Posts Tagged ‘ matrix ’

Chris Forsyth: August 4, 2021 Sultan Room

August 15, 2021
By
Photo by nyctaper

Chris Forsyth returned to live performance in the most exactly perfect way possible. Like most performers, he hasn’t played a proper show in more than a year, but for his two-show return last week, Chris compiled an incendiary quartet of top notch musicians, all of whom are quite familiar to these pages. Tom Malach is a founder and lead guitarist of site favorites Garcia Peoples, Ryan Jewell has appeared here about a dozen different formats, mainly with Ryley Walker, and Doug McCombs has appeared here with the seminal Tortoise and with his Brokeback project. Forsyth himself has appeared many times on this site, and always brings the goods. But this show was an entirely different animal.

If this performance was an indication, Chris Forsyth emerged from lockdown with well honed new material and having maintained the precision of his playing. The quartet that performed at Sultan Room last week (and Philly the following night) were tight, focused, and thoroughly in sync. The four new songs (and new cover) were presented in almost completed form (except for the working titles) and as if these four musicians had been playing the compositions regularly. That is to say that this show flowed from start to finish and left the boisterous and rapt crowd frankly stunned at the quality of the performance.

I recorded this set with the outdoor-friendly large diaphragm Neumann microphones set up front and center of the stage and mixed with a soundboard feed provided by the most excellent Imoni Cole Palmer. I’m extremely pleased with the quality of this recording and hope you enjoy as much as the sold out crowd and I did that night.

Chris Forsyth is returning to the West Coast for a show on October 9, 2021 at the Crystal Cavern in Oakland. The band will include Doug McCombs and Ryan Jewell. This is Chris’s first show in California since 2014. Tickets are available [here].

Download the Complete Show in MP3 and FLAC at Archive.org [HERE]

Stream the Complete Show:

Chris Forsyth
2021-08-04
Sultan Room
Brooklyn NY

Digital Master Recording
On Stage Audience + Soundboard

Neumann TLM-102 Large Diaphragm Cardioids + Soundboard > Sound Devices 744t > 24bit 48kHz wav files > Soundforge (post production) > CDWave 1.95 (tracking) > TLH > flac (320 MP3 and tagging via Foobar)

Recorded and Produced
by nyctaper

Setlist:
Set 1
[Total Time 57:19]
01 You’re Going to Need Somebody [Richard Thompson]
02 Tomorrow Might as Well Be Today
03 Mystic Mountain
04 Blackbird Jungle*
05 Experimental Professional

Set 2
[Total Time 1:02:48]
06 Dreaming in the Non-Dream
07 [band introductions]
08 Dream Song
09 Evolution Here I Come*
10 Robot Energy Machine*

*working title

Band:
Chris Forsyth: guitar
Tom Malach: guitar
Doug McCombs: bass
Ryan Jewell: percussion

PLEASE SUPPORT This Artist: Chris Forsyth

Acid Mothers Temple: April 6, 2016 Knitting Factory

April 14, 2016
By

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Each Acid Mothers Temple performance is special in some way, but this year’s New York jaunt was notable for the arrival of a greater-than-usual number of new songs. In the case of this Knitting Factory show, after a wild “Dark Star Blues in the Dazzling Sky” came the first of those new jams, “Wizard,” a psycho-blues number whose harmonica intro hurtles into a spasm of guitars.

In fact, a majority of this set was built around new material, though of course the usual standouts “Pink Lady Lemonade” and “Cometary Orbital Drive” also made an appearance. If you checked out our recording of the Mercury Lounge show from the day before this one, you were turned on to “Another Nanique Dimension” and “Blue Velvet Blues” as well as the aforementioned “Wizard,” but this show closed on an even more usual note, with a new, chant-driven number that has not made an appearance (at least in recorded fashion) at any other time so far on this tour. The song highlighted the value of the two female vocalists who joined them on this tour, providing a distinctly Eastern, spiritual slant to the end of the show. The band will wrap up this U.S./Canada jaunt on April 18th in Los Angeles, but we can guarantee they’ll be back next year.

nyctaper and I recorded this set with a combination of Neumann KM150 hypercardiod mics and Schoeps MK4V cardiod mics, combined with a soundboard feed from house engineer Rob. The sound quality is excellent. Enjoy!

Download the complete show from its page on the Live Music Archive: [MP3] | [FLAC]

Stream the complete show:

Acid Mothers Temple
2016-04-06
Knitting Factory
Brooklyn, NY USA

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

Neumann KM150 (ROC, PAS) + Soundboard (engineer: Rob) + Schoeps MK4V (ROC, PAS)>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 [Total Time 1:20:50]
01 intro jam>Dark Star Blues in the Dazzling Sky
02 [tuning]
03 Wizard>
04 Pink Lady Lemonade>
05 IAO Chant>
06 Pink Lady Lemonade
07 [tuning2]
08 Blue Velvet Blues
09 Another Nanique Dimension>
10 Cometary Orbital Drive
11 [new song 2]

If you enjoyed this recording, PLEASE SUPPORT Acid Mothers Temple, visit their website, and buy their records here.

Chuck Johnson Band: March 26, 2016 Three Lobed Sweet Sixteen Spectacular, King’s (Raleigh, NC)

March 29, 2016
By

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Chuck Johnson has been on this site numerous times, most recently for his work supporting Blood Moon Boulder last year at Union Pool. With his newest album, Velvet Arc, Johnson decided to go with a full band, which is a departure from his recent solo guitar work, but not an overall catalog that stretches back to various NC-based bands (Shark Quest, Idyll Swords, etc.). What emerges on the record is a bottom-heavy, bluesier strain of tunes that makes you long to see them live.

This very special performance at King’s in Raleigh, North Carolina, one of ten separate sets in honor of the sixteenth anniversary of Three Lobed Recordings, was a rare, one-off appearance of Johnson performing these songs (plus “Florets,” from Johnson’s soundtrack work) with a full band. Rather than the West Coast-based band that recorded Velvet Arc, Johnson collaborated with longtime NC compatriots, including Mike Gangloff and Nathan Bowles (of Pelt and numerous other projects), Bob Wall, and Nathan Golub. Johnson describes the set as “loose” in his intro, but that may be a bit of modesty, as these longtime players gelled from the get-go on “Florets” before delving into Velvet Arc‘s leadoff track, “As I Stand Counting.” You may have heard Chuck Johnson before, but you’ve never heard him quite like this. With the full complement of musicians on fiddle and additional guitars, we were able to hear Velvet Arc’s various turns at American experimentalism as they were meant to be played.

Johnson noted, toward the end of the set, that Raleigh was where he was born, and the day and night’s entire slate of performances, culled from artists who have been all over the Three Lobed roster during the past 16 years, felt like a homecoming, with the out-of-towners joining and re-joining locals who have touched their lives over the decades. Three Lobed is responsible for some of Johnson’s finest releases, including Crows In the Basilica, plus earlier CDs of Idyll Swords, and this set (like many during the event) acted as both a bit of a thank-you as well as a taste of what’s yet to come on this small label whose influence has always outstripped its low-key style.

I recorded this set with the benefit of a full 8 tracks, including audience microphones, onstage microphones, and several feeds of onstage instruments, courtesy of King’s engineer Brad. The sound quality is outstanding. Enjoy!

Chuck plays a very special solo set tonight in New York along with Lee Ranaldo (solo acoustic) and Ancient Oceans at Trans-Pecos. Get tickets here.

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

Stream and download the complete show on our bandcamp page:

Chuck Johnson Band
2016-03-26
Three Lobed Sweet Sixteen Spectacular
King’s
Raleigh, NC USA

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

4x Soundboard channels (engineer: Brad Womack) + MBHO 603a/KA200N (FOB, DFC, PAS) + Schoeps MK22 (onstage, ORTF, DFC)>KC5>CMC6>Aeta PSP3 >> Zoom F8>8x24bit/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 Florets
03 [tuning]
04 As I Stand Counting
05 Roadside Auspice
06 Middle Water
07 [banter]
08 Anamet
09 [banter2]
10 Velvet Arc

Band:
Chuck Johnson
Mike Gangloff
Nathan Bowles
Bob Wall
Nathan Golub

Support Chuck Johnson: Visit his website | Buy Velvet Arc | Buy his Three Lobed releases.

Chris Forsyth & the Solar Motel Band: March 19, 2016 Trans-Pecos

March 24, 2016
By

DSC_0098
[photos by Joe Lops]

Chris Forsyth extended a recent run of excellent work with The Rarity of Experience, a double LP that earned plaudits from Pitchfork to The New York Times. Much has been made of the record’s unequivocal commitment to out-and-out riffage, but that has always been Forsyth’s MO with the Solar Motel Band. The side of him that produced The Island, the delicate, mellowed out collaboration with Koen Holtkamp, is still out there, but when he takes the stage with this band, expect an out and out rock show.

That’s what we got at this NYCTaper-sponsored show at Trans-Pecos, which represented the formal NY album release party for the record.  Things kicked into high gear immediately with “High Castle Rock” from the new record, followed by its appropriately-named Anthems I and II, and then its title track. Our only detour to Forsyth’s earlier work came in the form of “The Ballad of Freer Hollow” from 2014’s Intensity Ghost, which nestled in well with the extended two-part jams “Anthem” and “The Rarity of Experience” (notable also for adding vocals to the mix). In a nod to the band who inspired so much of improvisational guitar music (not to mention the practice of fan-based live concert recording), Forsyth and crew gave us their take on the Dead’s “Cold Rain and Snow.” It was a worthwhile reminder that while Forsyth’s name is front and center in the proceedings, part of what makes these performances special is the interplay among a very, very talented group of band members. Forsyth’s delivery wouldn’t be what it is without bassist Peter Kerlin and drummer Ray Kubian doing more than just making a backbeat, nor fellow guitarist Nick Millevoi providing the other half of the guitar attack. You don’t get a sound this all-encompassing with a “solo” artist and some guys; this is truly a band. And, for those of you who missed them this time around, head to Union Pool on May 28, where you can catch the band opening for Heron Oblivion.

I recorded this set with a pair of Schoeps MK22 microphones at the stage lip, another pair of Schoeps MK4V back by the soundboard, and a direct soundboard feed of house engineer Ned’s mix. The sound quality is outstanding, and a perfect representation of the enormity of the Solar Motel Band’s sound. Enjoy!

Download the complete set from its page on the Live Music Archive: [FLAC] | [MP3]

Stream the complete set: 

Chris Forsyth & the Solar Motel Band
2016-03-19
Trans-Pecos
Queens, NY USA

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

Schoeps MK22 (stage lip, DFC, ORTF)>Nbob Cables>PFA>Aeta PSP3 + Soundboard (engineer: Ned) + Schoeps MK4V (at SBD, ROC, PAS)>>Zoom
F8>2x24bit/48kHz WAV>Adobe Audition CS 5.5 (align, mix down, adjust balance of SBD, compress SBD, adjust levels)>Izotope Ozone 5 (effects, EQ)
>Audacity 2.0.3 (track, amplify, balance, downsample, dither)>FLAC ( level 8 )

Tracks
01 High Castle Rock
02 Anthem I
03 Anthem II
04 The Rarity of Experience pt. 1
05 The Rarity of Experience pt. 2
06 The Ballad of Freer Hollow
07 [banter]
08 The First Ten Minutes of Cocksucker Blues
09 Cold Rain and Snow [Grateful Dead]
10 [banter2]
11 Boston Street Lullaby

If you enjoyed this recording, please visit his website and buy The Rarity of Experience from No Quarter Records.

DSC_0099

Freakwater: February 16, 2016 Bell House

February 23, 2016
By

freakwater
[photo by Neil deMause]

Correspondent Neil D writes:

If you Google around a bit, you’ll find a typically snotty Pitchfork review of Freakwater‘s 2005 album “Thinking of You” that says, in essence, “Sure, Catherine Irwin and Janet Bean may be brilliant lyricists and sing incredible harmonies, but when are they going to show us something new in their bag of tricks?”

Ten years and change later, Pitchfork can officially STFU. “Scheherazade,” the first Freakwater album since “Thinking of You,” maintains the singular harmonies and mind-bending lyrical twists that have come to typify Freakwater — there are even plenty of the band’s patented dead-baby references, though if I’m doing my textual analysis right, the “baby” thrown down the well in the leadoff track may not be what it at first seems. But musically it strikes out in unexpected directions, with one track (“Down Will Come Baby”) pairing Irwin’s banjo with a psychedelic guitar rave-up, while others seem to owe a debt to the carefully calibrated dissonance of Bean’s other band, Eleventh Dream Day.

The current Freakwater tour takes that spirit of experimentation out on the road, bringing along slide guitarist Morgan Geer (Drunken Prayer, The Unholy Trio), fiddle player Anna Krippenstapel, and drummer Neal Argabright(Jaye Jayle) to augment the core trio of Bean (guitar, vocals), Irwin (guitar, banjo, vocals), and David Wayne Gay (bass). Their set at Bell House — where they last previously appeared in 2013 performing their classic LP “Feels Like The Third Time” for its 20th anniversary — featured nine of the eleven tracks from “Scheherezade” (Geer performed another, his own “Missionfield,” during his opening set), including subtle gems like “Skinny Knee Bone” and “Velveteen Matador” (speaking of songs in need of deeper textual analysis); plus several Freakwater classics (highlighted by the chill-inducing “Cloak of Frogs”) and a Fairport Convention cover to close out the show. They still have a couple of weeks left on the road, so if they’re coming through your town, be sure to catch them before they disappear again — hopefully not for ten years this time.

This recording was mixed from a soundboard feed provided by the Bell House soundfolk (Nick and, um, I really need to start writing these names down), along with AT-853 cardioid mics mounted at the front of the soundboard. Feel free to re-edit the tracking to separate out several long sections of banter into your own Freakwater comedy album.

Download the complete show: [MP3/FLAC]

Freakwater
2016-02-16
Bell House
Brooklyn, NY

Soundboard > Sony PCM-M10 (line in)> WAV (24/48) + AT853 cardioid mics > SP-SPSB-1 battery box > Sony PCM-M10 (mic in) > WAV (24/48) > Sound Studio > FLAC (16/44.1) > Tag > FLAC

Recorded and mastered by neil d

Tracks
01 [intro]
02 What the People Want
03 The Asp and the Albatross
04 Buckets of Oil
05 Wound Up
06 Bolshevik and Bollweevil
07 Binding Twine
08 Velveteen Matador
09 Number One With A Bullet
10 Skinny Knee Bone
11 Falls of Sleep
12 Good For Nothing
13 Cloak of Frogs
14 Hero_Heroine
15 Down Will Come Baby
16 Take Me With You
17 My Old Drunk Friend
18 Come All Ye Rolling Minstrels [Fairport Convention]

More Freakwater news, tour dates, and other stuff at: http://www.freakwater.net/  Like Freakwater on Facebook.

Wand: Mercury Lounge 2015 + SXSW 2015 + Webster Hall 2014 – FLAC/MP3/Streaming

March 31, 2015
By

wand-jono1
[photo by Jono Bernstein]

Add Wand to the list of bands best realized as a live act. Not to disrespect their two most recent albums, this year’s Golem and last year’s Ganglion Reef, both fine efforts in the lazily-named “garage-psych” canon that add the band’s wizards-and-warlocks imagery to the mix of guitar pyrotechnics and punk urgency that characterize, to some degree, the efforts of regular tourmate Ty Segall and others. Heard in the vacuum of headphones or home speakers, alone, it’s too easy to lump them in with the other bands whose names you know and move on.

But live, there are clearer nods to the band’s actual influences: Rainbow, T. Rex, Bowie, early period Zeppelin — some of the bands that influenced the much-derided L.A. “glam” scene of the 1980s. Wand owe a very much larger debt to these bands than their contemporaries, and that’s not a bad thing. In fact, the glammy sensibility Wand brings to the table serves as a reminder that the wholesale death of the L.A. scene at the hands of grunge was a bit of a throwing out of the baby with the bathwater. If those seventies touchstones can be blamed for giving us Poison and Warrant, it’s worth remembering that the better attitudes they embodied were being unafraid to have style or show off how well you can play, and to make each performance a true performance. Wand may not wear makeup or tight clothing, but their show brings with it some of that theatrical feel that makes them stand out. That’s what made them darlings at South By Southwest, where one of us captured their burner of a set at the Panache Booking-sponsored Hotel Vegas show and deemed it the best thing he saw all festival.

We’ll let you judge for yourself, with a three-fer of Wand shows in a range of situations. There’s that SXSW show and a September 2014 show opening for Ty Segall at Webster Hall, together with the most recent appearance by the band in NYC, an hourlong headlining gig at Mercury Lounge. I caught the Mercury show, and was taken straight away by the band’s command of the stage. Songs from their two albums enjoyed a range of reinterpretations and rocked-out treatments, while frontman Cory Thomas Hanson gave us the kind of vocal performance we’re just not used to hearing anymore. I appreciated that amidst the pounding — and the band also comes across much heavier and less spacey live than on record — the band slowed things down from time to time, such as when they lead us into the cosmic swirl of “Melted Rope.” Each of these three shows ends on the same number, the band’s most reliable “jam” song “Generator Larping”, which is as sure a recipe for a great end to the night as anything I’ve heard this year.

These sets are all combinations of soundboard feeds with high-quality audience microphones, and each of them is of excellent quality. Enjoy!

Downloads: Mercury Lounge [MP3] | [FLAC] || SXSW [MP3] | [FLAC] || Webster Hall [MP3] | [FLAC]

Stream the complete Mercury Lounge show:

Stream “Generator Larping” from SXSW:

Wand
2015-03-29
Mercury Lounge
New York, NY USA

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

Schoeps MK41 (PAS)>KCY>Z-PFA>Aerco MP-2 + Soundboard (engineer: Dave Lefcourt)>>Edirol R-44 [OCM]>2x24bit/48kHz WAV>Adobe Audition CS 5.5 (mix down, fades, limiter)>Izotope Ozone 5 (EQ, effects, imaging)>Audacity 2.0.5 (track, amplify, balance, downsample)>FLAC ( level 8 )

Tracks [Total Time: 58:00]
01 The Unexplored Map
02 Self Hypnosis In 3 Days
03 [unknown1]
04 Floating Head
05 Melted Rope
06 Fire On the Mountain I-II-III
07 Flying Golem
08 Reaper Invert
09 Planet Golem
10 Generator Larping
_______________________________________
Wand
2015-03-20
Hotel Vegas – Panache SXSW
Austin, TX USA

Digital Master Recording
Soundboard + Audience Matrix

Soundboard + Sennheiser MKH-8040 Cardioids > Sound Devices 744t > 2 x 24bit 48kHz wav files > Soundforge (post production) > CDWave 1.95 (tracking) > TLH > flac (320 MP3 and tagging via Foobar)

Recorded and Produced
by nyctaper

Setlist:
[Total Time 40:07]
01 The Unexplored Map
02 Self Hypnosis in 3 Days
03 Floating Head
04 Fire On The Mountain
05 Flying Golem
06 Planet Golem
07 Generator Larping
_______________________________________
Wand
2014-09-17
Webster Hall
New York NY

Digital Master Recording
Soundboard + Audience Matrix

Soundboard [engineer: Rafael] + Schoeps CCM4u Cardioids > Edirol R-44 (Oade Concert Mod) > 2 x 24bit 48kHz wav files > 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 37:41]
01 Send Receive (Mind)
02 [new song]
03 Fire On The Mountain
04 Broken Candle
05 Flying Golem
06 [new song 2]
07 [banter – last night]
08 Generator Larping

If you enjoyed this recording, PLEASE SUPPORT Wand, visit their website, and buy Golem here and Ganglion Reef from Drag City here.

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[photo by acidjack]

Honey: January 28, 2015 Union Pool – FLAC/MP3/Streaming

February 12, 2015
By

honey-9
[photos courtesy of P Squared Photography]

Honey are a relatively new band who showed up hungry as the openers for Viet Cong at Union Pool recently. Composed of Cory Feierman on bass/vocals, Dan Wise on guitar/vocals and Will Schmiechen on drums, these guys showed up ready to play, putting even the very talented headliners on notice that mediocrity would not be accepted. The band members’ skill reflects some their resumes; one or more of them have been part of Amen Dunes, Psychic Ills and Stupid Party. Likewise, early invites to play with the likes of J Mascis, King Tuff, Endless Boogie, Crystal Stilts and Destruction Unit tell us that other bands are taking notice.

The band plays hard-charging rock n’ roll with a punk edge, reminiscent of an early, less self-serious Soundgarden.  After choosing the bold leadoff of a cover of Can’s “Connection”, the highlights of this set for me were “Monk”, a pounding number that made a fine lead-in to “Motherfucker Longhair”. Wise got his best showcase on “Enough”, where he was left plenty of room to solo despite the abbreviated set time. Honey expects to have a new LP release in the next couple of months, which should only continue to raise their profile in 2015.

I recorded the set with Schoeps MK4V cardiod microphones and a soundboard feed from house engineer Doug. The sound quality is excellent. Enjoy!

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

Stream the complete set:

Honey
2015-01-28
Union Pool
Brooklyn, NY USA

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

Schoeps MK4V (FOB, DFC, PAS)>KCY>Z-PFA>Sound Devices USBPre2 + Soundboard (engineer: Doug)>>Edirol R-44 [OCM]>2x24bit/48kHz WAV>Adobe Audition CS 5.5 (align, mix down, compression, fades)>Izotope Ozone 5 (EQ, tape effect, imaging)>Audacity 2.0.3 (tracking, amplify, balance, downsample, dither)>FLAC ( level 8 )

01 Connection [Can]
02 Monk
03 Motherfucker Longhair
04 Enough
05 Comes Down
06 Drive

If you enjoyed this recording, PLEASE SUPPORT Honey, like them on facebook, and visit their bandcamp page to buy their album.

Alex Calder: January 11, 2015 Rough Trade – FLAC/MP3/Streaming

January 29, 2015
By

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Alex Calder has done it the classic Captured Tracks way — starting out as a solo artist working on his own, expanding as his songs grew more complex into a full band. Calder took the stage for Rough Trade’s first anniversary with a crack band that, like the re-released version of his latest album Strange Dreams, took his sound to the next level. Calder’s songs, both from his 2015 re-release Strange Dreams to his earlier work, crackled as live versions, waking this early afternoon Rough Trade crowd up immediately. Calder has an obvious love for many generations and styles of popular music, from ’60s surf and garage to the faster-paced punk and softer-edged pop work that appeared in the late ’70s and early ’80s. An added bonus of this set was what appeared to be some new songs, each well in keeping with the quality of Calder’s current output. We hope to see another record from him this year, if we’re lucky.

I recorded this set with Schoeps MK41 supercardiod microphones and a soundboard feed from house engineer Kyle. The sound quality is excellent. Enjoy!

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

Stream the complete show:

Alex Calder
2015-01-11
Rough Trade
Brooklyn, NY USA

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

Schoeps MK41 (DFC, PAS, at SBD)>KCY>Z-PFA>Sound Devices USBPre2 + Soundboard (engineer: Kyle)>Edirol R-44 [OCM]>2x24bit/48kHz WAV>Adobe Audition CS 5.5 (align, mix down, reverb SBD)>Izotope Ozone 5 (EQ, imaging, effects)>Audacity 2.0.3 (tracking, amplify, balance, downsample, dither)>FLAC ( level 8 )

Tracks
01 [unknown1]
02 [unknown2]
03 Suki and Me
04 Location
05 Strange Dreams
06 Someone
07 [unknown3]
08 Marcel
09 Time

If you enjoyed this recording, visit Alex Calder’s Facebook page and buy his records from Captured Tracks here.

Yvette: September 4, 2014 Hopscotch Music Festival, CAM Raleigh, Raleigh, NC (FLAC/MP3/Streaming)

September 9, 2014
By


IMG_7604
[photos by acidjack]

Yvette represent the best things about New York, including their creative daring, uncompromising sound, and their homegrown fledgling label Godmode. When Pitchfork anointed their album Process with a positive an accurate review last year, the site’s Stuart Berman accurately described the duo as sounding “like an army”. Indeed, between drummer Dale Eisinger and vocalist/guitarist Noah Kardos-Fein produce a kind of high-intensity noise that brings to mind everything from mechanical sounds to the foreboding tones heard in certain kinds of Hollywood disaster films — if they were made by an industrial art-punk band.

This set took place at CAM Raleigh on the Hopscotch Music Festival’s first night, and despite the torrential downpour and the far-flung location, the band brought a dedicated crowd to the art museum’s cavernous performance space. This mix of new material and songs from their 2013 record Process was delivered as a seamless piece, further proving the duo’s impeccable timing. The set proved an emotionally taut thirty minutes, with dissonance tones flowing in and out of the frame, the sound hitting screeching climaxes before retreating into shadowed valleys. Yvette fall into that group of bands who are probably best experienced in the live setting, where the listener can’t flip away from band to band. You need to follow Yvette where they’re going, for the duration, to capture just how good they are at what they do. Thurston Moore was up next in an improvised set with Steve Shelley. Yvette gave him a tough act to follow.

I recorded this set with Audio Technica cardiod microphones split wide at the stage lip together with a soundboard feed. There stereo separation and sound quality in general are outstanding, among the very best of my recordings from the festival. This is offered as a streaming full set as well as a download below. Enjoy!

Direct download of the complete show: [MP3] | [FLAC]

Stream the complete show:

Note: All of the material on this site is offered with artist permission, free to fans, at our expense. The only thing we respectfully 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. Please feel free to re-post the Soundcloud links.

IMG_7611

Yvette
2014-09-04
Hopscotch Music Festival
CAM Raleigh
Raleigh, NC USA

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

Audio Technica 3031 (onstage pair)+Soundboard>Roland R-26>2x24bit/48kHz WAV>Adobe Audition CS 5.5 (volume adjustments, compression)>Izotope Ozone 5 (adjust stereo image, exciter)>Audacity 2.0.3 (amplify, track, downsample, dither)>FLAC ( level 8 )

Tracks
01 Pure Pleasure
02 Radiation
03 [untitled]
04 Carbon Copy
05 [untitled]
06 Mirrored Walls
07 Absolutes
08 Cuts Me In Half

If you enjoy this recording, PLEASE SUPPORT Yvette, visit their bandcamp page, and buy Process from Godmode here.

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