Posts Tagged ‘ acidjack ’

Ed Schrader’s Music Beat: September 26, 2014 Mercury Lounge – FLAC/MP3/Streaming

October 22, 2014
By


IMG_0082
[photos by acidjack]

Ed Schrader’s Music Beat have the distinction of being, hands down, one of the weirdest bands I’ve ever seen. If the duo of Ed Schrader and Devlin Rice’s instrumentation — Rice’s bass and Schrader’s single floor tom, played standing up — or their quirky and hilarious banter weren’t enough, then there’d be the songs themselves to consider. They play short, loud blasts of scrawling sonic assault, intermingled with some traditional singing by Schrader that included, on this night at Mercury Lounge, a semi-sincere Elton John cover. The pair played in complete blackness, with Schrader going shirtless fairly soon into the set. He talked about his time in Utica, pre-Baltimore relocation, and sang a few songs about it, too. Schrader’s music, if you listen to his crowd banter, might be deeply personal, or it might make no sense at all. Or it might be both — he does after all sing about how he can’t stop eating sugar, a problem to which we can all relate. This set didn’t even last an hour, yet comprises 19 tracks, including the aforementioned Elton cover and another of Frank Sinatra.

As some things I record tend to be (see, e.g., Tony Conrad at Hopscotch), this is probably the kind of thing you have to see live for it to fully make sense. These are songs that belong in context, in a dark room late on a Friday night, where you’re primed not only to laugh, but to be exposed to something original and maybe a little bit unsettling. Schrader isn’t trying to helm a traditional rock band, and if that’s what you’re here for, eject while you can. If not, take a trip into Schrader’s delightfully demented little world, and prepare to be tickled.

I recorded this set with a soundboard feed from house engineer Dave Lefcourt and a soundboard feed. The sound quality is outstanding. Enjoy!

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

Stream the full set

Ed Schrader’s Music Beat
2014-09-26
Mercury Lounge
New York, NY USA

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

Soundboard (engineer: Dave Lefcourt) + Schoeps MK41 (ROC, PAS)>KCY>Z-PFA>>Roland R-26>2x24bit/48kHz WAV>Adobe Audition CS 5.5 (align, mix down)>Izotope Ozone 5 (effects, EQ)>Audacity 2.0.3 (fades, tracking, amplify, balance, downsample, dither)>FLAC ( level 8 )

Tracks
01 When I’m In A Car
02 [banter1]
03 Pilot
04 [banter2]
05 Signs
06 Laughing
07 Sermon
08 I Guess That’s Why They Call It the Blues [Elton John]
09 Weekend Train
10 No Fascination
11 Right
12 Televan
13 Fly Me to The Moon [Frank Sinatra]
14 Clock Weather
15 Desire Post
16 [banter3]
17 Airshow
18 Party Jail
19 Traveling
20 I Can’t Stop Eating Sugar
21 Rats

If you enjoyed this recording, PLEASE SUPPORT Ed Schrader’s Music Beat by visiting their bandcamp site and buying their records there.

Celebration: September 26, 2014 Mercury Lounge – FLAC/MP3/Streaming

October 16, 2014
By


IMG_7860

Celebration easily wins for a band with an apt-sounding (if not optimally Google-able) name. Their upbeat sound threads the needle between organic and electronic in a way that invites a host of meaningless microgenre phrases like “psychedelic soul” and “cabaret-punk”. Whatever you want to call it, the root of the matter is that the band’s key appeal rests on two pillars — the voice of Katrina Ford and the sounds made by multi-instrumentalist Sean Antanaitis, the one most responsible for the band’s hard-to-classify sound. By this point, the Baltimore band has been at it a full decade, yet the only really clear thing I’ve read about them is that they’re friends with TV on the Radio. Such is their blessing and curse — Celebration don’t fit into many neat boxes or narratives, the less so the longer they’ve been around.

This show at Mercury Lounge was styled as a bit of a release party for the band, being the New York debut of the material from their 2014 LP, Albumin, along with some numbers even newer than the current releases. If you didn’t know the band at all up until the first song played, that album’s track “Razor’s Edge” might have convinced you that they were standard-bearing shoegazers, leaving the confusion at the door. But that was just the first song. “Tomorrow’s Here Today” — next up on the album as well as at the show — takes things in a completely different direction, drawing inspiration from New Wave. Owing perhaps to being the anchor act on a late-going bill, the band kept things loose, taking their time between songs and playing the new material unselfconsciously.

I recorded this set with Schoeps MK41 supercardiod microphones and a soundboard feed from Mercury production manager Dave Lefcourt. The sound quality is excellent. Enjoy!

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.

Celebration
2014-09-26
Mercury Lounge
New York, NY USA

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

Schoeps MK41 (ROC, PAS)>KCY>Z-PFA + Soundboard (engineer: Dave Lefcourt)>>Roland R-26>2x24bit/48kHz WAV>Adobe Audition CS 5.5 (align, mix down, compression)>Izotope Ozone 5 (EQ, effects)>Audacity 2.0.3 (tracking, amplify, balance, downsample, dither)>FLAC ( level 8 )

Tracks [Total Time 53:25]
01 Razor’s Edge
02 [banter1]
03 Tomorrow’s Here Today
04 In This Land
05 [banter2]
06 Freedom Ring
07 Blood Is the Brine
08 Chariot
09 [banter3]
10 Walk On
11 [banter4]
12 [new song 1]
13 Heartbreak
14 I Got Sol

If you enjoyed this recording, PLEASE SUPPORT Celebration, visit their website, and buy Albumin here.

Ought: October 14, 2014 Bowery Ballroom – FLAC/MP3/Streaming

October 16, 2014
By


IMG_7940
[photos by acidjack]

It only took one listen to Ought‘s debut album, More Than Any Other Day to understand that they are a young band of uncommon musical ambition and scope. They play a brand of rhythmically complex art-punk that incorporates elements of the “math rock” sound that rose to prominence in the 1990s, while still maintaining a great ability to make melodies you might hum. Formed in Montreal during a period of civil unrest by a group of young men mostly from somewhere else, their songs brim with disaffection as well as hope, a sort of post-OWS sensation that no matter how difficult things may seem, a way forward still exists. The album title, then, says a lot about where they are philosophically.

As a live band, Ought more than do their recorded output justice. They took the stage at Bowery Ballroom in a relatively quiet pre-CMJ week and stormed through most of their album plus a new song. The whole band has significant musical chops; drummer Tim Keen deserves a lot of the credit for keeping things tight, just as Tim Keeler’s sneering vocals give a memorable voice to the band’s vision. Listening to the eight songs live, some of which got the extended treatment (especially “Forgiveness”) it was striking how single-worthy almost every one of these tracks was, as well as how distinct each song was from the other. Pitchfork’s very positive review rightly pointed out that Ought’s more immediate style made them an odd bedfellow with the roster they share with Godspeed You Black Emperor and Colin Stetson, but I think Constellation Records knows what they’re up to. If the label’s goal is to cull the very best of the band’s adopted city, putting ambition at the forefront of any particular genre, then Ought fit right in. These guys are going places. And if you want to watch them do it, catch some of their upcoming tour dates, including Washington, DC tonight and Purchase, NY tomorrow.

I recorded this set in our usual manner for the venue, with Schoeps MK5 cardiod microphones and a soundboard feed from Bowery legend Kenny. The sound quality is outstanding. Enjoy!

Direct download of 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, and feel free to repost the Soundcloud links.

IMG_7915

Ought
2014-10-14
Bowery Ballroom
New York, NY USA

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

Schoeps MK5 (at SBD, PAS)>KCY>Z-PFA>Sound Devices USBPre2 + Soundboard (engineer: Kenny (house) and Ought engineer (name?)>2x24bit/48kHz WAV>Adobe Audition CS 5.5 (align, mix down, compression)>Izotope Ozone 5 (effects, EQ)>Audacity 2.0.5 (fades, tracking, amplify, balance, downsample, dither)>FLAC ( level 8 )

Tracks
01 Today More Than Any Other Day
02 The Weather Song
03 Clarity!
04 Habit
05 Pleasant Heart
06 Forgiveness
07 [banter1]
08 Gemini
09 Beautiful Blue Sky

If you enjoyed this recording, PLEASE SUPPORT Ought, like them on Facebook, and buy their releases from Constellation Records.

Ryley Walker: September 6, 2014 Hopscotch Music Festival, Fletcher Opera Theater, Raleigh, NC (FLAC/MP3/Full Set Streaming)

October 15, 2014
By


unnamed
[Screen capture by Dan Schram]

Maybe that whole “old soul” saw is lame. Does a man need to have aged many decades to have lived hard, or to have seen the world through enough other people’s eyes? Does a man need to have suffered the physical indignities of age for his voice to be mournful? Is twenty-four too young to really know evil, to make heartbreak sound believable? Ryley Walker is that age. Define it by whatever trope you must, but Ryley Walker performs with a rugged grace and gut-wrenching, soul-searching level of realness that don’t come to men his age all that often. He sat down, at the rightmost end of a semicircle on Fletcher Opera Theater’s broad stage, as the final act to play there during this Hopscotch Music Festival. By the time he got up I felt a way that I hadn’t quite since seeing Hiss Golden Messenger take that same stage with a large band two years before. I don’t put any artist in the company of HGM lightly, but there I believe Ryley sits. He’s that good, the real deal, all of the great things it’s even possible to be when you’re sitting on just one album of “this kind” of material (Ryley’s previous work fell more to the experimental/noise end of the spectrum).

That LP, All Kinds of You, just arrived on Tompkins Square this April, but that material has new company in the incredibly strong output which dominated this set. Walker led off with a new song, followed by his first single, “The West Wind”, before heading into the gorgeous “Primrose Green”. Walker has already earned comparisons to Bert Jansch and Tim Buckley, and his current sound has a classicism to it that makes that fair. Walker huddled in his chair like an older man, taking long breaks between songs to get his tuning right, maybe set his head straight for the next song. Walker sings with depth, in a way that makes each song seem like it takes its own reserve of him. Away from the mic, he’s as amiable as a person comes; faced with his songs he’s transformed. These are songs that operate at some remove from even updated versions of traditional sounds; they seem almost unconcerned with modern flourishes. Kudos belong to Walker’s band, too, which includes a killer roster of players who give these songs not only shape but a live fluidity that makes them all the more special.

But don’t take our word for it. Walker will be appearing at CMJ on Friday, October 24 at an Aquarium Drunkard-sponsored showcase at Rough Trade. Don’t miss it, as the lineup contains many veterans of this site as well as special new bands.

We owe a large dose of gratitude to North Carolina-based taper Larry Tucker for recording and contributing this outstanding capture, made with Peluso American-made cardiod microphones and a soundboard feed. The quality is outstanding. Enjoy!

Direct download of full set: [MP3] | [FLAC]

Stream the full set

Ryley Walker
2014-09-06
Hopscotch Music Festival
Fletcher Opera Theater
Raleigh, NC USA

Exclusive download hosted at nyctaper.com
Recorded and produced by Larry Tucker

Peluso CEMC6-CK4 (Room center hung from balcony rail)>Fostex FR2-LE @ 24/48 + Soundboard> Edirol R09-HR @ 24/24>Adobe Audition (Mixing)>Izotope Ozone 5 (multi-band compression>lower sample rate> CD Wave>Flac

Tracks
01 Summer Dress
02 The West Wind
03 Primrose Green
04 Hide In the Roses
05 Love Can Be Cruel
06 On the Banks of the Old Kishwaukee
07 Same Minds
08 Sweet Satisfaction

Band:
Ryley Walker – vocals, guitar
Ben Boye – keys
Anton Hatwich – bass
Brian Sulpizio – electric guitar
Frank Rosaly – drums
Jeb Bishop – trombone on final song

If you enjoyed this recording, PLEASE SUPPORT Ryley Walker, like him on Facebook, and buy his records here.

Steve Gunn: October 12, 2014 Rough Trade NYC – FLAC/MP3/Streaming Full Set

October 14, 2014
By


IMG_7879

Steve Gunn‘s tenacity and prolific output have paid off. When I saw the man mentioned in Rolling Stone in conjunction with his latest, Way Out Weather, which also received favorable notice in all the right places, I felt that sense of vindication that sometimes the mainstream gets it right. Properly hailed in that magazine as a “six-string legend”, what is perhaps more notable about Gunn’s recent turns is his growth as a vocalist. More than a few guitarists’ careers have foundered when the man stepped to the microphone, but Gunn’s vocal turns, particularly on his last two records, have only broadened his appeal. You’d be mistaken if you ignored instrumental triumphs like Boerum Palace and Ocean Parkway (or his Golden Gunn effort with Hiss Golden Messenger), but Gunn has established himself now as a capable traditional frontman as well as one of the most exciting guitarists of his generation.

This show celebrated the release of Way Out Weather in Gunn’s hometown, and he and the band arrived exhausted but loose from a too-long stint on the parking lot of I-95. The show began almost informally, with the band’s soundcheck seguing into a jam that became “Water Wheel” from Time Off, followed by “Old Strange” from that album in a similar, extra-extended mode. Gunn took his time between tracks to chat about the meanings of songs (“Wildwood” came from a lot of time on the Jersey shore as a kid; “Milly’s Garden” arose out of conflict with a nosy neighbor) and joke with the crowd. The vibe was both homecoming and celebration, as it should have been. The title track and “Tommy’s Congo” already feel like live show standards, offering Gunn ample opportunities to shred on guitar. Likewise, he and the band didn’t hold back on the encore number, “Lurker”, a song celebrated for a while now as one of the best examples of Gunn’s vintage blues. Gunn’s exposure to the world has been a bit like his music, unfolding without hurry, at his own pace. Here’s to more people spreading the word.

I recorded this set with Schoeps MK41 supercardiod microphones and a soundboard feed from Rough Trade engineer in our usual location in the venue. The sound quality is excellent. Enjoy!

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

Stream the full set (minus banter tracks):

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, and feel free to repost the Soundcloud links.

IMG_7883

Steve Gunn
2014-10-12
Rough Trade NYC
Brooklyn, NY USA

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

Schoeps MK41 (DFC, PAS, at SBD)>KCY>Z-PFA>Sound Devices USBPre2 + Soundboard (engineer: Nick)>Edirol R-44 [OCM]>2x24bit/48kHz WAV>Adobe Audition CS 5.5 (align, mix down, compression)>Izotope Ozone 5 (EQ, effects)>Audacity 2.0.3 (tracking, amplify, balance, downsample, dither)>FLAC ( level 8 )

Tracks [Total Time 1:15:25]
01 intro jam>Water Wheel
02 [banter1]
03 Old Strange
04 [banter2]
05 Wildwood
06 [banter3]
07 Shadow Bros
08 [banter4]
09 Milly’s Garden
10 Way Out Weather
11 [banter5]
12 Tommy’s Congo
13 [encore break]
14 Lurker

Band
Steve Gunn – Vocals, guitar
Nathan Bowles – Banjo, drums
Jim Elkington – Guitar
Jason Meagher – Drums, bass

If you enjoyed this recording, PLEASE SUPPORT Steve Gunn, visit his website, and buy his releases from Paradise of Bachelors and Three Lobed Recordings

The Gradients: September 5, 2014 Shea Stadium Interview/FLAC/MP3/Streaming

October 14, 2014
By


gradients_webster_StephenBalser
[Photo from the Studio at Webster Hall show by Stephen Balser, as featured on the band's facebook page]

The night of their self-titled and debut record release at Shea Stadium, Emilio Herce sat down with The Gradients, comprised of Charlie DY, Sammy Weissberg, Luca Ba, and J Boxer, to talk to us about their song writing process, touring down to SXSW, and the DIY ethic they bring to their live shows. Featured with this interview is a full live set for streaming and download. You can catch The Gradients’ next show at Palisades this Thursday.

NYCTaper: All of you play in different bands. Do you ever had a moment when you’re writing a song, but you decided, ‘hey, maybe I want to save it for this other band’”?

Sammy: Not for me, this is the only band I write music in. I also play in Bluffing and Le Rug. But Bluffing’s all John.

J. Boxer (John): Nah, I definitely know. There’s definitely stuff that I write where I’m like ‘this would be really weird for Gradients.’

NYCT: The Gradients have four songwriters, most bands have only one or two, so how does the song writing process work? Does everyone have equal input, or does someone bring in a skeleton and then lead in the process of building it?

Luca Ba: I mean, usually one or two people will have an individual thing that they bring in.

NYCT: Like a riff? Do you ever bring in a complete song?

Luca: Some people have.

Charlie: A lot of times it’s a song that gets changed, like as a band we’ll work on it. Also it’s funny that you say that cause like, we have a lot of trouble naming our songs, and a lot of the time they wind up being labeled as whoever brought it in, like ‘Sammy New,’ or ‘Charlie New,’ or ‘Luca New,’ ‘John New,’ but I wouldn’t say that any of those songs truly belong to that person.

Sammy: I think in this band you can’t really bring in a song, and like anything is subject to change. Every song I’ve brought in has basically just ended up different.

NYCT: You guys are releasing a four track EP, each of you writing one song. Are those songs written yet, are you still working on them?

Sammy: We’re playing two of them tonight. One is pretty close to being done. I guess the fourth one we haven’t even started yet.

Charlie: Mine is in the lab.

NYCT: At what point do you feel comfortable performing a song. When it’s fleshed out entirely?

Luca: I think often it’s not.

NYCT: So the writing process happens on stage too.

J Boxer: We know we’re not playing it the way it’s going to be, the finished product or whatever, and there’s kind fear or nervousness about it, but that’s what you have to do.

Sammy: Just play it over and over again, that’s kind of how I write songs anyway. Usually when I write something, I play it every day, like multiple times a day and over a long period of time things start to develop. I think that repetition is a good way to develop ideas, if you just have it in your ear.

J Boxer:  I feel good about the two new ones that we have.

Charlie: The first show that we ever played as a band, way before John was in the band, we got offered a show and we weren’t ready, but we just played it.  We were just like ‘why not, we were going to open the show.’ It came together on stage, and I feel like that vibe carried out into our band in general. You know a lot of times, like honestly, we’ll play a song, and the lyrics aren’t completely finished, but they’ll even grow from what we come up with, when we play it.

NYCT: Was this years South By your first tour experience as a band? How was that?

Luca: We became a family with the other members of Bluffing, Heeney and Slonk Donkerson. I’d say that those four bands are joined forever.

Charlie: It was a pretty magical time in Austin. I mean it was a great experience, and we played a lot of great shows, but it really almost felt like a musical vacation.

Sammy: It wasn’t the most organized show.

Charlie: The last tour we went on was like totally just you know play, go to the next place.  Austin, we played a bunch of shows getting down there, and we got to Austin an we kind of went nuts. A lot of bonding and hanging out.

NYCT: Are you going to do anything differently in the studio this time around? Did you learn anything last time, that you’re not going to do this time, or is there anything that you’re going to bring over from the last record?

Luca: Ideally it won’t take as long to come out, I would say.

Sammy: I think I learned a lot about overdubs, like what sounds good, and what doesn’t and I couldn’t really explain it any more than that, but there are things on the record that obviously bug me, so you’re not going to be totally satisfied.

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

Stream the complete show:

The Gradients
2014-09-05
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, imaging, exciter)>Audacity 2.0.3 (fades, tracking, amplify, balance, downsample)>FLAC ( level 8 )

Tracks
01 Growing Pile>
02 Boxed In
03 [new song 1]
04 Gradients
05 [new song 2]
06 I’ll Find Your Grave
07 In Perspective
08 Charlie 182
09 Shelf
10 Something to Blame

If you enjoyed this recording, PLEASE SUPPORT The Gradients by visiting their bandcamp page, where you can buy their debut album release.

MV & EE: September 5, 2014 Three Lobed / WXDU Day Show, Hopscotch Music Festival, King’s, Raleigh, NC (FLAC/MP3/Full Set Streaming)

October 7, 2014
By

"photo by PJ Sykes"
[photos by PJ Sykes]

MV & EE are an underground band in the purest sense, the kind of band who self-releases an LP after scads of others have come out on (admittedly obscure) labels and still presses tasty CD-Rs of their best-loved live sets. They exist on exactly that plane you might expect for a Vermont band, doing things their way, happy to earn the love the slow way, through swapped tapes and late-night listening sessions on porches and in basements. Their sound, a sort of far-out experimental folk, is homegrown and not easily replicated. Having seen the band twice this year already, I noticed now more than ever that no two MV & EE sets ever seem quite alike, and Matt Valentine and Erika Elder seem so in tune with one another that no song needs to hew to a single version, either.

This set at the  Three Lobed / WXDU Day Show at King’s during Hopscotch Music Festival was the only one by an outfit that had actually played a night-time festival set (the night before at The Hive), but that didn’t mean MV & EE were willing to dish out the same thing twice. In keeping with the vibe of this show, this set went to the more noisy end of the spectrum, especially on the delicious combo of “Roll On>Mayan Feedback” from this year’s self-released record Alpha Lyrae. Valentine and Elder have been on a bit of a roll lately tour-wise, so they may be off the road for a bit, but check back at their website for all the band’s latest info and releases, including their new seven-inch split with Woods with both bands performing Pink Floyd’s “Green is the Colour”.

I recorded this set with Schoeps MK4V microphones on stage coupled with a soundboard feed from the King’s staff. The sound quality is outstanding. Enjoy!

Direct download of 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, and feel free to repost the Soundcloud links.

MV & EE
2014-09-05
Three Lobed Recordings / WXDU Day Show
King’s
Raleigh, NC USA

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

Soundboard + Schoeps MK4V (on stage pair)>KC5>CMC6>>Edirol R-44 [OCM]>2x24bit/48kHz WAV>Adobe Audition CS 5.5 (mix down, compression)>Izotope Ozone 5 (effects, EQ)>Audacity 2.0.3 (track, fade, amplify, balance)>FLAC ( level 8 )

Tracks
01 [intro - Cory Rayborn and Matt Valentine]
02 Green Is the Colour [Pink Floyd]>
03 Jam>
04 Freedom and Unity Rap
05 [tuning]
06 Roll On>
07 Mayan Feedback

If you enjoyed this recording, PLEASE SUPPORT MV & EE, like them on Facebook and buy their latest record, Alpha Lyrae, directly from the band HERE.

 

Landlady: September 6, 2014 Hometapes / Trekky Records Day Show, Pour House, Hopscotch Music Festival, Raleigh, NC – FLAC/MP3/Streaming

October 6, 2014
By

IMG_7736
[photos by acidjack]

Brooklyn’s Landlady is a really good live band, and they’re good in a way that flatters their musical skill as well as drawing a crowd. Where most music has to make a choice between being interesting or mass-appealing, they seem able to do both, to hang in a narrow band that includes acts like Vampire Weekend, TV On the Radio, and The Dirty Projectors. That I pulled those references from the prior decade isn’t unintentional; Landlady feels like the pleasing synthesis of a few different strands of late-aughts rock, created and executed by Adam Schatz and his bandmates since 2010. Schatz has called Landlady’s songs his “big songs”, and the veteran brings a certain big-tent gusto to the songs that makes them distinct from other projects in which he has been involved, like Man Man or Father Figures. It’s as if Schatz — a multi-instrumentalist himself, including saxophone — distilled some of his other project’s textural complexity and general weirdness into something still-complex but more ready and willing to be liked.

That was all in evidence on the final day of the Hopscotch Music Festival, as Raleigh’s Pour House packed in for the Hometapes / Trekky Records day show. Landlady were representing the former, an outfit recently moved to Durham, North Carolina, and made their label proud. It’d be easy not to care about a day show crowd on a festival’s last day, just near the end of a month-long tour. The band had played Hopscotch Thursday, traveled to Richmond, VA on Friday, then back to Raleigh on Saturday because, as Schatz put it, “we like you”. The band treated us like a special crowd, too, giving us a brisk but powerful set that awakened even the most jaded and hungover festivalgoers. Landlady’s music has an at-times tribal quality to it, abetted in part by the use of two drummers, and that gives the music a festive air. Songs rarely stand still, shifting textures and ideas more often in the space of a single number than many bands achieve in entire albums. True to Schatz’s reputation as a showman, the band saved probably the two biggest standout tracks — “Maria” and “Above My Ground” for the end, though “The Globe” would come in a close third. That final number “Above My Ground” gave Schatz a chance to give a mini-speech mid-song in which he ruminated on the impermanence of things before exhorting the audience to sing the song’s one-word refrain — “always”. As Schatz said, the song is about having lost something, and you got the sense that Landlady would genuinely miss us. They are, after all, a band that stands out the most when they have a packed crowd to watch.

I recorded this set with Schoeps MK41 microphones and a soundboard feed from the Pour House engineer Jack. 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. Feel free to re-post the Soundcloud links.

Landlady
2014-9-06
Hometapes / Trekky Records Day Show
Hopscotch Music Festival
Pour House
Raleigh, NC USA

Hosted at nyctaper.com
Recorded and produced by acidjack

Schoeps MK41>KCY>Z-PFA + Soundboard (engineer: Jack)>>Roland R-26>x24bit/48kHz WAV> Adobe Audition CS 5.5 (align, mix down, compression)>Izotope Ozone 5 (effects, EQ)>Audacity 2.0.3 (track, amplify, balance, downsample, dither)>FLAC ( level 8 )

01 Under the Yard
02 Girl
03 Washington State is Important
04 [banter]
05 Dying Day
06 The Globe
07 [banter2]
08 Maria>
09 Above My Ground (extended version)

If you enjoyed this recording, PLEASE SUPPORT Landlady, like them on Facebook, and buy Upright Behavior from Hometapes.

Wormburner: September 26, 2014 Mercury Lounge – FLAC/MP3/Streaming

October 2, 2014
By

WBMerc1
[Photos courtesy of Patrick J. Eves]

Wormburner have been kicking around the New York scene here for a few years, making their first appearance on this site back in 2010, where they were rightly compared to a cross between the Hold Steady and Camper Van Beethoven, owing in no small part to frontman Hank Henry’s talking-style vocals. For my part, this record release show at Mercury Lounge for the band’s excellent third LP, Pleasant Living in Planned Communities, was my first with the band. In addition to those references, I caught a pretty strong whiff of some of the better post-grunge bands, especially the mostly-forgotten Harvey Danger. No surprise, then, than by the first chorus of the leadoff track “Drinks At the Plaza Hotel”, I was nodding my head.

This is a very easy band to like, a group of obviously nice people who deploy big hooks and choruses, but don’t skimp on the lyrical concepts just because they know they probably could. To wit, you end up with songs about such things as, per the band’s website, “a downed airman in WWII Europe, a 21st Century soldier returning home from battle, and a transient gay hustler whose youthful looks are weathering with age”. The band’s delivery reflects the professionalism of eight years together as a going concern, and even as they played brand-new material for presumably the first time, Wormburner remained dialed in. The new album material comes across as some of the band’s strongest yet, in particular “Plaza Hotel”, “Catherine”, that WWII song “Hopscotch Gunner”, and “Somewhere Else to Be”. Sean Eden of Luna guested on Pleasant Living and was also on hand for the night’s proceedings, joining the band for two songs including Donovan’s “Seasons of the Witch”.  The Cult’s “She Sells Sanctuary” was the perfect big-rock way to end the show, setting the tone for the Wormburner shows to come in the next months.

I recorded this set with Schoeps MK41 microphones and head Mercury engineer Dave Lefcourt’s soundboard mix. The sound quality is excellent. Enjoy!

Catch Wormburner in New York again at the Tijuana Gift Shop showcase during CMJ on Wednesday, October 22 at Bowery Electric, and again at Mercury Lounge on December 18 for their annual Christmas show.

Stream “Hopscotch Gunner”

Stream “Season of the Witch” [Donovan]

Direct download of full set: [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 links or the files on other sites without our permission. Please respect our request, and feel free to repost the Soundcloud links.

WBMerc2

Wormburner
2014-09-26
Mercury Lounge
New York, NY USA

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

Schoeps MK41>KCY>Z-PFA + Soundboard (engineer: Dave Lefcourt)>>Roland R-26>x24bit/48kHz WAV> Adobe Audition CS 5.5 (align, mix down, compression)>Izotope Ozone 5 (effects, EQ)>Audacity 2.0.3 (track, amplify, balance, downsample, dither)>FLAC ( level 8 )

Tracks [Total Time: 1:07:14]
01 Drinks at the Plaza Hotel
02 Today Might be Our Day
03 Catherine
04 Peekskill
05 Little Things
06 Made-for-TV Movie
07 [tuning1]
08 A Standing Invitation
09 [banter2]
10 Somewhere Else To Be
11 Hopscotch Gunner
12 Pike City Proper
13 The Interstate
14 [banter3]
15 Parliaments on Sundays*
16 Season of the Witch* [Donovan]
17 [banter4]
18 She Sells Sanctuary [The Cult]

* Featuring Sean Eden of Luna

If you enjoyed this recording, PLEASE SUPPORT Wormburner, visit their website, and buy their releases directly from Dive Records.

Circuit des Yeux: September 5, 2014 Hopscotch Music Festival, Tir na Nog, Raleigh, NC (FLAC/MP3/Streaming)

October 1, 2014
By


IMG_7677
[rather bad photo by acidjack]

Circuit des Yeux makes lacerating, personal music that belongs in a certain kind of place, both spiritually and physically. Haley Fohr is four records in now at age twenty-five, and her latest album,  Overdue, was hailed by the ever-reliable Marc Masters of Pitchfork, along with several others, as her best yet. Fohr’s music is somber and dark, delicate at times, unafraid to be dissonant when it needs to be. The Chicago-based musician has played in and around New York several times, but I had missed my chances. As happened a few times this year, Hopscotch Music Festival let me correct that mistake.

Over time, especially on Overdue, Circuit des Yeux’s compositions have taken on a grander scale, and we saw that in action right off the bat, as Fohr led with a brand new, as-yet-untitled song. Along with another new song and two more Overdue tracks, the set was bookended by “Acarina”, one of three Overdue tracks played. In this setting, it became a slashing, sprawling explosion of distortion that made the original seem almost polite — a gem of a live version. I might venture that the added fury packed into it paired well with Fohr’s mood, as I’ll discuss below.

The truth is that somebody could not have picked a worse venue for Circuit des Yeux, seated alone on a low stage in an Irish bar best suited to party music or cover bands. Despite that I knew several people who came to the venue specifically to see Circuit des Yeux, that couldn’t overcome the fact that this was difficult music being played in a loud bar to a crowd much more indifferent than they ought to have been. This is the kind of scheduling mishap that also led, in part, to the festival’s well-publicized artist blowup across town this same night. To her credit, Fohr didn’t call names or lash out. She leaned into her guitar, hair obscuring the louder side of the room, and sang with an intensity that fought its way through. For me as a fan, what is most striking about this set is just how good it is in recorded form — that is, with the advantage of being able to remove most of the audience from the equation.

That’s all well and good, but to read Circuit des Yeux’s take on this set is to be reminded that a concert is not a one-way event. Granted, unlike an artist’s own show, a festival audience may not have paid to be there specifically to see that artist. But that doesn’t mean that the crowd doesn’t have a responsibility to the performer they are seeing. To be in an audience is to be an active participant in the artist’s experience of the show. An audience can elevate, and an audience can also hurt. Before you bother to finish the rest of this, or click play on the streaming tracks, or do anything else, I would urge you to read Fohr’s piece. No musician — be it one you like, one you dislike, or one you’re indifferent to — deserves to be treated like a performing monkey. An artist owes us to do their part, and we owe them as an audience to do ours. A concert isn’t church, sure, but it is a shared space with a single focal point — the artist. Anything that takes away from that is doing damage: to the artist, to the other fans who paid to be there, and to the whole enterprise of what live music is supposed to be about.

For my part, I found Fohr’s performance compelling and look forward to her next steps. Circuit des Yeux isn’t easy or conventional, and that is part of what has made it a favorite of both critics and the other forward-thinking artists such as Xiu Xiu who have toured with her. This music deserves our continued attention and respect. For those that don’t “get it”, whether that’s the case with this artist or with somebody else, please stay away or shut up. The rest of us are trying to hear.

I recorded this set with a soundboard feed provided by Brandon, the night’s engineer, plus Audio Technica 3031 microphones, which were turned way down in this mix. It ended up sounding quite good. I hope you enjoy it.

Download the complete show [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.

Circuit des Yeux
2014-09-05
Hopscotch Music Festival
Tir na Nog
Raleigh, NC USA

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

Soundboard (engineer: Brandon)+ Audio Technica 3031 (at SBD, ROC)>Roland R-26>2x24bit/48kHz WAV>Adobe Audition CS 5.5 (align, levels, mix down, compression)>Izotope Ozone 5 (EQ, effects)>Audacity 2.0.3 (track, amplify, balance, fades, dither and downsample)>FLAC ( level 8 )

Tracks [Total Time 39:34]
01 Untitled 1
02 Untitled 2
03 [tuning]
04 Nova 88
05 [tuning2]
06 Lithonia
07 [tuning3]
08 Acarina

If you enjoyed this recording, PLEASE SUPPORT Circuit des Yeux, visit her website, and buy Overdue and her other records directly from her.

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.