Posts Tagged ‘ acidjack ’

Föllakzoid: May 23, 2015 Rough Trade – FLAC/MP3/Streaming

May 27, 2015
By

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The Chilean band Föllakzoid have a habit of latching you into their deep grooves and not letting up, each song building like a little universe around monotones to create pieces that fall squarely in the post-Krautrock camp. The artist Uwe Schmidt, better known as Atom TM, joined the band for their brand new record, III, and the electronic influence was evident at this show, as the band created trancelike numbers that lent themselves as much to dancing as to chilling out. There are hints of U.S.-based compatriots like Moon Duo here, but this music comes across are more beat-focused and less “rock.”

This show at Rough Trade marked a relatively rare return by the band to the U.S., and that was emphasized by the long line to get in the door. Some were no doubt there early to see Jim Jarmusch and Jozef van Wissem’s Squrl take the stage first, but the crowd only filled in further by the time Föllakzoid took the stage. From single, flickering beats, “Electric” grew into the roiling kickoff track from III that we’ve all come to love, followed by that album’s centerpiece, “Piure.” By the time those two songs ended, the show was already thirty-two minutes in. Those hoping for standard “psychedelic” fare might have wondered what they had walked into at that point; fortunately, the people here got it, and started dancing. From there, they turned back to their excellent previous effort, II, for the last four songs — “99,” “9,” “Trees,” and “Rivers.” The set’s intensity peaked at “Trees,” which felt like the biggest rock number of the bunch, making “Rivers” and its slightly more subdued pace the right way to go out. We hope these guys will be back soon.

I recorded this set with Schoeps MK4V cardiod microphones and a soundboard feed from Rough Trade engineer Kameron Biehl. The sound quality is outstanding. Enjoy!

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

Stream the complete show:

Föllakzoid
2015-05-23
Rough Trade NYC
Brooklyn, NY USA

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

Schoeps MK4V (inside SBD cage, PAS)>KCY>Z-PFA + Soundboard [Engineer: Kameron Biehl] >> Roland R-26>2x24bit/44.1kHz WAV>Adobe Audition CS 5.5 (align, mix down, compression, fades)>Izotope Ozone 5 (EQ, exciter)>Audacity 2.0.3 (track, amplify, balance, downsample, dither>FLAC ( level 8 )

Tracks [Total Time 75:26]
01 Electric
02 Piure
03 99
04 9
05 Trees
06 Rivers

If you enjoyed this recording, PLEASE SUPPORT Föllakzoid, like them on Facebook, and buy their records from Sacred Bones

Worthless: May 6, 2015 Knitting Factory – FLAC/MP3/Streaming

May 21, 2015
By

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Don’t freak out if you slap the new Worthless LP, All My Friends Are Stone, on the turntable and think your deck has a speed problem. All those sonic contortions are just the band fuckin’ with yr head, man. The LP has already garnered a cult following (look at what the freaky version is going for on Discogs) and there’s a good reason why. This show at the Knitting Factory, a near-seamless presentation that began with the song “Rips”, wound its way back to it during the set, and then closed with it, was a fresh take on improvisational psychedelic rock with a distinct style. Though tonight’s show didn’t feature any visuals, Worthless is the project of Curtis Godino of the incredible Drippy Eye Projections, a crew whose all-analog liquid light shows make every show memorable. Although they are geographically spread out (Florida and Brooklyn) — and haven’t been a proper “band” for that long — Worthless feels every bit the veteran unit, a big, organ-driven sound poised to melt minds at places like “Levitation” (or as I still prefer to call it, Austin Psych Fest). All of these songs appeared to be new (or at least, don’t make an appearance on any of their bandcamp stuff), and I dug the lot of them, especially “Daydreaming Your Life Away”. Their name may be what it is, but there’s nothing worthless about this band. Keep paying attention.

I recorded this set with Schoeps MK41V microphones and a soundboard feed from the Knit engineer Mikey. There are a couple of brief moments where you can hear me adjusting the microphones in the first couple of minutes, but it’s smooth sailing after that. Enjoy!

Catch Worthless again on May 29 at King’s County Saloon.

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

Stream the complete show: 

Worthless
2015-05-06
Knitting Factory
Brooklyn, NY USA

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

Soundboard (engineer: Mikey) + Schoeps MK41V (PAS)>KCY>Z-PFA>Sound Devices USBPre2>>Edirol R-44 [OCM]>2x24bit/48kHz WAV>Adobe Audition CS 5.5 (align, mix down, compression)>Izotope Ozone 5 (EQ, effects, imaging)>Audacity 2.0.3 (fades, track, amplify, balance, downsample, dither)>FLAC ( level 8 )

Tracks [forgive the tracking; the transitions aren’t always obvious]
01 Rips>
02 Daydreaming Your Life Away>
03 Rips interlude>
04 What’s the Ugliest Part of Your Body>
05 Something Something>
06 Fast Fed>
07 Rips

If you enjoyed this recording, please support Worthless, visit their bandcamp page, and buy All My Friends Are Stone.

William Tyler: May 5, 2015 Bowery Ballroom & April 18, 2015 Chaz’s Bull City Records (Durham, NC) – FLAC/MP3/Streaming

May 14, 2015
By

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[Possibly the coolest photo of Willy T I have seen, courtesy of P Squared Photography]

William Tyler is a force. “That was a tragic song, in case you guys couldn’t pick up on that, because the lyrics are so clear” he laughed at Bowery Ballroom, where we caught him last week opening for Mikal Cronin. But Tyler might be wrong there. His playing is of such emotional heft that you can feel what he’s trying to say with his guitar, both wielded with grace and experimental verve. These two very different sets covered both some of the Lambchop guitarist’s newest solo material (the outstanding “Highway Anxiety”) along with tracks from his first solo outing, Deseret Canyon. That release saw its initial Merge reissue on Record Store Day show at Chaz’s Bull City Records, so it was appropriate that Tyler brought out two of its most treasured gems, “The Waltz of the Circassian Beauties” and “Crystal Palace, Sea of Glass” at that show. If you missed Deseret on Record Store Day, fear not: Merge will be bringing it out in wider release come early June.

It’s a testament to Tyler’s abilities as a player and storyteller that he kept the crowd whisper-quiet at Bowery, where the new track found itself nestled along nicely next to beloved songs from Impossible Truth and 2010’s Behold the Spirit. People may have been there to witness Cronin’s power-pop headlining affair, but they were smart enough to pay attention as Tyler played “Hotel Catatonia” — preceded by a typically Tyleresque introduction involving being locked in a TCBY freezer. (For the New Yorkers in the audience, that’d be The Country’s Best Yogurt). Likewise, the affair in North Carolina felt more like a gathering of friends that a proper concert, and that was just right for the afternoon vibe outside of Chaz’s. It was a great day to be outside, and a great day to be a music fan. It’s always a great day to see William Tyler, which is a good thing — Northeast crowds will get plenty of opportunities when he tours in June with Real Estate and Ty Segall.

I recorded the Bowery set with a soundboard feed from the legendary Kenny, together with Schoeps MK41V supercardiod microphones. The Bull City show was primarily a board feed from John Koelle, plus Schoeps MK4V microphones in front of the stage. The sound quality it outstanding. Enjoy!

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

Download the Bull City Records show: [MP3] | [FLAC]

Stream the NYC set:

Stream the Bull City Records set:

William Tyler
2015-05-05
Bowery Ballroom
New York, NY USA

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

Soundboard (engineer: Kenny) + Schoeps MK41V (LOC, PAS)>KCY>Z-PFA>Aerco MP-2>>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
01 Missionary Ridge
02 [banter2]
03 A Portrait of Sarah
04 [banter2]
05 Highway Anxiety
06 [banter3]
07 Hotel Catatonia>
08 Tears and Saints

__________________________________
William Tyler
2015-04-18
Chaz’s Bull City Records
Durham, NC USA

Exclusive download hosted at nyctaper.com
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 35:17]
01 Tears and Saints
02 [banter1]
03 A Portrait of Sarah
04 Missionary Ridge
05 The Waltz of the Circassian Beauties
06 [banter2]
07 Crystal Palace, Sea of Glass

If you enjoyed these recordings, PLEASE SUPPORT William Tyler, visit his website, and grab his records from Merge.

photo by PJ Sykes

photo by PJ Sykes

Mikal Cronin: May 5, 2015 Bowery Ballroom – FLAC/MP3/Streaming

May 13, 2015
By

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[photos courtesy of P Squared Photography]

Mikal Cronin is a master of power pop, combining the Big Star sound with punk’s rawer side. His latest for Merge RecordsMCIII, finds the Ty Segall affiliate more in the “pop” camp than ever, with spit-shined production and chorus after chorus that you can’t forget. This show at Bowery Ballroom celebrated the release of MCIII, but found Cronin skipping around his catalog, everything from the MCII favorite “See It My Way” to “Apathy”, “Green and Blue” and others from his debut.

Since we last saw him at Hopscotch in 2013, Cronin has grown even more comfortable at center stage, commanding the sold-out house throughout the night. The new album is an evolution for Cronin, taking him further from the fertile San Francisco garage-rock camp from which he came and further into music’s most accessible realms, and it seems to be working for him. Perhaps the strongest performance came mid-set, when “Feel Like” caught everyone’s ear. It’s a straightforward song both musically and lyrically, and it’s also impossible not to hum for days after. This music practically screams to be heard at summer festivals, in car stereos, at lake- and beach-houses. And, I suspect it will be.

I recorded this set with Schoeps MK41V supercardiod micrphones and a soundboard feed from Bowery’s very own Kenny. The sound quality is excellent. Enjoy!

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

Stream the complete set:

Mikal Cronin
2015-05-05
Bowery Ballroom
New York, NY USA

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

Schoeps MK41V (LOC, PAS)>KCY>Z-PFA>Aerco MP-2 + Soundboard (engineer: Kenny)>>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: 1:01:56]
01 Turn Around
02 Made My Mind Up
03 Apathy
04 Am I Wrong
05 Say
06 Feel Like
07 Weight
08 Get Along
09 Control
10 Shout It Out
11 See It My Way>
12 ii) Gold
13 Circle
14 [encore break]
15 Change

If you enjoyed this recording, PLEASE SUPPORT Mikal Cronin, like him on Facebook, and buy MCIII directly from Merge Records.

Acid Mothers Temple: May 6, 2015 Knitting Factory – FLAC/MP3/Streaming

May 11, 2015
By

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Acid Mothers Temple’s yearly trip to New York has become a similarly regular event for this site, as we’ve caught almost every New York tour since 2010. The Japanese psychedelic rock veterans continue to get better, combining their can’t-miss material with fresh, bizarre and different new explorations of sound. This night at the Knitting Factory (the first of two in NYC, both of which we covered) found the band ready to put on a high-octane show, crossing-guitars in the air, banging their heads, and making jokes.  The brand-new “Benzaiten”, from their 2015 CD, is an instant classic, starting with harder, almost-metal tones before veering into free-jazz-like Japanese folk. The band played a total of eight songs (counting one jam number and an as-yet-unnamed new song) that stretched the 90 minutes-plus to the limit. For the first time since I’ve seen them, the band closed out on “Cometary Orbital Drive”, which came on the heels of a spaced-out new jam number. “Cometary” is one of my favorite songs from the band’s catalog, and it made for a perfect way to end the night.

I recorded this set with a soundboard feed from the Knit engineer Mikey, together with Schoeps MK41V supercardiod microphones. The sound quality is outstanding. Enjoy!

This show is hosted on the Live Music Archive. Here’s its page there. The Thursday night show at Mercury Lounge will be up soon.

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

Stream the complete set:

Acid Mothers Temple
2015-05-06
Knitting Factory
Brooklyn, NY USA

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

Soundboard (engineer: Mikey) + Schoeps MK41V (PAS)>KCY>Z-PFA>Sound Devices USBPre2>>Edirol R-44 [OCM]>2x24bit/48kHz WAV>Adobe Audition CS 5.5 (align, mix down, compression)>Izotope Ozone 5 (EQ, effects, imaging)>Audacity 2.0.3 (fades, track, amplify, balance, downsample, dither)>FLAC ( level 8 )

Tracks [Total Time: 1:34:34]
01 Dark Star Blues, aka Dark Star Blues In the Dazzling Sky
02 Benzaiten
03 Jam>
04 Pink Lady Lemonade>
05 Om Riff>
06 Pink Lady Lemonade
07 [new]>
08 Cometary Orbital Drive

If you enjoyed this recording, PLEASE SUPPORT Acid Mothers Temple, visit their website, and buy their records here.

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

May 8, 2015
By

photo by PJ Sykes

photo by PJ Sykes courtesy of Merge Records

What you first notice when you hear Mac McCaughan play Superchunk and other material of his solo is how it puts the band’s most vital characteristic front and center: lyrics. It’s not that you wouldn’t like to also hear the surge and kick of a backbeat to go with that plaintive voice that still sounds like a 22-year old; it’s just that, without as much racket, you finally get a chance to hear and feel what Mac (and by extension, his band) had to say. What you find are keenly-observed images — data piling up like magazines,  alligator clips on glasses, dancing on a propane tank, somewhere deep in the country — that curdle a certain kind of nostalgia, for places you may or may not have been, people you probably don’t know. People say that Superchunk, as a band, has gotten older with grace, and a listen to Mac’s words, and his style, proves that out. He wears his older words well, even as they sidle up to the new.

Mac (not to mention his co-owned label Merge) was a huge part of the success of this Record Store Day show at Chaz’s Bull City Records in Durham, NC. Serving as the leadoff for the three Merge bands on the bill, Mac drew in an instant crowd, many of them no-doubt hungry to hear tunes from his brand-new Merge release, Non-Believers. Indeed, we got three songs’ worth here, plus a mix of old and new Superchunk. But one of my biggest favorites was the lone Portastatic number, “Drill Me”, from the newly-reissued 2003 LP, The Summer of the Shark, a song that takes aim at existential doubt with some of Mac’s best lyrics yet. Just before tearing into “Digging For Something” to close out his set, Mac exhorted us to all to support our local record stores every day of the year. Over his own career, Mac has given us plenty of excuses to do so.

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

Direct download of the complete set: [MP3] | [FLAC]

Stream the entire set:

Mac McCaughan
2015-04-18
Chaz’s Bull City Records
Durham, NC USA

Exclusive download hosted at nyctaper.com
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 31:04]
01 Lost Again
02 Hello Hawk [Superchunk]
03 Overflows [Superchunk]
04 Only Do
05 Box Batteries
06 Home at Dawn [Superchunk]
07 Drill Me [Portastatic]
08 Detroit Has A Skyline [Superchunk]
09 Digging For Something

If you enjoyed this recording, PLEASE SUPPORT Mac McCaughan by visiting Merge Records and buying Non-Believers and his other releases there.

Kevin Morby: March 15, 2015 Baby’s All Right – FLAC/MP3/Streaming

April 29, 2015
By

Kevin Morby at Baby's All Right
[photos by Matt Condon for Concert Addicts]

Kevin Morby continued his run of excellent New York performances back in March with this show at Baby’s All Right. Morby’s Still Life has been a hit with fans, and he has honed the live versions into entities of their own. This show was thronged, bodies pushing all the way to the back of the room and spilling into the bar area. Morby seemed at ease with the crowd, and he ought to be; being a former New Yorker, Morby’s reception should be as strong here as in his adopted hometown of Los Angeles. It has taken us a bit longer than usual to share this performance, but that’s in no way a reflection of how strong it was. Morby closed out with a song we first saw tested out last year, Bill Fay’s “I Hear You Calling”, which transitioned into Morby’s own “Parade”.

Baby’s All Right engineer Harrison Fore recorded this set; I mixed it down and finalized the tracks. The sound quality is outstanding. Enjoy!

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

Stream the complete show:

Kevin Morby
2015-03-15
Baby’s All Right
Brooklyn, NY USA

Exclusive download hosted at nyctaper.com
Recorded and live mixed by Harrison Fore
Produced by acidjack

Soundboard (engineer: Harrison Fore) + Audio Technica 4051>digital multitrack>SD card>Adobe Audition CS 5.5 (mix down individual tracks, compression, fades)>Izotope Ozone 5 (EQ, imaging, exciter)>Audacity 2.0.5 (tracking, amplify, balance, downsample, dither)>FLAC ( level 8 )

Tracks [Total Time 1:02:41]
01 The Dead They Don’t Come Back
02 Reign
03 Sucker in the Void
04 Harlem River
05 [banter1]
06 All of My Life
07 Motors Runnin
08 Amen
09 Miles, Miles, Miles
10 My Name
11 If You Leave and If You Marry
12 [encore break]
13 I Hear You Calling [Bill Fay]>Parade

If you enjoyed this recording, PLEASE SUPPORT Kevin Morby, visit his website, and buy his releases from Woodsist.

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

April 22, 2015
By

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
2015-04-18
Chaz’s Bull City Records
Durham, NC USA

Exclusive download hosted at nyctaper.com
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
By

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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
2015-04-17
Haw River Ballroom
Saxapahaw, NC USA

Exclusive download hosted at nyctaper.com
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]

Band:
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
By

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[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]

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The Hum Residency
2015-04-13
Manhattan Inn
Brooklyn, NY USA

Exclusive download hosted at nyctaper.com
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

Musicians:
Deli Neblett – vocals, guitar
Ashley Jackson – harp
__________________________________
Hannah Epperson

Tracks
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

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

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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

 

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