Posts Tagged ‘ dpa 4061 ’

Gun Outfit: August 19, 2017 Union Pool’s “Summer Thunder”

August 21, 2017
By


[Photo by Robert Mizaki, from his Instagram feed]

Originally from Olympia, WA, you could be forgiven for assuming Gun Outfit sprung fully-formed from their current home base of Los Angeles, California. Their Twitter feed describes their music as “western expanse music,” and that feels right. Their simple self-possession and confident, low-key forward motion are as West Coast as Pacific swells. Or, to put it differently, they brought the perfect vibe for a laid-back summer afternoon at Union Pool, which continues its “Summer Thunder” series of outdoor shows for just one more week.

This set was notable for a few points, including the participation of longtime noise/guitar hero Henry Barnes (currently touring with the band as his Amps for Christ project) and the wide berth of the setlist, which covered some of the band’s oldest songs like “The Lack” and “Southern Chill” as well as forthcoming tracks from the recorded-but-not-yet-released new album. If you were a fan of the band’s most recent full-length, the 2015 Paradise of Bachelors release Dream All Over, this set wasn’t as focused on that (excellent) material, but the band seems to be continuing in the strong, consistent direction established by that record.  Co-vocalists, -songwriters and -guitarists Dylan Sharp and Carrie Keith have an easy, relaxed interplay, and Barnes meshed perfectly, salting each composition with psychedelic guitar weirdness. If Gun Outfit are hard to pin down aesthetically — they’re punk but neither fast nor loud, they’re folk but not earnest, country but not not simple — their appeal, especially live under the sun, will be obvious to fans of all three. Look for that new record to arrive … sometime soon. ‘Til then, enjoy this little survey of this band’s career.

I recorded this set with head-mounted DPA 4061 microphones from the front of the audience near the stage. The sound quality is excellent. Enjoy!

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

Gun Outfit
2017-08-19
Union Pool (Summer Thunder Outdoor Series)
Brooklyn, NY USA

Recorded and produced by acidjack

DPA 4061 (HRTF, FOB, DFC)>DPA d:vice>iPhone 7>16/44.1 WAV>Adobe Audition CC (fades, amplify, compression)>Izotope Ozone 5 (image, EQ, exciter)>Audacity 2.0.3 (track, amplify, balance)>FLAC ( level 8 )

Tracks [Total Time 44:48]
01 The Lack
02 Sally Rose
03 Clean Runs the Thread
04 Second Decade
05 Southern Chill
06 Primacy of Love
07 Background Deal
08 Gotta Wanna
09 Strange Insistence
10 Legends of My Own
11 Downtown LA [JJ Cale]

SUPPORT Gun Outfit: bandcamp | Facebook | Paradise of Bachelors

Ryley Walker: June 26, 2015 Le Poisson Rouge

June 30, 2015
By

ryley-walker-3
[photos by P Squared Photography]

Ryley Walker has been a can’t-miss for me on every single tour that has taken him through New York this year, the latest being this date at Le Poisson Rouge with Jessica Pratt. What is so remarkable about the five performances we have covered since September of last year is that every single one has been different, including the cast of performers. While Ryley’s a redoubtable solo artist, where he truly shines is in his ensemble, consisting of Chicago-based jazz artists who’ve played with Ryley on and off for years. On this night, he not only had the full compliment of  his “regular” players, with Ryan Jewell on drums, Ben Boye on keys, Brian Sulpizio on electric guitar, and Anton Hatwich on bass, but also a horn section consisting of Levon Henry on sax and Jamie Branch on trumpet. The results were simply magical; over 41 minutes, Ryley and the players turned these three songs into long-form jazz meditations. If Ryley’s albums fall firmly enough into the “folk” camp, his live show is a completely different beast, something that lives as close musically to the Grateful Dead and free jazz as to Van Morrison or Bob Dylan.

The brand-new song “Sullen Mind,” lyrically, is a hangover tune, a drunk’s lament, and Ryley summons the narrator’s loneliness and pain with relatively few lyrics, delivered at times with a slur that leaps to a howl. The ensemble follows with urgency, their collective sound growing insistent and dark, almost an analog for the troubled mind of the story. Seated just a few feet from Ryley, it was chill-inducing to watch and hear the song unfold, as the players barely needed a nod from their leader to storm forward from the last chorus into a climactic outro. The brass didn’t show up until the new track “Funny Thing She Said,” but that song made an immediate impact on a song that made a perfect bookend to “Sullen Mind,” both of them chill-inducing laments. And lest the lone album track played — “Primrose Green” — get short shrift, it, too, soared on the one-two punch of Brian Sulpizio and Walker on guitars, a poppy-field tripper of a track that makes you want to find some of the substance name-dropped in the title. As Ryley and his band headed off to Solid Sound Festival, more touring upstate and elsewhere, and finally back home to Chicago for the Pitchfork Music Festival, they are firing on all cylinders, a live unit at or near the peak of their powers. At this point, in festival-land, they’re still playing early — don’t miss them.

I recorded this set with a soundboard feed from the Le Poisson Rouge team, combined with Schoeps MK41V supercardiod microphones clamped to the soundboard booth and a split pair of DPA 4061 omnidirectional microphones on the stage. The sound quality is outstanding. Enjoy!

Download the complete set from the Live Music Archive: [FLAC] | [MP3] + [Apple Lossless


Ryley Walker
2015-06-26
Le Poisson Rouge
New York, NY USA

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

Soundboard + Schoeps MK41V (at SBD, PAS)>KC5>CMC6>> Roland R-26 + DPA 4061 (onstage, split 2ft)>CA-UBB>Sony PCM-M10>>3x24bit/44.1kHz WAV>Adobe Audition CS 5.5 (align, mix down, fades)>Izotope Ozone 5 (limiter, EQ, effects)>Audacity 2.0.5 (tracking, dither)>FLAC ( level 8 )

Tracks [Total Time 41:43]
01 Sullen Mind
02 Primrose Green
03 [banter]
04 Funny Thing She Said

Band:
Ryley Walker – Vocals, guitar
Ryan Jewell – Drums
Ben Boye – Keys
Brian Sulpizio – Electric guitar
Anton Hatwich – Bass
Levon Henry – Sax
Jamie Branch – Trumpet

If you enjoyed this recording, PLEASE SUPPORT Ryley Walker, like him on Facebook, and buy Primrose Green from Dead Oceans.

ryley-walker-2

Parquet Courts: February 9, 2015 Palisades – FLAC/MP3/Streaming

February 10, 2015
By

PQ 1
[screen capture from this recent YouTube video. Other photos on this page are acidjack’s shots from the show]

Each succeeding year that we’ve seen Parquet Courts, they’ve become more and more assured and impressive. The Brooklyn band — who are now “big” enough to have headlined Webster Hall at the end of last year — decided to end their latest stint on the road in the best possible way. The foursome landed this time at Bushwick’s Palisades, a resolutely scrappy DIY venue where the room is spare, the drinks are cheap and the vibe is warm (even if the temperature is not) for a two-night stint. This level of ticket sell-out reminded me of the best days of 285 Kent (also, not coincidentally, booked by legend-in-the-making Ric Leichtung‘s Ad Hoc), with wall-to-wall bodies flooding the front, each step closer to the stage a squeeze you just might not be able to make.

Parquet Courts inspires that kind of loyalty, and deserves to. Their style may be rooted in garage and punk, but they play like serious musicians, shredding their way through material from both of their 2014 records, Sunbathing Animal and the newer Content Nausea (released under the name “Parkay Quarts”). Besides Andrew Savage’s lead vocals that are easy to actually make out (and display his obvious sense of humor), the band’s most notable calling card is their ability to construct earworm riffs that make you remember songs of theirs even if you’ve only heard them once. This set did a fine job of mixing up short masterpieces of the band’s like “Light Up Gold II” and “Careers In Combat” with pieces that give Savage, guitarist Austin Brown, bassist Sean Yeaton and drummer Max Savage a chance to stretch out and show their chops, especially the “Instant Disassembly” that came earlier in the set. At times it felt like the band wasn’t even taking a breath between songs, with the riff of the next number cranking up at the last downbeat of the one before. It made for a kind of momentum that reminded me of Parquet Courts’ current career.

Befitting their love for the hometown crowd, the set we got here was longer than than other recent shows, and included a new song mix, including a cover. At first, the Monday night crowd felt a little sedate, to the point that you can hear a fan screaming “Wake the fuck up!” at least once on this recording. But the only blame for that can go to how densely packed it was in there — sardines can’t dance, either. By mid-set, the true believers had assumed their rightful places up front, and the pogoing and pit were in effect. The band kept joking with the crowd about how any of us got tickets in the first place. But that’s one advantage of having your tour-ending shows at Palisades on a Monday and Tuesday night — you can make a pretty educated guess that the people who choose to be there are the ones that actually give a shit.

The band is off to Australia and New Zealand, and then the festival circuit, in March. At their current pace, they may as well have another album done by summer. Until then, we wish them well. Success sits well with them.

I recorded this set with spaced DPA 4061 omnidirectional microphones on a post right at the front of the venue (see the photo below), plus a soundboard feed set up by Ben of Palisades, with the mix created by Parquet Courts’ touring engineer (whose name I would appreciate having). The sound quality is in-your-face excellent. Enjoy!

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

Stream the complete show: 

Parquet Courts
2015-02-09
Palisades
Brooklyn, NY USA

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

DPA 4061 (FOB, spaced on pole, slightly ROC)>Sound Devices USBPre2 + Soundboard (engineer: [Parquet Courts FOH — please share his name if you have it])>>Edirol R-44 [OCM]>2x24bit/48kHz WAV>Adobe Audition CS 5.5 (compression on SBD and AUD sources, channel adjustments, fades)>Izotope Ozone 5 (EQ, tape exciter, imaging)>Audacity 2.0.5 (track, amplify, balance, downsample, dither)>FLAC ( level 8 )

Tracks [Total Time 1:08:31]
01 You’ve Got Me Wonderin’ Now
02 Bodies Made Of
03 Black and White
04 Instant Disassembly
05 Always Back in Town
06 Ducking and Dodging
07 New Age [Blitz]
08 [banter1]
09 Everyday It Starts
10 Master of My Craft
11 Borrowed Time
12 Careers In Combat
13 Dear Ramona
14 [banter2]
15 What Color Is Blood
16 No Ideas
17 Pretty Machines
18 Psycho Structures
19 Content Nausea
20 Light Up Gold II
21 Sunbathing Animal

If you enjoyed this recording, PLEASE SUPPORT Parquet Courts, visit their website, and buy their albums here.

IMG_8228

Coeds: March 13, 2014 DC Against the World SXSW Party, New Movement Theater (Austin, TX) – FLAC/MP3/Streaming Full Set

April 23, 2014
By


IMG_6861
[photo by acidjack]

Coeds is an almost-brand-new electropop duo who graced the unofficial DC Against The World SXSW party with their very first show, which we are presenting here. The duo, consisting of Merideth Muñoz and Ryan Kailath, are geographically split between Austinite Meredeth and New Yorker Ryan. Even shunted into the relatively tight space in the front of the venue with a similarly humble sound system, the band’s knack for delivering hooks came through loud and clear. If you read this interview with Muñoz, you get a sense of what this band is about — putting their audience first, and doing whatever it takes to make that audience have fun. That’s exactly what made this first show, and first SXSW for the band, something worth seeing, and what I expect will serve Coeds well in the rest of their career.

This set was recorded with a minimal setup, DPA 4061 microphones mounted in front of one of the speakers on the “stage”. While the sound gives a decent impression of the sound of the event, please note that any limitations are the result of the technology being used, and not the skill of the band. We think that, this being the band’s first show, it is a moment worth documenting despite the reduced sound quality. Enjoy!

Stream the complete set and download individual tracks:

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

Stream the “Sensitive Boys” single (studio version):

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.

Coeds
2014-03-13
DC Against the World SXSW Showcase
New Movement Theater
Austin, TX

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

DPA 4061 (FOB)>CA-UBB>Sony PCM-M10>16bit/44.1kHz WAV>Adobe Audition CS 5.5 (compression, reverb, fades)>Izotope Ozone 5 (EQ, effects)>Audacity 2.0.3 (tracking, amplify, balance)>FLAC ( level 8 )

Tracks
01 Weekend Lover
02 [banter]
03 Videos
04 Fourth of July
05 [banter2]
06 Sensitive Boys

Note: Band’s first performance

If you enjoyed this recording, visit Coeds’ Facebook page and check out their website for more information, tour dates, and sounds. Support the sponsors of this event – CHIRP (the Chicago Independent Radio Project), Fredericksburg All AgesRogness Brewing Company and Bitch Beer

Diane Cluck: February 5, 2013 Joe’s Pub – Flac/MP3/Streaming

February 10, 2013
By

Diane Cluck live
[still from this video]

I think its fair to say that Diane Cluck has had an admirable but unconventional career. As part of the early 2000’s NYC anti-folk movement, she’s been an abundant songwriting and performing talent for well over a decade. But while some of her early contemporaries have moved to major labels, Diane has eschewed conventional success to pursue a more rewarding personal journey. But it seems that despite her uncompromising career choices, her time has come. Last Spring, Diane introduced her “Song of the Week”, where in a kickstarter-style subscription service her fans can receive one song at regular intervals until all 24 songs of her project are revealed. Each release is accompanied by lyrics and personal discussions with Diane. This is essentially artist-to-fan interaction at its purest form and represents an ideal format for this particular artist. At present, there have been eight releases which have included seven songs and set of poems. At Joe’s Pub on Tuesday night, Diane Cluck performed all seven of those songs in a compellingly beautiful seventy minute set. While the venue was not packed on this mid-week late show, there was nevertheless a healthy crowd of adoring fans, all of whom were quiet and rapt with attention to the performer throughout the music but who were also vociferous in their praise in between songs. Diane performed with a trio who included her recent collaborators cellist Isabel Castellvi and percussionist Anders Griffen, and the group worked through a setlist of highlights from Diane’s catalog with grace and precision. Diane Cluck does not perform frequently in NYC, but rest assured we’ll be there again when she returns.

There are some outstanding photos from this show at Gretchen Robinette’s tumblr [here].

I recorded this set with the DPA 4061 omnis attached to the large pole on the right side of the venue and mixed with a mono feed from the soundboard. Joe’s Pub has some hurdles to capture a clean recording, including the sounds of an active restaurant and the rumble of the 6 train below the venue. I mixed the sources about 60/40 in favor of the board over the mics, but some of the ambient sounds can still be heard, which are necessary in order to maintain the feel of the room. Overall, the sound of this recording is still quite excellent. Enjoy!

Stream “Content to Reform”:

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.

Diane Cluck
2013-02-05
Joe’s Pub
New York, NY USA

Digital Master Recording
Soundboard + Audience Matrix

Soundboard + DPA 4061s > Edirol R-44 (Oade Concert Mod) > 2x 24bit 48kHz wav files > Soundforge (level adjustments, mixdown, downsample set fades) > CDWave 1.95 (tracking) > TLH > flac (320 MP3 and Tagging via Foobar)

Recorded and Produced
by nyctaper
2013-02-08

Setlist:
[Total Time 1:08:34]
01 Hai
02 Maybe A Bird
03 Content to Reform
04 [band introduction]
05 Grandma Say
06 [banter Song of the Week]
07 Heartloose
08 Far Too Witchy
09 Draw Me Out
10 Love-Letter Launches
11 Trophies
12 [banter – grandmas]
13 Roma
14 Soft Little Reach-Out
15 A Phoenix and Doves
16 Red August
17 Ainoneenany
18 Not Afraid to Be Kind
19 Why Feel Alone
20 Sara
21 [encore break]
22 Bird of Kindness
23 Easy To Be Around

If you download this recording from NYCTaper, we expect that you will PLEASE SUPPORT Diane Cluck, visit her website, and subscribe to her Song Of The Week [HERE].

Holly Miranda: September 12, 2012 Zebulon – Flac/MP3/Streaming

September 16, 2012
By


[screen cap from this video]

It was two years ago when Holly Miranda spent her last night in NYC before moving to Los Angeles performing for an intimate crowd at the wonderful Vivo in Vino. That show was one of our favorites of the year and such an incredible memorable night — great music, great company, superb wine and a rooftop afterparty to remember. That year of 2010 was a banner one for Holly. Her album The Magician’s Private Library was one of the best of the year and her tour was a triumphant celebration of the album. The Bowery show in particular was another highlight of 2010. But in the last two years, Holly has lived a fairly quiet domestic life while working on her new album through a Pledge Music campaign that has shown the dedication of her fans — the pledge has reached over 200% of the original target. The relaxed pace of the production of the new album has also given the artist an opportunity to share demos, covers, and some obscure nuggets on her Soundcloud page, which has become a must-visit page. On Wednesday, Holly Miranda made a very rare visit to NYC to play a fairly under-publicized show at the intimate Zebulon. I had already committed to recording a show at 285 Kent that night, but left in between sets and brought over my small mobile rig to capture Holly’s set. Fortunately, the timing all worked out perfectly. Holly took the stage with Tim Mislock, a new drummer and saxophonist. With an opener of “Waves”, the two years melted away and it was as if Holly hadn’t left. The following number, her moving Etta James cover was an added gift. The balance of the too-short set consisted of new songs and a couple of covers. The Morphine song “Mary Won’t You Call My Name?” was a raver that got the boisterous crowd to move in unison, and we’re streaming it below. Holly has no current plans to play NYC, but rest assured when she ultimately returns, we’ll be there.

I recorded this set with the DPA 4061 small omnis with the mics attached to a mount in the ceiling of the venue about fifteen feet from the stage. The venue was packed and the crowd was rather chatty, so that this isn’t exactly the best thing we’ve had on the site lately. But its certainly listenable and full of energy. Enjoy!

Stream “Mary Won’t You Call My Name?” [Morphine cover]:

Download the Complete Show in MP3 [HERE] or FLAC [HERE].

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.

Holly Miranda
2012-09-12
Zebulon
Brooklyn, NY USA

Digital Master Recording
Upfront Center – Recorded 15 Feet from Stage

DPA 4061s (Dynamic Audio Custom Mod) > Dynamic Audio Custom Battery Box > Edirol R-05 > 16bit 44.1kHz wav file > Soundforge (level adjustments, set fades, downsample) > CDWave 1.95 (tracking) > TLH > flac (320 MP3 and Tagging via Foobar)

Recorded and Produced
by nyctaper
2012-09-15

Setlist:
[Total Time 40:36]
01 Waves
02 I’d Rather Go Blind [Etta James]
03 Desert Call
04 Nobody Sees Me Like You Do [Yoko Ono]
05 Mark My Words
06 Everlasting
07 Mary Won’t You Call My Name [Morphine]
08 [banter – band intro]
09 Until Now

If you email nyctaper for access to this recording, we expect that you will PLEASE SUPPORT Holly Miranda, visit her website, and go to Pledge Music to support Holly’s new album [HERE].

Wussy: March 3, 2012 Cake Shop – Flac and MP3 Downloads + Streaming Song

March 8, 2012
By


[photo by nyctaper]

I can’t imagine that Robert Christgau gets out to many shows these days. But last Saturday at Cake Shop, there he was at Wussy‘s first NYC show in almost two years. I suppose its a bit of a novelty that one of the current favorite bands of a legendary music critic is a relatively obscure self-described “midwestern drone” outfit. But Christgau has it right. As the current band of Chuck Cleaver, the leader of 90s underground legends The Ass Ponys, Wussy is a solid guitar-bass-drums quartet with an excellent mix of male and female vocals and tremendous songcraft. For this tour, the band brought along another former Ass Ponys guitarist John Erhardt to play pedal steel. The Cake Shop show was perhaps a tad short because they were the third band in a four band bill (with a late show to follow), but Wussy worked through a mix of older and newer numbers, including songs from their recent release Strawberry. The band did not hold back for the set’s closer, a raging version of “Rigor Mortis” that concluded with a noisy guitar-drenched episode that left the packed crowd asking for more. We’re streaming that song below. Wussy will play several SXSW shows and we’re hoping to catch them, before they play more midwest shows, and then there is an anticipated Summer tour (with more East Coast dates).

I recorded this set in the same manner as the recent Old Monk recording, with the DPA 4021s on a mount on the low ceiling above the stage and the DPA 4061 omnis mounted in front of the PA. The sound quality is excellent except for a crackling (blown amp) sound which persists for several songs in the middle of the set. With that caveat, enjoy!

Stream “Rigor Mortis”:

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Direct download of complete show in MP3 files (HERE)

Download the Complete show in FLAC [HERE].

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.

Wussy
2012-03-03
Cake Shop
New York, NY USA

Digital Master
Upfront Four Channel Audience Recording

DPA 4021s + DPA 4061s > Edirol R-44 (Oade Concert Mod) > 24bit 48kHz wav file > Soundforge (level adjustments, set fades, downsample) > CDWave 1.95(tracking) > TLH > flac (320 MP3 and Tagging via Foobar)

Recorded and Produced
by nyctaper
2012-03-06

Setlist:
[Total Time 39:14]
01 Waiting Room
02 Pulverized
03 Grand Champion Steer
04 [banter – Wings]
05 Maglite
06 [banter]
07 Happiness Bleeds
08 Pizza King
09 Muscle Cars
10 Airborne
11 Rigor Mortis

If you download this recording from NYCTaper we expect that you will PLEASE SUPPORT Wussy, visit their website, and purchase their official releases including Strawberry directly from the Music section of their website [HERE]

Old Monk: February 22, 2012 Cake Shop – Flac and MP3 Downloads + Streaming Song

March 7, 2012
By


[photo courtesy of Bleary Eyed Brooklyn]

Old Monk is a band from Brooklyn with the perfect self-description — indie-prog. The indie part is easy, as they write energetic and catchy guitar-trio indie-style rock. But the tag of “prog” doesn’t get thrown around much here. The time and signature changes, abrupt turns in melody and tendency to cram three songs into one characterize the progressive elements of pop music. Their debut album Birds of Belize has more “indie” than prog, as the songs are shorter and more straightforward. But live, Old Monk stretches it out a bit and the trio’s tight instrumentation allows for the twists and turns to flow more naturally. At Cake Shop a couple of weeks back, we caught the final night of Old Monk’s month-long February residency. The thirty minute set contain several Belize songs, but also quite a few new songs that indicate that the band isn’t shying away from more complicated material. At the show, I gravitated more towards the songs that I knew (“Warm Moustache” is streaming below), but after multiple listenings to this recording, the stronger material is perhaps the new songs that are challenging but ultimately more accomplished. It remains to be seen whether the fickle NYC indie crowd will exercise enough patience to appreciate Old Monk. If they do, they will be rewarded.

I recorded this show with a new method for this venue. The DPA 4021 cardioids were mounted above the stage for an “onstage” recording of the instruments, and the DPA 4061s were mounted in front of the PA speakers for a vocal-heavy signal. The two sources mixed produce a fine balanced recording. Enjoy!

Stream “Warm Moustache”:

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Direct download of complete show in MP3 files (HERE)

Download the Complete show in FLAC [HERE]

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.

Old Monk
2012-02-22
Cake Shop
New York, NY USA

Digital Master Recording

DPA 4021s + DPA 4061s > Edirol R-44 (Oade Concert Mod) > 24bit 48kHz wav file > Soundforge (level adjustments, set fades, downsample) > CDWave 1.95 (tracking) > TLH > flac (320 MP3 and Tagging via Foobar)

Recorded and Produced
by nyctaper
2012-02-23

Setlist:
[Total Time 30:30]
01 Butter and Toast
02 Warm Moustache
03 Napoleon’s Wife
04 Volcanic Prisons
05 Running Boards/Promethea
06 Art Heist
07 Wimpy Olympians
08 Skullsplitter
09 Attica

If you download this recording from NYCTaper we expect that you will PLEASE SUPPORT Old Monk, visit their website, and purchase Birds of Belize directly from Eenie Meanie Records [HERE]

Björk: February 25, 2012 Roseland Ballroom – Flac and MP3 Downloads + Streaming Songs

February 27, 2012
By


[Photo by Geoffrey Dicker for According 2 G. See his review of the Queens show here]

From the earliest days of her four-decade career, Björk has consistently pushed the envelope. Through a career as varied as any performer in pop music history, the centerpiece has nevertheless always been her powerful and profoundly unique voice. As a teenager in Tappi Tíkarrass, she sang in one of Iceland’s earliest punk bands. Her career then evolved from art-punk (Kukl), to international success as part of the Sugarcubes. Björk’s solo career has been distinguished by a variety of styles, from brit-pop (Debut) through the bizarre (Drawing Restraint 9), with virtually everything in between. Her triumphant three album run of Post, Homogenic and Vespertine is acknowledged as the apex of her recorded output, and rightfully so. Those three albums are as good as anything released by anyone in that time frame and the tours that accompanied each release established Björk as one of the most powerful and compelling live performers of her generation. The Vespertine tour in particular was a thing of beauty — a two set affair performed in opera houses across the world with an full orchestra, full choir, and innovative instrumental accompaniment. The live DVD that was released from the Vespertine tour (Royal Opera House) is a breathtaking viewing experience. In recent years, however Björk has released a series of thoughtful but inconsistent albums, with 2007’s Volta as perhaps her weakest album to date. So it was with a bit of trepidation that we approached Biophilia, her new release that promised to link nature, music and technology. As far back as 2001 (Vespertine), Björk has been composing music with the aid of her laptop and she has professed a fascination with the effect that technology has had on the presentation of sound. The strength of Biophilia is that it seems to revisit the interesting aspects of Vespertine from the vantage point of a decade hence. And of course the reassurance for fans is that her voice continues to take center stage.

As part of her NYC “residency”, the Biophilia show moved from its triumphant run at the Queens Science Museum to the Roseland Ballroom. My concerns about the show’s presentation at this particular venue were eased upon entry into the main room. The stage was set up in what would normally be the center of the floor, and there was a vantage point from each side of the square stage to experience the concert. The pre-show music included piano and organ transcriptions of a variety of Björk’s material, and screens placed strategically around the hall projected Biophilia-themed images. The live performers who accompanied Björk were interestingly quite similar to the group that performed throughout the Vespertine tour, including harpist Zeena Parkins, an all female choir, and electronic wizards similar to Matmos (who played on both the 2001 Vespertine tour and the 2003 “Greatest Hits” tour). The setlists for these shows have followed a pattern, and all include the complete Biophilia album mixed in with selected classic material. Interestingly, the first older song performed is “Hidden Place”, the opening track from Vespertine. We have chosen to stream three highlights from the evening, including “Mouth’s Cradle” from Medulla, “Cosmogony” from Biophilia, and the newest addition to the setlist and oldest song she performed, a powerful reworking of Post’s “Possibly Maybe”. The good news of course is that while her voice has matured, Björk is still capable of projecting stunning music from her vocal chords and her singing is still a thing of absolute beauty. And while Biophilia is not the perfect album, it contains an intelligent and compelling message among a large number of outstanding songs which are brought to life in an extremely entertaining show. We left Roseland with a full reaffirmation of the power and vitality of perhaps the greatest female singer of our generation.

I recorded this set with my new mobile rig from ten feet in front of the PA speakers at the south side of the stage. The microphones are customized DPA 4061 omnis finished by Dynamic Audio and run through a custom battery box (also Dynamic Audio) to a brand new Edirol R-05. The sound quality is superb. Enjoy!

Stream “Mouth’s Cradle:

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Stream “Cosmogony”:

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Stream “Possibly Maybe”:

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Direct download of complete show in MP3 files (HERE)

Direct download of complete show in FLAC (HERE)

Email nyctaper if there is a problem with either download.

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.

Björk
2012-02-25
Roseland Ballroom
New York, NY USA

Digital Master Recording
Upfront – Recorded 10 Feet from PA
South Side of Stage

DPA 4061s (Dynamic Audio Custom Mod) > Dynamic Audio Custom Battery Box > Edirol R-05 > 16bit 44.1kHz wav file > Soundforge (level adjustments, set fades, downsample) > CDWave 1.95 (tracking) > TLH > flac (320 MP3 and Tagging via Foobar)

Recorded and Produced
by nyctaper
2012-02-26

Setlist:
[Total Time 1:38:45]
01 [introduction]
02 Thunderbolt
03 Moon
04 Crystalline
05 Hollow
06 Dark Matter
07 Hidden Place
08 Mouth’s Cradle
09 Virus
10 Generous Palmstroke
11 Sacrifice
12 Sonnets/Unrealities XI
13 Where Is The Line
14 Mutual Core
15 Cosmogony
16 Solstice
17 [encore break]
18 Possibly Maybe
19 [band introductions]
20 Nattura
21 Declare Independence

If you enjoyed this recording, PLEASE SUPPORT Björk, visit her website, and purchase Biophilia directly from Björk [HERE]

Björk: February 12, 2012 New York Hall of Science – FLAC and MP3 Downloads + Streaming Songs

February 15, 2012
By


[Photos by Geoffrey Dicker for According 2 G. See his review of the show here]

This same night that the inimitable Björk took the stage at the New York Hall of Science, it happened to be “music’s biggest night of the year” – the annual Grammy Awards.  In a giant auditorium in Los Angeles, the four major U.S. music corporations (“record label” seems too artistic a term) slathered awards on artists who – even in the case of the best performances – dutifully trod the well-worn ground of Motown, 60s rock, by-the-numbers country and preprogrammed pop.  On the other coast, in a science museum in Queens, Björk had concocted a circular stage in the middle of an imposing yet intimate auditorium, ringed by synced video screens.  An Icelandic female choir, a harpist, an electrostatic organ complete with a Tesla coil, a percussionist and a man playing (among other things) four iPads and keyboards shared the stage with her for most of the time.  For just over an hour and a half, Björk and this ensemble performed daring, highly original pieces primarily culled from her latest record, Biophilia, complete with visual narration.

I should not overstate the contrast – though she has never won, Björk has been nominated for twelve Grammys.  But if ever there were an example of an artist who is literally bursting with ideas (as her dress suggested), who combines musical genius, pop songcraft, and technology to challenge the basic assumptions and boundaries of what music is, or what it can be, Björk must be that artist.  A Grammy (or a BRIT, VMA, or any of the other awards she has won) cannot contain or categorize her.  Björk has been such an inspiration to us, in fact, that a Sugarcubes recording was the first recording offered for download on this site.

Biophilia is an innovative multimedia production (not really just a “record”) that combines a set of new songs with a corresponding iPad app, with each of the record’s ten songs married to its own mini-app within the app.  It is the first major release produced in this way, and its goal of celebrating the marriage of nature, technology and art is outlandishly ambitious, and equally well-executed.  Each song has a particular theme (some more concrete than others), like structure, equilibrium, scales, DNA, gravity and tectonic plates.  In musical form, Biophilia mimics the intellectual scope of Jacob Bronowski’s classic book and TV miniseries The Ascent of Man, which explored how man’s unique relationship with nature and technology led to modern civilizationBjörk’s version, of course, is much more colorful, and equally less linear.

As we gathered around the stage, the show kicked off with one word, “Thunderbolt” (many of the songs were announced by name).  From the early notes of the electrostatic organ firing the enormous Tesla coil onstage, it became clear that this show would be a wholly different concert experience.  The pounding dance track, and first single, “Crystalline” got the choir involved in both singing and dancing, and the round stage gave the song a more celebratory and inclusive feel.  Björk seemed attentive to fans all around the stage; while the seated area could have been called the “front”, she did not remain focused there, not only moving around during her performance but performing specific songs in specific directions.  The stage itself served as an additional performer, not only in terms of the visual narration from the screens, but in the artful spacing of the performers and the careful deployment of the sound system.   “Virus” made for a compelling use of the custom setup, as the visual narration largely based on the iPad app drove home the scientific metaphor perfectly (that a virus loves a cell so much it destroys it).  But this wasn’t all-Biophilia all the time, either; “Isobel” from her critically acclaimed album Post became a visual and aural fantasia with the dancers in the mix.  Other favorites as well as rarities, like “Pagan Poetry” from Vespertine and the “Nattura” single, also made appearances, with each non-Biophilia track melding seamlessly with the newest material.

Björk didn’t say much other than “Thank you” during this performance, and she didn’t have to.  The show ended on a loud, clangorous note with the brazen “Declare Independence” from Volta, a track that has earned her some controversy in some quarters (she has dedicated it to local independence movements in nations around the world) and has served as a staple set closer.  Coming from an artist of Björk’s level of artistry, the concept doesn’t come off corny the way such an entreaty often does.  Indeed, this was the performance of a proud, original, fiercely independent artist – one whose example her “peers” in Los Angeles ought to follow.

I recorded this set with DPA 4061 omnidirectional microphones that capture a perfectly localized sense of the concert.  The sound quality is excellent, although frankly, no recording can come close to replicating the experience of seeing this performance live.  Enjoy!

Stream “Crystalline”

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Stream “Virus”

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Stream “Isobel”

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Direct download of MP3 files [HERE]

Download the Complete show in FLAC [HERE]

Follow acidjack on twitter

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.

Björk
2012-02-12
New York Hall of Science
Queens, NY USA

Recorded and produced by acidjack
exclusively for nyctaper.com

DPA 4061 (HRTF)>CA-UBB>Sony PCM-M10 (24/44.1)>24bit/44.1kHz WAV>Audacity (set fades, tracking, light EQ, amplify and individually balance each track, volume envelope on clapping, downsample)>FLAC ( level 8 )

Tracks
01 [intro]
02 Thunderbolt
03 Moon
04 Crystalline
05 Hollow
06 Dark Matter
07 Mouth’s Cradle
08 You’ve Been Flirting Again
09 Isobel
10 Virus
11 Generous Palmstroke
12 Sacrifice
13 Pagan Poetry
14 Mutual Core
15 Cosmogony
16 Solstice
17 [encore break]
18 Nattura
19 Declare Independence

If you enjoyed this recording, PLEASE SUPPORT Björk, visit her website, and purchase Biophilia directly from her [HERE]

Support nyctaper

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