enjoy!

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

Stream the complete set:

Union Pool
Brooklyn, NY USA

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

Schoeps MK4V (FOB, DFC, PAS)>KCY>Z-PFA>Sound Devices USBPre2 + Soundboard (engineer: Doug)>>Edirol R-44 [OCM]>2x24bit/48kHz WAV>Adobe Audition CS 5.5 (align, mix down, compression, fades)>Izotope Ozone 5 (EQ, tape effect, imaging)>Audacity 2.0.3 (tracking, amplify, balance, downsample, dither)>FLAC ( level 8 )

01 Connection [Can]
02 Monk
03 Motherfucker Longhair
04 Enough
05 Comes Down
06 Drive

If you enjoyed this recording, PLEASE SUPPORT Honey, like them on facebook, and visit their bandcamp page to buy their album.

Parquet Courts: February 9, 2015 Palisades – FLAC/MP3/Streaming

February 10, 2015

PQ 1
[screen capture from this recent YouTube video. Other photos on this page are acidjack’s shots from the show]

Each succeeding year that we’ve seen Parquet Courts, they’ve become more and more assured and impressive. The Brooklyn band — who are now “big” enough to have headlined Webster Hall at the end of last year — decided to end their latest stint on the road in the best possible way. The foursome landed this time at Bushwick’s Palisades, a resolutely scrappy DIY venue where the room is spare, the drinks are cheap and the vibe is warm (even if the temperature is not) for a two-night stint. This level of ticket sell-out reminded me of the best days of 285 Kent (also, not coincidentally, booked by legend-in-the-making Ric Leichtung‘s Ad Hoc), with wall-to-wall bodies flooding the front, each step closer to the stage a squeeze you just might not be able to make.

Parquet Courts inspires that kind of loyalty, and deserves to. Their style may be rooted in garage and punk, but they play like serious musicians, shredding their way through material from both of their 2014 records, Sunbathing Animal and the newer Content Nausea (released under the name “Parkay Quarts”). Besides Andrew Savage’s lead vocals that are easy to actually make out (and display his obvious sense of humor), the band’s most notable calling card is their ability to construct earworm riffs that make you remember songs of theirs even if you’ve only heard them once. This set did a fine job of mixing up short masterpieces of the band’s like “Light Up Gold II” and “Careers In Combat” with pieces that give Savage, guitarist Austin Brown, bassist Sean Yeaton and drummer Max Savage a chance to stretch out and show their chops, especially the “Instant Disassembly” that came earlier in the set. At times it felt like the band wasn’t even taking a breath between songs, with the riff of the next number cranking up at the last downbeat of the one before. It made for a kind of momentum that reminded me of Parquet Courts’ current career.

Befitting their love for the hometown crowd, the set we got here was longer than than other recent shows, and included a new song mix, including a cover. At first, the Monday night crowd felt a little sedate, to the point that you can hear a fan screaming “Wake the fuck up!” at least once on this recording. But the only blame for that can go to how densely packed it was in there — sardines can’t dance, either. By mid-set, the true believers had assumed their rightful places up front, and the pogoing and pit were in effect. The band kept joking with the crowd about how any of us got tickets in the first place. But that’s one advantage of having your tour-ending shows at Palisades on a Monday and Tuesday night — you can make a pretty educated guess that the people who choose to be there are the ones that actually give a shit.

The band is off to Australia and New Zealand, and then the festival circuit, in March. At their current pace, they may as well have another album done by summer. Until then, we wish them well. Success sits well with them.

I recorded this set with spaced DPA 4061 omnidirectional microphones on a post right at the front of the venue (see the photo below), plus a soundboard feed set up by Ben of Palisades, with the mix created by Parquet Courts’ touring engineer (whose name I would appreciate having). The sound quality is in-your-face excellent. Enjoy!

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

Stream the complete show: 

Parquet Courts
Brooklyn, NY USA

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

DPA 4061 (FOB, spaced on pole, slightly ROC)>Sound Devices USBPre2 + Soundboard (engineer: [Parquet Courts FOH — please share his name if you have it])>>Edirol R-44 [OCM]>2x24bit/48kHz WAV>Adobe Audition CS 5.5 (compression on SBD and AUD sources, channel adjustments, fades)>Izotope Ozone 5 (EQ, tape exciter, imaging)>Audacity 2.0.5 (track, amplify, balance, downsample, dither)>FLAC ( level 8 )

Tracks [Total Time 1:08:31]
01 You’ve Got Me Wonderin’ Now
02 Bodies Made Of
03 Black and White
04 Instant Disassembly
05 Always Back in Town
06 Ducking and Dodging
07 New Age [Blitz]
08 [banter1]
09 Everyday It Starts
10 Master of My Craft
11 Borrowed Time
12 Careers In Combat
13 Dear Ramona
14 [banter2]
15 What Color Is Blood
16 No Ideas
17 Pretty Machines
18 Psycho Structures
19 Content Nausea
20 Light Up Gold II
21 Sunbathing Animal

If you enjoyed this recording, PLEASE SUPPORT Parquet Courts, visit their website, and buy their albums here.


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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.

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