Posts Tagged ‘ dpa ’

Wussy: October 11, 2014 Private House Larchmont NY – Flac/MP3/Streaming

October 17, 2014
By

Wussy Larchmont
[photo by nyctaper]

The nights like this one are the ones to cherish. After Wussy’s Friday show while I was breaking down equipment, I was invited to a private house concert by Wussy for the following night up in Larchmont in Westchester County. Fortunately, I had no plans so that I was able to take the quick drive up to attend and record this event. It was clear from the outset that this was going to be special as a spread of gourmet Indian food was presented to the band and all the guests. After setting up my equipment with the help of the band, all of the guests made it downstairs to a family room large enough to host a small concert. Lisa Walker and Chuck Cleaver played seated with Lisa on acoustic and Chuck on a steel guitar — or as Lisa called it “Campfire Wussy”. The band also put together a very unique setlist including some Wussy Duo numbers, some deep cuts, and the first full band performance of an Ass Ponys track. And of course, the band spent much of the between-song banter as they often do, ribbing each other and telling amusing anecdotes. From my vantage point sitting less than ten feet from the band, it was truly a unique and special experience. We remarked that Friday’s show featured a wonderful version of “Motorcycle”, and Saturday’s show featured a different arrangement that was equally breathtaking. That song is streaming below. Wussy will return to the NYC area on January 17 for gig at a venue that is not yet announced. See you then.

I recorded this set with the Schoeps cards positioned directly in front of the band. I also used a single DPA omni microphone and a single line out from the modest PA used to amplify the vocals and guitars. With the onstage Schoeps as the primary recording, I used the other sources to supplement the depth and also the vocals (upon which I applied some reverb). I’m quite pleased with the excellent results. Enjoy!

Stream “Motorcycle”:

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.

Wussy
2014-10-11
Private House Concert
Larchmont NY

Digital Master Recording
Soundboard + Audience Matrix

Soundboard [mono] + Schoeps CCM4u Cardioids + DPA 4061 (mono) > Edirol R-44 (Oade Concert Mod) > 2 x 24bit 48kHz wavs > Soundforge (level adjustments, mixdown, EQ, set fades) > CDWave 1.95 (tracking) > TLH > flac (320 MP3 and tagging via Foobar)

Recorded and Produced by nyctaper

Setlist:
[Total Time 1:01:52]
01 Little Paper Birds
02 [banter – Queensryche]
03 Motorcycle
04 [banter]
05 Pretty as You Please
06 [banter – rehearsal]
07 Crooked
08 Humanbrained Horse
09 [banter – Marshall Tucker]
10 Airborne
11 Acetylene
12 Donald Sutherland [Ass Ponys]
13 [banter – Duo]
14 Maglite
15 Gene I Dream
16 Halloween
17 [banter – false start]
18 Don’t Leave Just Now
19 [encore break – thanks]
20 Loaded for Bear

If you download this recording, we expect that you will PLEASE SUPPORT Wussy, visit their website, and purchase their official releases from the Music link at their site [HERE] or from the Shake It Records website [HERE].

So Cow: September 20, 2014 Cake Shop – Flac/MP3/Streaming

October 3, 2014
By

So Cow Cake Shop
[photo by nyctaper]

So Cow released their excellent new album The Long Con on September 16, a date that fell square in the middle of a rare US tour. The tour was scheduled to coincide with the excellent Gonerfest thrown by their record label Goner. The tour also included two NYC shows, and we caught the second one at Cake Shop last week. This was the first time we’ve seen So Cow in over four years since a great set at the now long-departed Monster Island Basement in early 2010. At that point, Brian Kelly was playing with a tour band and recording alone, but now So Cow is a proper working band and The Long Con is the first full length album with the trio. The result is that the album sounds more like the live show we encountered in 2010 and again last week, and less like a Kelly bedroom recording. At Cake Shop, the band worked through a nice mix of material old and new, including the first single from the album “Barry Richardson” that we are streaming below. The album has received some excellent reviews, including a fine piece in PopMatters this week. We expect that the positive attention will propel this excellent band and that it won’t be four-plus years before we see them live again. At least I hope it won’t be.

I recorded this set with the Sennheiser cards mounted to the short ceiling in front of the stage and mixed with DPA omnis positioned in front of the stacks. The stage-mount provides a clear capture of the instruments while the stack tape is vocal heavy. The mix is adjusted to accentuate the positives of both sources and the result is a superb recording. Enjoy!

Stream “Barry Richardson”:

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.

So Cow
2014-09-20
Cake Shop
New York NY

Digital Master Recording

Sennheiser MKH-8040s + 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

Setlist:
[Total Time 41:10]
01 [intro]
02 Sugar Factory
03 Get Down Off that Thing
04 To Be Confirmed
05 League of Impressionable Teens
06 [banter – fly]
07 Operating at a Loss
08 Waltzer
09 Ruane vs The A Bomb
10 High Standards
11 I Hardly Know You
12 [banter – far right]
13 Barry Richardson
14 [banter – thanks]
15 Nutbush City Limits [Ike Tina Turner]
16 Casablanca
17 [banter – Scottish Independence]
18 To Do List

If you download this recording, we expect that you will PLEASE SUPPORT So Cow, visit their artist page at the Goner Records site, and purchase The Long Con from the Goner Records website [HERE].

Thee Oh Sees: June 15, 2014 Death By Audio – Flac/MP3/Streaming

June 25, 2014
By

TOS Edwina Hay
[photo by Edwina Hay – full set at Impose]

In between the last NYC shows by Thee Oh Sees — including that best-of-the-year night at 285 Kent — and their recent return to the City for two shows last week, there was talk of an extended “hiatus”. I’m not sure if John Dwyer heard the collective virtual groan of disappointment when word got out, but thankfully the “hiatus” wasn’t in fact any longer than a standard touring break for any conventional band. What actually ended up happening is that Dwyer moved from the Bay Area to LA and re-formed the band with a new drummer and bass player. The current version of Thee Oh Sees is indeed different, missing keys and backing vocals, but fortunately the quality remains the same. They are simply one of the best live bands around and Dwyer’s manic energy and the authentic nature of the garage sound makes them a must-see event. The Death By Audio show on Sunday night was one of those “secret” shows that sold out in about five minutes, but we were fortunate to snag a ticket. DBA remains one of our favorite venues in large part because of shows like this one — the place was packed to the gills, the crowd was nearly out of control and the band played perhaps the longest set in its history, but it still seemed like everyone was smiling and getting along. When the music and the show itself is this good, its ok to get bounced around a little, get sweaty and have some beer get “spilled”. It all comes out in the wash anyway.

I recorded this set with DPA omnis duct-taped to the ceiling about 15 feet from the stage and mixed lightly with a small amount of board feed to supplement the vocals. The sound quality is very consistent with the the room that night — a little messy but a whole lot of excellent. Enjoy!

Stream “The Dream”:

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.

Thee Oh Sees
2014-06-15
Death By Audio
Brooklyn NY

Digital Master Recording
Soundboard + Upfront Audience

Soundboard + DPA 4061s > 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 1:21:16]
01 I Come From The Mountain
02 Carrion Crawler
03 Tidal Wave
04 Tunnel Time
05 Encrypted Bounce
06 Lupine Dominus
07 Toe Cutter – Thumb Buster
08 Withered Hand
09 The Dream
10 [banter – back rub]
11 [unknown]
12 [thanks]
13 [unknown 2]
14 Dead Energy
15 The Web
16 [encore break]
17 No Spell

If you download this recording from NYCTaper, we expect that you will PLEASE SUPPORT Thee Oh Sees, visit their website, and purchase their official releases from Castle Face Records [HERE].

The Sheiks: October 24, 2013 Cake Shop – Flac/MP3/Streaming

November 1, 2013
By

Sheiks
[still from this video]

The Sheiks are from Memphis, which makes them difficult to google. The “Memphis Sheiks” was one of the alternative names of the Memphis Jug Band, the influential early 20th century African-American roots/bluegrass band that performed for nearly thirty years. The Sheiks was also the name of a regionally successful St. Louis rock band in the 70s and 80s, that played often in Memphis, New Orleans and the Mississippi region. The contemporary band known as The Sheiks is a garage rock band, and a damned good one at that. We caught them at Cake Shop last week and their half-hour set was pretty much everything you want from this genre of music — loud, energetic, fun and a little messy. The Sheiks released Witches + Mystics last Summer and the band performed much of the album, along with a couple of new tracks and one neat cover. We are streaming “Until I Find Her”, the opening track on the album, and a high-speed rave up that represents everything that’s good about this genre and this band in particular.

I recorded this set with the Sennheiser cards mounted above the stage and mixed with DPA omni mounted in front of the stacks. The four mic mix is quite excellent, if a bit low in the vocals. Enjoy!

Stream “Until I Find Her”:

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.

Sheiks
2013-10-24
Cake Shop
New York NY

Digital Master Recording

Sennheiser MKH-8040s + 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

Setlist:
[Total Time 35:25]
01 Makin Me Scream
02 She Said All Those Things
03 Tip Top
04 Teacher Teach Me
05 Only Daddy That’ll Walk The Line [Waylon Jennings]
06 Queenie
07 She Dances With Fire
08 Keep Me In Mind
09 Picture Frame
10 Shitty Bo Diddley
11 Until I Find Her
12 Fever

If you download this recording from NYCTaper, we expect that you will PLEASE SUPPORT The Sheiks, visit their Facebook page, and purchase Witches + Mystics from their Bandcamp page [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]

Naam: January 13, 2012 Music Hall of Williamsburg – FLAC and MP3 Downloads + Streaming Songs

February 2, 2012
By


[Photos by acidjack]

I suppose one could fairly accuse this site of not featuring enough heavy music.  There are several reasons for that, not least being that a lot of “metal” bands aren’t into being recorded.  But here’s to hoping that changes, especially since Brooklyn has had a vibrant metal scene going for quite awhile now, as chronicled by BrooklynVegan among few “indie” sites that acknowledge metal even exists.  Naam are one of the first bands that made me realize such a gap existed in our coverage, when I saw them open for Om a few years ago.  Naam absolutely slayed then, and they have only gotten better since, combining bad-ass guitar chops with a psychedelic sensibility that makes them a crossover beyond only dedicated headbangers.  This show at Music Hall of Williamsburg found the band opening again, this time for stoner metal mavens Monster Magnet.  The amps and stacks were cranked this evening, and Naam made the most of them over a series of four blistering tracks, including two from their eponymous debut on TeePee Records.  I admit, I was also hoping to hear “Drain You” or “Pennyroyal Tea”, both of which appear on their Nirvana Covers 7″ – but maybe next time.  I hope this is but one of many heav(ier) shows I cover in the fine year of 2012!

JFCB and I recorded this set with tiny DPA 4061 microphones that captured the full range of the band’s sonic assault.  The recording is dense, upfront and excellent. Enjoy!  Note: any setlist help would be appreciated!

Stream “Kingdom”

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Direct download of MP3 files [HERE] | Direct Download of the FLAC files [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.

Naam
2012-01-13
Music Hall of Williamsburg
Brooklyn, NY USA

Recorded by acidjack and Johnny Fried Chicken Boy
Produced by acidjack
for NYCTaper.com

DPA 4061>CA-UBB>Edirol R-05 (24/48)>Audacity (mixdown, set fades, tracking, amplify and balance, downsample)>FLAC ( level 8 )

Tracks [setlist help would be much appreciated]
01 Skyling Ship
02 Starchild (pt 1)
03 Starchild (pt 2)
04 Icy Row
05 Kingdom

If you enjoyed this recording, PLEASE SUPPORT Naam, visit their MySpace page, follow them on Twitter, and purchase their debut album from TeePee records [HERE]

Our Mountain: January 16, 2012 Glasslands – FLAC and MP3 Downloads + Streaming Songs

January 19, 2012
By


[Photos by acidjack]

In an excellent piece in the L Magazine entitled “101 Secrets to Indie Rock Success”, the magazine advises that “[p]laying instruments on a stage isn’t all there is to a performance. It’s got to rise to the level of a show. There are different ways to put one on, but just playing instruments, even quite well, isn’t enough.”  Our Mountain have obviously taken that to heart in a big way – they’re one of the most dynamic, engaging new live bands I’ve seen in awhile, and they look the part.

The third act of a four-act Glasslands bill with no weak links, Our Mountain still stood out immediately.  They come at you with punk sneer but play with adept, post-punk atmospherics and texture.  Their sound is all-encompassing, at times foreboding, at times coke-buzz intense. Frontman Matthew Hutchinson’s writhing, twisting moves and confident delivery make him seem like a frontman with decades of experience, and his vocal delivery puts him squarely in the company of great postpunk forebears like Gang of Four.  He comes by his non-American accent honestly as well – the bandmembers, now based in Brooklyn, originally hail from Melbourne, Australia.

Along with the killer music, the band has also gotten a fair amount of press for one of its founders, percussionist/keyboardist, femme fatale and model Abbey Lee (Abbey Lee Kershaw, in the fashion world).  She’d be the tall, beautiful, striking blonde woman in the back corner – most strikingly, when she was banging a heavy chain against a trashcan lid during the set opener “Drury Lane”.  But beyond Lee and her look, this band has that general sense of polish that tells you they are going places.  Live, each of their songs is delivered like it’s the last time they’ll ever play it – like they mean it.  Maybe it’s that whole “journeying from halfway around the world to make your rock n’ roll dreams come true” thing that makes them try that little bit harder – maybe.  Whatever the reason, Our Mountain are playing like they want this all to mean something, and they’re only getting started.  With no official releases under their belt yet, the band is gunning for live and studio opportunities.  My suspicion is they’ll get them.

I recorded this set with DPA 4021 microphones and a soundboard feed from the Glasslands FOH team.  The results are outstanding.  Enjoy!

Stream “Drury Lane”

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Stream “Wooden Hearts”

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Direct download of MP3 files [HERE] | Direct Download of the FLAC files [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.

Our Mountain
2012-01-16
Glasslands
Brooklyn, NY USA

Digital Master Recording hosted exclusively at nyctaper.com
Recorded and produced by acidjack

DPA 4021>Naiant littlebox + Soundboard >> Edirol R-44 [Oade Concert Mod]>2x24bit/48kHz WAV>Audacity (mixdown, set fades, tracking, downsample)>FLAC ( Level 8 )

Tracks
01 Drury Lane
02 Midnight Black (with a white diamond on her forehead)
03 Untitled
04 1981
05 Wooden Hearts
06 Pink Elephant

If you enjoyed this recording, PLEASE SUPPORT Our Mountain, visit their website, like them on Facebook, and follow them on Twitter.  And go see their shows.  Definitely do that.  

The Phantom Family Halo: January 16, 2012 Glasslands – FLAC and MP3 Downloads + Streaming Song

January 19, 2012
By


[Photos by acidjack]

The Phantom Family Halo deserve your attention – and they’ve already gotten their fair share.  Last year’s The Mindeater EP with Bonnie “Prince” Billy, another artist with some Louisville roots, earned them mention in the New York Times and beyond.  Bandmember Dom Cipolla also participated in another high-profile collaborative affair recently when he contributed to a live session at Joe’s Pub that covered Brian Eno’s Here Come the Warm Jets.  This Monday night show at Glasslands, however, was dedicated to the band’s own material, in particular their forthcoming release When I Fall Out, due out on Knitting Factory Records on Valentine’s Day.  You can stream the studio version of one of the album tracks, “White Hot Gun”, here, and the live version from this show below.

This show found the band tearing through what should be a large portion of the new record, and in fine form while doing it.  With a sound that straddles the divide between psych rock and British metal, Phantom Family Halo put on a sonic assault of a rock show that isn’t just a display of the power of their effects pedals or ability to noodle on their instruments.  Rather, their songs are often tightly wound and forcefully delivered.  With members of Sapat and The For Carnation among the players, it’s as if Phantom Family Halo takes some cues from those acts, but with the energy turned to eleven.  This fairly short set felt a bit like a preview of what to expect when the record drops – so lucky for you, they have a record release show set for February 11 at the up-and-coming Greenpoint venue Saint Vitus, where they will be joined by our good friends The Loom.

I recorded this set with DPA microphones from our usual spot in the venue, plus a soundboard feed from the Glasslands FOH team.  The results are excellent. Enjoy!

Stream “White Hot Gun”

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 MP3 files [HERE] | Direct Download of the FLAC files [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.

The Phantom Family Halo
2012-01-16
Glasslands
Brooklyn, NY USA

Digital Master Recording hosted exclusively at NYCTaper.com
Recorded and produced by acidjack

DPA 4021>Naiant littlebox + SBD >> Edirol R-44 [Oade Concert Mod]>2x24bit/48kHz WAV>Audacity (mixdown, set fades, tracking, amplify and balance, downsample)>FLAC ( level 8 )

Tracks
01 The Fall Out
02 White Hot Gun
03 Dirty Blade
04 Light Year Girl
05 Above My Head
06 Lightning On Your Face
07 The Fall Out (Suite)
08 Vital Energy

If you enjoyed this recording, PLEASE SUPPORT The Phantom Family Halo, like them on Facebook, and pre-order The Fall Out and buy their other official releases from Knitting Factory Records [HERE]

Yo La Tengo: December 27, 2011 Maxwell’s – FLAC and MP3 Downloads + Streaming Songs

January 2, 2012
By

photo
[Photo from night one courtesy of EarDrumNYC]

That life is short is one of those well-worn cliches.  It’s also true.  Knowing that this would be the only Yo La Tengo Hanukkah show I would see this year – and knowing that YLT frontman Ira Kaplan might not have been able to make it at all – that old cliche came to mind in full force.  This is a band that consistently holds nothing back – a band that, whenever its career is over, will wind up its run with no regrets.  The same can be said of this Hanukkah run at Maxwell’s, which found classic acts like Pussy Galore and The Trypes reunited, showed off Lee Ranaldo’s post-Sonic Youth project, and found critical darlings like the Sea and Cake and Kurt Vile opening.

The openers are always a big part of the story with these shows, but Yo La Tengo rightfully remains the focus.  Once again, they delivered a set that was by turns fiercely jammy and rocking, quiet and pensive, and funny.  And as with virtually every Hanukkah set they play, it was full of surprises and special guests.  Continuing the tradition of covering Jewish musicians, after a solemn opener of “As the Hour Grows Late,” the band moved on to Bob Dylan’s “I Threw It All Away”, followed by a nearly ten-minute guitar-freakout version of Velvet Underground’s “Heroin,” that featured Eleventh Dream Day’s Rick Rizzo ripping it up on guitar.  Though still early in the night, that could easily be my top highlight.  On the other hand, it’s hard to argue with the sprawling sequence of “From A Motel 6” into two Beatles numbers “Flying” and “It’s All Too Much” each featuring The Trypes.  But then, if you were Ira, you’d probably pick the song that closed out the eight-night session – his mother, Marilyn, performing Bob Hilliard and Lee Pockriss’ “My Little Corner of the World”.  Ms. Kaplan and her son can now check another item off of their bucket list.  And so do we.

nyctaper and I recorded this set with four microphones and soundboard feed running into two clock-synced decks, providing rich, fantastic sound.  Enjoy!

Thanks to Jesse Jarnow of The Village Voice and Frank & Earthy for the setlist and his outstanding coverage of all eight nights.  Also, our final YLT recording of 2011, the December 24 show, will be posted Wednesday.  

Stream “Heroin [Velvet Underground]”:

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Stream “From A Motel 6”:

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Direct download of MP3 files [HERE] | Direct download of FLAC files [HERE]

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Yo La Tengo
2011-12-30
Maxwell’s
Hoboken, NJ USA

Digital Master Matrix Recording
Hosted exclusively at nyctaper.com

Recorded by nyctaper and acidjack
Produced by acidjack

Soundboard + DPA 4021>Sound Devices USBPre2 + Neumann KM150 >> 2x Edirol R-44 [Oade Concert Mod] (decks clock synced via the USBPre2)>6x24bit/48kHz WAV>Audition (mix down, light EQ, downsample to 44.1kHz)>Audacity (set fades, tracking, amplify, downsample to 16bit)>FLAC ( level 8 )

Tracks [Total Time 1:40:23]
01 [intro]
02 As The Hour Grows Late*?
03 I Threw It All Away [Bob Dylan]*
04 Heroin [Velvet Underground]^
05 I Should Have Known Better?
06 Swing For Life
07 Damage
08 Liz Beth [Eleventh Dream Day]^?
09 Big Day Coming (acoustic)^
10 [banter]
11 The Empty Pool [Yung Wu]%
12 From A Motel 6> %
13 Flying [The Beatles]>#
14 It’s All Too Much [The Beatles]>#
15 I Heard You Looking!
16 Take Care [Alex Chilton]
17 [encore break]
18 Blue Line Swinger
19 [banter]
20 My Little Corner of the World [Bob Hilliard, Lee Pockriss]@

* with Rick Rizzo on guitar and John Baumgartner on accordion
^ with Rick Rizzo
% with Glenn Mercer
# with the Trypes
! with Glenn Mercer, John Baumgartner and Stan Demeski
@ with Marilyn Kaplan on vocals

If you download this recording from NYCTaper, we expect that you will PLEASE SUPPORT Yo La Tengo, visit their website, and purchase their official releases from the store at their website [HERE].

NYCTaper Top 25 Concert Moments of 2011: MP3 Downloads and Streaming Songs

December 23, 2011
By

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Live music in 2011 saw several newer bands consolidate their hold on greatness, while well-established acts from the 90s brought out crowds for reunion shows and, sadly, farewells. For those of us at the site, we were inspired by crowds of people who were, in a lot of cases, younger than we were checking out bands like Archers of Loaf live for the first time, or finally gaining appreciation for the work of artists like Cass McCombs and Bill Callahan. At the same time, favorite new or new-er bands like Widowspeak, The War on Drugs, White Fence and Mr. Dream, each of whom we saw multiple times, saw their fanbases grow quickly. If you heard their music for the first time on this site, and liked it enough to give them a look for yourself, well, we are all the more honored and grateful.

With four tapers contributing recordings to the site on a regular basis, picking the “best” 25 moments of an entire year is practically impossible. Looking back on another great year for the site, though, each of these particular moments from a show we recorded stands out in some particular way (though they are in particular order). A complete seamless mix is available for download below, plus streaming selections of each. We hope you enjoy our picks, and look forward to sharing more great artist-approved recordings in 2012.

Want the first word about recordings in 2012 (including in-show updates)? Follow nyctaper and acidjack on Twitter, and like NYCTaper on Facebook.

DOWNLOAD A FULL SET OF ALL 31 SONGS IN MP3 FORMAT [HERE]

1. Sonic Youth – “Inhuman” (Williamsburg Waterfront, August 12)

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Well-publicized changes in the personal lives of Thurston Moore and Kim Gordon, the reigning king and queen of indie rock for the past two decades, may mean that Sonic Youth‘s performance at the Williamsburg Waterfront in August was their last NYC show. We hope that’s not the case. But if it is, wow, this band went out in as massive a style as possible, delivering a set full of rarities with the energy of 18-year-old punks instead of “elder” statesmen. The night closed with the apocalyptic noise squall of “Inhuman”, an at-times brutal piece of music that highlighted Sonic Youth’s roots as an art-punk noise band. While it is probably the worst quality recording of anything in this top 25, this blowout show closer, with its blasts of feedback, was easily one of the most memorable. Maybe there was something even more personal in those screams and feedback than we realized at the time.

Full post of this show [HERE]

2. The War on Drugs – “Arms Like Boulders” ( Bowery Ballroom, January 8 )

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The War on Drugs were a band we unabashedly fell in love with this year. An act that we first saw as an opening band, and who we saw in a huge range of venues this year (from Cameo Gallery to Webster Hall), these guys have earned their acclaim the old-fashioned way. First, their 2011 album Slave Ambient was an instant classic, a Dylanesque masterpiece. Second, they played a flat-out great live show, and they just kept getting better as the year went on. We chose this recording from the Bowery Ballroom because, well, it’s Bowery, and that place always sounds amazing.

Full post of this show [HERE]

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3. Deerhunter – “Flourescent Grey” (Webster Hall, August 23).

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Although Deerhunter and Atlas Sound had appeared on this site several times, I (not speaking for the others from the site) counted myself as a Bradford Cox skeptic. That is, until Bradford and the band led off this show at Webster Hall with this song. The band’s sound became a living alien beast, breathing and hissing as the stage was bathed in an eerie green glow. The effect was aurally and visually arresting, and the show didn’t slow down a bit from there. I count myself a believer now.

Full post of this show [HERE]

4. Cass McCombs – “County Line” (Bowery Ballroom, May 12)

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The American songwriter Cass McCombs is a critical darling, and has been since his first releases early last decade. Humor Risk, his new release on Domino Records, seems like the record that will make Cass a favorite with fans as well as critics. We know for sure that he sold out this show at Bowery quite handily, and Wit’s End has made an appearance on many a year-end list. This song, in particular, is a highlight, and this beautiful recording is a nearly flawless capture of Cass at his best.

Full post of this show [HERE]

5. The Psychic Paramount – “Ddb” (Union Pool, July 26)

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The Psychic Paramount provided me with one of those classic moments where an opening band completely overshadows the headliner, and wins a ton of new fans in the process. I caught the band this summer at Union Pool after reading some positive notice for their latest record, II. The album is an excellent work of psychedelic instrumental rock, but the live show – with the band shrouded in a stream of thick smoke, shredding on their guitars – took the experience to the next level.

Full post of this show [HERE]

6. The Smashing Pumpkins – “Muzzle” (Terminal 5, October 18)

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The latest addition to our team, hi and lo, is a longtime Smashing Pumpkins taper who has crisscrossed the country covering the band. This was another act that I admittedly had somewhat given up on after their late-90s release Machina failed to ignite. Once again I was more than happy to be proven wrong, and reminded of the original greatness of this band. hi and lo invited the entire crew to this show, and it was one of the best we saw this year – a powerfully delivered, rocking performance that rivaled this band at their stadium rock peak in the mid-90s. The Mellon Collie and the Infinite Sadness track “Muzzle” – slightly lesser known but one of that album’s best – was a highlight in a show that was filled with them.

Full post of this show [HERE]

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7. Low – “Witches” (Bowery Ballroom, April 27)

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Low are a longstanding band who recently proved that they may yet hit their critical peak. Their 2011 release, C’mon, was outstanding – an artistic triumph, and one of their best since their inception in 1993. This show, as I put it then, demonstrated the value of speaking softly, as the band delivered a set of understated grace and majesty. The song “Witches”, with its somber guitar riff, is one of my favorite on the new record, and was one of the highlights of the night.

Full post of this show [HERE]

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9. Lucero – “Across the River” (Mercury Lounge, July 23)

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Johnny Fried Chicken Boy went to see “Nobody’s Darlings” booked as the late show at Mercury Lounge knowing full well that who this mystery band would be. Taking a pause from their stint on the Warped Tour, Lucero rocked an appreciative and typically rowdy weekend Mercury crowd with a 100-minute, free-ranging set. This is the kind of band that defines live rock n’ roll – great players who sound natural, relaxed and like they’re having as good a time as you are. Since first seeing this band as an opener for The Black Keys back in 2009, we have watched their star continue to rise. With a headlining show coming up the day before New Year’s Eve at Brooklyn Bowl, you can be sure Lucero has plenty left in the tank for this year.

Full post of this show [HERE]

10. Godspeed You Black Emperor! – “World Police and Friendly Fire” (Brooklyn Masonic Temple, March 16)

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I wrote what I thought was my best review that year on my iPhone during the first run-through of this song I heard the night before – so inspired by what I was seeing and hearing I had to capture my thoughts that instant. Of the show, I said in part: “GYBE are an unabashedly political band, and their music, as well as the intense visuals that their live performances soundtrack, are political in a mostly-abstract way. The visuals are mash-ups that evoke the world’s extremes; majesty and beauty in the midst of nascent dread. Here you see the fires of smoldering factories soundtracked by a plaintive surge of sound, where the sound of even the lowly triangle can take on menace. But there is beauty there, as there is in an unmolested glen; in a snippet of a nostalgic ramble that is both endearing and creepy. During the two and a half hour opus that was this phenomenal return to Brooklyn at the Brooklyn Masonic Temple … we were reminded that out of each paroxysm of suffering and bout of anxiety, there remains the zeal and fervor of hope.”

Full post of this show [HERE]

GYSBE

11. Yo La Tengo feat. David Byrne – “Thank You For Sending Me An Angel [Talking Heads]” (Maxwell’s, March 23)

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Our original goal for this post was not to repeat any bands that made the list last year, but Yo La Tengo deliver something so special at every show, it was impossible to ignore this once-in-a-lifetime happening. Musicians across New York and the United States were moved to help their brethren in Japan after the terrible damage wrought by the tsunami and subsequent nuclear reactor meltdowns. Yo La Tengo did their part by throwing this very special benefit show at their homebase venue of Maxwell’s, with all proceeds going to Peace Winds Japan. David Byrne appeared with the band and performed a special rendition of this Talking Heads classic. A direct donation to Peace Winds Japan was required to be able to download this set, and through those donations, we have raised over $5,000 for the organization to date.

Full post of this show [HERE]  donation to Peace Winds Japan is required to download the show.

yolatengobyrnejapan

12. Destroyer “Kaputt” (Webster Hall, April 3)

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Pitchfork may have ultimately handed the #1 spot on their year-end best-of to Bon Iver, but I called it back in April that Destroyer’s Kaputt would be close. A weird, wonderful album that resurrected the saxophone for new generation of rock fans, as I put it back then, “…Bejar’s music is almost radically foreign to what else is going on in American music today. Which is to say, Kaputtisn’t really dance music, nor can it be considered “rock” of most common varieties, and neither is it some fist-pumping, amped-up hybrid of the two. Bejar’s edges are soft, his choruses delivered on a silky train of trumpet and sax trills in a moderate, almost diffident tone. If the common mode for today’s bands is a marriage of post-punk and hard dance music, 2011’s Destroyer could be, well, “indie rock and smooth jazz…” This live show at Webster Hall was a hotly anticipated one this year, and Bejar nailed it.

Full post of this show [HERE]

13. The Antlers – “Putting the Dog To Sleep” ( Knitting Factory, May 8 )

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The Antlers continued their rise in the ranks of local bands this year with the release of their new album, Burst Apart. We were fortunate enough to catch a very special secret show at The Knitting Factory sponsored by BrooklynVegan, at which the band played the entire new album for a group of hardcore fans. This was the first time we had heard a number of these songs live, and it was evident from the start that Burst Apart was a huge creative leap forward for the band.

Full post of this show [HERE]

theantlers04

14. Wye Oak – “The Alter” (Rock Shop, January 27)

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It was absolutely freezing out when I went to see Wye Oak, performing a special invite-only show after opening for The Decemberists the night before. The band was on the cusp of releasing Civilian, an album destined for many best-of lists, and they were surrounded by friends and family to debut many of its songs live. The intimate jewel box of Rock Shop was the perfect place to do it, feeling like our personal living room as we watched the duo play. After going through the experience of being an opening act at the Beacon Theatre the night before, I’m sure it felt like a sort of homecoming for the Baltimore natives.

Full post of this show [HERE]

15. White Fence – “Baxter Corner” (Bowery Ballroom, August 13)

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Our first exposure to White Fence came as they opened for Woods at Bowery Ballroom, on a night when the NYCTaper crew decided to team up and use a combination of our finest equipment. Not only is our capture one of our best recordings of the year, but this new “band” (basically the solo artist Tim Presley, with members of Woods and drummer Nick Murray as his backing band) blew us away with its catchy garage-psych tunes.

Full post of this show [HERE]

16. Family Band – “Again” (Backyard Brunch Sessions, July 23)

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Our friends at the Backyard Brunch Sessions held another successful summer season of intimate outdoor shows. Not only did they give the NYCTaper team the chance to show off what we can do recording-wise, but they introduced us to some fantastic new talent. Of all the acts hosted at the BBS this summer, Family Band was probably my single favorite. Lead by the husband and wife team of Jonny Olsin and Kim Krans, the band played a mesmerizing set on this sweltering midsummer afternoon. They call their music “death prom,” and indeed, it is downbeat, but its pastoral quality is one of its greatest strengths, well earned in the band’s upstate Catskills recording location.

Full post of this show [HERE]

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17. Blitzen Trapper – “Good Times Bad Times [Led Zeppein]” (Maxwell’s, December 9)

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Blitzen Trapper were out east from Portland for a live appearance on Letterman, and decided to grace their big fans with a Maxwell’s show while they were at it. The tight, energetic and totally fired-up crowd lapped up the 25-song set, which culminated with a ripping cover of “Good Times Bad Times” by the mighty Led Zeppelin.

Full post of this show [HERE]

18. Bill Callahan – “Say Valley Maker” (Bowery Ballroom, July 12)

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Bill Callahan is an uncanny musician – with songwriting chops, unique phrasing and a distinctly American style that is both timeless and timely. His new record Apocalypse is but one of a long run of critical and fan favorites from the songwriter, who recorded during most of the 90s under the moniker Smog.  This show found Callahan combining a set heavy on new material with some of his earlier favorites.  Callahan and his band performed a rich set that found some numbers stretching into lengthy instrumental meditations, and none so much as this nearly 10-minute rendition of “Say Valley Maker” from his 2010 effort, Rough Travel for a Rare Thing.

Full post of this show [HERE]

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19. The Hold Steady – “How A Resurrection Really Feels” (Beekman Beer Garden, September 17)

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Four years to the day that the site first covered The Hold Steady, we caught them again at an outdoor show that took full advantage of Craig Finn’s barroom-friendly tunes. We saw the Hold Steady twice this year, and both times the band continued to capture the magic they’ve had since their inception. Finn slows no sign of slowing down – or selling out.

Full post of this show [HERE]

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20. Fucked Up – “Running On Nothing” (Warsaw, November 15)

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In some ways, it’s appropriate that Fucked Up would follow The Hold Steady on this list – both are known for raucous, exceptionally fun live shows. Fucked Up is my one repeat choice from last year, and the reason I chose them again is simple: Once again, they have transcended the confines of their ostensibly “punk” roots to deliver an album of exceptional complexity and bravado. This show at Warsaw was a complete run-through of that album, David Comes to Life, and this song, with its dueling guitars, was one of the highlights.

Full post of this show [HERE]

21. Tristen – “Doomsday” (NYCTaper CMJ Day Party at Cake Shop, October 21)

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For the last several years, NYCTaper has thrown an unofficial “day party” during the CMJ Music Festival – an opportunity for us to get drunk throw a concert for artists we appreciate and make some damn fine recordings, too. Tristen released a new record this year, earned lots of good reviews, but hadn’t really hit the NYC scene very hard, despite the immediate accessibility of her country-tinged indie-folk. Several people thanked us for urging them not to miss her set at our show at Cake Shop. But if you did, here’s a second chance – don’t miss Tristen.

Full post of this show [HERE]

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22. Jessica Lea Mayfield – “Run Myself Into the Ground” (Glasslands, November 17)

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Glasslands was my most common haunt this year for a couple of obvious reasons – the semi-DIY Williamsburg venue and its partnership with PopGun Booking continue to bring in some of the best up-and-coming talent in this city in an artful, relaxed environment – and it sounds great most nights, thanks to current house engineer Josh Thiel. As to Jessica Lea Mayfield, we’ve caught her in fancier environs like Bowery, but this intimate, packed and sold-out show was the best of hers that we’ve seen. It was hard to pick a single favorite of the many revelatory shows I saw at Glasslands, but this one is certainly in my top few.

Full post of this show [HERE]

23. Archers of Loaf – “Dead Red Eyes” (Music Hall of Williamsburg, June 25)

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Archers of Loaf had been gone long enough at this point that some original fans had forgotten to even miss them. Well, that’s OK – there were plenty of new ones to take their place at this show at Music Hall of Williamsburg. Screaming out for songs they’d never heard live, singing along with lyrics, plenty of new fans showed up for this gig. Plenty of veterans did, too – after reliving this band’s greatness on records like Vee Vee and Icky Mettle. Frontman Eric Bachmann hasn’t stopped making music (he’s Crooked Fingers more often these days), and it showed in his instant poise once back together with his old bandmates. This slow burner was one of many memorable moments of a night that made us hope Archers of Loaf would stick around awhile.

Full post of this show [HERE]

24. Guided by Voices – “Don’t Stop Now” (McCarren Park, June 18)

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The NYCTaper crew contributed this recording as an official release that is for sale on the Guided by Voices website. In case you were wondering, we weren’t paid for doing it – our goal was only to make the definitive recording of this legendary band. “Definitive” or not, I think this one is very good – and a perfect representation of the highlight show of this year’s Northside Festival.

This show for sale at gbvdigital.com [HERE]

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25. Mountain Goats – “This Year [with Craig Finn]” (Bowery Ballroom, March 28)

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Appropriately, our year-end compilation ends with John Darnielle and guest Craig Finn singing the perfect sendoff to 2011. “I am gonna make it through this year if it kills me” could mean a lot of things, but for us, we’re fortunate that we were able to continue to do what we love doing as a hobby, without financial support, and to – yeah – be able to continue to treat this thing that we do as a hobby rather than a job. Bands like the Mountain Goats, and their consistently surprising, fan-friendly performances are a big part of what makes this site worth doing. The other part is of course you, our readers. Happy New Year!

Full post of this show [HERE]

HONORABLE MENTIONS:

Lemonheads – “My Drug Buddy” (Bowery Ballroom, October 10)

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Sebadoh – “Willing to Wait” (Maxwell’s, November 11)

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Deer Tick – “Bastards of Young [The Replacements]” (Webster Hall, November 20)

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Hoop Dreams – “Home Alone” (Glasslands, August 2)

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Sharon Van Etten – “Love More [w/ Peter Silberman]” ( Bowery Ballroom, January 8 )

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Melvins – “Second Coming>The Ballad of Dwight Frye” (Music Hall of Williamsburg, June 6)

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Special thanks to all of the artists, management, labels, photographers and other music sites that have supported NYCTaper this year. And of course, a huge thank you to our readers, who we hope to continue to provide with high-quality, artist-sanctioned recordings, reviews and photos throughout 2012. Happy New Year!

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