Posts Tagged ‘ bowery presents ’

Dean Wareham: April 5, 2014 Bowery Ballroom – Flac/MP3/Streaming

April 15, 2014
By

nyctaper - dean wareham-2
[photos by Jill from For The Love of Brooklyn]

Dean Wareham has created music for more than 25 years, but he’s always been part of a group — be it Galaxie 500, Luna or Dean & Britta. In the last year, Dean has released an excellent EP and his first true solo album, and the current tour in support of the March release of his self-titled album came to Bowery Ballroom last week. Bowery is a venue that holds a special place in the history of Luna, having hosted the band’s final shows (we recorded a recent one-off reunion) that became the Tell Me Do You Miss Me documentary. Dean’s set was a democratic run through a selection of material from throughout his career and included only four songs from the new album and just the title track from the EP. But the crowd was as we’d hope for this performer — reverent and respectful during the music and properly enthusiastic in between. And they were rewarded, as Dean Wareham continues to produce outstanding music on par with his entire career output. Dean’s current tour is over, but he’ll be in Europe in May.

This show was recorded with precision by hiandlo, who utilized his Schoeps cards in conjunction with a well-balanced board feed to create a truly superb recording. Enjoy!

Stream “Heartless People”

Stream “Ceremony” (New Order cover)

Download The Complete Show [MP3] / [FLAC]

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

Dean Wareham
Bowery Ballroom
New York, NY, US
2014-04-05

Recordist : hi and lo
Source : Soundboard + Schoeps MK5c (DIN) > KCY > Naiant PFA > E.A.A. PSP-2 >> Sound Devices 744T @ 24 bit / 48 kHz
Edit : WaveLab V6 (mixdown/eq/gain/fades/dither/resampling)
Encoding : FLAC v1.2.1 Level 8 with TLH v2.6.0

Tracklist:

01. Emancipated Hearts
02. Heartless People
03. Tiger Lily
04. The Dancer Disappears
05. Holding Pattern
06. Temperature’s Rising
07. When Will You Come Home
08. Love Is Not a Roof
09. Blue Thunder
10. Moon Palace
11. Lost in Space
12. Babes in the Woods
13. Tugboat
14. (Encore Call #1)
15. Don’t Let Our Youth Go To Waste
16. Strange
17. (Encore Call #2)
18. Happy and Free
19. Ceremony

Running Time: 1:32:52

If you download this recording from NYCTaper, we expect that you will PLEASE SUPPORT Dean Wareham, visit his website, and purchase his self-titled album from links on his blog [HERE].

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Doug Keith: March 19, 2014 Bowery Ballroom – Flac/MP3/Streaming

March 26, 2014
By

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[photos by PSquared Photography]

My first introduction to Doug Keith was as the talented multi-instrumentalist who has backed Sharon Van Etten in her rise from local favorite to international star. With the release of his new album Pony, Doug has stepped out from the shadows into the limelight without missing a beat. As he has been a loyal bandmate, as frontman Doug has reaped the benefit of good karma to gather some of the best musicians around to help with the album and the tour. Dinosaur Jr.’s guitar maven J. Mascis guests on the album’s “Pure Gold in the 70s” (live version streaming below), and the tour group is a band of all-stars featuring Zeke Hutchins from SVE Band on drums, and brothers Phil and Brad Cook from Megafaun (and a bunch of other projects) on guitars, keyboards and bass. At Bowery Ballroom last Wednesday, Doug’s set opening for The War On Drugs was a very satisfying forty-minute set that featured six of the nine tracks from Pony and one neat cover. With Sharon due to tour the world beginning in June, its likely that the solo Doug Keith will be on the shelf for a while. But we’ll have this special set to keep us until his return.

I recorded this set in the same manner as the War On Drugs set and except for a little bit of crowd chatter, the sound quality is equally superb. Enjoy!

Stream “Pure Gold in the 70s”:

Download the Complete Show [MP3] / [FLAC]

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

Doug Keith
2014-03-19
Bowery Ballroom
New York, NY

Digital Master Recording
Soundboard + Audience Matrix

Soundboard + Sennheiser MKH-8040s > Edirol R-44 (Oade Mod) > 2 x 24bit 48kHz wav files > Soundforge (level adjustments, mixdown, set fades) > CDWave 1.95 (tracking) > TLH > flac (320 MP3 and tagging via Foobar)

Recorded and Produced
by nyctaper

Setlist:
[Total Time 35:04]
01 Harvest Home
02 You Can’t Stand to be Alone
03 [banter - Zeke]
04 The Apostles
05 Pure Gold in the 70s
06 [banter - Brad]
07 Black Metal Black
08 Wasn’t Born to Follow [Carole King/Byrds]
09 [banter - records]
10 I Will Burn For You

If you download this recording from NYCTaper, we expect that you will PLEASE SUPPORT Doug Keith, visit his website, and purchase Pony from his Bandcamp Page [HERE].

The War on Drugs: March 20, 2014 Bowery Ballroom – FLAC/MP3/Streaming

March 24, 2014
By


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[Photos from the 3/19 show courtesy of P Squared Photography]

My thoughts on The War on Drugs don’t differ much from those expressed in nyctaper’s review of the previous night, but I do think some things bear repeating. Nine times out of ten — more like 95 times out of 100 — worthy bands who toil in the trenches don’t make it. One thing doesn’t go right or another. Maybe there’s a lack of commitment on someone’s part. Or a lack of confidence. Or, in most cases, a lack of pure dumb luck.

We’ve posted a lot of recordings of this band over the past few years not because we thought one day they’d be able to way-sell-out three nights in a row here in New York, which they just did, but because we believed they were worthy. As a fan, your biggest hope always ought to be that the band you’re rooting for makes it. For Adam Granduciel, who toiled for over a year creating his magnum opus Lost In the Dream, it didn’t yet seem to have sunk in that his band had. He showed a bit of nervousness before kicking off the opening number, “In Reverse”, but after that, this show unfolded like the victory party it was meant to be. Compared to night one at the Bowery Ballroom, the band was looser and more poised, playing one song after another as easily as “Suffering” transitioned straight into “An Ocean In Between the Waves”. Just as heavily-produced album tracks like “Under the Pressure” shone as rendered live, so too did re-arranged versions of the band’s classics like a slowed-down “Brothers”. With the bevy of personnel at his command, including a saxophonist, the band’s more complex numbers took on a Destroyer-like caste at times (we’ve recorded WoD opening for them). Granduciel makes that work, too, being the kind of musician who can add complexity without letting it turn to overindulgence.

Normally when you can hear a crowd screaming at the stage between songs it’s mindless heckling; if you listen closely to this recording, what’s being hurled at Granduciel are compliments on the album. This was that kind of show, right through Granduciel acknowledging the fakeness of encores, asking for the lights to go up some so he could read the lyrics to John Lennon’s “Mind Games” (streaming below) a bit more clearly. The War on Drugs may be critical darlings now, but this is isn’t overnight success. This is it being done the old fashioned way. The kind that lasts.

I recorded this set from my usual spot in the venue with Schoeps MK5 cardiod microphones and a stereo soundboard feed provided by house engineer Kenny. The sound quality is outstanding, marred only slightly by light static during two songs. Enjoy!

Stream “Mind Games” [John Lennon]

Stream “Under the Pressure”

This recording is now hosted on the Live Music Archive.  Download the complete show via these links: [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.

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The War On Drugs
2014-03-20
Bowery Ballroom
New York, NY USA

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

Schoeps MK5 (DINa, balcony, LOC)>KC5>CMC6>Sound Devices USBPre2 + Soundboard (engineer: Kenny)>>Edirol R-44 [OCM]>2x24bit/48kHz WAV>Adobe Audition CS 5.5 (align, adjust levels, mix down, compression, fades)>Izotope Ozone 5 (EQ, effects)>Audacity 2.0.3 (track, amplify, balance, downsample, dither)>FLAC ( level 8 )

Tracks [Total Time: 1:39:24]
01 In Reverse
02 Baby Missiles
03 [banter]
04 Under the Pressure
05 Suffering>
06 An Ocean In Between the Waves
07 Eyes to the Wind
08 Red Eyes
09 Come To the City
10 Brothers [Slow Version]
11 Burning
12 [banter2]
13 Lost In the Dream
14 [banter3]
15 Mind Games [John Lennon]
16 Coming Through
17 [banter4]
18 Arms Like Boulders

If you enjoyed this recording, PLEASE SUPPORT The War on Drugs, visit their website, and buy Lost In the Dream from Secretly Canadian.

The War On Drugs: March 19, 2014 Bowery Ballroom – Flac/MP3/Streaming

March 23, 2014
By

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[photos by PSquared Photography]

The War On Drugs new album Lost In The Dream is a record that can only be adequately described in grand sweeping terms. This release is not simply in the “best of 2014″ discussion, it will be considered one the best of this decade. There have been some lofty review ratings posted for Lost this week, and much effusive praise, but as we have chronicled the growth of this band and Adam Graduciel over the last five years, the album is a natural progression for a group whose two prior records were each superb. But Lost In the Dream changes the equation and ups the ante for The War On Drugs. The ten songs on this album are each microcosms of the work as a whole — the struggles and doubts of a man in his mid-30s grappling with passage of youth and the inevitable approach of middle age — each set to haunting and evocative melodies that echo in the ear even after moving on to the next track. The stories of Adam’s obsessions with the minutiae of the production of this albums have all been told. The man truly suffers for his art. But ultimately the musicianship finds itself equal to the songcraft. Lost is the first War On Drugs album where the songs are given a chance to breath and step outside themselves to reach remarkable crescendos. The lazy term would be that the songs “jam”, but these aren’t improvisations instead rather meticulously crafted passages. For instance, “Eyes To The Wind” hits its peak with a screaming guitar solo that segues to sax and then piano and back to guitar seamlessly and almost without the listener recognizing the lead change.

For the band’s current tour, Adam has assembled the core band but has added two ringers, multi-instrumentalists John Natchez and Anthony LeMarca. We attended the Bowery Ballroom shows on Wednesday and Thursday and if the album truly deserves the superlatives so in fact does the live show. On Wednesday, The War On Drugs worked through the entire Lost In The Dream (minus one instrumental track) and selected classic material in a 100-minute set that was stunning in its ability to not only capture the magic of Lost but expand upon its instrumental passages. We have never seen Adam more confident and in charge and on stage the band’s mood appeared both celebratory and all-business. There was even a champagne bottle poured into cups on stage on Wednesday. But if there is any sadness in this band’s triumph, its that this is almost certainly the last time The War On Drugs will play a room the size of Bowery Ballroom. Given how quickly and thoroughly the three NYC shows sold out, the band could have played five local shows without an empty seat. As the tour continues West and then ultimately moves to Europe, we expect that The War On Drugs will return to NYC in the Fall.

I recorded this set in our usual manner in this venue – Sennheiser cards mounted in the balcony and mixed with an excellent board feed, this time mixed by the band’s FOH C. Laszlo Koltay to perfection. The sound quality is superb. Enjoy!

Stream “Eyes To The Wind”:

Stream “Suffering”:

Download the Complete Show [MP3] / [FLAC]

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

The War On Drugs
2014-03-19
Bowery Ballroom
New York, NY

Digital Master Recording
Soundboard + Audience Matrix

Soundboard [engineer C. Laszlo Koltay] + Sennheiser MKH-8040s > Edirol R-44 (Oade Mod) > 2 x 24bit 48kHz wav files > Soundforge (level adjustments, mixdown, set fades) > CDWave 1.95 (tracking) > TLH > flac (320 MP3 and tagging via Foobar)

Recorded and Produced
by nyctaper

Setlist:
[Total Time 1:39:47]
01 In Reverse
02 Baby Missiles
03 Under The Pressure
04 Suffering
05 [banter - Sore Eros]
06 Eyes To The Wind
07 [banter - dad]
08 An Ocean in Between the Waves
09 Disappearing
10 Red Eyes
11 [band introductions]
12 Brothers
13 Burning
14 Lost In The Dream
15 Comin Through
16 I Was There
17 Come To The City
18 Black Water Falls

If you download this recording from NYCTaper, we expect that you will PLEASE SUPPORT The War On Drugs, visit their website, and purchase Lost In The Dream from Secretly Canadian Records [HERE]. Seriously, if you don’t already own this album, do yourself a favor and buy it.

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Jonathan Wilson: February 12, 2014 Bowery Ballroom – Flac/MP3/Streaming

February 18, 2014
By

jonathan-wilson-4
[photos by PSquared Photography]

Jonathan Wilson is a musician’s musician. When artists are in Southern California they invariably visit Jonathan’s studio, which was founded in Laurel Canyon, moved to a larger space in LA, and is credited with rejuvenating the music genre named after the region. Jonathan has produced albums from a variety of artists including Dawes, Father John Misty, Bonnie Prince Billy and Chris Robinson of the Black Crowes. His studio has also hosted studio jam sessions with an even wider variety of artists. He even recently toured with the Grateful Dead’s Bob Weir and has performed and recorded at Weir’s TRI Studios. So it comes as no surprise that Jonathan Wilson’s solo albums often contain a who’s-who of special guests along with the best available studio musicians. Jonathan’s most recent album Fanfare (Downtown Records) has been hailed as one of the best of 2013, and rightfully so. It expands upon the material from his well-received and successful debut album, 2011′s Gentle Spirit. While Spirit certainly cemented his Laurel Canyon influences, Fanfare is a more diverse and more intense album overall. At Bowery Ballroom on Wednesday night, we were not surprised that Jonathan Wilson’s band contained a striking amount of talent. The set began with the album’s title track and when the full band entered the song, it was obvious that the night’s musicianship would be paramount. Jonathan’s set was heavy on Fanfare material but also included several show-stoppers from his first album and an obscure Bob Welch-era Fleetwood Mac cover.. There were multiple highlights to report, including the set closing “Valley of the Silver Moon” which featured show-opener the legendary Laraaji and which extended to twenty minutes. We’re streaming our personal highlight, the extended version of “Natural Rhapsody” which contained a mid-song jam that resembled Miles Davis “Solea” from Sketches of Spain. We are also streaming the penultimate track, the straight forward folk-rocker from Fanfare, “Moses Pain”. Jonathan Wilson’s tour continues through the end of February in the South and Southwest before he heads to Europe for much of April. We’ll next see Jonathan when he plays the annual Mountain Jam Festival in June.

The sound quality of this recording is simply stunning, and that is because the show was mixed by the legendary British FOH Spike Jones. You’ll know you’re in for something special when you hear the first roll of the drums in the very first track. We used the Sennheiser cards for room feel and mixed it with the feed to create a recording for which we’re incredibly fortunate to have been able to capture. Enjoy!

Stream “Natural Rhapsody”:

Stream “Moses Pain”:

Download the Complete Show [MP3] / [FLAC]

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

Jonathan Wilson
2014-02-12
Bowery Ballroom
New York, NY

Digital Master Recording
Soundboard + Audience Matrix

Soundboard [Engineer Spike Jones] + Sennheiser MKH-8040s > Edirol R-44 (Oade Mod) > 2 x 24bit 48kHz wav files > Soundforge (level adjustments, mixdown, set fades) > CDWave 1.95 (tracking) > TLH > flac (320 MP3 and tagging via Foobar)

Recorded and Produced
by nyctaper

Setlist:
[Total Time 2:07:16]
01 Fanfare
02 Illumination
03 Fazon
04 Desert Raven
05 Dear Friend
06 Love to Love
07 Natural Rhapsody
08 [banter - NYC]
09 Can We Really Party Today
10 Future Vision
11 Angel [Bob Welch]
12 New Mexico
13 Moses Pain
14 [Laraaji intro]
15 Valley of the Silver Moon
16 [encore break]
17 Trials of Jonathan

jonathan-wilson-25

If you enjoyed this recording, please support Jonathan Wilson, visit his website, and purchase Fanfare from the links at Music on his website or Downtown Records [HERE]

Nicole Atkins: February 13, 2014 Bowery Ballroom – Flac/MP3/Streaming

February 17, 2014
By

Nicole Bowery Will Oliver
[photo by Will Oliver - courtesy of We All Want Someone to Shout For]

Large swaths of my childhood were spent in the backseat of a late model Chrysler listening to WABC AM radio on long roadtrips. Top Forty music in the 1970s was a lot different than today’s popular music — that is to say that it was far more diverse and significantly less predictable. WABC played only the current hits, which in any given year in the 1970s could have included funk, disco, folk, laurel canyon, psychedelia, brit pop, soul, and countless other styles. You could hear Janis Ian “At Seventeen” followed by “Do The Hustle” followed by solo Paul Simon. You could hear KC and the Sunshine Band segue into Marvin Gaye and then directly into the Eagles. It was an era of sexual and racial liberation and the music reflected that reality. But in all that diversity were some consistent sounds. The advent and growth in the technology of synthesized and electric keyboards meant that every band played with the new toys often to excess. And if the 70s pop is known for any particular instrument other than the Fender Rhoades, its the pronounced bass guitar in many memorable tracks. Growing up listening to this music on the AM radio was an education that endures today — my musical interests are diverse and unpredictable.

While Nicole Atkins wasn’t actually born until the tail end of that decade, her music has always shown an influence from classic 70s pop. As she grew up near the Jersey coast, perhaps her influences were in part fashioned from hearing countless transistor radios blasting on the beach in Summer. And while the 70s sound has always bubbled under the surface of her contemporary pop, Nicole’s brilliant new album Slow Phaser isn’t as much influenced by, but is in fact an homage to the 70s AM radio represented so well by WABC on those long summer drives. There are moments in the album — whether its the prominent Donna Summer influence in the break in “Who Killed the Moonlight?”, or the disco-era bass line of “Girl You Look Amazing”, or the 70s-era harmonies in “Cool People” (streaming below), or the synthesizer rush in the middle of “What Do You Know?” or the “Me and Julio Down by the Schoolyard” guitar strum in “Sin Song” or the reference to an “operator” in “The Worst Hangover” — where the homage is clear as day. But Slow Phaser is much more than the sum of its influences. It is the master work of an artist who has a clear understanding of who she is and how she arrived at the point where she can successfully crowd-source her album, choose her band, and dictate the production. Gone are the early career times of the major-label albatross. Slow Phaser is Nicole Atkins finally realizing her identity, in full control, and its truly glorious.

At Bowery Ballroom on Thursday night, the Slow Phaser Tour began with a show that combined all of these aspects. Nicole took the stage in a 70s-style kimono and played the role of the chanteuse. She’s ditched the guitar and left the music to a band of ringers and these guys can really play — check out the dual guitar solos in “The Tower”. The entire new album sans one track was played along with only three older numbers. But this show was all about Slow Phaser and the live versions were as kinetic as the studio album. The band nailed all of the special parts of the album so expertly and when I closed my eyes I swear I could hear WABC all over again.

I recorded this set in the usual manner — Sennheiser cards mounted in the balcony and combined with an expertly mixed board feed. There is some minor static in the left channel in first two songs from what sounds like a faulty guitar amp. But it was fixed. Otherwise, the sound quality is superb. Enjoy!

Stream “Cool People”:

Download the Complete Show [MP3] / [FLAC]

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

Nicole Atkins
2014-02-13
Bowery Ballroom
New York, NY

Digital Master Recording
Soundboard + Audience Matrix

Soundboard + Sennheiser MKH-8040s > Edirol R-44 (Oade Mod) > 2 x 24bit 48kHz wav files > Soundforge (level adjustments, mixdown, set fades) > CDWave 1.95 (tracking) > TLH > flac (320 MP3 and tagging via Foobar)

Recorded and Produced
by nyctaper

Setlist:
[Total Time 1:08:22]
01 Vultures
02 Who Killed the Moonlight
03 Cool People
04 Girl You Look Amazing
05 We Wait Too long
06 What Do You Know
07 Gasoline Bride
08 Red Ropes
09 The Way It Is
10 [band intro]
11 Cool Enough
12 The Worst Hangover
13 Sin Song
14 [thanks]
15 Its Only Chemistry
16 [encore break]
17 The Tower

If you enjoyed this recording, please support Nicole Atkins, visit her website, and purchase Slow Phaser through her Pledge Music Campaign [HERE]

Dead Meadow: February 11, 2014 Bowery Ballroom – Flac/MP3/Streaming

February 16, 2014
By

dead-meadow-14
[photos by PSquared Photography]

Before there was Wooden Shjips or Black Angels or Black Mountain, there was Dead Meadow who in the late 90s began to play psych rock in Washington DC in an era when the local hard rock was dominated by Dischord bands. Despite the stylistic clash with the music of the day, Dead Meadow nevertheless succeeded on talent and ingenuity. Fifteen years, a few personnel changes, and a move to LA later, the band is still producing intense stoner rock and recently released their eighth studio album Warble Womb (Xemu Records). Dead Meadow hasn’t played NYC in several years, but this week they were in town for two shows. We caught the Bowery Ballroom show on Tuesday night where Dead Meadow worked through a ninety minute set of exactly what we came to hear — a mix of old and new material, some spacey jamming, and outstanding sound quality. Given the weather, the crowd was not as packed as might have been expected in nicer climes, but the fans were certainly animated. There seemed to be a duel between the guy calling out for older material and the guy who yelled “play the record”. I guess the newer fan won, because the band added “1000 Dreams” from Warble even though it wasn’t on the setlist. We are streaming that track below because the band nailed the off-the-cuff selection. Dead Meadow’s tour continues through February with multiple East Coast and Midwestern dates, see “tour” at their website.

I recorded this set in our usual manner in this venue, with the Sennheiser cards mounted in our perch to the left of the soundboard and mixed with a board feed. We were fortunate that Dead Meadow FOH Chris Preston was with the band and provided a customized feed with well balanced guitars and effects. The result is that the sound quality is superb. Enjoy!

Stream “1000 Dreams”:

Stream “Til Kingdom Come”:

Download the Complete Show [MP3] / [FLAC]

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

Dead Meadow
2014-02-11
Bowery Ballroom
New York, NY

Digital Master Recording
Soundboard + Audience Matrix

Soundboard [Engineer Chris Preston] + Sennheiser MKH-8040s > Edirol R-44 (Oade Mod) > 2 x 24bit 48kHz wav files > Soundforge (level adjustments, mixdown, set fades) > CDWave 1.95 (tracking) > TLH > flac (320 MP3 and tagging via Foobar)

Recorded and Produced
by nyctaper

Setlist:
[Total Time 1:24:22]
01 [intro]
02 Greensky Greenlake
03 Everything’s Going On
04 Such Hawks Such Hounds
05 Six to Let the Light Shine Thru
06 The Whirlings
07 1000 Dreams
08 In The Thicket
09 Good Moanin
10 At Her Open Door
11 Rains in the Desert
12 Sleepy Silver Door
13 Til Kingdom Come
14 Heaven

If you enjoyed this recording, please support Dead Meadow, visit their website, and purchase Warble Womb from your preferred retailer, or iTunes [HERE]

Wild Cub: October 18, 2013 Terminal 5 – FLAC/MP3/Streaming

January 24, 2014
By


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[photo by acidjack]

Some people can’t stand music that isn’t ironic, or witty, or whatever quality it is that keeps half of the 90s indie canon coming back for reunions these days. Odd, then, the pairing of Nashville up-and-comers Wild Cub with 90s stalwarts The Dismemberment Plan, playing the overlarge room at Terminal 5. If a clearer delineation between musical generations could be made in one lineup, I can’t think of one. The D-Plan are a great band — they’re ironic and often witty, sure, and they have some killer tunes. Listening to them makes you feel like an insider — like some people just don’t get it.

Wild Cub make straight up synth pop, relentlessly upbeat and big-tent inclusive. This show was during CMJ, where almost everyone is networking and ignoring the bands anyway, and worse yet, most of them are playing for free. But nobody seemed to have bummed out Wild Cub; they thanked us over and over for our generosity. Even a not-yet-full Terminal 5 couldn’t contain their enthusiasm. It made me feel like a jerk, to be so blown away that these guys were so nice, to wonder, really, what they had to be so effing happy about.

Many of their songs are good, too, full of big hooks and exuding big-hearted earnestness like middle period U2. Just listen to “Thunder Clatter” or the new “Blacktide” — you’ll get the picture. You might even smile, or at least, feel a feeling other than self-indulgent disdain for your fellow man. The band just re-released their debut album, Youth, to the world with two new tracks, and it’s a well-crafted dose of sunshine and songcraft that, in the manner popular these days, drags the guitars onto the dance floor. Up front, they even got some of these D-Plan veterans moving.

Wild Cub aren’t a band for cynics, and maybe that’s a good thing. Maybe your music ought to be happy, no matter how much the real world sucks. Isn’t that what inspires the future to happen, after all?

I recorded this set with Schoeps MK41 microphones and a Sound Devices preamp. The sound quality is limited by being at the back of the floor of Terminal 5, with there being additional echo as the room filled up during the set. Nonetheless, it is a quality capture. Enjoy!

Thanks to Wild Cub’s team for inviting us to record their set.

Stream “Thunder Clatter”

Download the complete show [MP3] | [FLAC]

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

Wild Cub
2013-10-18
Terminal 5
New York, NY USA

Hosted at nyctaper.com
Recorded and produced by acidjack

Schoeps MK41 (BOB, DFC, PAS)>KC5>CMC6>Sound Devices USBPre2>Sony PCM-D50>24bit/48kHz WAV>Izotope Ozone 5 (EQ, exciter)>Audacity 2.0.3 (fades, tracking, amplify, balance, downsample)>FLAC ( level 8 )

Tracks
01 Shapeless
02 Colour
03 Jonti
04 Wild Light
05 Hidden In the Night
06 Blacktide
07 Wishing Well
08 Thunder Clatter
09 Summer Fires / Hidden Spells

If you enjoyed this recording, PLEASE SUPPORT Wild Cub, visit their website, and buy signed LPs and digital versions of Youth there.

Kevin Morby: January 16, 2014 Mercury Lounge – FLAC/MP3/Streaming

January 23, 2014
By

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[Photos courtesy of Bleary Eyed Brooklyn]

Kevin Morby has been part of a couple of bands we love, The Babies and, in particular, Woods, so we are excited to be a part of his next musical phase. Kevin left New York for the sunnier climes of LA this past year, and his record Harlem River is a bit of a wistful sayonara to his time here. Compared to his other bands, the record moves at a more sedate pace than the Babies, and doesn’t rely on the guitar freakouts that underline the best songs in the Woods catalog. The new material makes the case for Morby as a songwriter, without having to play loud and fast to make a point. The songs are reflective, mature and most importantly, memorable. Harlem River was easily one of the year’s most underrated records.

Morby opened a packed Mercury Lounge on this Thursday night that was already full for his set. Cate Le Bon is featured on one of the Harlem River tracks, “Slow Train”, so it makes sense that they’d share some of the same crowd. He hadn’t been to New York in a while, he said, and his first offerings to get us in his good graces were two new songs, “The Jester, The Tramp and the Acrobat” and the faster “The Ballad of Arlo Jones”, which is streaming below. From there, he hit the highlights of Harlem River’s eight songs, including a rendition of the title track that offered some extended guitar work, and the album’s logical single, “Miles, Miles, Miles”. For a closer, Morby went back to the well of new material, delivering the excellent “All My Life”, a song that shows that his new journey is only in its beginning stages. Expect to see the new songs on a forthcoming LP (timing TBD). You can follow Kevin on Twitter to keep up with his latest.

I recorded this set in the same manner as the Cate Le Bon recording, and the sound quality is similarly outstanding. Enjoy!

Thanks to Kevin Morby and Woodsist for their assistance.

Stream “The Ballad of Arlo Jones”

Stream “Harlem River”

Download the complete show [MP3] | [FLAC]

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

IMG_5850-2

Kevin Morby
2014-01-16
Mercury Lounge
New York, NY USA

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

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

Tracks [Total Time 38:15]
01 The Jester, the Tramp and the Acrobat
02 The Ballad of Arlo Jones
03 Sucker In the Void
04 Harlem River
05 Wild Side (Oh the Places You’ll Go)
06 Slow Train
07 Miles, Miles, Miles
08 All of My Life

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

Cass McCombs: December 12, 2013 Bowery Ballroom – Flac/MP3/Streaming

December 18, 2013
By

CassBoweryWeAllWant
[photo by Will Oliver at We All Want Someone To Shout For]

Cass McCombs new album Big Wheel and Others is a real departure from his recent work. In 2011, he released both Wit’s End and Humor Risk and both albums owed much to the influence of the more sleepy Laurel Canyon music school. The shows in support of those albums were compellingly mellow and in particular the Bowery show in 2011 was one of the best shows we saw all that year. But Big Wheel is anything but sleepy — its pretty much a straight rock album and an ambitious double album at that. The tour in support of the album has been a lengthy cross-country trip that arrived at Bowery Ballroom on Thursday night. Cass’s band is a quartet of individual renowned in their own right, with the drums manned by Joe Russo, whose name has popped up often on this site in 2013. Dan Iead from the late great powerpop band The Broken West played both lead guitar and pedal steal, with versatile Portlander Jon Shaw (Battle Hymns and Gardens, Ez Weiss Quartet) (correction, thanks to comment: “Wolf!, Shpongle, Nicole Atkins, The Broken West, The Complete Last Waltz, etc”) on bass. The strength of the band was obvious from the start, as the album opener led off the set with a burst of energy. We’re streaming that track below. The balance of the set was a nice mix of material young and old — there were just six of the nineteen Big Wheel songs along with a democratic selection from each of Cass’s prior records. The Cass McCombs US tour is over, but he’ll be in Europe for six weeks in January and February.

I recorded this set with the Sennheiser Cards mounted at our usual spot in the center balcony. The room mix was quite superb with kudos to Cass’s tour FOH Chris Preston. We mixed in a very conservative amount of board feed to supplement the room mics and the sound quality is quite excellent. Enjoy!

Stream “Big Wheel”:

Download the Complete Show [MP3] / [FLAC]

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

Cass McCombs
2013-12-12
Bowery Ballroom
New York, NY

Digital Master Recording
Soundboard + Audience Matrix

Soundboard + Sennheiser MKH-8040s > Edirol R-44 (Oade Concert Mod) > 2 x 24bit 48kHz wav files > Soundforge (level adjustments, mixdown, set fades) > CDWave 1.95 (tracking) > TLH > flac (320 MP3 and tagging via Foobar)

Recorded and Produced
by nyctaper

Setlist:
[Total Time 1:35:01]
01 Big Wheel
02 There Can Be Only One
03 Love Thine Enemy
04 Crick in My Neck
05 Morning Star
06 Angel Blood
07 Aeon of Aquarius Blues
08 Dreams Come True Girl
09 Lionkiller
10 The Burning of the Temple 2012
11 You Saved My Life
12 What Isn’t Nature
13 The Same Thing
14 County Line
15 That’s That
16 [band intro/encore break]
17 Sacred Heart

If you download this recording from NYCTaper, we expect that you will PLEASE SUPPORT Cass McCombs, visit his website, and purchase Big Wheel And Others from the Domino Records website [HERE].

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