Posts Tagged ‘ brooklyn ’

Ryley Walker, Steve Gunn & Ryan Jewell Trio: March 5, 2019 Union Pool

March 7, 2019
By
Photo by Drew Gardner

Ryley Walker led off his March 2019 Union Pool residency with a shot of his usual self-deprecating humor, telling us he just got dumped and that this was his first show as a New Yorker (he’s lived here for months and performed quite a few sets here since). For those of us who’ve followed his career for the past five-plus years, we knew at least one thing to expect next: Ryley’s music is as serious as his stage persona is flippant.

Still, that couldn’t quite prepare us for the trio set with Steve Gunn and Ryan Jewell that followed. This trio could have done any number of things well, but what we ended up with reminded me tonally of Gunn’s collaborations with the drummer John Truscinski — with a hundred percent more guitar. Over the course of this 50 minute improvisational piece (titled by yours truly given the lack of a given one), I was struck by how, in the right hands, an instrument can be a person’s voice. Take Walker at his word — or put yourselves in the shoes of almost anyone who first moves to NYC from their hometown — and you knew what kind of energy he was working with: frenetic, exuberant and relentless. He played like a person aching to be seen, announcing themselves in an unfamiliar place. It wasn’t his first show as a New Yorker, but it might be the first one with that alchemical mix of awe, anxiety and urgency that turns you into the kind of person who belongs here.

Gunn’s trademark guitar tone undergirds the entire piece, a beacon for what’s to come. There’s a sweetness and calm to even Gunn’s noisiest work that’s of a piece to his own stage persona: confident but laid-back about it, extraordinary without overreaching. Like his recent guest appearance with William Tyler, this collaboration with Walker made for an incredible combination of peer guitarists operating at their creative and artistic peaks (not to say they won’t enjoy more). Likewise the conservatory-trained Jewell, an almost-constant among Ryley’s touring bandmates, who comes in and out of the foreground of this extended improv at the right moments, adding drone-style percussion at critical ebbs in the volume.

From his noise roots to his folk-leaning earlier albums to his wholly-new current material, Walker proves over and over that he refuses not to stretch himself artistically. It was hard to take photos of this show. You could get a clear shot of Steve, eyeing Ryley from stage left. But Ryley Walker, he was a blur, especially at this piece’s final, ecstatic climax. Like a true New Yorker, he never stops moving.

I recorded this set with a flawless feed from Union Pool’s engineer Doug Graham, together with Schoeps MK5 microphones at the soundboard. The quality is excellent. Enjoy!

Thanks as always to the artists and the Union Pool team for having us.

Download the complete show from its Live Music Archive page.

Ryley Walker, Steve Gunn & Ryan Jewell Trio
2019-03-05
Union Pool
Brooklyn, NY  USA

Recorded and produced by acidjack

Soundboard (engineer: Doug Graham) + Schoeps MK5 (XY, at SBD, DFC)>KC5>CMC6>>Sound Devices MixPre 6>24/48 polyWAV>Adobe Audition CC>Izotope Ozone 5>Audacity 2.2.2>FLAC ( level 8 )

Tracks [Total Time 51:41]
01 [Chicago rap]
02 Exodus 2 Brooklyn pt 1
03 Exodus 2 Brooklyn pt 2
04 Exodus 2 Brooklyn pt 3

Ryley Walker – guitar
Steve Gunn – guitar
Ryan Jewell – drums

Dire Wolves: February 7, 2019 Union Pool

February 15, 2019
By
Photos by Drew Gardner

San Francisco’s Dire Wolves don’t come around too often, but when they do they bring the heat. This one features the Wolves’ Jeffrey Alexander backed by what he calls a “strange” version of the band: Jesse Sheppard (Elkhorn) on bass, Jeff Tobias (Sunwatchers) on sax, and Scott Verrastro (Bardo Pond) on drums. What results is the Wolves’ shaggy psych mixed with jazzy excursions.

Speaking of which, it’s Excursions to Cloudland, released on Beyond Beyond is Beyond Records, that hipped me to Dire Wolves. And then there’s also this fantastic split with Headroom that I’ve gravitated towards when looking for a fix. Dire Wolves will have another one out with BBiB sometime soon so stay tuned to find out what new lands they’ve got in store.

Thanks to Jeff Conklin for putting on this awesome bill. Tune in to The Avant Ghetto on WFMU for more of the goods!

I recorded this set with our usual setup for Union Pool: a board feed from FOH extraordinaire Doug combined with the MBHOs in DIN configuration at the board. The sound is excellent. Enjoy!

Downloads available at the Live Music Archive

Dire Wolves (Inspiration Family Band)
2019-02-07
Union Pool
Brooklyn, NY

Recorded and produced by Eric PH for nyctaper.com

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

Tracks [55:32]
01. Grow Towards The Light
02. Transmigrations
03. Enter Quietly > Take A Step Back
04. West Ellet Fadeaway

Buy Dire Wolves music via Bandcamp
• •
Buy Excursions to Cloudland via Beyond Beyond is Beyond

Heron Oblivion: December 9, 2018 Baby’s All Right

January 22, 2019
By
Photos by Michael Baca

Last month, the East Coast got a rare dose of live Heron Oblivion action in which Brooklyn lucked into this soaring seventy-minute set that includes five new songs. Holy cow! Hard to believe it’s been nearly three years since Heron Oblivion released their self-titled record. Since then they put out The Chapel, a live album recorded in January 2017 with a new, untitled song (the same one we heard back in 2016 at Union Pool) and a cover of Doug Sahm’s “At the Crossroads.” More recently, they’ve been quietly touring a set full of new songs that hopefully will see the light of day on LP2. All signs point to more greatness to come!

I recorded this set with a pair of MBHO omnidirectional mics on stage, plus a board feed from the Baby’s crew. The sound is excellent. Enjoy!

Downloads available at the Live Music Archive

Heron Oblivion
2018-12-09
Baby’s All Right
Brooklyn, NY

Recorded and produced by Eric PH for nyctaper.com
Additional mixing by acidjack
Photos by Michael Baca

Soundboard + MBHO KA100N/603A (on stage, DFC) > 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: [1:09:59]
01. Oriar
02. Untitled 1
03. Untitled 2
04. Untitled 3
05. Untitled 4
06. Sudden Lament
07. Untitled 5
08. Faro
09. Rama
10. At the Crossroads [Doug Sahm]

Buy Heron Oblivion via Sub Pop
• • Connect with the band on Facebook
• • • Buy assorted Howlin Rain, Comets on Fire, and Feral Ohms music via Silver Current
• • • • Buy Meg Baird’s solo LP Don’t Weigh Down the Light via Drag City
• • • • • Buy Assemble Head in Sunburst Sound records via Tee Pee

Garcia Peoples: December 22, 2018 Union Pool

January 8, 2019
By
Art by Arnold Conklin

West Coasters! Garcia Peoples hit the road with Howlin’ Rain starting this Thursday, January 10th, in Bellingham, Washington and continuing through Washington, Oregon, Nevada, and California. The full listing of dates with ticket links can be found at Howlin’ Rain’s website. Do go out and see both bands!

In other exciting Garcia Peoples news, they recently announced their second LP, Natural Facts, and it’s up for preorder from Beyond Beyond is Beyond. The Garcias played a couple of songs from the album in Brooklyn last month, “High Noon Violence” and “Break Me Down.” Unexpectedly, the band also played a pair of covers to celebrate Jeff Conklin’s birthday, “Laila Pt. 2” by Agitation Free and “Easy Ride” by Relatively Clean Rivers. If you listen to The Avant Ghetto on WFMU (and you should) you’ll likely recognize these two bands as a couple of Jeff’s favorites.

I recorded this set from our usual location at the soundboard, with a feed courtesy of Union Pool FOH Jase Hottenroth. The sound is excellent. Enjoy!

Downloads available at the Live Music Archive

Garcia Peoples
2018-12-22
Union Pool
Brooklyn, NY

Recorded and produced by Eric PH for nyctaper.com
Artwork by Arnold Conklin

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: [40:52]
01. Hangin’ On >
02. Break Me Down
03. Laila Pt. 2 [Agitation Free] >
04. High Noon Violence
05. World’s Illusion >
06. Easy Ride [Relatively Clean Rivers]
07. [banter]
08. Show Your Troubles Out

Preorder Natural Facts via Bandcamp

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

Headroom: December 9, 2018 Baby’s All Right

January 1, 2019
By
[Photos by Michael Baca]

I keep thinking about headspace and headroom, in the context of Headroom, a band that opens both inward and outward. Kryssi Battalene splits her time churning out shoegazey riffs for the immeasurable Mountain Movers, Headroom being her side gig that distills her soloing into the main event. In 2017 she put out Head in the Clouds, a particularly spaced-out affair that’s as soaring in its scope as her other band. With Movers’ Rick Omonte on bass and Ross Menze on drums, Headroom doesn’t stray too far from the mold, blowing up new spaces to get lost in. Last month we finally got to see Headroom in action at Baby’s All Right, where the band played three tracks from Head in the Clouds, plus the new “Skyliner.” I don’t think I’m the only person in attendance who suggested Headroom visit us more often.

I recorded this set with a pair of MBHO omnidirectional mics onstage combined with a board feed from the Baby’s crew. The sound is outstanding. Enjoy!

Download: [MP3/FLAC]

Headroom
2018-12-09
Baby’s All Right
Brooklyn, NY

Recorded and produced by Eric PH for nyctaper.com
Photos by Michael Baca

Soundboard + MBHO KA100N/603A (on stage, DFC) > 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: [35:12]
01. How to Grow Evil Flowers
02. Millers Pond
03. Skyliner
04. Flower of Light

Buy Head in the Clouds via Bandcamp

Ryley Walker: December 14, 2018 Baby’s All Right

December 16, 2018
By

Ryley Walker has become something of a Renaissance man in 2018, with his highly-lauded album Deafman Glance, a full-album cover of an unreleased Dave Matthews Band LP, an endelessly-entertaining Twitter account, and an ongoing series of Vice articles where Ryley’s just being Ryley. Listen to some of his between song banter and it’s clear Walker loves music and knows how to engage an audience. Yet for all his extracurricular antics, the tunes are nothing if not sincere.

Somewhat surprisingly given it’s high level of publicity, Walker and band are not touring Dave Matthews tunes, but instead continue touring this year’s excellent Deafman Glance—Walker’s best album yet. Especially great here is their rendition of “Spoil With the Rest” and a pair of tunes with trumpeter Jaimie Branch, “22 Days” and “Funny Thing She Said.”

I recorded this with a pair of MBHO cardioid mics on stage in stereo DIN configuration, combined with a soundboard feed courtesy of the Baby’s crew, Dan and Jesse. The sound is outstanding. Enjoy!

Downloads available at the Live Music Archive

Ryley Walker
2018-12-14
Baby’s All Right
Brooklyn, NY

Recorded and produced by Eric PH for nyctaper.com

Soundboard (engineers: Dan & Jesse) + MBHO KA200N/603A (on stage, DFC, 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: [1:09:03]

  1. [intro]
  2. Telluride Speed
  3. [who loves live music]
  4. The Halfwit in Me
  5. [capo jokes]
  6. Spoil With the Rest
  7. [banter]
  8. 22 Days
  9. [band intros]
  10. Funny Thing She Said
  11. [thanks]

Ryley Walker: guitar, vocals
Brian Sulpizio: guitar
Andrew Young: bass
Ryan Jewell: drums
Jaimie Branch: trumpet on tracks 8 and 10

Buy Ryley Walker’s Music on 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

Garcia Peoples: September 28, 2018 Music Hall of Williamsburg

November 7, 2018
By

Garcia Peoples can’t/won’t stop—it seems like they’re on every good bill and making every good bill better. A couple of their most recent shows had them in opening slots at Music Hall of Williamsburg, first for Träd, Gräs och Stenar and next for Kikagaku Moyo. We caught a recording of the former and it’s one of the band’s best gigs yet (at least that I’ve seen). Opening up with the now-classic “One Step Behind” into “Hangin’ On,” they follow with a couple newer tunes, “Break Me Down” and “I Feel So Great.” Word is the next two(!) records are in the can, both to come out on the essential Beyond Beyond is Beyond label. Jesse Jarnow summed up the Garcias’ appeal nicely in this recent Relix review and I couldn’t agree more, calling their album Cosmic Cash “an underground musical cryptocurrency for our supremely fucked-up age.” I feel pretty great too now that you mention it.

Garcia Peoples have a bunch of shows coming up, including a year-end West Coast tour with Howlin’ Rain (attendance is mandatory folks), but if you’re in NYC your next chance to catch them in action is at Union Pool on November 14.

Downloads available at the Live Music Archive

Garcia Peoples
2018-09-28
Music Hall of Williamsburg
Brooklyn, NY

Recorded and produced by Eric PH for nyctaper.com

Soundboard + MBHO KA200N/603A (at SBD) > 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: [33:46]
01. One Step Behind >
02. Hangin’ On
03. Break Me Down
04. I Feel So Great

Buy Cosmic Cash via Bandcamp

Träden (Träd, Gräs och Stenar): September 28, 2018 Music Hall of Williamsburg

October 30, 2018
By

The concentration of great psych bands coming out of Sweden these days is astounding: Dungen, Goat, Hills, Centralstödet, The Janitors. That’s just to name a few that are on my radar and I’m sure I’ve barely scratched the surface. But the most well-known psych band to come from Sweden  is almost certainly Träd, Gräs och Stenar (Trees, Grass and Stones) and they undoubtedly loom large for the younger generation.

Today they’re called Träden, but shifting band names and performers has always been part of the deal for the group that started off in 1967 as Pärson Sound, which became International Harvester, then just Harvester, before settling on Träd, Gräs och Stenar in about 1969. Despite their reputation as DIY hippies—or perhaps because they were just that—a wonderful amount of documentation survives, with recent archival releases highlighting how incredibly vital and popular their music still is today. Though Pärson Sound never released a proper album, a three-LP set documents their early experimentation. International Harvester/Harvester released two records, Sov gott Rose-Marie and Hemåt, both recently collected as part of the Remains box set. And more than six LP’s worth of live Träd, Gräs och Stenar material was collected in a box set from Anthology Recordings a few years ago (their studio albums from the 1970s remain sadly out-of-print).

Träden is just the latest iteration of this band, using both names interchangeably on tour (their first to hit the U.S. since 2004). The sole original member of the band is Jakob Sjöholm, who joined in 1970 (in time to play on the second studio album, Rock för Kropp och Själ). He’s joined by musicians from some of those great bands I mentioned above: Hanna Östergren (Hills) on drums, Sigge Krantz (Archimedes Badkar) on bass, and Reine Fiske (Dungen, The Amazing) on guitar and vocals. Their live repertoire includes songs from their new self-titled album, as well as older Träd, Gräs och Stenar songs like “Rock for kropp oct själ” and the well-known “Sanningens silverflod.” “När Lingonen Mognar” appears on Träden’s album, but was also originally released on Harvester’s Hemåt. Whether you call them Träden or Träd, Gräs och Stenar, the music itself is timeless.

Download: [MP3/FLAC]

Träden (Träd, Gräs och Stenar)
2018-09-28
Music Hall of Williamsburg
Brooklyn, NY

Recorded and produced by Eric PH for nyctaper.com

Soundboard + MBHO KA200N/603A (at SBD, 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: [1:16:46]
01. Hymn
02. När lingonen mognar
03. Rock for kropp oct själ
04. Punkrocker
05. Tamburan
06. Tänkte bara undra
07. Sanningens silverflod
08. I ljuset av din dag
09. Hoppas du förstår

Buy Träden via Bandcamp

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