Posts Tagged ‘ acidjack ’

Heroes of Toolik: May 14, 2014 Cameo Gallery – FLAC/MP3/Streaming Full Set

August 28, 2014
By

IMG_7316
[photos by acidjack]

Heroes of Toolik are an art rock band from the New York/New Jersey area comprised of veteran players – Peter Zummo (trombone) is an avant jazzer (ex-Lounge Lizards), while Arad Evans (guitar/vocals) has toured with avant-noise luminaries Rhys Chatham and is a current member of the Glenn Branca Ensemble. Ernie Brooks (bass) was in the original Modern Lovers, while Jennifer Coates (violin/vocals) is an accomplished old style country fiddler with her own band, Jenny Gets Around. What comes together among the group of them is a brand of well-informed rock n’ roll that draws on these influences without over-complicating itself.

This show at Cameo Gallery served as a warmup for Heroes of Toolik’s just-released Aquarium School seven-inch, and found the band previewing that material alongside work from their 2012 debut LP Winter Moon. The band performs with the cohesive, relaxed vibe you’d expect of accomplished musicians, and the stylistic palette of these tunes reflected artists from the Velvet Underground to Zappa and Beefheart to hints (for me) of the Grateful Dead. The band gave us two takes of “Aquarium School”, which was also being filmed for video, the better of which came at the end of the set and is the version recorded here. We recommend you check out their upcoming gig on September 24 at the Zurcher Gallery in Manhattan, which should be a fine combination of an art rock band playing among visual artwork. The gallery is featuring work by Michael Dotson and Irena Jurek from now through just after the date of the show.

I recorded this set with Schoeps MK4V microphones and a soundboard feed. The sound quality is outstanding. Enjoy!

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

Stream the complete show: 

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

Heroes of Toolik
2014-05-14
Cameo Gallery
Brooklyn, NY USA

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

Schoeps MK4V (FOB, DFC, PAS)>KC5>CMC6>Sound Devices USBPre2 + Soundboard>>Edirol R-44 [OCM]>2x24bit/48kHz WAV>Adobe Audition CS 5.5 (mix down, adjust levels, compression)>Izotope Ozone 5 (EQ, effects)>Audacity 2.0.3 (tracking, fades, amplify, balance, downsample, dither)>FLAC ( level 8 )

Tracks
01 Young Venus
02 Something Like Night
03 Blind Man’s Stare
04 Yellow-Haired Sea
05 Lou Reed
06 Perfect
07 Aquarium School
08 F String

If you enjoyed this recording, please support Heroes of Toolik, like them on Facebook, and buy the Aquarium School 7″ here.

Zula: August 7, 2014 Shea Stadium – Interview/FLAC/MP3/Full Stream

August 26, 2014
By


zula
[Photo from the band's Facebook page]

Zula released one of the more underrated albums of 2013, the spry This Hopeful, a sweet and well-produced pop album with electronic flourishes. The record was a damn fine confection of a debut LP, with just about everything you could want in such a debut. It had solid hooks, yet room to grow.

Brand-new correspondent but veteran music writer Emilio Herce sat down with the band earlier this month. His interview is below, along with a full MP3 and FLAC download and stream of the show, below after the interview. I mixed down Shea’s multitrack audio, and the audio quality is outstanding. Enjoy!

Zula Interview, by Emilio Herce

Zula’s music has been described by the New York Times as “pointillistic structures with a mainspring of minimalism.” New York locals and cousins, Nate and Henry Terepka, took a couple moments before playing their tour kick off show at Shea Stadium to talk to me about their writing process, Arto Lindsay, and touring with site friends Friend Roulette

NYCTaper: How did you decide upon “This Hopeful” as the title for the latest record? Was that an easy choice to make for the band?

Henry Terepka: It wasn’t an easy choice. [Laughs] It took a few months of brain storming, and living with a few different ideas.

Nate Terepka: That was one of the last things we figured out for the record, I feel like.

HT: Yeah, it’s hard, it’s like the way we wrote those songs, they were kind of each on their own, as individual moments, individual feelings, and so it was one of those albums, it was kind of ‘these are the songs we’ve got.”

NYCTaper: Did you have other songs that didn’t make the record; are you saving those for later?

HT: Yeah, we kind of have a surplus of material in general as a band. The big challenge for us in terms of picking the songs was which were going to make it on the specific vinyl format, which has a time constraint on it, which I didn’t know about going into the process.

NYCT: Your songs and the stories in them all have a hopeful bent, but the universe they exist in has this sort of anxious cloud hanging over it. Is this a unifying theme in the music of Zula, or were there events surrounding the writing of the first album that shaped the record’s outlook?

NT: I think our writing is reflective of our internal space when we’re writing a song. I think we both write sort of stream of conscious with our lyrics, and I think we both feel hopeful and anxious.

HT: Yeah, that’s definitely something that’s not going to go away from our music anytime soon. I think those sentiments are important to, I guess, our perspective, our worldview.

NYCT: When do you consider a song to be “done”?

NT: I think that song and recording are two different things.

HT: There’s like a complete idea, thinking about what’s a complete idea, and then there’s thinking about how to present an idea in a way that does justice to that idea. Sometimes those processes get mixed up a little bit.

NYCT: Do you consider the songs on the last record done, or are they still changing?

HT: They’re always changing in live performance. We try to keep things fresh, you know, to keep being in the moment. I think compositionally, we’re pretty happy with where they ended up.

NT: Yeah, I don’t know. That’s an interesting thought. ‘Done’ seems intense in a way. I’m happy with the recordings. I think those recordings are complete, but I’d like to think that songs can take on new life or if they’re not taking on new life you can put them aside.

NYCT: How important is improvisation in your work, like on stage? Is that a part of it or do you pretty much play the songs as they are on the record?

NT: I’d say it’s very important. I think that certain things, structures end up getting a little cemented, but we try to work things into our arrangements where rather than “we’re going to do this for a certain number of measures,” one of us will cue something and then give ourselves the space to stretch out, and I think in general we welcome people trying new lines or messing around if they’re inspired in the moment. We embrace the roughness and magic that can sort of pop up in the moment of playing a song.

NYCT: You often play, and have recently toured with the band Friend Roulette, another band known for their rhythmic and dynamic ability. Has playing with them affected your approach to music? Are there any stories you’d like to share from the tour?

HT: It was really fun getting to know that band, hanging out with them, and soaking up their vibe. I though that one impression they made, is just that over time they were really kind of putting a world together. You could, you know, have whatever feeling you wanted about it, they weren’t asking you to feel one particular thing about it.

NT: Yeah it was really cool getting to know them. I always liked them, but I liked them more and more, seeing them play more shows and spending time with them because I think something what’s not apparent right away is just how that band goes back really far. They’re all very close friends, and that’s very much a band of friends that’s sort of in their own world and vision.  They have a really strong vibe that maybe’s a little hard to penetrate at first.

NYCT: Is that something you try to go after yourself? Your songs are pretty straightforward and accessible, but there’s something to be said about listening to them over and over again.

HT: I think we write more complicated songs than we intend to, but we’re not necessarily as good at intentionally withholding pleasure in the way that I’d like to be a little better at.

NT: Yeah, I mean we don’t want our songs to be difficult I don’t think. Pop satisfaction and approachability is something that we aspire to. At the same time there’s a slot of things, a lot of conventions towards accessibility that are a little bit boring and I think we try to do the best that we can to balance accessibility with surprising ideas.

NYCT: The band has always been able to recreate live the sounds on the record, no easy feat. Have you ever written songs, or parts of songs, which have proven difficult to perform on stage?

HT: Our process is pretty oriented towards our live performance as a band, and I think that at least for the last few album projects we’ve been doing our recordings have followed our live arrangements, or come after our live arrangements, but I’m interested to try those approaches. Both Nate and I come from multi-tracking backgrounds, layering stuff and doing stuff that like is not playable live necessarily.

NT: But I also think that we don’t get attached to the specific sound source of a part, more so the role that it plays in a song. So if in the process of recording for a record we end up tracking this part that we can’t reproduce live exactly because of the sound source or whatever, whatever role that part ended up playing in the composition might come into our live set but it’ll be different.

NYCT: In a recent interview, Arto Lindsay, a fellow New York musician, and pioneer in the No Wave movement during the late 70s and 80s said: “Everywhere I go people think I’m too cynical or my humor’s too negative or I treat my friends badly, and I say, ‘That’s the way we do it in New York!’” It seems like Lindsay was being facetious, but do you think there’s any truth to this? How does it compare to your experience as New York based musicians?

HT: I work for a music publisher and we had a composer come in once, an older gentleman who had extensive plastic surgery. He made a kind of odd impression on my staff, but one of the things he said during the course of his interview, he was talking about getting ripped off for music by a company. He was like “So I’m from New York, so like fuck you!,” and that was his whole thing, like you’re from New York, so like fuck you I’m going to beat you up, but I think that that’s a little antiquated.

NYCT: You think that’s old school?

HT: Yeah, I think that’s old school and I think that New York City more than anything is defined by multiple identities, not having one particular identity that you can pin down, but Arto Lindsay’s got a really interesting perspective and certainly we try to take cues from the way he presents himself, and there’s a long tradition of like sarcastic and sort of pessimistic… because in New York things are real, that’s one thing I think is like a legit assumption about New York as opposed to other places.

NYCT: What do you mean by real?

HT: People are open about what they want, so if that means expressing negativity, then that’s totally appropriate, because that’s within the healthy bounds of human emotion.

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

Stream the complete show:

Zula
2014-08-07
Shea Stadium
Brooklyn, NY USA

Exclusive download hosted at nyctaper.com
Recorded by Emilio Herce and Shea Stadium
Produced by acidjack

Multitrack digital soundboard>Adobe Audition CS 5.5 (mix down)>Izotope Ozone 5 (effects on individual tracks, compression, spacing, exciter)>Audacity 2.0.3 (fades, tracking, amplify, balance, downsample)>FLAC ( level 8 )

Tracks
01 Lucy Loops
02 Basketball
03 Getting Warm
04 [tuning]
05 Be Around
06 [tuning2]
07 Speeding Towards the Arctic

If you enjoyed this recording, PLEASE SUPPORT Zula, like them on Facebook, and buy This Hopeful here.

J Fernandez: March 15, 2014 Post-SXSW Private Show (Dripping Springs, TX) – FLAC/MP3/Streaming Full Set

August 20, 2014
By

IMG_6964
[photos by acidjack]

We first caught up with J Fernandez at our CMJ show back in 2013, and were pumped to run into them again on the tail end of their SXSW journey at this private show an hour away from the madness. Here, the band performed a stripped-down set that included new material as well as offerings from their excellent two-EP collection of No Luck and Olympic Village. Though run ragged from a very busy schedule over the week, J Fernandez played this private show with real panache, with these songs coming to life as live numbers in a way that distinguished them from their lo-fi EP counterparts. The band, like most of their counterparts, has been on the festival circuit heavily this summer, most recently hitting Canada with comrades Alvvays, and returning to that country next month for POP Montreal. We can’t wait to see what this guys will do next.

As you can see in the photo, I recorded this set simply, with Schoeps MK4V microphones right in front of the band. The vocals are a touch low in places owing to the DIY setup, but overall the sound quality is excellent. Enjoy!

Thanks to J. Fernandez for permitting this recording.

Download the complete set: [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. Please feel free to re-post the Soundcloud links.

IMG_6965

J Fernandez
2014-03-15
Private Ranch
Dripping Springs, TX USA

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

Schoeps MK4V>KC5>PFA>Edirol R-44 [OCM]>24bit/48kHz WAV>Izotope Ozone 5 (EQ, effects)>Audacity 2.0.3 (fades, tracking, amplify, balance, downsample, parallel compression, dither)>FLAC ( level 8 )

Tracks
01 Fading Out
02 [unknown1]
03 Read My Mind
04 [unknown2]
05 Between the Channels
06 No Luck

If you download this recording from NYCTaper PLEASE SUPPORT J Fernandez, visit his blog, and purchase No Luck / Olympic Village from the links at Soundcloud [HERE] or on iTunes.

Marah: July 26, 2014 XPonential Music Festival, Marina Stage (Camden, NJ) – FLAC/MP3/Streaming Full Set

August 15, 2014
By

14564276299_f96d90b234_z
[photos courtesy of WXPN]

Marah‘s latest album, Mountain Minstrelsy of Pennsylvania, represents an audacious turn for the Philadelphia-based roots rock band, as the band decided to bring folk songs discovered in the 1930s screaming into the 21st century more or less intact (you can read more in our post from last month, here). For a band willing to do that, I guess having a ten-year-old join the band as a permanent member — on fiddle as well as guitar no less — seemed like an achievable feat.

If part of this audience at the XPonential Music Festival, presented by WXPN, came to take in the novelty of watching young Gus Tritsch take the stage, they stayed because he and the band were setting the entire outdoor Marina Stage on fire. In addition to rockified versions of the Mountain Minstrelsy songs, the band served up classics from their catalog like 2000′s “The Catfisherman” and the acoustic “City of Dreams”, about vocalist David Bielanko’s hometown of Philadelphia. As with the Bowery Electric show, we got to experience some of the band’s fiercest jamming on the hard-charging version of “Rattlesnake” transformed a great deal from the short-but-sweet album version into an epic sendoff. 

I recorded this set with a flawless soundboard feed from the local engineer Tom, combined with Schoeps MK5 microphones flying back at the board. The sound quality is excellent. Enjoy!

SUPPORT INDEPENDENT RADIO – DONATE TO WXPN HERE

Direct download of complete show: [MP3] | [FLAC]

Stream the full set:


Marah
2014-07-26
XPonential Music Festival, Marina Stage
Camden, NJ USA

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

Soundboard (engineer: Tom) + Schoeps MK5c (PAS)>KC5>CMC6>Sound Devices USBPre2>>Edirol R-44 [OCM]>2x24bit/48kHz WAV>Adobe Audition CS 5.5 (mix down, adjust levels, compression)>Izotope Ozone 5 (EQ, effects)>Audacity 2.0.3 (tracking, fades, amplify, balance, downsample, dither)>FLAC ( level 8 )

Tracks
01 [WXPN Intro]>Highlander intro
02 A Melody of Rain
03 The Catfisherman
04 Limb
05 [banter1]
06 City Of Dreams
07 Barstool
08 Ten Cents at the Gate
09 Rattlesnake

If you enjoyed this recording, PLEASE SUPPORT Marah, visit their website, and purchase Marah Presents Mountain Minstrelsy from the Merchandise link at their Website [HERE].

Cross Record: March 14, 2014 Ba Da Bing / Northern Spy SXSW Showcase, Palm Door (Austin, TX) – FLAC/MP3/Streaming

August 13, 2014
By

IMG_6886
[photo by acidjack]

Before we caught up with Austin’s Cross Record at the private ranch show on the last day of SXSW (that recording here), the band played a full set to the Ba Da Bing / Northern Spy Records showcase back at the festival that showed a less intimate but somewhat bigger-sounding side of the band. Although it was easier to digest the band’s slowcore approach among the rapt die-hards at the ranch, this set found them sitting nicely alongside acts with a somewhat less reserved approach. Lead singer/songwriter Emily Cross gave a poised, poignant vocal performance, while the band, consisting of husband Dan Duszynski and Peter Frederiksen on guitar, made just the right amount of noise to make for a well-balanced and engaging set. While our recording was previously streamed in full over at Impose Magazine after the festival, we are pleased to offer it for download here for those who want it.

I recorded this set with a soundboard feed from the Palm Door staff coupled with Schoeps MK4V microphones. While some crowd noise is a distraction at points, the sound quality is otherwise quite good. Enjoy!

Stream “Wasp In A Jar”

Download the complete show: [MP3] | [FLAC

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

Cross Record
2014-03-14
Ba Da Bing / Northern Spy SXSW Showcase
Palm Door
Austin, TX USA

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

Soundboard + Schoeps MK4V (FOB/DFC)>KC5>PFA>>Edirol R-44 [OCM]>2x24bit/48kHz WAV>Adobe Audition CS 5.5 (adjust image, mix down, compression)>Izotope Ozone 5 (effects, EQ)>Audacity 2.0.3 (tracking, amplify, balance, downsample, dither)>FLAC ( level 8 )

Tracks
01 Steady Waves
02 [banter1]
03 I Can’t Hold Myself in Line ( Merle Haggard )
04 Crazy
05 Cups In the Sink
06 Wasp In A Jar

If you enjoyed this recording, PLEASE SUPPORT Cross Record, like them on Facebookbuy Be Good from Ba Da Bing Records and buy their other records from their bandcamp page.

Dave Hause: July 26, 2014 XPonential Music Festival, Marina Stage, Camden, NJ (FLAC/MP3/Streaming Full Set)

August 6, 2014
By


hause1
[photos courtesy of WXPN]

SUPPORT INDEPENDENT RADIO – DONATE TO WXPN HERE

Dave Hause is the quintessential hometown hero. A veteran punk and hardcore player, most famously with The Loved Ones, which he co-founded, Hause has aged gracefully into a thrilling second act as a grown-up-but-still-rocking songwriter, whose punk-tinged blue collar anthems were the perfect way to end the day on the Marina Stage at the XPonential Music Festival in Camden, NJ, presented by WXPN. Hause had more friends in the audience than just about anyone at the festival, and he rewarded us with outstanding renditions of his latest work, focused especially on his 2013 record Devour. 

To experience Hause live is to take a trip down Thunder Road, to revel in cathartic major-chord rock. The passion in Hause’s voice is matched by his incisive lyrics, such as those on “The Great Depression”, an anthem for the victims of modern economic collapse. Part of what makes Hause’s approach so appealing is that, even when the story being told is a sad one, the exuberance of Hause’s delivery claims the listener’s interest and holds it. Hause closed the set with “The Shine”, where he sings:

Cause we don’t stutter when we sing
Our melodies grow little wings
Huddled here grinding tears into red wine
Meet the darkness with the shine

No matter how you felt when you arrived that day, Hause left you feeling right. His are the perfect words to be sung by a Philly musician on the banks of Camden, a Mid-Atlantic town verging on despair, but grasping, as ever, for hope.

I recorded this set with a flawless soundboard feed from the local engineer Tom, combined with Schoeps MK5 microphones flying back at the board. The sound quality is excellent. Enjoy!

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

Stream the full set:

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. Please feel free to re-post the Soundcloud links.

hause2

Dave Hause
2014-07-26
XPonential Music Festival, Marina Stage
Camden, NJ USA

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

Soundboard (engineer: Tom) + Schoeps MK5c (PAS)>KC5>CMC6>Sound Devices USBPre2>>Edirol R-44 [OCM]>2x24bit/48kHz WAV>Adobe Audition CS 5.5 (mix down, adjust levels)>Izotope Ozone 5 (EQ, compression, effects)>Audacity 2.0.3 (tracking, fades, amplify, balance, downsample, dither)>FLAC ( level 8 )

Tracks [Total Time 45:19]
01 Autism Vaccine Blues
02 Damascus
03 Melanin
04 [banter1]
05 Time Will Tell
06 Same Disease
07 [banter2]
08 The Great Depression
09 We Could Be Kings
10 [banter3]
11 Resolutions
12 [banter4]
13 C’mon Kid
14 The Shine

If you enjoyed this recording, PLEASE SUPPORT Dave Hause, visit his website, and buy his records there.

Daytona: July 16, 2014 Glasslands – FLAC/MP3/Streaming Full Set

July 24, 2014
By


IMG_7487
[photos by acidjack]

Daytona, from Brooklyn but comprised by vets of the Chapel Hill, NC scene, may not have a direct connection to their titular state, but the name still fits. There’s an air of the beach about them, making their self-titled debut album a perfect summer listen. That’s true of the album in particular, whose wide-ranging influences, particularly in the form of Caribbean percussion, have drawn some not-unflattering comparisons to Vampire Weekend. Seeing them live at Glasslands last week, I was given a more rounded impression of their overall sound, which included new songs and a cover that don’t appear on the record. Playing in front of projected images in the pitch black, the band showed that theirs is more than good-time chill out music, even if that’s not the worst thing to be in the middle of summer. I was struck in particular by their cover of the classic song “That’s All Right” by Arthur Crudup (most famously adapted by Elvis Presley), to which vocalist/guitarist Hunter Simpson added a delicate wistfulness. Most importantly, the band carries off live what their very well-produced album (recorded in North Carolina by Ari Picker (Lost In the Trees) and mixed by Matt Boynton (MGMT, Hospitality) is trying to get across, which is an important test of any young band. We look forward to more good things from these guys in the future.

I recorded this set with the installed house recording rig and Josh Thiel’s customarily excellent soundboard mix. The light projector mounted near the mics caused a faint buzzing that can be heard during quiet passages, but other than that flaw, the quality is excellent. Enjoy!

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

Stream the full set:

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. Please feel free to re-post the Soundcloud links.

IMG_7488

Daytona
2014-07-16
Glasslands
Brooklyn, NY USA

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

Soundboard (engineer: Josh Thiel) + Naiant X-R>Roland R-26>2x24bit/48kHz WAV>Adobe Audition CS 5.5 (compression, alignment, mixdown, fades)>Izotope Ozone 5 (light EQ, effects)>Audacity 2.0.3 (tracking, amplify, balance, downsample, dither)>FLAC ( level 8 )

Tracks
01 New Foundation
02 That’s All Right [Arthur Crudup]
03 Mirror
04 Metropolitan
05 Ought To Be A Law
06 Undertow

If you enjoyed this recording, PLEASE SUPPORT Daytona, like them on Facebook, and buy their record from Ernest Jenning Records here.

Oneida: July 17, 2014 Glasslands – FLAC/MP3/Full Set Streaming

July 20, 2014
By

Photo by Greg Cristman | www.gregCphotography.com
[Photos by Greg Cristman]

With Oneida, you never have to worry about seeing the same show twice. Even if you’re hearing the same song — for example, the mammoth version of “Cedars” from this night’s show at Glasslands compared to the one we documented at the start of the year at the Knitting Factory – you won’t necessarily know it if you don’t pay close attention. As our review of the Knitting Factory show pointed out, at this point, referring to an Oneida show’s “setlist” is kind of missing the point. This band has long-since abandoned the conventional, which is why they continue to be a major draw in the underground scene in New York seventeen years in despite minimal blog hype and virtually no mainstream exposure. An Oneida show is an event, a celebration of what music can be when all of the downward pressures on creativity are cut.

Joining the band for this show, as he did at Glasslands last year, was James McNew of Yo La Tengo and Dump, whose bass playing mingled nicely with the swirling controlled chaos on the stage. Although technically a four-song “set”, this set had a similar structure, with a 40-minute sequence of “Cedars” into “Economy Travel” adding two shorter songs, “Cock Fight” and “You Get Brighter” (a 48-minute version of which appeared at the 2013 Glasslands show) to round it out. We expect to see some of these compositions whittled down to album length for a future release, but in a way that’d be a shame. This act’s sound cannot be contained on a few pieces of plastic, nor can their songs properly be culled to one right “version”. The beauty is in the expression of it at a given time on a given night–the very reason live recordings exist in the first place.

I recorded this set with a Schoeps MK5 and Schoeps MK8 capsule in the “mid-side” configuration on-stage to allow maximum adjustment capability to the stereo image, combined with a soundboard feed from Glasslands head of production Josh Thiel. The sound quality is quite simply phenomenal — one of the best recordings I think I can take credit for. Enjoy!

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

Stream the full 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. Please feel free to re-post the Soundcloud links.

Photo by Greg Cristman | www.gregCphotography.com

Oneida
2014-07-17
Glasslands
Brooklyn, NY USA

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

Schoeps MK5c+MK8 (stage lip, M-S)>KC5>CMC6>Sound Devices USBPre2 + Soundboard (Engineer: Josh Thiel)>Edirol R-44 [OCM]>2x24bit/48kHz WAV>Voxengo MSED (decode M-S)>Adobe Audition CS 5.5 (mix down, fades)>Izotope Ozone 5 (effects, EQ)>Audacity 2.0.3 (tracking, amplify, balance, downsample, dither)>FLAC ( level 8 )

Tracks [Total Time 56:59]
01 [intro banter]
02 Cedars>
03 Economy Travel
04 Cock Fight
05 You Get Brighter

If you enjoyed this recording, please support Oneida, visit their website, and purchase A List of the Burning Mountains and their other releases from Jagjaguwar [HERE]

Woods: April 22, 2014 Baby’s All Right – FLAC/MP3/Full Set Streaming

July 17, 2014
By

woods-mittal-1
[photo from the May 16 Bowery Show by Sachyn Mital]

Before sharing their latest sounds at yet another blockbuster of a show at the Bowery Ballroom in May, which we recorded, Woods kicked off their tour with a more intimate show at the Williamsburg clubhouse Baby’s All Right, curated by our friends at BrooklynVegan. Meant to also celebrate the release of their latest album, With Light and With Love. If band founder, lead singer and guitarist Jeremy Earl had any concerns that this first outing with the new stuff might come off ragged but right, he needn’t have had them — at least about the “ragged” part. This show displayed the band’s now-familiar virtuosity and served as a preview of what was to come later in the tour. This night, as at Bowery, the band pulled off a tight segue of “Shining” into the classic jam song “Bend Beyond” that exited into “Size Meets The Sound”, proving that the more approachable sound of With Light and With Love felt right at home with the band’s earlier material. It is always a treat to catch a Woods show, but especially so in a club of this size; this is a band that fills and belongs in bigger venues, but hasn’t forgotten where they came from.

This set was recorded on the Baby’s All Right house multitrack and, as usual, the sound quality is outstanding. The full set is streaming below as well as FLAC and MP3 downloads as usual. Enjoy!

Download the complete show [MP3] | [FLAC]

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

Woods
2014-04-22
Baby’s All Right
Brooklyn, NY USA

Exclusive download hosted at nyctaper.com
Recorded by Devin Foley
Produced by acidjack

Multitrack digital soundboard>Adobe Audition CS 5.5 (mix down, fades, compression, effects)>Izotope Ozone 5 (EQ, effects)>Audacity 2.0.3 (tracking, amplify, balance, downsample)>FLAC ( level 8 )

Tracks
01 [intro]
02 Leaves Like Glass
03 Full Moon
04 Cali In A Cup
05 Shining>
06 Bend Beyond>
07 Size Meets the Sound
08 Shepherd
09 Only the Lonely
10 Moving To the Left>
11 Twin Steps
12 With Light and With Love
13 [encore break music]
14 Green Is the Color [Pink Floyd]
15 Find Them Empty

If you download this recording from NYCTaper PLEASE SUPPORT Woods, visit their website, and purchase With Light and with Love from the Woodsist Records website [HERE].

Mary Halvorson: July 14, 2014 The Wick – FLAC/MP3/Streaming

July 15, 2014
By

mary-halvorson-10
[photos courtesy of P Squared Photography]

Mary Halvorson is a multi-talented, multifaceted musician who represents the best of the New York scene, which is to say that she seems to be everywhere all at once. A survey of her recent shows includes everything from more sedate jazz gigs at Cornelia Street Cafe, appearances with Tim Berne at the avant-jazz club Roulette, a show in the band People at Death By Audio, and of course, her current performances as opening act for Buzz Osborne aka King Buzzo of the Melvins, currently promoting his new solo album (that recording soon). As the New Yorker put it more succinctly, “she’s in tons of bands”.

While we have tried to feature many of the best-known current virtuoso guitarists on this site, this is a first appearance for Halvorson, a slight embarrassment to us given both her talent and how prolific she is. As this set at Bushwick’s The Wick demonstrated, she is a singular improviser who in a single set can cut across generations and genres. For this set, Halvorson chose to go the all-covers route, including songs by Ornette Coleman, Oliver Nelson, the bassist Chris Lightcap, and a host of other U.S. and international leading lights of jazz and guitar music. To their credit, Buzzo’s metal-minded audience understood what was going on, giving Halvorson her due. She deserves all that and more.

I recorded this set with a simplistic onstage rig of two small Countryman omnidirectional microphones split two and a half feet apart. While there is some ambient noise evident at points, the sound quality is excellent. Enjoy!

Stream “Platform” [Chris Lightcap]

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

mary-halvorson-13

Mary Halvorson
2014-07-14
The Wick
Brooklyn, NY USA

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

Countryman B3 (onstage, split 2.5ft)>CA-UBB>Sony PCM-M10>24bit/44.1kHz WAV>Izotope Ozone 5 (effects, EQ)>Adobe Audition CS 5.5 (adjust levels, compression)>Audacity 2.0.3 (fades, tracking, amplify, balance, dither)>FLAC ( level 8 )

Tracks
01 Sadness [Ornette Coleman]
02 Cheshire Hotel [Noël Akchoté]
03 Ida Lupino [Carla Bley]
04 Blood [Annette Peacock]
05 Cascades [Oliver Nelson]
06 [banter]
07 Someday My Prince Will Come [Frank Churchill]
08 Solitude [Duke Ellington]
09 Platform [Chris Lightcap]
10 Reflections [Thelonious Monk]

If you enjoyed this recording, PLEASE SUPPORT Mary Halvorson, visit her website, and buy records from her substantial discography, which isn’t available all in one place but can generally be purchased at Discogs.

mary-halvorson-16

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.