Posts Tagged ‘ acidjack ’

Dinosaur Jr.: October 3, 2017 Brooklyn Bowl

October 5, 2017
By


[photo courtesy of Omar Kasrawi and Pancakes and Whiskey]

From the very outset of Tuesday night’s Dinosaur Jr. show at Brooklyn Bowl — the second of a two night run — it was fairly obvious that the sonic onslaught was in full on mode. Monday’s show was an extraordinary show that we were happy to have attended and recorded, but Tuesday was fully in your face. Any decibel restrictions that the venue may have sought to impose were disregarded as J Mascis’ Marshall guitar stack was well utilized, and the thumping bass of Lou Barlow and Murph’s monster percussion rattled the rib cage. The band also switched up the setlist, so we got some oldies for Bug fans (rare “Budge” and ubiquitous “Freak Scene”), and You’re Living All Over Me diehards (“Little Fury Things”). J and Lou also brought out old friend and Deep Wound bassist Scott Helland to perform one of the first songs the guys ever recorded for that band. We also saw a handful of guests for the “Sub Pop version of The Wagon” including legendary guitarist Don Fleming. And if that wasn’t enough, the show ended with a mini Negative Approach set as singer John Brannon (also of openers Easy Action), drummer Opie Moore and guitarist Harold Richardson joined J and Lou to play two of the seminal Michigan hardcore band’s songs. If we learned anything from this outstanding two-fer of Dinosaur Jr. shows at Brooklyn Bowl, its that this band remains a powerful presence in today’s music. Our still-ringing ears agree.

We recorded this set with the mic stand about midway on the right side of the venue and nyctaper used Schoeps cards while acidjack employed Schoeps hypers. The full sonic blast of this show is faithfully captured in both recordings. Enjoy!

Download the Complete Show:
nyctaper version [MP3] / [FLAC]
acidjack version [MP3] / [FLAC]

Stream nyctaper version:

Stream acidjack version:

Dinosaur Jr
2017-10-03
Brooklyn Bowl
Brooklyn NY

Digital Master Recording
FOB Audience

Schoeps CCM4u Cardioids > Sound Devices 744t > 24bit 48kHz wav > Soundforge (level adjustments, mixdown, EQ, set fades) > CDWave 1.95 (tracking) > TLH > flac (320 MP3 and tagging via Foobar)

Recorded and Produced by nyctaper

Setlist:
[Total Time 1:25:03]
01 Thumb
02 Goin Down
03 Lost All Day
04 Left Right
05 Watch the Corners
06 Pieces
07 Out There
08 Feel the Pain
09 Little Fury Things
10 [banter – Wagon intro]
11 The Wagon
12 Budge
13 Start Choppin
14 Training Ground [Deep Wound]
15 Freak Scene
16 Gargoyle
17 [encore break]
18 Just Like Heaven [Cure]
19 [banter – Negative Approach intro]
20 Can’t Tell No One [Negative Approach]
21 Nothing [Negative Approach]

*******************************

Dinosaur Jr.
2017-10-03
Brooklyn Bowl
Brooklyn, NY USA

Recorded and produced by acidjack for nyctaper.com

Schoeps MK41V (FOB, ROC, PAS)>KCY>Z-PFA>Sound Devices MixPre6 (24/48)>WAV>Adobe Audition CC (fades, limiter, light compression)>Izotope Ozone 5 (EQ, image, effects)>Audacity 2.0.5 (track, amplify, balance, downsample, dither)>FLAC ( level 8 )

Tracks [Total Time 1:24:56]
01 Thumb
02 Goin’ Down
03 Lost All Day
04 Left/Right
05 Watch the Corners
06 Pieces
07 Out There
08 Feel the Pain
09 Little Fury Things
10 The Wagon*
11 Budge
12 Start Choppin’
13 Training Ground [Deep Wound]^
14 [tuning]
15 Freak Scene
16 Gargoyle
17 [encore break]
18 Just Like Heaven [The Cure]
19 Can’t Tell No One [Negative Approach]%
20 Nothing [Negative Approach]

*w/ Don Fleming, John Moloney and Marc Seedorf
^ w/ Scott Helland
% w/ Negative Approach

SUPPORT Dinosaur Jr.: Facebook | Website | Buy Their Records

Dire Wolves: September 21, 2017 Union Pool

October 4, 2017
By

If one thing has felt consistent in the world in the past year, it’s been Beyond Is Beyond Is Beyond records and their roster of incredible acts. If you’ve got a predilection for all things psychedelic, you absolutely can’t miss one of their releases. In a crowded field of standouts this year, the label released Dire Wolves‘ Excursions to Cloudland, and I was hooked from the first note. The San Francisco band doesn’t make it out east all that often, and that made me even more pumped for this Union Pool show — their first NYC show in eight years. The three-song set (their songs are long) didn’t disappoint, with the band’s expansive jamming on full display on three songs I hadn’t heard before. Not only is Dire Wolves one of relatively few bands of their type with a string section, but the current lineup also features two vocalists (Georgia and Rachael) whose voices meld seamlessly into the sonic tapestry, more as additional instruments within the whole rather than the traditional rock vocal format. Don’t confuse the album title with the band’s vibe; there is a tension, a darkness even, that flows through these songs, particularly the set closer, “Absolutely Perfect Sisters.” Their music creates a journey, but it’s more saga than fairytale, with brooding and ecstasy in equal measures. In the end, though, seeing a band this good is always a pleasure trip, no matter what the exact themes. Get acquainted.

I recorded this set with MBHO microphones and the house mix by Doug. The sound quality is excellent. Enjoy!

It’s very cool that this bandcamp release has already made a 2017 Uncut playlist. If you’re not familiar with Uncut, check it out.

Download the complete show: [MP3/FLAC]

Dire Wolves
2017-09-21
Union Pool
Brooklyn, NY USA

MBHO MBP603/KA200N (at SBD, PAS) + Soundboard (engineer: Doug)>Sound Devices MixPre6 (24bit/48kHz WAV)>Adobe Audition CC (align, mix down, compression)>Izotope Ozone 5 (EQ, effects)>Audacity 2.0.3 (track, amplify, dither)>FLAC ( level 8 )

Tracks
01 I Control the Weather
02 Crone In the Mud
03 Absolutely Perfect Sisters

SUPPORT DIRE WOLVES: Website | Facebook | buy their records

Dinosaur Jr.: October 2, 2017 Brooklyn Bowl (Night One)

October 3, 2017
By


[Photos courtesy of Omar Kasrawi and Pancakes and Whiskey]

The return of the original lineup of Dinosaur Jr. continues to be a good thing for fans, as the band’s vitality has never been stronger. Backed by his usual wall of amps, J. Mascis led the band through the first of two nights at Brooklyn Bowl like the pro that he is, delivering the scorching riffs for which he’s known on classic after classic. Lou Barlow whips his voluminous hair around like a man half his age; if you don’t see his face much these days, his stage presence is impossible to miss. Still on the road for their latest, Give A Glimpse of What Yer Not, the new material slots in with classics like “In A Jar” better than ever. Early in the set, we got both the winning “Lost All Day” and the Barlow-led “Left/Right,” which couldn’t help but sound a bit like a much-heavier Sebadoh. Given the likely generation of the crowd, it’s no shock that a mid-set “Feel the Pain” earned some of the most frenzied reaction, but it was a less-heard track from Where You Been, “Get Me” that was the real treat. The back half of the set continued in strong form, with a memorable “Freak Scene” and a one-two punch of an encore, with the other most popular Where You Been track “Out There” followed by an anarchic cover of The Stooges’ “TV Eye” with John Brannon of Negative Approach (and the night’s openers, Easy Action). The biggest challenge for this band, at least here in Brooklyn, will be topping themselves tonight.

I recorded this set from an “FOB” position along the right-side rail with MBHO microphones. The sound quality is excellent. Enjoy!

Download the complete show: [MP3/FLAC]

Dinosaur Jr.
2017-10-02
Brooklyn Bowl
Brooklyn, NY USA

Recorded and produced by acidjack for nyctaper.com

MBHO 603A/KA200N (FOB, ROC)>Zoom F8 (24/48)>WAV>Adobe Audition CC (fades, limiter, light compression)>Izotope Ozone 5 (EQ, image, effects)>Audacity 2.0.5 (track, amplify, balance, downsample, dither)>FLAC ( level 8 )

Tracks [Total Time 1:38:03]
01 The Lung
02 Goin Down
03 Lost All Day
04 Left/Right
05 In A Jar
06 Watch the Corners
07 [tuning]
08 Crumble
09 Feel the Pain
10 Get Me
11 [tuning2]
12 The Wagon
13 Tarpit
14 Start Choppin’
15 Lose
16 Freak Scene
17 Forget the Swan
18 [encore break]
19 Out There
20 TV Eye [The Stooges]*

* w/ John Brannon

SUPPORT Dinosaur Jr.: Facebook | Website | Buy Their Records

Chuck Johnson: September 8, 2017 Three Lobed / WXDU Hopscotch Afternoon Jamboree (Raleigh, NC)

October 1, 2017
By

As a multitalented musician — a soundtrack composer, rock guitarist, and solo guitarist, among other things — it was nonetheless an exciting turn when the Bay Area (by way of NC) artist Chuck Johnson released Balsams, an album of pedal steel compositions that invented what Pitchfork rightly deemed a new genre unto itself: “country post-rock.” This being the annual Three Lobed Recordings / WXDU Hopscotch Afternoon Jamboree at King’s in Raleigh, NC, Johnson did the only-partly-expected, playing a Balsams track, “Riga Black,” but reworking the original into an extended ambient meditation. There’s an undeniable grace and peace to the work that melded perfectly with the afternoon’s inclusive, forward-looking vibe. We never miss a chance to see Chuck in action, and Balsams is yet another evolution the career of a gifted and visionary artist.

I recorded this set with Schoeps MK4V microphones onstage plus a soundboard feed of Evan Lamb’s house mix. The sound quality is outstanding! Note: If you purchased an earlier version (before 10/1/2017) of this from bandcamp, go back and snag this version, as it has been re-mastered to remove some glitches from the original.

Chuck performs at the Ambient Church in Brooklyn this Friday with Windy & Carl. Check it out.

Chuck Johnson
2017-09-08
Three Lobed / WXDU Hopscotch Afternoon Jamboree
King’s
Raleigh, NC USA

Schoeps MK4V (onstage, DFC)>KCY>Z-PFA + Soundboard (engineer: Evan Lamb)>Zoom F8 (24bit/48kHz WAV files)>Adobe Audition CC

(align, mix down, compression)>Izotope Ozone 5 (EQ, effects)>Audacity 2.0.5 (track, amplify, dither)>FLAC ( level 8 )

Tracks
01 Riga Black

PLEASE SUPPORT Chuck Johnson: Buy this recording via the bandcamp link above, and buy his other recordings on his bandcamp page | Buy Balsams via an independent retailer

Dorji-Toth Duo: September 8, 2017 Three Lobed / WXDU Hopscotch Afternoon Jamboree (Raleigh, NC)

September 27, 2017
By


Tashi Dorji and James “Wooden Wand” Toth are both favorites of ours, each having performed some spectacular sets of music that we’ve featured in the past (and more to come). Dorji is a modern day avant-guitar master, while Toth — best known for his Wooden Wand songwriting — can move fluidly through several genres, as comfortable in singer-songwriter mode as he is with the way out. This Three Lobed Recordings / WXDU Hopscotch day show set featured the two men doing more of the latter, as the two men wove together a one-of-a-kind ambient noise improvisation. The mysterious box you see Toth in front of in the picture is the Octatone, a rare, handmade instrument by Forrest Marquisee of Virginia-based Forest Floor Studios, which you can learn more about here (watch a YouTube demo here). You can’t have one of these legendary day shows without a spiritual out performance, and this collaboration was that highlight for us this year. The connection between these players was such that this creation didn’t even start with a roadmap; what you hear is the organic evolution of two music minds in the act of creation. It’s a special moment not to be repeated, and it’s part of why I never miss a Friday at King’s in the early weeks of September.

I recorded this set with Evan Lamb’s house mix plus Schoeps MK4V microphones onstage. The sound quality is outstanding. Enjoy!

Tashi and James play at Black Iris in Richmond on October 21. Check it out if you’re in the area!

Tashi Dorji / James Jackson Toth
2017-09-08
Three Lobed / WXDU Hopscotch Afternoon Jamboree
King’s
Raleigh, NC USA

Recorded and produced by acidjack
Hosted at nyctaper.com

Schoeps MK4V (onstage, DFC)>KCY>Z-PFA + Soundboard (engineer: Evan Lamb)>Zoom F8 (24bit/48kHz WAV files)>Adobe Audition CC (align, mix down, compression)>Izotope Ozone 5 (EQ, effects)>Audacity 2.0.5 (track, amplify, dither)>FLAC ( level 8 )

Tracks
01 improvisation

Tashi Dorji – Guitar
James Jackson Toth – Octatone

SUPPORT TASHI DORJI AND JAMES TOTH: Pay to download this recording (click the bandcamp link above), and buy stuff from them: Wooden WandTashi Dorji

Cap’n Jazz: September 23, 2017 Brooklyn Steel

September 26, 2017
By


[photo by Norman Brannon via Instagram]

Cap’n Jazz have reunited once again in 2017, having last done so in 2010 (both of which shows we covered ). If you’re not aware of the band, they’re more or less the godfathers of the so-called “emo” genre, spawning not only a wave of spinoff bands, but many imitators. With only one record to their name, the easiest point of entry is the Analphabetapolothogy compilation, first released in 1998. This show at Brooklyn Steel, billed as the band’s last U.S. reunion show (for now) was a freewheeling, crazy-making night of almost compulsive stage diving, silly stage banter, and rapid-fire delivery of the band’s favorites (plus that A-ha cover there near the end). If you had said to me prior to this night that Cap’n Jazz are more popular than ever, I’m not sure I’d have believed you, but the full floor at this massive venue (compared to sub-1000 capacity Brooklyn Bowl and sub-500 capacity Maxwell’s seven years ago) more than made the point. This was a show that put enthusiasm and energy first; if the band’s all-out delivery and Tim Kinsella’s shirtless stage diving didn’t necessarily mean he hit every lyric or the band hit every note, it couldn’t have mattered less. If later iterations of this style were criticized for being overly self-serious, they didn’t learn that from the brothers Kinsella and the current Cap’n Jazz crew (Victor Villarreal, Sam Zurick and Nate Kinsella), who put together a stage show that was really a show, the kind of experience fans want on a Saturday night. As Kinsella fumbled through a semi-serious cover of A-ha’s “Take On Me,” followed by the relentless closer “Ohh, How I Love You,” it felt like the right kind of sendoff before this pathbreaking band heads to Europe. This may have been the “last U.S. show” of this reunion, but no doubt we haven’t seen the last of these musicians, in one format or another.

I recorded this set with Schoeps MK41V supercardiod microphones at the soundboard, adding a pair of Audio Technica 853 shotgun microphones to add in a bit more direct sound. The sound quality is excellent. Enjoy!

Download the complete show: [MP3/FLAC]

Cap’n Jazz
2017-09-23
Brooklyn Steel
Brooklyn, NY USA

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

Schoeps MK41V (at SBD, PAS)>KCY>Z-PFA + Audio Technica 853 shotguns>Sound Devices MixPre6 (24/48 WAV)>Adobe Audition CC (mix down, limiter)>Izotope Ozone 5 (EQ, effects)>Audacity 2.0.3 (track, amplify, dither)>FLAC ( level 8 )

Tracks
01 [intro]
02 Oh Messy Life
03 In the Clear
04 Basil’s Kite
05 [banter1]
06 Puddle Splashers
07 Planet SHHH
08 The Sands Have Turned Purple
09 Yes, I Am Talking To You
10 Little League
11 [banter2]
12 Tokyo
13 We Are Scientists
14 [banter3]
15 Olerud
16 Forget Who We Are
17 Que Suerte!
18 [banter4]
19 Take On Me [A-ha]
20 [banter5]
21 Ohh How I Love You

PLEASE SUPPORT CAP’N JAZZ: Website | Bandcamp

The War On Drugs: September 19, 2017 Terminal 5

September 21, 2017
By


[screen capture from this video]

This is what the “next level” looks like. On the heels of the release of their 2017 major-label debut, A Deeper Understanding, The War On Drugs showed up for a two-night stand in New York, first at a packed Terminal 5, to be followed by a sold-out Central Park Summerstage on this Friday night. If the band’s Radio City show in 2015, right after they signed with Atlantic Records, portended what was to come, here we were, in the thick of the actual next step. I won’t retell the story from that 2015 post, but it’s worth a read if this is your first time with a War On Drugs recording from this site.

Being on a major label, or selling out lots of bigger shows, doesn’t signify whether a band is “good” or not, or worthy or not, of course. In fact, this part of the process can be a nasty trap for many musicians — anyone who knows anything about Nirvana or a zillion other bands can tell you that. But in the case of this band, the product of years of hard work, with a wide-open, intricate sound that screams for a bigger stage, it’s the right result, and it’s one that validates Adam Granduciel’s songwriting efforts in particular. Granduciel is the perfect vehicle for big-tent lyrics, writing songs that are both personal and universal, and the sound he has developed is of a piece with that. Beginning with Lost In A Dream, and continuing in a major way with A Deeper Understanding, War On Drugs albums have a precise, densely arranged, melodic sound with an almost otherwordly sheen to it. Of course, what’s funny about that is that it’s so unusual today. If you grew up in the 1980s, or listen to much music from that era, having albums that sounded good was table stakes for even cult-favorite bands. Studio budgets, and album sales, were different then. Many fewer bands show up these days with fourteen instruments credited to a single track — nearly half of them, in many cases, played by Adam Granduciel.

To reference the 1980s, and stalwarts like Tom Petty and Springsteen in particular, is not to malign this band at all. If anything, this show at Terminal 5 underscored that The War On Drugs are rightful heirs to that personal-yet-massive rock style. Like the best of their forebears, The War On Drugs are also able to translate their studio sound to the stage. Perhaps in a nod to many of the newer fans in the audience (one of us got asked if we first heard of the band on NPR), this set focused exclusively on the last two albums, and the band was so dialed-in they could very well have been playing the album over the PA. Of course, that would have deprived us of the added guitar pyrotechnics, and the joy of realizing, for the umpteenth time, that even in 2017, a band comprised of talented musicians of limited gimmickry but exceptional live performing skills can still make it big, can still mean something to people who these days are more accustomed to “musical precision” coming from an Ableton Live setup.

In this broad-reaching survey of the band’s last two albums, the band’s other most remarkable quality — consistency — was evident, to the point that it’s almost impossible to focus on a highlight. But for me, The War On Drugs song that will always best-represent this evolution in the band’s journey is “Under the Pressure,” which so elementally captures both Granduciel’s mindset in the making of Lost In A Dream, but also in many ways the enormous weight of the band’s current success. It’s another of those songs with specific meaning to its author that is also able to capture an almost-universal anxiety among its listeners. To see a band that we personally have liked and supported for so long reach this point — not only making it to this proverbial “next level” but thriving against the pressure — is a special and rare thing. To hear, even in the relatively few snippets of stage banter on this night, how they remain the same people who played in tiny bars ten (or even six) years ago, is rarer still. I have to acknowledge, briefly, that I realize this band doesn’t “need” the support of a website like this, but their treatment of us as fans, both in the past and today, says a lot. We appreciate it.

We each recorded this set from our usual location directly at the soundboard, acidjack’s with Schoeps MK41V microphones and nyctaper’s with Neumann KM150s. The sound quality of each is excellent, and both versions are offered here. Enjoy!

Special thanks to The War On Drugs, their management, and the Terminal 5 staff for allowing us to record the show. 

Download the nyctaper Neumann version of this show at Archive.org [HERE] [MP3] / [FLAC]

Download acidjack’s Schoeps version: [MP3] | [FLAC]

Stream acidjack’s version here:

Stream nyctaper’s version here:

The War On Drugs
2017-09-19
Terminal 5
New York, NY USA

Hosted at nyctaper.com
Recorded and produced by acidjack

Schoeps MK41V (at SBD, DFC)>KCY>Z-PFA>Sound Devices MixPre6 (24/48)>WAV>Adobe Audition CC>Izotope Ozone 5 (EQ, effects, image)>Audacity 2.0.5 (track, amplify, balance, downsample, dither)>FLAC ( level 8 )

Tracks
01 In Chains
02 Pain
03 An Ocean Between the Waves
04 Strangest Thing
05 Holding On
06 Red Eyes
07 Knocked Down
08 Nothing To Find
09 Up All Night
10 You Don’t Have To Go
11 Burning
12 Eyes to the Wind
13 [encore break]
14 Under the Pressure
15 Clean Living
16 In Reverse

************************

The War On Drugs
2017-09-19
Terminal 5
New York NY

Digital Master Recording
Recorded at Soundboard Booth

Neumann KM-150s > Sound Devices 744t > 24bit 48kHz wav > Soundforge (post-production) > CDWave 1.95 (tracking) > TLH > flac (320 MP3 and tagging via Foobar)

Recorded and Produced by nyctaper

Setlist:
[Total Time 1:47:30]
01 In Chains
02 Pain
03 An Ocean Between the Waves
04 Strangest Thing
05 Holding On
06 Red Eyes
07 Knocked Down
08 Nothing To Find
09 Up All Night
10 You Don’t Have To Go
11 Burning
12 Eyes to the Wind
13 [encore break]
14 Under the Pressure
15 Clean Living
16 In Reverse

PLEASE SUPPORT THE WAR ON DRUGS: Buy A Deeper Understanding from their website

Purling Hiss: September 8, 2017 Three Lobed / WXDU Hopscotch Afternoon Jamboree (Raleigh, NC)

September 19, 2017
By


[photo by Paul Spanbauer]

As longtime members of the Purling Hiss bandwagon, we’re always excited to see this band play live, and even more excited by the big-time reception those live shows usually get. That was the story here at the Three Lobed Recordings / WXDU Hopscotch Afternoon Jamboree, where the Hiss set found the room at its most-packed point of the day, and for good reason. Mike Polizze and his current cast of co-conspirators (Ben Leaphart on drums, Pat Hickey on bass) brought the full amount of heat to the King’s stage on this sunny mid-afternoon, kicking off with the classic PH tune “Mercury Retrograde” before venturing into a long-haired rock version of Spacemen 3’s “Walking With Jesus.” It was the best kind of cover, abandoning the melodic, low-tempo Brit-psych of the original to boil the song to its rawest essence. After that, we headed into the deep Hiss catalog for “Run From the City” and “Almost Washed My Hair” (2009 and 2010 respectively) before the band sprung a final goodie, a song so new that it doesn’t yet have a name. What we do know about the song is, not-shockingly, it’s a fusillade of hard-charging guitars and ecstatic vibes. Like most things Purling Hiss, it rocks.

I recorded this set with Evan Lamb’s soundboard feed, together with Schoeps MK4V microphones onstage. The sound is excellent. Enjoy!

Purling Hiss
2017-09-08
Three Lobed / WXDU Hopscotch Afternoon Jamboree
King’s
Raleigh, NC USA

Recorded and produced by acidjack
Hosted at nyctaper.com

Soundboard (engineer: Evan Lamb)+Schoeps MK4V (onstage, DFC)>KCY>Z-PFA>Zoom F8 (24bit/48kHz WAV files)>Adobe Audition CC (align, mix down, compression)>Izotope Ozone 5 (EQ, effects)>Audacity 2.0.5 (track, amplify, dither)>FLAC ( level 8 )

Tracks
01 Mercury Retrograde
02 Walking with Jesus [Spacemen 3]
03 Run From the City
04 Almost Washed My Hair
05 [untitled]

Purling Hiss:
Mike Polizze – Vox/Guitar
Ben Leaphart – Drums
Pat Hickey – Bass

If you enjoyed this recording, PLEASE SUPPORT Purling Hiss, like them on Facebook, and buy their latest records from Drag City.

Rosali: September 8, 2017 Three Lobed / WXDU Hopscotch Afternoon Jamboree (Raleigh, NC)

September 18, 2017
By


[courtesy of Three Lobed’s Instagram]

It just wouldn’t make sense to have a talent like Rosali Middleman, who performs as Rosali, show up for a Three Lobed Recordings / WXDU Hopscotch day show and NOT do double duty. So after tearing shit up with the Long Hots earlier in the day, Rosali took the stage again to play her own material, including songs from her forthcoming second LP. Her 2016 debut, Out of Love, arrived like a confident tailwind in a year that was a veritable sea of tumult, and it’s worth revisiting it if you missed it then. This full-band set (featuring Nathan Bowles on drums, Paul Sukeena on guitar, and Dan Provenzano on bass) beefed up certain songs like the key Out of Love opener, “Good Life” as well as making a first (for many of us, at least) showing off new songs like “If I Was Your Heart” and “Dead and Gone.”

These Three Lobed / WXDU day shows tend to have a way of revealing themselves, with the internal logic of the order of (often) wildly divergent styles of bands evident only once you’re standing in the room. Such is the case with Rosali’s position near the end of the day. “Rise To Fall” is a new song of hers, and while certainly the emotional and musical highlight of Rosali’s set, it may also have been that for the whole day, as Middleman’s voice soared over the thick zone of guitars. It felt like an affirmation of all that is right about this day, every year, as a band that had started their set with a measured country-folk number was suddenly blowing the doors off the place with a huge rock song. These shows also have a way of veering from the intellectual to the contemplative to the delightfully weird, but somewhere, there’s always the urgent, throbbing heart, and for me, that was this moment. Stay tuned to Rosali’s bandcamp to find out more about the forthcoming album version.

I recorded this set with fellow taper Randy’s ceiling mounted AKG 460s together with the house mix by Kings’ Evan Lamb. The sound quality is excellent. Enjoy!

Rosali
2017-09-08
Three Lobed Recordings / WXDU Hopscotch Afternoon Jamboree
King’s
Raleigh, NC USA

Recorded and produced by acidjack
Hosted at nyctaper.com

Soundboard (engineer: Evan Lamb)+AKG 460/CK61 (FOB, DFC)>Zoom F8 (24bit/48kHz WAV files)>Adobe Audition CC (align, mix down, compression)>Izotope Ozone 5 (EQ, effects)>Audacity 2.0.5 (track, amplify, dither)>FLAC ( level 8 )

Tracks
01 If I Was Your Heart
02 Good Life
03 Hangin
04 Dead And Gone
05 Blind Bird
06 Rise to Fall

SUPPORT ROSALI: bandcamp | Facebook

Long Hots: September 8, 2017 Three Lobed Records/WXDU Hopscotch Afternoon Jamboree (Raleigh, NC)

September 15, 2017
By

I can’t even give you a link to Long Hots on the Internet, because there ain’t one. But maybe you’ve heard of such bands as Rosali, Hothead, and Spacin‘. Ah, right, now you get the idea. So named for a kind of hot pepper, I assure that this band is prepared to bring the fire. My now-annual journey to the Three Lobed Recordings / WXDU Hopscotch Afternoon Jamboree is never complete without a total surprise, and seeing “Philadelphia’s most anticipated band” playing their third-ever show was certainly one of them. These women didn’t spend a long time onstage, but they used their fifteen minutes well, handing us two doses of feral guitar shredding and general disrespect for the integrity of our eardrums. This band played their fourth show, the following night, with Purling Hiss, so if you didn’t figure out the RIYL on this one, I can’t help you. Head over to bandcamp, throw these powerful women some love, and make sure some more Long Hots is in your future.

I recorded this set with a combination of onstage Schoeps MK4V microphones and several soundboard channels from house engineer Evan Lamb. The sound quality is excellent. Enjoy!

Long Hots
2017-09-08
Three Lobed / WXDU Hopscotch Afternoon Jamboree
King’s
Raleigh, NC USA

Recorded and produced by acidjack
Hosted at nyctaper.com

Soundboard (engineer: Evan Lamb)+Schoeps MK4V (onstage)>Z-PFA>>Zoom F8 (24bit/48kHz WAV files)>Adobe Audition CC (align, mix down, compression)>Izotope Ozone 5 (EQ, effects)>Audacity 2.0.5 (track, amplify, dither)>FLAC ( level 8 )

Tracks
01 They Do What We Want
02 One Chip Over the Line

SUPPORT THESE MUSICIANS: Rosali | Spacin‘ | Hothead

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.