Posts Tagged ‘ live music ’

Steve Gunn: December 9, 2016 Bell House

December 11, 2016
By



Watching Steve Gunn and his latest band play this performance at The Bell House reminded me of the below Gunn performance with Alex Bleeker & the Freaks at the “Play Dead” show that we captured in 2015. Gunn’s music at the time — consisting of solo guitar records, his duo work in Gunn-Truscinski Duo, and his two Paradise of Bachelors LPs, Time Off and Way Out Weather — wasn’t necessarily the work of someone who revered the Dead. But as he and Bleeker’s band played “Wharf Rat” that night, it all clicked. Part of what continues to make the Grateful Dead so special is that there are multiple entry points to the band, a whole universe of styles and vibes contained within individual tours and individual shows and, even, individual songs. Gunn wasn’t a person who mimicked the band’s style(s), at all, but he had absorbed many of their lessons. And this show, more than most of his I have seen, proved it.

This show, the band’s final of the year after a long slog of touring and greatly increased exposure thanks to Gunn’s Matador Records debut, Eyes On the Lines, was my first time seeing most of Eyes On the Lines in the live setting, despite having seen Gunn several times this year. Maybe it was the hometown crowd, whose love is unconditional and the opposite of the “play the hits” mentality of the festival crowds, maybe it was the finely honed interplay among the musicians, maybe it was just them saying “fuck it” and doing things the way they wanted — whatever it was, Gunn and Co. came out and turned even some of the relatively concise material of Eyes On the Lines into life-affirming jams that both challenged and enlightened. What’s most gratifying about watching an artist that you’ve followed for a while keep doing this after achieving his greatest commercial popularity to date is to know how unafraid of it he is, how resolutely true to himself.

Gunn bookended the show with stripped-down songs, starting things off with a fourteen-minute solo acoustic “Old Strange” that was a classic mix of Gunn’s earnest lyrics and desert blues guitar, with the “Wildwood” encore with James Elkington on the electric and Steve on the acoustic. While hearing the new songs — especially a personal favorite, “Ancient Jules” — was a blast, what also stuck me was once again how the music cut through the heaviness of the political moment without flinching from it. Gunn’s impassioned intro to “Park Bench Smile” about inclusion and “fighting what the fuck’s happening” hit its mark, but the song, as rendered, spoke for itself. A noisy, messy, emphatic rendition of the song, it felt like so much of this moment, chaotic but, ultimately, resolved into something hopeful, defiant, and right. What a way to end a year.

I recorded this set with engineer David Hurtgen’s house mix combined with Schoeps MK41V hypercardiod microphones. David’s regular work with the venue shows here, as the sound is dialed in and excellent. Enjoy!

Download the complete show: [FLAC/ALAC/MP3]

Stream the complete show:

Steve Gunn
2016-12-09
The Bell House
Brooklyn, NY USA

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

Soundboard (engineer: David Hurtgen) + Schoeps MK41V (at SBD, PAS)>KC5>CMC6>>Zoom F8>2x24bit/48kHz WAV>Adobe Audition CC (align, mix down, compression, fades)>Izotope Ozone 5 (EQ, effects, image)>Audacity 2.0.3 (track, amplify, balance, downsample, dither)>FLAC ( level 8 )

Tracks [Total Time 1:26:57]
01 [intro]
02 Old Strange [solo acoustic]
03 Way Out Weather
04 Conditions Wild
05 [banter]
06 Ancient Jules
07 Night Wander
08 Full Moon Tide
09 [banter2]
10 Ark
11 [banter3]
12 Park Bench Smile
13 [encore break]
14 Wildwood [duo w/ Elkington]

Band:
Steve Gunn
James Elkington – Guitar
Jason Meagher – Bass
John Truscinski – Drums

PLEASE SUPPORT STEVE GUNN: Go to matadorrecords.com or your local record store and buy Eyes On the Lines. 

And then, please consider donating to local organizations that support freedom and fair treatment for all, such as the New York Civil Liberties Union and the New York Immigration Coalition.

Oneida: July 30, 2016 Secret Project Robot

August 2, 2016
By

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Oneida used to share a building in Williamsburg with the DIY art institution Secret Project Robot — a relationship we documented both at the band’s private studio space, and at a series of farewell shows for the group at that location. While the band and SPR physically went their separate ways, the two remained united in ethos, and Oneida have remained a fixture at SPR events since. This summertime performance — held indoors because of rain — was yet another farewell to Secret Project Robot, which will be relocating from its Melrose Street location in Bushwick to a new frontier this fall. It was fitting, then, that Oneida helmed the sendoff, joined by some of the strongest local bands going, including Guerilla Toss and Honey.

This set was dominated by the band’s “Preteen Weaponry” three-part song, as well as fairly concise versions (by Oneida standards) of “Bad Habit” and “Economy Travel.” As the band’s cryptic sounds filled the repurposed warehouse space, walls covered in trippy 90s-referencing images (Bart Simpson, Ninja Turtles), it was yet another reminder of what spaces like Secret Project Robot mean to the people who frequent them, and what they mean to cities in general. Even if you’re not one of the proud freaks and weirdos (I don’t think of those as insults) who hangs out there, even if you’ve never set foot in a place like it, Secret Project Robot has had an effect on your city, and in a sense, on who you are. Spaces like this are for the true creators, the ones whose utter abandonment of the expected opens up whole new zones of the possible. And as long as there are these spaces, and the people in them, we will be a better place for it.

But a space like Secret Project Robot isn’t a warehouse or an address — it’s an idea. And we look forward to what they will do next.

I recorded this set with Schoeps MK4V microphones and an Aeta PSP3 preamp way up front. The sound quality is excellent. Enjoy!

Download the complete set: [MP3/FLAC/ALAC]

Stream the complete set:

Oneida
2016-07-30
Secret Project Robot
Brooklyn, NY USA

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

Schoeps MK4V (FOB, ROC, PAS)>KCY>Z-PFA>Aeta PSP3>Roland R-26>24bit/48kHz WAV>Adobe Audition CS 5.5 (fades)>Izotope Ozone 5 (EQ, effects)>Audacity 2.0.3 (track, amplify, downsample, dither)>FLAC ( level 8 )

Tracks
01 Preteen Weaponry Part I
02 Preteen Weaponry Part II
03 Preteen Weaponry Part III
04 Bad Habit
05 Economy Travel

If you enjoyed this recording, PLEASE SUPPORT Oneida. Visit their website, like them on Facebook, and buy the Positions EP from Rocket Recordings.

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Hans Chew: July 23, 2016 Trans-Pecos

July 27, 2016
By

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We’ve been following Hans Chew for a while now, since he first played our CMJ show in 2012. Back then, Hans spent the set behind the piano, playing his boogie-driven tunes like modern madcap Jerry Lee Lewis. By the time Hans showed up for this Trans-Pecos show in 2016, he was preparing to release a stellar new album, Unknown Sire, with our friends Divide By Zero records. But when we talked to Hans before this show, he explained to us that he had been so motivated by reading a recent biography of Neil Young that he decided to take an entirely different approach this time — and that for this show, he had an entire new album to draw from. As a result, Hans played the role of guitar lead this time, and he shared three new jams that take clear inspiration from Young’s most daring guitar efforts. As he led off with the sprawling “Cruikshanks,” we could tell this was a very different Hans Chew indeed, one who reveled in extended guitar solos and longer narratives. If any of the three songs fit most closely with Chew’s previous efforts, it was probably the upbeat, honky-tonk inspired “Open Sea,” which itself clocked in at over six minutes, and led into “Freely,” which began as a midtempo rocker before exploding into a fiery solo at the end. Though we’re thrilled for the upcoming record, one has to hope this latest material doesn’t have to sit in the hopper for too long, either.

I recorded this set with Schoeps MK22 microphones close to the stage, Naiant X-X omnis split wide on stage, and a soundboard feed. The sound quality is excellent. Enjoy!

Download the complete set: [MP3/FLAC]

Stream the complete set:

Hans Chew
2016-07-23
Trans-Pecos
Queens, NY

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

Schoeps MK22 (FOB, ROC)>KCY>Z-PFA + Soundboard + Naiant X-X (3’ split, onstage)>>Zoom F8>3x24bit/48kHz WAV>Adobe Audition CS 5.5 (align, mix down, fades, compression)>Izotope Ozone 5 (image, EQ, exciter)>Audacity 2.0.3 (track, amplify, balance, downsample, dither)>FLAC ( level 8 )

Tracks
01 Cruikshanks
02 Open Sea
03 Freely

Band:
Hans Chew – Vocals, Guitar
Dave Cavallo – Guitar
Rob Smith – Drums
Jimy SeiTang – Bass

Support Hans Chew: Website | Facebook | Divide By Zero Records

Journalism: May 21, 2016 Trans-Pecos

June 7, 2016
By

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You can’t always be sure that a band that sounds good in the studio — and Journalism sounds great on their debut, Faces — will measure up live. We’re extra-excited to report that Journalism are one of those bands, and then some, and we were grateful to host them at Trans-Pecos on a recent Saturday night. Lead singer/guitarist Kegan Zema is a savvy live performer, one who works to look and act the part, and the crack band of Mike Greene (guitar), Owen Keiter (bass) and Brendan Mehan (drums) has a well-oiled and well-practiced sound. Sound-wise, I hear a little bit of Television and Ride in them, as well as some later younger bands like DIIV and Cloud Nothings. This show led off with a new song, “Passenger,” before taking us through most of Faces. The band saved their best song (so far) for last, the propulsive, engaging “Faces I,” a rather dark take on the business of rock n’ roll itself, especially coming from a young band. In this day and age I wouldn’t disagree with Zema’s cynicism, but for his sake and ours, I hope Journalism keep on finding this ride to be worth it.

I recorded this set with Schoeps MK22 microphones at the stage lip, plus Schoeps MK41V supercardiod mics on the room and a stereo soundboard feed. The sound quality is excellent. Enjoy!

Download the complete show: [MP3/FLAC]

Stream the complete show:

Stream Faces (then buy it!):
Journalism
2016-05-21
Trans-Pecos
Brooklyn, NY USA

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

Schoeps MK22>NBob Cables>PFA> + Soundboard + Schoeps MK41V (at SBD, ROC, PAS)>KCY>Z-PFA>Zoom F8>6x24bit/48kHz WAV>Adobe Audition CS 5.5 (align, mix down, adjust levels)>Izotope Ozone 5 (EQ, compression, tube effect)>Audacity 2.0.3 (track, amplify, balance, downsample, dither)>FLAC ( level 8 )

Tracks
01 Passenger
02 Watching & Waiting
03 Faces II
04 Time Being
05 Night of Knife
06 Denim Jesus
07 Faces I

SUPPORT Journalism: Facebook | bandcamp

Woods: May 7, 2016 Music Hall of Williamsburg

May 9, 2016
By

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[photo courtesy of P Squared Photography]

At one point during this Woods show at Music Hall of Williamsburg, keyboard/sax player Kyle Forester remarked that North 6th Street in Brooklyn was like the “Broadway of shows.” Coming from the longtime New York musician, it was a statement both ironic and, weirdly, kind of true. It’s old news that what was once the epicenter of DIY has long-since ceded to luxury boutiques and corporate outposts, and, of course, Woods have been in the rotation at the city’s fancier clubs for some time now — we’ve covered them at Bowery Ballroom as far back as 2009, Music Hall as early as 2010. But there’s a message in there somewhere about the trajectory of this band versus their surroundings. Woods have never exactly been an overtly “anti-corporate” band — they simply haven’t played that game. Yet, to call them a “DIY” band understates the professionalism of what Jeremy Earl, as bandleader, has accomplished. If you compare the band that took the stage this Saturday to the one we saw at, say, Market Hotel in 2009, or now-defunct Monster Island in 2011, there is a “next level” that this band, and Earl’s vision, have reached without any of the negative trappings that tend to come with it. What you saw this past Saturday was a now-six-piece (seven when Cole Karmen-Green jumps in on trumpet) full-on spectacle of a rock band, creating some of the most musically complex work of their career.

The band was back in town after touring their latest and ninth album, City Sun Eater In the River of Light, and as tends to be the case with homecoming shows, they came ready to bring their best. The new material, with its sax, trumpets and Afro-Cuban style percussion, takes full advantage of the expanded band, with Aaron Neveu on main drums and John Andrews running a second kit and additional percussion. While this show reflected the new record’s relatively downshifted tempo and accessible, focused songwriting, Woods continued their tradition of adding new “jam songs” to the mix. In this case, that’d be “The Take,” which merge a 1970s Lauren Canyon vibe to the band’s trademark psychedelic sound. Likewise, “With Light and With Love,” from the band’s last album, continued its role as the band’s other longform offering, with a classic guitar freakout that gave Earl and Jarvis Taveniere the chance to fully stretch their wings. Not that the longtime fans weren’t taken care of by this set, either — among the band’s earlier tunes, the combo of “Suffering Season” and “Cali In A Cup” was there for the early decade stalwarts.

The band closed on the oldest number of the night, their cover of Graham Nash’s “Military Madness” from 2009’s Songs of Shame. We first recorded the band playing that song at that Market Hotel show in 2009, as ramshackle of an affair as this evening at Music Hall wasn’t. Since that time, that DIY club has closed and been reborn as a (mostly) grown-up venue, and Woods have produced an embarrassment of musical riches. In the end it isn’t the spaces in cities that matter, but what inhabits them. We continue to be grateful that Woods visits so many of ours.

I recorded this set from our usual spot in the venue, together with a direct feed of Kevin Mazzarelli’s flawless mix. The sound quality is outstanding. Enjoy!

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

Stream the complete show:

Woods
2016-05-07
Music Hall of Williamsburg
Brooklyn, NY USA

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

Soundboard (engineer: Kevin Mazzarelli) + Schoeps MK41V (at SBD, DFC, PAS)>KC5>CMC6>Aeta PSP3>>Zoom F8>2x24bit/48kHz WAV>Adobe Audition CS 5.5 (align, mix down, light compression, fades)>Izotope Ozone 5 (EQ, effects, imaging)>Audacity 2.0.3 (track, amplify, balance, downsample, dither)>FLAC ( level 8 )

Tracks [Total Time 1:16:57]
01 Morning Light
02 Politics of Free
03 Leaves Like Glass>
04 Hollow Home
05 Sun City Creeps
06 The Take
07 [banter1]
08 Shepherd
09 Suffering Season>
10 Cali In A Cup
11 [banter2]
12 Creature Comfort
13 With Light and With Love
14 [encore break]
15 Moving to the Left
16 Military Madness [Graham Nash]

Band:
Jeremy Earl – vox / guitar
Jarvis Taveniere- guitar
Aaron Neveu – drums
Chuck Van Dyck- bass
Kyle Forester – keys / sax
John Andrews- percussion/ drums
Cole Karmen-Green – trumpet

Support Woods: websiteFacebook | store

 

Nathan Bowles: March 26, 2016 Three Lobed Sweet Sixteen Spectacular, King’s (Raleigh, NC)

May 5, 2016
By

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[photo courtesy of Eric PH]

Nathan Bowles has made in appearance in all kinds of bands connected to Three Lobed Recordings in one way or another, from Pelt to the Black Twig Pickers to Hiss Golden Messenger to Steve Gunn‘s band to his own fine work. And that’s not even solely as a banjo player, either; Bowles is an accomplished drummer, as his work with Gunn in particular has shown. As essential as he has been to the greater Three Lobed family, it was of course an honor to have him for the label’s sixteenth birthday party.

Originally slated to be a bit of a reprise of his 2014 duo performance with Daniel Bachman here at King’s in Raleigh, NC, this set ended up being a special kind of Bowles solo show, as he tried out some new material slated to appear on his forthcoming album on Paradise of Bachelors. The thirteen-minute “I Miss My Dog,” which Bowles recently performed at Pickathon, is as powerful a statement as he has made musically, and furthers the notion that his command of this instrument is not about some kind of “revival” but rather a true evolution. You have only to listen to the short and sweet “Burnt Ends Rag” that came after it to understand what a talent Bowles is, and why we’ll be so fortunate to see him in so many different settings in the years to come.

I recorded this set in the same manner as the other recordings of the day, with a soundboard feed from engineer Justin Perrachon and a combination of onstage and audience mics. The sound quality is excellent. Enjoy!

Download the complete set: [MP3/FLAC]

Stream the set (minus banter tracks):

Nathan Bowles
2016-03-26
Three Lobed Sweet Sixteen Spectacular
King’s
Raleigh, NC USA

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

2x Soundboard channels (engineer: Justin Perrachon) + MBHO 603a/KA200N (FOB, DFC, PAS) + Schoeps MK22 (onstage, ORTF, DFC)>KC5>CMC6>Aeta PSP3 >> Zoom F8>6x24bit/48kHz WAV>Adobe Audition CS 5.5 (align, mix down, compression)>Izotope Ozone 5 (EQ, effects)>Audacity 2.0.3 (track, amplify, balance, downsample, dither)>FLAC ( level 8 )

Tracks
01 [intro]
02 Words Spoken Aloud
03 [tuning/banter]
04 I Miss My Dog
05 [banter2]
06 Burnt Ends Rag

If you enjoyed this recording, PLEASE SUPPORT Nathan Bowles, visit his website, and buy Nansemond from Paradise of Bachelors.

Earthless: March 18, 2016 Mercury Lounge

March 28, 2016
By

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[photos of the Boston show by Elizabeth Gohr, from Earthless’ Instagram page]

It seems more than apropos that the Twitter handle of the San Diego band Earthless is “@earthlessrips”. ‘Cause that is, indeed, what they’re gonna do when you see them onstage during one of their relatively infrequent East Coast trips. During this run, they hit both Rough Trade NYC and the Mercury Lounge the following night. We caught the latter show, on a late Friday, and it was a doozy. For over an hour the band shredded through just three songs, two of which hailed from their 2013 LP From the Ages. While their records are cult favorites in their own right, the live show is the right place to experience these guys, as Mario Rubalcaba (drums), Isaiah Mitchell (guitar) and Mike Eginton (bass) tearing it up onstage is about as ideal of a fist-pumping, beer-swigging, rock n’ roll moment as you can have with a band that you aren’t embarrassed to like. This is rock music at is elemental, instrumental best, loud, pure and stacked with riffs. Somebody is bound to throw around the term “stoner rock” at some point or another, and who can blame ’em, but this is music that can go with almost any drug (or none at all, of course). After a short break, the band closed this show with a cover (with vocals, no less!) — a true-to-the-original rendition of Jimi Hendrix’s “Foxy Lady.” It wasn’t the twenty-minute thrashers that came before it, for sure, but the cover was perfect — one last time to let Earthless remind us why they’re a must-see when they’re out this way.

I recorded this set with Schoeps MK41V microphones and a direct feed of Mercury engineer Alex Beaulieu’s live mix. The sound quality is outstanding. Enjoy!

Download the complete set: [MP3/FLAC]

Stream and download the complete set on our bandcamp page:

Earthless
2016-03-18
Mercury Lounge
New York, NY USA

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

Schoeps MK41V (ROC, PAS) + Soundboard (engineer: Alex Beaulieu)>>Zoom F8>2x24bit/48kHz WAV>Adobe Audition CS 5.5 (align, mix down, adjust balance
of SBD, adjust levels)>Izotope Ozone 5 (effects, EQ)>Audacity 2.0.5 (track, amplify, balance, downsample, dither)>FLAC ( level 8 )

Tracks
01 Uluru Rock
02 Violence of the Red Sea
03 Sonic Prayer
04 [encore break]
05 Foxy Lady [Jimi Hendrix]

Support Earthless: Facebook | Buy their records from Tee Pee Records

Ty Segall & the Muggers: February 27, 2016 Webster Hall

March 3, 2016
By

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[photo courtesy of Will Oliver at We All Want Someone]

Ty Segall has been all over this site for years, and the reason we keep coming back to his shows is the same reason that he sold out these two nights at Webster Hall last weekend: He’s one of the most exciting live acts around. Here with his latest band, the Muggers, Ty delivered a powerhouse 90-minute set that covered the entirety of the new Emotional Mugger album before delving into some of his best-loved jams from the past few years.

Compared to some of the more intimate Ty shows we’ve covered in the past, this first of the two Webster performances had all the ridiculousness and bombast of a Big Rock Show, with Segall hitting the stage in a mask to the tune of a baby crying. The first few songs felt both true to his garage roots and ridiculously over the top, with Segall barking his lyrics into the microphone, hurling himself into the crowd, and working overtime to try to turn the big room into some kind of facsimile of, say, Death By Audio circa 2012. As time went on though — particular into the lengthy jamming on “Feel” — what stood out most was the quality of the Muggers, who managed to undergird the shambolic moments with accomplished playing. That’s part of the great paradox and joy of Ty Segall, too — you’ve got a prolific performer with a great voice and pop sensibility, but who isn’t afraid to go wild, to get dirty, and to have fun. If you saw any of the New York acoustic shows in 2015 (almost all of which we covered), then you know what I mean. Most garage-rock singers would be lost playing acoustically on a stool — not only would their uneven skills be exposed, but the songs wouldn’t work without the fuzz. Segall doesn’t have that problem. His songs move crowds in any context. The show closed out with a stretched-out, saxophoned-up “The Singer,” both a tribute to the man himself, and his ability to capture a crowd no matter how big the tent.

I recorded this set with a soundboard feed and Schoeps MK41V supercardiod microphones. Even though we weren’t in a DIY venue, the sound bears many of those hallmarks: loud, in your face, and raw. The recording is true to that. Enjoy!

Download the complete show: [FLAC/MP3]

Stream the complete show:

Ty Segall & the Muggers
2016-02-27
Webster Hall
New York, NY USA

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

Soundboard (engineer: Ty’s FOH) + Schoeps MK41V (at SBD, DFC, PAS)>>Zoom F8>2x24bit/48kHz WAV>Adobe Audition CS 5.5 (align, mix down)>Izotope Ozone 5 (EQ, effects, image)>Audacity 2.0.5 (track, amplify, downsample, dither)>FLAC ( level 8 )

Tracks
01 Squealer
02 Californian Hills
03 Emotional Mugger/Leopard Priestess
04 Breakfast Eggs
05 Diversion
06 Baby Big Man (I Want A Mommy)
07 [jamming]
08 Mandy Cream
09 Candy Sam
10 Squealer Two
11 The Magazine
12 Thank God For Sinners
13 They Told Me Too
14 You’re the Doctor
15 [banter1]
16 Spiders
17 Manipulator
18 Feel
19 [encore break]
20 Finger
21 The Feels
22 The Singer

Visit Ty Segall on the web, and buy Emotional Mugger from Drag City here.

Soda: January 28, 2016 Alphaville

February 11, 2016
By

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Gainesville, FL trio Soda rolled into Alphaville in Brooklyn a few weeks ago during a spate of area shows that established them as yet another quality product of a fertile local scene (college towns are good like that). The three piece, consisting of founder Lara Lookabaugh on bass/vocals, Arlington Garret on guitar/vocals,  and Meredith Kite on drums, just dropped a tight six-song EPWithout A Head, on Andrew Savage’s Dull Tools label. That well-produced record belies the dirtier-but-possibly-more-entertaining reality of the band’s live show, which like their home state manages to be both scuzzy and transcendent, sometimes at the same time. In other words, Soda fit right in with the current Brooklyn moment, producing approachable punk-influenced rock that’s delightfully unspecific in its focus and easy to love. The double vocal attack of Lookabaugh and Garrett works well live, both sounding good and offering some welcome gender parity in an area of the music world that doesn’t always have it. This show covered most of the new EP, as well as two unreleased songs, “Plucking Hairs” and “Know How.” As an introduction of this new band to New York, this and their other recent New York shows did the trick, as we’re all looking forward to more. Stream the EP below along with this show, and if you like it, please buy it!

I recorded this set with Schoeps MK41V supercardiod mics from a location near the soundboard. The sound quality is quite good for the room. Enjoy!

Download the complete show: [MP3/FLAC]

Soda
2016-01-28
Alphaville
Brooklyn, NY USA

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

Schoeps MK41V>KCY>Z-PFA + Soundboard>Zoom F8>2x24bit/48kHz WAV>Adobe Audition CS 5.5 (align, mix down, compression)>Izotope Ozone 5 (effects)>Audacity 2.0.3 (track, amplify, balance, downsample)>FLAC ( level 8 )

Tracks
01 New Trash
02 Plucking Hairs
03 Janie Juicehead
04 Blonde on Blonde
05 Lot Pony
06 Know How
07 Chasin’ Tail

If you enjoyed this recording, you can purchase Without A Head from the bandcamp link above

Alan Licht: January 6, 2016 Union Pool

January 13, 2016
By

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For my first recording of 2016, I got to witness the album debut of a New York music veteran, among a room of like-minded souls. We saw Alan Licht live debut many of the tracks that would make up his latest release, Currents, back in August, but he arrived at Union Pool this time with copies of the finished product in hand, and the ideas on it more tightly wound. Relative to some of his peers, Licht’s songs feel like they ride less on fingerpicking prowess (though that’s considerable) than on the strength of his melodies, which give the thrilling jolt of a good rock song even without the lyrics or band that typically accompanies such things. Like the previous show, this one began with the immediate appeal of “Riding On the S’s” followed by “First Lover, Haleema” from Currents, as well as serving up at least one track that didn’t make the record simply because it wouldn’t squeeze onto a side of vinyl. January shows are always a joy for the true music fan, as the cold weather tends to draw only those who really care, and that was evident in the pin-drop quiet room during these engaging, minimalist tunes. From the delicate “Uncertainty” to the melancholy and final “Seventh Song,” Licht showed off the strength of this latest cycle of creativity. Make a date for his next NYC visit, or wherever you might be able to see him.

I recorded this set with a soundboard feed by Kevin Mazzarelli and Schoeps MK4V microphones. The sound quality is excellent, far superior to the previous recording. Enjoy!

Download the complete show: [MP3/FLAC]

Stream the complete show (minus banter tracks):

Alan Licht
2016-01-06
Union Pool
Brooklyn, NY USA

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

Soundboard (engineer: Kevin Mazzarelli) + Schoeps MK4V>KC5>CMC6>>Zoom F8>2x24bit/48kHz WAV>Adobe Audition CS 5.5 (align, mix down, compression, limiter)>Izotope Ozone 5 (EQ, exciter)>Audacity 2.0.3 (track, amplify, balance, downsample, dither)>FLAC ( level 8 )

Tracks [Total Time 44:17]
01 [intro]
02 Riding on the S’s
03 First Love, Haleema
04 [untitled]
05 [banter]
06 Uncertainty
07 [untitled 2]
08 Currents
09 Raw Deal
10 Seventh Song

If you enjoyed this recording, PLEASE SUPPORT Alan Licht by visiting VDSQ Records and buying Currents there.

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