Posts Tagged ‘ acidjack ’

Wet Tuna: December 22, 2018 Union Pool & September 8, 2018 Three Lobed / WXDU Annual Ritual of Summoning

January 3, 2019
By

Straight from the ever-expanding Tunaverse, here’s a double header of shows from last year. The first finds the duo traveling down to Raleigh, North Carolina for the “Three Lobed / WXDU Annual Ritual of Sommoning,” the yearly Hopscotch day party that’s become one of the festival’s biggest draws. Next is another duo set from last month at Jeff Conklin’s birthday party. Fun was had by all and here’s the documentation to prove it.

While you’re enjoying these live Wet Tuna dispatches, head over to their blog to order Mountain Busted, a 7-CD set of multitracked live shows. I’ve been lost in these recordings for a couple weeks now and the sound is absolutely phenomenal—more than enough reason to dive in head first. The set gets a little sweeter thanks to a trio of Root Cellar gigs with special guest spots from J Mascis, John Moloney, Jim Bliss, and more, that hail from another plane of existence.

I recorded the Union Pool gig from our usual spot at the soundboard, combined with a feed courtesy of Jase Hottenroth. Acidjack recorded the Raleigh show with his usual six track rig at King’s. Both sound excellent. Enjoy!

Union Pool Download: [FLAC/MP3]
Three Lobed / WXDU Annual Ritual of Summoning Download: [FLAC/MP3]

Wet Tuna
2018-12-22
Union Pool
Brooklyn, NY

Recorded and produced by Eric PH for nyctaper.com

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

Tracks: [40:56]
01. I’d Rather Be Hayin’ > Hay Space
02. Roomtone
03. I Know You Rider
04. Roomtone
05. New York Street

MV/PG Six/Coot Moon



Wet Tuna
2018-09-07
Three Lobed / WXDU Annual Ritual of Summoning
King’s
Raleigh, NC USA

Recorded and produced by acidjack

Soundboard + Schoeps MK4V (onstage, DFC)>KC5>CMC6 + Behringer C2>>Zoom F8>24/48 WAVs>Adobe Audition CC (align, mix down, limiter)>Izotope Ozone 5 (effects, EQ)>Audacity 2.2.2 (track, amplify)>FLAC ( level 8 )

Tracks
01 I Know You Rider
02 Water Train
03 New York Street

Bandcamp

Dirty Projectors: November 18, 2018 Elsewhere (Early Show)

November 20, 2018
By

If you ever doubt the reason to see live music, I’d refer you to the experience of watching Dave Longstreth on stage for eighty minutes with Dirty Projectors. There’s a particular joy to watching such complex, intellectual “rock” music brought to life by players of such immense talent, up close enough to see Longstreth’s fingers work the fretboard. If it’s at Elsewhere — a phenomenal-sounding club — and on a rather convenient late Sunday afternoon, all the better.

Among the waves of NYC/Brooklyn rock music in the first decade of this century, the Dirty Projectors always existed at some remove from even their mid-latter-decade contemporaries. Dirty Projectors is an unapologetically smart band, the work of a highly educated musician’s musician. It’s fitting that I last saw this band at Carnegie Hall in early 2013; if any “indie rock” band belongs there, it’s this one.

This set, the first of two the band performed at Elsewhere on Sunday, spanned the band’s five most recent albums (with Rise Above represented by the particularly affecting “Police Story” that led off the show), as well as two nuggets from the band’s Mount Wittenberg Orca collaboration with Björk. Likewise, this set represented a reasonable facsimile of Longstreth’s emotional states during the recent past, with songs like the joyous “I Found It In U” and “I Feel Energy” offset by the political rumination “It’s A Lifestyle” and the wistful “Little Bubble.” Longstreth has described Lamp Lit Prose and Dirty Projectors as a yin and yang album cycle, and that was evident here. But, while Lamp Lit is stylistically closer to the rest of the band’s recent material, there’s been a darkness in many of Longstreth’s songs before Dirty Projectors, and those, like “Gun Has No Trigger,” were well-represented here also.

To call the current band “new” is a bit of a stretch at this point; they’ve been touring this album as a unit for a while now, and it showed in their formidably well-rehearsed state. Give a quick listen to the soaring harmonies on “Cannibal Resource”, Kristin Slipp’s lead vocal on “The Socialites” or the incredible vocal precision on “When the World Comes To An End” (incidentally, the Mount Wittenberg songs strike me as particularly difficult musically) and you’ll be relieved of any concern that this band isn’t every bit the equal of the one that came before it. It wasn’t just because of Longstreth’s talent that I spent a good bit of these 80 minutes on a Sunday afternoon mouthing the word “wow.” It was hard to tell how serious Longstreth was about engaging a call-and-response situation during the final encore (“Right Now” from Lamp Lit Prose) but it soon became clear that even figuring out how to chant “right now” back at a Dirty Projectors song is a little tougher than usual singalong fare (“it loops unevenly…. that’s as well as I’ve figured out how to do it” a sheepish Longstreth said). “Right Now” proved a fitting end, encapsulating the yin and yang of the show in a single, dark but ultimately uplifting song (which Longstreth also identified as the most difficult to play in the set). The only part that wasn’t perfectly dialed in was the crowd singing “right now” — but that was kind of perfect, too.

I recorded this set with a feed of the house mix together with Schoeps MK4V microphones inside the soundboard cage. All credit for the sound of this belongs to the production team, both Dirty Projectors’ touring engineer, Teresa Murray, and the house team at Elsewhere. I hope you’re as impressed with it as I am — enjoy!

Thanks to Domino Records and Dirty Projectors for giving us permission to record the performance, along with the outstanding Elsewhere production crew.

Download the complete show: [MP3/FLAC/Apple Lossless]

Dirty Projectors
2018-11-18 (early show)
Elsewhere
Brooklyn, NY USA

Recorded and produced by acidjack for nyctaper.com

Soundboard (engineer: Teresa Murray + Tyler (house)) + Schoeps MK4V (FOB, DFC)>KC5>CMC6>>Sound Devices
MixPre6>24/48 polyWAV>Adobe Audition CC (align, mix down, fades, compression)>Izotope Ozone 5 (effects)>Audacity 2.1.0 (track, amplify,
balance)>FLAC ( level 8 )

Tracks [Total Time: 1:20:15]
01 Police Story
02 I Found It In U
03 Break-Thru
04 What Is the Time
05 Cannibal Resource
06 Temecula Sunrise
07 That’s a Lifestyle
08 The Socialites
09 Gun Has No Trigger
10 When the World Comes to an End
11 I Feel Energy
12 Cool Your Heart
13 Useful Chamber
14 [encore break]
15 Beautiful Mother
16 Little Bubble
17 [explanatory banter]
18 Right Now

Band:
Dave Longstreth
Matt Baldwin – bass, bass synth
Mike Johnson – drums
Felicia Douglass – vocals, keyboard, electronic percussion
Kristin Slipp – vocals, Wurlitzer, additional keys
Maia Friedman – guitar, vocals

PLEASE SUPPORT Dirty Projectors: web | facebook | buy Lamp Lit Prose

Parlor Walls: October 18, 2018 Saint Vitus Bar

October 25, 2018
By

If you haven’t checked out Parlor Walls since their excellent 2017 album, Opposites, then put your headphones in and turn your ears on. This set at Saint Vitus should be a must-listen for those of us who’ve followed Alyse Lamb’s career since the early ’10s, and those new to the party. Three of the newer songs – “Neuromancer”, “Love Complex” and “Low Vulture” are represented on the band’s May 2018 EXO cassette, and are among the band’s best work yet, pushing further into No Wave territory and somewhat away from some of the free jazz flourishes that appeared on Opposites. Parlor Walls’ songs are noisy, astringent documents of our time, complicated, unsettled and at-times brutal. Lamb has always been that special type of performer who doesn’t seem to need an audience; her unflagging intensity comes from within rather than without. (If you don’t believe me, see how she and drummer/keyboardist Chris Mulligan bring it alone in a Paste Magazine sound studio). It’s incredible that she and Mulligan can pack this much into their songs performing as a duo (their albums have additional bandmembers, in the most recent case, multi-instrumentalist Jason Shelton); like the full-time Brooklyn duo Yvette, they fill the stage without the extra bodies. If unrest is the overarching theme of these jittery pre-election days, Parlor Walls is the right soundtrack.

I recorded this set with Schoeps MK4V microphones at the soundboard combined with house FOH Jeff’s excellent mix. The sound quality is outstanding. Enjoy!

Download the complete show: [FLAC/ALAC/MP3]

Parlor Walls
2018-10-18
Saint Vitus Bar
Brooklyn, NY USA

Recorded and produced by acidjack

Soundboard (engineer: Jeff) + Schoeps MK4V>KC5>CMC6>>Sound Devices MixPre 6>24/48 WAV>Adobe Audition CC (align, mix, compression, fades)
>Audacity 2.1.0 (track, amplify)>FLAC ( level 8 )

Tracks [Total Time 30:09]
01 Neuromancer
02 Love Complex
03 Pinafore
04 Spinning Gold
05 Ignite
06 Low Vulture
07 Cover Me
08 Birthday

PLEASE SUPPORT Parlor Walls: bandcamp | website

Object Hours: September 8, 2018 Merge Records/OCSC Day Party, King’s (Raleigh, NC)

October 22, 2018
By


[Photo courtesy of Dave Schwentker]

Sometimes the daytime action at Hopscotch can be even more intense than the evening, as showcases like the Merge/OCSC day party at King’s have a habit of bringing out top local talent to draw the local crowd. For my money, few local acts are more exciting right now than Carrboro, NC’s Object Hours, whose bandcamp helpfully promises to keep songs “under 25 minutes for your sake.” The band’s instrumental explorations, at least during this set, aren’t quite that long, but it’d be just fine if they were. The players — Nora Rogers, Jenny Waters and Harrison Haynes — are vets of a number of bands, and that experience and confidence shows in their improvisational style. For any fan of modern music for heads, add Object Hours to the top of your list — this is a band to watch.

Our man Dave Schwentker made this recording from an optimal spot in the venue using an Olympus LS-10 and its included mics. The sound quality is excellent. Enjoy!

Download the complete show: [MP3/FLAC]

Object Hours
Merge/OCSC Day Party
King’s
Raleigh, NC  USA

Recorded by Dave Schwentker

Tracks
01 Fuse Blower/Vikings
02 The Turning Point
03 Fear Based Excellence

SUPPORT Object Hours: bandcamp | Instagram

Long Hots: September 7, 2018 Three Lobed / WXDU Annual Ritual of Summoning (Raleigh, NC)

October 17, 2018
By


[Courtesy of Dave Schwentker]

I should possibly apologize to Rosali Middleman, one of the three Long Hots, for referring to her guitar playing as “feral” in last year’s review of this band’s Three Lobed / WXDU show, their third ever. If you’ve heard her other work, particularly her outstanding latest record Trouble Anyway, you wouldn’t necessarily know it was the same person as the one shredding on these scuzz-rock numbers. It was more a statement the style of her guitar playing for this band than the, you know, quality. But I digress. A year later, Long Hots continue to be one of Philadelphia’s best up and coming exports. The band’s gritty, garage-style approach recalls Philly brethren Spacin’ and Purling Hiss, and like those bands, the Long Hots can make it feel like a 3 a.m. rager in some hopped-up dirtball’s basement even if they’re actually playing a day show in a much-nicer-than-average local club. This five-song set almost doubled last year’s set in length and at least matched it in intensity, showing us new songs that (one day?) could fill out a full LP. As for now, Long Hots remain “Philadelphia’s most anticipated band” in that respect, as they continue to hone their live chops. You can catch another flavor of that on the band’s sole release, the Monday Night Raw cassette, which is exactly what it sounds like.

I recorded this set with a blend of onstage Schoeps microphones, a pair of mics in the audience, and a soundboard feed. It’s a fun recording. Enjoy!

Download the complete set: [MP3/FLAC/ALAC]

Long Hots
2018-09-07
Three Lobed / WXDU Annual Rite of Summoning
King’s
Hopscotch Music Festival
Raleigh, NC USA

Recorded and produced by acidjack for nyctaper.com

Schoeps MK4V (onstage, DFC, PAS)>KC5>CMC6 + Soundboard + Behringer C2 (FOB, DFC)>>Zoom F8>Adobe Audition CC (align, mix down, fades, normalize)>Izotope Ozone 5 (EQ, effects)>Audacity 2.2.2 (track, amplify)>FLAC ( level 8 )

01 Nickel and Dime
02 Boogie Trance
03 Mama
04 Die Die Die
05 One Chip

Support Long Hots: bandcamp

Daniel Bachman Quartet: September 7, 2018 Three Lobed / WXDU Annual Rite of Summoning (Raleigh, NC)

September 18, 2018
By

The consistently positive reception for Daniel Bachman‘s latest record, The Morning Star, is an uplifting reminder that some people still listen with an open mind. The double LP, released this summer by Three Lobed Recordings, takes Bachman’s previous drone experiments — most recently suggested by the beginning of “Brightleaf Blues” on Bachman’s self-titled 2016 album, and extends it to the entire first side of the new record. The 18-minute ambient drone “Invocation” – that a casual fan might wonder if this is Daniel Bachman at all. “Invocation” is a vast and complex new work, blending field recordings, snippets of spoken word, a shruti box, and more. It’s a bold way to begin a record, and to capture the feeling of it full, read what Tiny Mix Tapes had to say.

One fact of a piece like “Invocation” is that it’s virtually impossible to create live in the settings where Bachman usually finds himself — that is, as a solo guitarist. So leave it to one of his favorite venues for experimentation – King’s in Raleigh, at a Three Lobed / WXDU event – for Bachman to find a path toward the album version, even if the result was entirely new. Joined by Forrest Marquise, Jim Becker and Jaime Fennelly, not to mention one of Marquise’s custom instruments and a mic’d, upside-down peanut jar with marbles on it, Bachman and his fellow players created a unique “Invocation” for what is always one of the year’s most exciting days of experimental music (christened this year as the “Annual Rite of Summoning.” This 38-minute organism of a song created a new place inside Kings’ four walls, a space to breathe, to reflect, to listen. A rite of summoning, indeed.

Please put on your headphones, and enjoy.

Download the complete show: [MP3/FLAC/ALAC]

Daniel Bachman Quartet
2018-09-07
Three Lobed / WXDU Annual Rite of Summoning
King’s
Hopscotch Music Festival
Raleigh, NC USA

Recorded and produced by acidjack for nyctaper.com

Soundboard + Schoeps MK4V (onstage, DFC, PAS)>KC5>CMC6>>Zoom F8>Adobe Audition CC (align, mix down, fades, normalize)>Izotope Ozone 5 (EQ, effects)>Audacity 2.2.2 (track, amplify)>FLAC ( level 8 )

01 Invocation

Players:
Daniel Bachman
Forrest Marquise
Jaime Fennelly
Jim Becker

Support Daniel Bachman: Website | Facebook | Buy The Morning Star from Three Lobed [HERE]

Gunn-Truscinski Duo: July 19, 2018 Elsewhere

July 24, 2018
By

Watching the interplay of Steve Gunn and John Truscinski onstage, you get the sense that these two are hand-in-glove players, to the point you almost can’t imagine them playing with anyone else (though they do). That interplay is part of what makes all of their Three Lobed releases so special. Each of them, including their latest and most adventurous to date, Bay Head, feels like it sprung forth fully-formed, a jam session whose synchrony had to be made permanent. On this night at Elsewhere, after kicking off with their new drone track “Road Bells,” the duo launched into straight into a version of “Banh Mi Ringtones” that felt like just that, with the action peaking in a furious Gunn solo. The Ocean Parkway love continued with that title track, followed by the gorgeous “Seagull for Chuck Berry.” Things came to a close in a similar vein to the show we saw at Union Pool in January, the sprawler “Gunter,” featuring a new drone-based intro. Even that relatively new track felt re-imagined in the moment, and that’s the glory of Gunn-Truscinski duo. Fortunately, this is one of those jam sessions whose synchrony was documented.

I recorded this set from the soundboard cage with a board feed from house engineer Chris, together with Schoeps MK4V microphones. The sound quality is outstanding. Enjoy!

Download the complete show: [MP3/FLAC/ALAC]

Gunn-Truscinski Duo
2018-07-19
Elsewhere
Brooklyn, NY USA

Recorded and produced by acidjack for nyctaper.com

Soundboard (engineer: Chris) + Schoeps MK4V (FOB, DFC, PAS)>Sound Devices MixPre6>24/48 polyWAV>Adobe Audition CC (align, mix down, fades)>Izotope Ozone 5 (EQ, effects)>Audacity 2.2.2 (track, amplify)>FLAC ( level 8 )

Tracks
01 Road Bells
02 Banh Mi Ringtones
03 Ocean Parkway
04 Seagull For Chuck Berry
05 Gunter

• Buy Bay HeadOcean Parkway, and Sand City via Three Lobed

Guerilla Toss: June 19, 2018 Union Pool (Residency Night 3)

June 28, 2018
By

The phenomenal Brooklyn band Guerilla Toss graced the hometown crowd with a monthlong residency at local haunt Union Pool that found the band trying out new songs and compelling covers, and generally driving the locals wild. This band’s bread and butter has always been the live setting, but these shows put the band at a new level. Against the backdrop of sick visuals from Macrodose, Kassie Carlson whipped the room into a frenzy, culminating in a room wide mosh pit during set-closing “Polly’s Crystal.” Whipping from one song straight into the next for almost the entire hour, the band served up sixteen songs that included an ESG cover and the new numbers “Come Up With Me” and “Green Apple.” In case you were worried, I think we can expect their next release to meet or exceed the outstanding GT Ultra.

This recording combines engineer Doug’s awesome house mix plus my Schoeps MK5 mics from the center of the balcony. The sound is excellent. Enjoy!

Download the complete show from its Live Music Archive page: [MP3] | [FLAC]

Guerilla Toss
2018-06-19
Union Pool
Brooklyn, NY USA

Recorded and produced for nyctaper.com by acidjack

Shoutout to NCArchive for recording/posting three of the nights of this series and for the setlist

Schoeps MK5 (XY, FOB, DFC)>KC5>CMC6 + Soundboard (engineer: Doug)>>Sound Devices MixPre 6>24/48 polyWAV>Adobe Audition CC (compression, fades, limiter)>Audacity 2.0.3 (track, amplify)>FLAC ( level 8 )

Tracks
01 Betty Dreams of Green Men >
02 Erase You [ESG]>
03 TV Spell>
04 Operate >
05 Come Up With Me>
06 TV Do Tell [Jane La Onda Cover]>
07 Grass Shack Pt 1>
08 Green Apple
09 Diamond Girls>
10 Skull Pop>
11 Drip Decay>
12 Multibeast TV>
13 Billy Blood Idol >
14 Dog In The Mirror
15 [encore break]
16 Polly’s Crystal

PLEASE SUPPORT Guerilla Toss: Bandcamp | Facebook | DFA Records Page

Ryley Walker: April 29, 2018 The Bowery Ballroom

May 2, 2018
By

Ryley Walker arrived on The Bowery Ballroom stage as the opening act. For many bands, the opening 45 minutes means an opportunity to deliver a tight-but-denuded set that gives the untutored fan a reason to seek more. Well, Ryley and this night’s crack band — longtime compatriot Ryan Jewell, fellow guitarist Bill MacKay, and Calexico (the headliner) bassist Scott Colberg — did the latter but not the former. Which is to say, their version of a “short” set consisted of four songs, but one of them was 18 minutes long. And instead of “the hits,” as it were, those four were, save one, all tracks from his forthcoming album, Deafman Glance, which promises to extend Walker’s renown as a musician’s musician, who follows his instincts where they take him and isn’t afraid to challenge the listener.

If for years the understanding among Walker and his fans is that there’s about as little relationship between the reasonably straightforward sound of his records and his expansive, jazz-influenced live shows as there is between the seriousness of Walker’s music and the lightheartedness of his stage banter, the Deafman Glance material seems poised to narrow that gap. The proggy, dense, album sound carries over well into Walker’s chosen live milieu, making (for example) the “Telluride Speed” that closed this set a thrill but, unlike the eighteen-minute “Halfwit In Me” that opened it, not a totally radical departure from the album version.

Ryley’s stated goal was for Deafman Glance to be his anti-folk record, and indeed, this felt like the least folk-driven Ryley Walker show I’ve seen. With his vocals turned relatively low in the mix, and a song selection that was relatively short on opportunities for vocal pyrotechnics, Walker seemed intent on letting his electric guitar guide his sound (listen to that “Halfwit in Me” – it did). Walker’s full-band shows have always de-prioritized vocals to some degree in favor of extended jamming, but if I hadn’t seen Walker before and someone told me this was a guy who also does a mean cover of Van Morrison, I’m not sure I’d have believed them. That’s one of the joys of seeing this artist — by the time I see him again (expect a headlining tour in the U.S. in the fall), he’ll almost surely have evolved yet again.

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

Download the complete show from its page on the Live Music Archive: [FLAC] | [MP3]

Ryley Walker
2018-04-29
The Bowery Ballroom
New York, NY USA

An nyctaper recording
Recorded and produced by acidjack

Soundboard + Schoeps MK5c (PAS, at SBD, slightly LOC)>KC5>CMC6>>Sound Devices MixPre 6>24/48 polyWAV>Adobe Audition CC (align, mix down, compression, fades)>Izotope Ozone 5 (EQ, effects)>Audacity 2.0.5 (track, amplify)>FLAC ( level 8 )

Tracks
01 [intro banter]
02 The Halfwit in Me
03 [banter2]
04 Spoil With the Rest
05 22 Days
06 [banter3]
07 Telluride Speed

Band:
Ryley Walker – guitar, vocals
Ryan Jewell – drums
Bill MacKay – guitar
Scott Colberg – bass

PLEASE SUPPORT RYLEY WALKER: Bandcamp | Dead Oceans

Wet Tuna: December 10, 2017 Trans-Pecos

March 20, 2018
By

What’s better than an early Sunday evening kickin’ it with the deep space musings of Matt “MV” Valentine? How about Matt plus PG Six, aka Pat Gubler, who’ve been touring (and are about to put out a record) together as Wet Tuna? The pair of guitarists (plus some pre-recorded beats) were in NYC for a pair of shows, the first night (recorded) at Brooklyn’s Ceremony, the second this jaunt at the revitalized Trans-Pecos.

Given that the night kicked off with a DJ set from WFMU’s DJ Jeff Conklin, whose beloved Avant Ghetto show is a must-listen for fans of this kind of music, it felt appropriate for the Tuna to launch with “I Know You Rider,” the traditional blues song popularized by the Grateful Dead. From there, we got two more sick covers – Michael Hurley’s “Water Train” followed by Incredible String Band’s “Empty Pocket Blues,” which flowed into the Livin’ the Die track “New York Street.” Along with this performance with the Tuna, we’ve also caught Matt on some recent solo outings — so stay tuned for that as well.

This set was recorded directly from the Trans-Pecos soundboard. The sound quality is excellent. Enjoy!

Download the complete show: [MP3/FLAC/ALAC]

Stream the complete show:

Wet Tuna
2017-12-10
Trans-Pecos
Queens, NY USA

Exclusive download hosted at nyctaper.com
Produced by acidjack

Soundboard (house PA mix saved to SanDisk thumb drive)>16/48 WAV>Adobe Audition CC (EQ, effects)>Audacity 2.0.3 (track, amplify, fades)>FLAC ( level 8 )

Tracks
01 I Know You Rider [Grateful Dead version]
02 Water Train [Michael Hurley]
03 Empty Pocket Blues [Clive Palmer/Incredible String Band]>Empty Mood Jam>Space/Drums>New York Street

SUPPORT WET TUNA: Buy Livin’ The Die from them right here.

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