Posts Tagged ‘ Merge Records ’

Titus Andronicus: December 14, 2017 Market Hotel

December 17, 2017
By

Thursday night at Market Hotel was a night for survivors. Both the artist and the venue are inextricably intertwined as crucial parts of last decade’s Brooklyn DIY scene, but both have reshaped and reformatted themselves for the future. Titus Andronicus survived the meat grinder of the music industry and a myriad of personnel changes, and now find themselves having landed peacefully into the arms of the excellent Merge Records. The most recent Titus record, 2015’s The Most Lamentable Tragedy was perhaps the band’s most ambitious and fully realized record. The Market Hotel meanwhile has itself survived a laundry list of issues but Market v3.0 began again in November and the limited calendar will soon give way to a full-on slate of shows in the New Year.

This year saw Titus Andronicus in retooling mode, and this Market Hotel show was the only headlining Titus gig of the entire 2017 calendar year. But Patrick Stickles seems to be in a very good place personally, as his positivity on this night was palpable. When the doors opened, the band members were seated at the merch table to greet the fans, and Patrick spend the better part of the first hour of the night meeting and greeting and catching up with old friends. The fan friendly theme bled directly into the performance itself, as Titus delivered a nearly two-hour set — representing the longest set ever played at this venue. The setlist contained a panoply of Titus material, from their very first single all the way through a good chunk of the recent albums. Throughout the show, Patrick noted members of the audience, thanked the people who have helped the band throughout the years, and played his heart out. The crowd for their part were fully engaged — there were no chatterers, just people singing along with the anthemic lyrics from the front to the back of the venue. By the time the set ended with a fantastic punk-tinged cover of Springsteen’s “Glory Days”, the crowd, the band, and the venue had proved that its all about survival and fighting through life’s conflicts to emerge on the other side stronger than ever. We expect that 2018 will be a very good year for both Titus Andronicus and The Market Hotel, and this show gave us great hope for the future of both.

I recorded this set with the installed microphones along with an excellent feed from house FOH Eric. Other than one point near the end of “Perfect Union” when a drum mic shorted out, this recording is quite excellent. Enjoy!

Download the Complete Show [MP3] / [FLAC]

Stream the Complete Show:

Titus Andronicus
2017-12-14
Market Hotel
Brooklyn NY

Digital Master Recording
Soundboard + Upfront Audience

Soundboard [Engineer: Eric Lemke] + Audio Technica 4051 > Sound Devices 744t > 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 1:45:17]
01 [intro remarks]
02 Upon Viewing Oregon’s Landscape With The Flood Of Detritus
03 Fatal Flaw
04 Upon Viewing Brueghel’s Landscape With the Fall of Icarus
05 In a Small Body
06 I Am The Electric Man
07 Lonely Boy
08 [banter – Market Hotel]
09 Titus Andronicus
10 My Time Outside the Womb
11 Mr E Mann
12 Fired Up
13 Dimed Out
14 [banter – sensitive subtext]
15 No Future
16 No Future Part Three Escape From No Future
17 No Future Part V In Endless Dreaming
18 Stable Boy
19 Four Score and Seven
20 A More Perfect Union
21 [banter – thanks]
22 Glory Days [Springsteen]

SUPPORT Titus Andronicus: Website | Merge Records Page | Bandcamp

Hiss Golden Messenger: December 8, 2017 The Bowery Ballroom

December 12, 2017
By


Hiss Golden Messenger’s second night at The Bowery Ballroom not only picked up where the first two-hour show left off, but gathered steam. If the first night–in front of a slew of friends and local musicians–felt like a more intimate, freewheeling affair, this show situated the current version of the band as the confident rock n’ roll outfit they are, playing about fifty percent different material from the first show, improving on several of the repeats, and delivering crowd-pleasing covers that are red meat to a weekend crowd. After opening with the contemplative “When the Wall Comes Down” from Hallelujah Anyhow, the tempo picked up and stayed hot through the first hour. I was moved by this version of “Blue Country Mystic,” which hewed closer in tempo and style to the Poor Moon original than some of the recent versions I’ve seen, and likewise, the “Red Rose Nantahala” we saw both tonight and the night before felt closer to the version from Haw than some of the recent versions we’ve heard. The new songs haven’t given the band as many chances at new arrangements, but it’s safe to say that “Like A Mirror Loves A Hammer,” shows great potential as a mid-set jam song.

After a heartfelt mid-set version of “Caledonia, My Love” — introduced by Phil Cook as his favorite HGM song — it was back to the rock, with the band letting loose with a fine cover of “I Won’t Back Down” followed by “Lost Out In the Darkness” and the party jam “I’m A Raven (Shake Children).” This is a band that knows their crowd, and the upbeat rockers matched the mood in the room, as the weekend warriors and the repeat customers from last night both had come ready to celebrate the weekend and the band’s success. Instead of last night’s heartfelt retelling of the band’s origin story, we got some hilarious riffs about the band’s long night out last night, including an encounter with some pretzel chips. But if they were physically running on fumes, HGM didn’t show it. If anything, I found most versions of what they played even sharper and more emphatic than the previous show. In lieu of an encore break, the band accepted some pretzel chips from a fan and passed them around the crowd, ending the night with Pops Staples’ “Friendship” followed by “Drum.” This wasn’t quite the end of HGM year — they headed to Philly the following night, and D.C. after that — but it felt valedictory nonetheless, an exclamation point on a year well spent.

I recorded this set in the same manner as the previous night, with a soundboard feed from the band’s engineer Tim and Schoeps MK22 microphones. The sound quality is excellent. Enjoy!

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

Hiss Golden Messenger
2017-12-08
The Bowery Ballroom
New York, NY USA

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

Schoeps MK22 (at SBD, PAS bar)>KCY>Z-PFA + Soundboard (engineer: Tim)>Sound Devices MixPre 6>24/48 WAV>Adobe Audition CC (align, mix down, limiter)>Izotope Ozone 5 (EQ, effects)>Audacity 2.0.5 (track, amplify)>FLAC ( level 8 )

Tracks [Total Time 2:02:30]
01 When the Wall Comes Down
02 Saturday’s Song
03 Jenny of the Roses
04 [banter1]
05 Biloxi
06 Gulfport You’ve Been On My Mind
07 Blue Country Mystic
08 Mahogany Dread
09 Don’t Let Me Down [Beatles]
10 Like A Mirror Loves A Hammer
11 Red Rose Nantahala
12 [banter2]
13 Highland Grace
14 [banter3]
15 Caledonia, My Love
16 Domino
17 I Won’t Back Down [Tom Petty]
18 Lost Out In the Darkness
19 I’m A Raven (Shake Children)
20 I Am the Song
21 [banter4-band intros]
22 Southern Grammar
23 [banter5]
24 John the Gun
25 [pretzel break]
26 Friendship [Pops Staples]
27 Drum

Band:
M.C. Taylor – vocals, guitar
Phil Cook – keyboards, harmonica
Mike Lewis – saxophone
Skylar Gudasz – vocals
James Wallace – organ, percussion
Ryan Gustafson – guitar
Michael Libramento – bass
Darren Jesse – drums

PLEASE SUPPORT Hiss Golden Messenger: WebsiteTwitter | Buy Hallelujah Anyhow

Hiss Golden Messenger: December 7, 2017 The Bowery Ballroom

December 10, 2017
By

Children are essential to the origin story of Hiss Golden Messenger, and they’ve been a recurring theme in Mike “M.C.” Taylor’s songs since the beginning. Taylor introduced “Drum” on this night by telling the story in full, of a loser (his words) washed up from music, left out of life, sitting in a cabin next to a newborn, wondering about the future. Contemplating his life as he sat next to his newborn son Elijah, Taylor started to make music again. For him that child wasn’t just a literal birth; it was his personal rebirth, too. It was there that he wrote my favorite of all his songs, “Call Him Daylight,” which tackles the ambiguity of forces greater than us (some would view that as “God,” though I don’t think you have to). To that entity he says at one point, “Some call you destroyer, some Daylight.” It’s a fundamental paradox of many world religions — you’re asked to revere god as your creator, but also your ultimate destroyer. Which kept me thinking about children, and this band’s particular choices in 2017.

The righteous anger of musicians (not to mention the rest of us) toward the current regime is hardly news at this point, and it’s been reflected in many, many albums this year. If you follow the man on Twitter, you might expect the same from Taylor. But the latest Hiss Golden Messenger album does perhaps the braver thing, certainly the rarer thing. It’s announced by the title, Hallelujah Anyhow. A child who wakes up alive for the first time tomorrow here in America won’t know the name of anyone in the current administration, won’t harbor rage toward the rich or the indecent or the greedy, won’t know about hate, won’t worry about global warming, won’t fear misogyny or racism, won’t know war. In a child’s eyes the world is all beauty. In a child’s eyes this world is all they’ve known.

Taylor and a stacked band of Triangle locals (Phil Cook, Skylar Gudasz, Darren Jesse, Ryan Gustafson, Mike Lewis, James Wallace, Michael Libramento) brought that ethos to the Bowery Ballroom for this first of two nights, giving us two hours of inclusive, upbeat Hallelujah songs as well as a well-chosen selection of favorites. The past two years have seen this band release not less than three complete albums — the band hit another high point with 2016’s Heart Like A Levee and companion album Vestapol — which has stacked the catalog with new material. If you missed the outstanding Music Hall of Williamsburg show the band did in 2016 (which I unfortunately did) this could well have been your first time hearing many of these songs live. It’s striking how cohesive the Merge-era, bigger-room-oriented material is with itself, but there’s also that constant thread that reaches all the way back to Bad Debt. Compare the two songs that Taylor played as a duo with Cook —  “Drum” (a very old one) and “Caledonia, My Love” (a new one) — and it’s clear that Taylor’s heart remains where it has been, in a purgatory between light and darkness. Each of those songs may have been an outlier on their respective albums, but side by side, they make sense.

Still, this was a positive night, a two-hour “evening with,” and there was plenty of party music to celebrate with, including the band’s semi-regular cover of Sam Cooke’s “Having A Party” and the main set closers “Domino” followed by the already-classic “Southern Grammar.” Having seen these songs performed many times now, by a variety of personnel, I’ve come to appreciate the variations in Taylor’s performances of his work. Songs, too, are a kind of offspring, an evolving gift to a wider world, and Taylor has continued to help these songs grow into new and different entities than what they were. Taylor’s restless tinkering with this music seems almost calculated to keep you in that state, able to see his music as brand-new even if you’ve seen him a dozen or more times before. If you’re lucky you’ll listen long enough that you find yourself, however briefly, like that open-hearted child again, able to say that simple word, hallelujah. You stand there inside the Bowery Ballroom, and it’s the holiday season, it’s New York City, and you’re alive. So hallelujah, anyhow.

I recorded this set with Schoeps MK22 open cardiod microphones mounted at the soundboard, with a feed of the PA mix from the band’s dapper sound engineer Tim. The sound quality is excellent. Enjoy!

Thanks, as always, to Mike Taylor and to Merge Records. 

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

Hiss Golden Messenger
2017-12-07
The Bowery Ballroom
New York, NY USA

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

Schoeps MK22 (at SBD, ORTF)>KCY>Z-PFA + Soundboard (engineer: Tim)>Sound Devices MixPre 6>24/48 WAV>Adobe Audition CC (align, mix down, limiter)>Izotope Ozone 5 (EQ, effects)>Audacity 2.0.5 (track, amplify)>FLAC ( level 8 )

Tracks
01 [intro]
02 Call Him Daylight
03 Biloxi
04 Jenny of the Roses
05 I Am the Song
06 Gulfport You’ve Been On My Mind
07 Say It Like You Mean It
08 Lost Out In the Darkness
09 Tell Her I’m Just Dancing
10 Red Rose Nantahala
11 Heart Like A Levee
12 [banter-the story of HGM]
13 Drum*
14 [banter2]
15 Caledonia, My Love*
16 I’ve Got A Name for the Newborn Child
17 Like A Mirror Loves A Hammer
18 I’m A Raven (Shake Children)
19 Lucia
20 Having A Party [Sam Cooke]
21 Harder Rain
22 Domino
23 [banter3–band intros]
24 Southern Grammar
25 [encore break]
26 Friendship [Pops Staples]

Band:
M.C. Taylor – vocals, guitar
Phil Cook – keyboards, harmonica
Mike Lewis – saxophone
Skylar Gudasz – vocals
James Wallace – organ, percussion
Ryan Gustafson – guitar
Michael Libramento – bass
Darren Jesse – drums

*M.C. Taylor/Phil Cook Duo

PLEASE SUPPORT Hiss Golden Messenger: WebsiteTwitter | Buy Hallelujah Anyhow

the Mountain Goats: November 12, 2017 Brooklyn Steel

November 14, 2017
By


[photo by Megan Etzel]

All the stars aligned for this Sunday night return to NYC for the Mountain Goats. On tour in support of their newest release, the excellent Goths (Merge Records) album, the band played their first local shows in over a year and a half. Those legendary 2015 and 2016 City Winery shows saw the Mountain Goats in an intimate setting, but at Brooklyn Steel this weekend the large room afforded the band the opportunity to stretch out. As they took the stage to the dramatic Vivaldi concerto, the Mountain Goats were greeted warmly by the packed room. This was a night when the fans played a truly complimentary role to the music — hushed during the quiet moments and raucous when required, but attentive throughout. There was no idle chatter and virtually none of the persistent shouted requests that sometimes annoy at Mountain Goats shows. Ultimately, the audience was rewarded with a lengthy show featuring stellar performances, a few rare nuggets, and two shout-outs to the crowd from John Darnielle later in the evening.

Goths is essentially a tribute to that early 80s British scene which included Siouxsie, Nick Cave, Peter Murphy/Bauhaus, and Andrew Eldritch/Sisters of Mercy. As with any subject of a Mountain Goats album, the songs are both tributes and explications of the melancholy and loneliness of the lifestyle. “Andrew Eldritch Is Moving Back to Leeds” finds the singer leaving the goth life in Germany and returning with little or no fanfare to the upper Midlands town where the band began. For this particular show “Eldritch” was preceded by the debut of a cover of the Sisters Of Mercy’s 1989 single “Lucretia My Reflection”, performed to perfection in large part because the band’s stage assistant had enough foresight to print and laminate the lyrics in advance. It was that kind of night, as seemingly everything the band did turned out right. John’s three-song solo set featured an infrequent appearance of “Autoclave”, and an exceedingly rare unreleased “Poltergeist”, before the band returned for a powerful second half of the show. The show’s finale was a return of “The Best Ever Death Metal Band in Denton”, a fun song that I haven’t seen in a few years and which always gets the crowd involved. Sunday night’s show at Brooklyn Steel represented all of the reasons why we keep coming back to see this band, and probably always will.

I recorded this set with the Neumann hypers mounted high inside the soundboard cage and mixed with the a feed provided by the Mountain Goats longtime FOH Brandon Eggleston. Both the room and the feed provided superbly balanced sound, so that this recording is truly a remarkable capture. Enjoy!

Download the Complete Show [MP3] / [FLAC]

Stream the Complete Show:

Mountain Goats
2017-11-12
Brooklyn Steel
Brooklyn NY

Digital Master Recording
Soundboard + Audience Matrix

Soundboard [Engineer: Brandon Eggleston] + Neumann KM-150s > 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 1:39:36]
01 [Vivaldi introduction]
02 The Grey King and the Silver Flame Attunement
03 Cotton
04 In the Craters on the Moon
05 Until I Am Whole
06 [banter – Bat Cave]
07 Rain in Soho
08 Lucretia My Reflection [Sisters Of Mercy]
09 Andrew Eldritch Is Moving Back to Leeds
10 [tuning]
11 Autoclave
12 Moon Over Goldsboro
13 Poltergeist
14 Snow Crush Killing Song
15 [banter – Fenders]
16 Paid in Cocaine
17 [banter – Shelved intro]
18 Shelved
19 The Young Thousands
20 Harlem Roulette
21 Against Pollution
22 [encore break]
23 Southwestern Territory
24 Up the Wolves
25 This Year
26 [second encore break]
27 Spent Gladiator 2
28 The Best Ever Death Metal Band in Denton

SUPPORT the Mountain Goats: Website | Twitter | Buy Official Releases | Tour Dates

Waxahatchee: July 15, 2017 Warsaw BK

July 25, 2017
By


[photos by Joe Saturday – courtesy of We All Want Someone blog]

Last September, Katie and Allison Crutchfield’s first major band PS Eliot reunited for a brief tour and the results were quite impressive. The show we captured at Market Hotel was one of the best nights of last year. Ten months later, Katie’s main band Waxahatchee has released its latest album and it appears that last year’s return to the earlier emo/punk of her career influenced the sound of the new album. Out In the Storm (Merge Records) was produced by the great John Agnello whose credits include Dinosaur Jr. and Sonic Youth, and it comes as no surprise that this is the most guitar-centric Waxahatchee album. That being said, its also undoubtedly the best sounding album in the band’s catalog and the song-writing fits perfectly with the production. The record chronicles the inner conflict of a person going through a difficult break-up and the anger and aggression and the power production matches perfectly.

Waxahatchee is currently on tour and the Brooklyn show was advertised as an album release show. Katie and Allison are originally from Alabama and currently live in Philadelphia, but each have great affection for Brooklyn. And as became obvious at this sold out Warsaw show, the borough loves them too. This was the largest show in the band’s history and they certainly rose to the occasion. With a crack band behind them, the sisters played a powerful set of material from the the last three albums mixed pretty evenly, but it was the newer tracks that brought the energy. If music is the universal emotional healing elixir, then whatever damage was suffered by the protagonist of Out In The Storm should have been thoroughly exorcised by the close of this outstanding show.

Waxahatchee is on an extensive world tour that last through November. Their many dates on posted on their Facebook page [here].

I recorded this set with the Neumann hypercardioids mixed with and board feed, and the sound is excellent. Enjoy!

Download the Complete Show [MP3] / [FLAC]

Stream the Complete Show:

Waxahatchee
2017-07-15
Warsaw
Brooklyn NY

Digital Master Recording
Soundboard + Audience Matrix

Soundboard + Neumann KM-150s > Sound Devices 744t > 2 x 24bit 48kHz wavs > Soundforge (post-production) > CDWave 1.95 (tracking) > TLH > flac (320 MP3/tagging via Foobar)

Recorded and Produced by nyctaper

Setlist:
[Total Time 1:07:55]
01 Recite Remorse
02 Silver
03 Poison
04 Misery Over Dispute
05 The Dirt
06 Sparks Fly
07 Eight Ball
08 Brother Bryan
09 Lively
10 Never Been Wrong
11 Hear You
12 Air
13 Waiting
14 Coast to Coast
15 Brass Beam
16 A Little More
17 [band introductions]
18 No Question
19 Peace And Quiet
20 [encore break]
21 La Loose
22 Fade
23 Under a Rock

SUPPORT Waxahatchee:  website | Purchase Out In The Storm

Lambchop: March 30, 2017 Bowery Ballroom

April 6, 2017
By


[photo by PSquared Photography]

In my not so humble opinion, Lambchop’s FLOTUS was the best album of 2016. In a similar regard, “In Care of 8675309” is the best song released this decade. What makes it more remarkable is that the album represents for Kurt Wagner a stylistic pivot from a twenty-five year career of eclectic americana. For FLOTUS, Wagner used modern technology juxtaposed with his intimate lyrics to create a masterpiece about the maintenance of an interpersonal connection in a world increasingly enslaved to machines.

We were fortunate to capture the live debut of the FLOTUS material at Hopscotch in September. Since that time Lambchop has toured the world and performed this material more than fifty times in a live setting, so that by the time they arrived at Bowery Ballroom last Friday, we were excited for the development of the songs. Our expectations were met early in the proceedings when Wagner sweetly crooned a subdued version of “NIV” that blended seamlessly into a guitar-driven truncated version of “The Hustle” that was transformed from the hypnotic electronic bifurcated melody on the album to a more unified alt-folk ballad live. “8675309” was placed in the middle of the set but Wagner’s intense vocal performance of the epic number was perhaps the highlight of the evening. The band’s setlist included a handful of older numbers and one cover, but this night was dedicated to FLOTUS and sans the title track, the album was nearly completely performed. The keyboardist Tony Crow provided several ace solos (and some hilarious banter) and the band also includes veteran bassist Matt Swanson and Wye Oak’s percussionist/electronic wiz Andy Stack, whose expert multitasking we’ve noted previously in this pages. But it was Wagner centerstage, and while his abundant use of vocals effects may have startled some of the old guard, the packed house was clearly on board for the FLOTUS sound and hovered on every note. Lambchop’s current tour comes to a close in the next few weeks, and they’re going back to Europe in the Summer festival season, but we expect that they will return to NYC in the Fall.

I recorded this set with the Schoeps mounted in our usual balcony spot and mixed with a flawless soundboard feed. The crowd’s great respect for this performer and this material permitted us to capture the often quiet moments of this set without distraction and as a result the sound quality of this recording is superb. Enjoy!

Download the Complete Show [MP3] / [FLAC]

Stream the Complete Show:

Lambchop
2017-03-30
Bowery Ballroom
New York NY

Digital Master Recording
Soundboard + Audience Matrix

Soundboard + Schoeps CCM4u Cardioids > Edirol R-44 (Oade Mod) > 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 1:39:16]
01 NIV
02 The Hustle
03 Directions to the Can
04 Poor Bastard
05 Old Masters
06 Writer
07 [banter – physical comedy]
08 In Care Of 8675309
09 [band introductions]
10 The New Cobweb Summer
11 [banter – build character]
12 Howe
13 JFK
14 Relatives #2
15 Harbor Country
16 [encore break]
17 My Blue Wave
18 When You Were Mine [Prince]

PLEASE SUPPORT Lambchop: Website | Buy FLOTUS at Merge Records

Teenage Fanclub: March 27, 2017 Warsaw Brooklyn

April 3, 2017
By


[photo by Dean Keim]

We approached the return of Teenage Fanclub this past Fall with much optimism and we were rewarded with a superb new album and an outstanding show in October at Bowery Ballroom. The band has aged well — in particular the harmonies and songwriting remain top notch three decades into their career. Six months later, Teenage Fanclub has toured the world and as this phase of their career comes to a close, the band played Brooklyn last Monday as the final night of the tour. The success of this year’s work was evident in the size of the venue — from a 500 ticket Bowery show in October that sold out on the day of the show to a 1000 capacity Warsaw that was packed

At Warsaw, the Fannies were in a relaxed and playful mood and the band’s interaction with the large crowd was frequent. Norman Blake spoke frankly about the band’s previous night’s end-of-tour party, but if the players were feeling the effects it did not show in the performance which was as tight and focused as expected. The band took a request from a fan who had brought a sign asking for “Going Places” and the band took a brief break to work through the song before performing it. The setlist was varied from the October show and included a few tracks not played back then, including a tribute to the late Grant McLennan. After a four-song encore set, the band waved goodbye but given the success of this most recent reunion, we don’t expect it will be long before Teenage Fanclub returns.

I recorded this set with the Hypercards mounted back at the soundboard and mixed with an excellent feed. The sound quality is superb. Enjoy!

Download the Complete Show [MP3] / [FLAC]

Stream the Complete Show:

Teenage Fanclub
2017-03-27
Warsaw
Brooklyn NY

Digital Master Recording
Soundboard + Audience Matrix

Soundboard [engineer David] + Neumann KM-150s > Sound Devices 744t > 2 x 24bit 48kHz wavs > Soundforge (post-production) > CDWave 1.95 (tracking) > TLH > flac (320 MP3/tagging via Foobar)

Recorded and Produced by nyctaper

Setlist:
[Total Time 1:35:05]
01 Start Again
02 Don’t Look Back
03 Hold On
04 I Don’t Want Control of You
05 Thin Air
06 Verisimilitude
07 It’s All in My Mind
08 The First Sight
09 About You
10 I Need Direction
11 The Darkest Part of the Night
12 Je T’Aime tease [Serge Gainsbourg]
13 Can’t Feel My Soul
14 Ain’t That Enough
15 [banter – end of tour]
16 Going Places
17 I’m in Love
18 Sparky’s Dream
19 The Concept
20 [encore break]
21 I Was Beautiful When I Was Alive
22 Star Sign
23 Easy Come Easy Go [Grant McLennan]
24 [banter – thanks]
25 Everything Flows

SUPPORT Teenage Fanclub: Website | Facebook | Purchase Here from Merge Records

Hiss Golden Messenger – November 15, 2016 Music Hall of Williamsburg

November 20, 2016
By

Hiss Golden Messenger

Hiss Golden Messenger’s new album, Heart Like a Levee, is one for dark times—and dark times we’ve got in abundance. Still, last week’s tour stop at the Music Hall of Williamsburg was nothing if not uplifting. “Red Rose Nantahala,” normally dedicated to North Carolina’s horrid (and hopefully former) governor, is here dedicated to “a whole bunch of people,” and I think the whole room here in Brooklyn more than ever felt the import of those lyrics, “Well let me be the one I want / Well let me love the one I want.” On the lighter side, it was the band’s cover of the Grateful Dead’s “Brown-Eyed Women” that stole the show. Their version appeared originally on the Day of the Dead compilation and this was apparently the first time it had been attempted live. The epic, thirteen-minute closer “Brother, Do You Know the Road?” (a personal favorite among HGM tunes), fittingly performed to end a set of songs about finding your way home, and on one of the last dates of their tour, will send you off feeling pretty good.

I recorded this set with the mics set up at the soundboard combined with a board feed from the band’s touring engineer, Luke. The sound is excellent. Enjoy!

Download: MP3/FLAC

Stream:

Hiss Golden Messenger
2016-11-15
Music Hall of Williamsburg
Brooklyn, NY

Recorded and produced by Eric PH for nyctaper.com

Soundboard [engineer: Luke] + AKG C480B/CK63 (DFC, PAS, at SBD) > Roland R-26 > 2xWAV (24/48) > Adobe Audition CC (align, compression, mixdown, normalize, fades) + Izotope Ozone 5 (EQ) > Audacity 2.0.5 (downsample, dither, tracking, tagging) > FLAC (16/44.1, level 8)

Tracks [2:07:11]
01. As the Crow Flies
02. Biloxi
03. Saturday’s Song
04. Mahogany Dread
05. Red Rose Nantahala
06. Day O Day (A Love So Free)
07. [banter]
08. Heart Like a Levee
09. Tell Her I’m Just Dancing
10. O Happy Day
11. Like a Mirror Loves a Hammer
12. Call Him Daylight
13. I’ve Got a Name For the Newborn Child
14. [banter]
15. I’m a Raven (Shake Children)
16. [banter]
17. O Little Light
18. Flags and Banners [Faces]
19. Say It Like You Mean It
20. Cracked Windshield
21. Lucia
22. Southern Grammar
23. [encore break]
24. Brown-Eyed Women [Grateful Dead]
25. Brother, Do You Know the Road?

If you enjoyed this recording, PLEASE SHOW YOUR SUPPORT by buying Hiss Golden Messenger’s records from Paradise of Bachelors and Merge Records, as well as HGM’s online store.

Lambchop: September 8, 2016 Hopscotch Music Festival (Raleigh, NC)

November 14, 2016
By

img_1451

By now, Lambchop fans have had a chance to hear the band’s daring new record, FLOTUS, a critically-acclaimed shot across the bow to anyone who would dare claim a classic artist can’t reinvent themselves. But back in September, at the Hopscotch Music Festival, fans were probably more ready for a show like the one we witnessed there in 2012, or any number of the band’s lauded full-band shows whose cast can stretch to over a dozen people.  So when Kurt Wagner sang the first Vocoder-enhanced lines of “NIV” — a song nobody there had heard before — a fan might have been forgiven for being freaked out. When the entire show, including pre-FLOTUS material, continued in that vein, you have to imagine more than a few WTFs were exchanged. But that would have been a serious mistake, as not only are these new songs compelling in their own right, but the very fact of their existence says something special, too. Artists in the third decade of their career don’t often make these kinds of stylistic moves, and when they do, they often ring hollow. Wagner had already experimented with an electronic sound with his side project HeCTA in 2015, but for that to migrate to his main act represents an additional leap.

Wagner, on the other hand, has made a stripped-down, gorgeous album whose songwriting, pacing and structure (bookended by two epic-length tracks) are as equally of note as the dedication to the vocoder. The new sound echoes something essential about our era, taking a style once so resolutely organic and making it largely electronic. You feel both excited by the new possibility, yet threatened by the loss of something more natural, more human.

Here, in Raleigh’s comfortable Fletcher Opera Theater, those electronic tones were warmed up by not only the band’s physical presence, but Wagner and his bandmates’ banter, which alone was worth the price of admission. If he gets tired of music, pianist Tony Crow might well have a career in front of him as a comic sideman, as he traded jokes with Wagner throughout the night. Though this was the first time that many of these songs saw the light of day, it turns out that these versions are faithful to the album versions. Equally interesting were the FLOTUS-fied versions of earlier material like the standout Mr. M track “If Not I’ll Just Die” and several of its fellow Mr. M tracks. Stripped of that album’s lush arrangements, we’re left with arctic tone of Wagner’s altered words. The effect was unsettling but lovely, adding focus to Wagner’s words.

If you haven’t heard FLOTUS yet, I’d encourage you to give it a shot. Whether you knew Lambchop before or not, the album, and the quality of its songs, stands on its own as an of-the-moment document by an artist who has followed his own muse for decades. Also, I’d like to thank our friends at Merge Records for letting us post this recording. As eager as we were to share it with the world, both Merge and we thought the best thing was to hold back this live show of a large chunk of the new album until fans have gotten to hear it for themselves. Now, you can compare the two side by side.

I recorded this set with a soundboard feed and Schoeps MK4V microphones. The sound quality is outstanding. Enjoy!

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

Stream the complete show:

Lambchop
2016-09-08
Hopscotch Music Festival
Fletcher Opera Theater
Raleigh, NC USA

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

Soundboard + Schoeps MK4V (ROC, at SBD)>KC5>CMC6>Zoom F8>2x24bit/48kHz WAV>Adobe Audition CS 5.5 (compression, fades)>Izotope Ozone 5 (EQ, effects)>Audacity 2.0.3 (track, amplify, downsample, dither)>FLAC ( level 8 )

Tracks
01 NIV
02 The Hustle
03 [banter]
04 Poor Bastard
05 Old Masters
06 If Not I’ll Just Die
07 [banter2]
08 Gone Tomorrow
09 In Care of 8675309
10 [banter3]
11 Nice Without Mercy
12 [banter4]
13 Directions To the Can
14 [encore break]
15 When You Were Mine

PLEASE SUPPORT Lambchop: Website | Merge Records

Teenage Fanclub: October 15, 2016 Bowery Ballroom

October 16, 2016
By

teenage-fanclub-bowery-psquared
[photos by PSquared Photography]

The legend goes that in 1991, SPIN Magazine selected Teenage Fanclub’s album Bandwagonesque as its record of the year ahead of such luminaries as REM’s Out of Time, Nirvana’s Nevermind and My Bloody Valentine’s Loveless. Over the years, that choice has been ridiculed in certain circles, but twenty-five years later the selection is rather prescient. My Bloody Valentine didn’t make another album after Loveless until twenty-two years later, REM never made another album that approached the quality of Out of Time, and of course Nirvana was over less than three years later. As careers go, Teenage Fanclub has been the most consistent of the four bands and produced the largest quality catalog in the years since SPIN took heat for them.

This year Teenage Fanclub released their eleventh album and first since 2010. Here (Merge Records) is a record of significant maturity and focus — the band is producing songs as strong as ever and the group harmonies are as sweet as ever. The band has now embarked on a US tour in support of the album and NYC enjoyed two shows this weekend, including Brooklyn last night and the Bowery Ballroom show we caught on Saturday night. Teenage Fanclub live was as compelling and impressive as the new album. This is a band that is both fully committed and comfortable and the show was just one peak after another. The setlist drew fairly democratically from the band’s full catalog and with just five songs from Here, was not overly weighted to push new material. And twenty-five years on, the only two tracks from Bandwagonesque played were given center stage, with a perfect version of the classic “The Concept” closing the main set.

Teenage Fanclub plays Boston tonight and the tour continues through six more October US dates before the band returns to Europe in November, all dates here.

I recorded this set in our usual manner in this venue, with the Schoeps mounted at the balcony rail mixed with a fine feed from the band’s touring FOH. The sound quality is superb. Enjoy!

Download the Complete Show [MP3] / [FLAC]

Stream the Complete Set:

teenage-fanclub-44

Teenage Fanclub
2016-10-15
Bowery Ballroom
New York NY

Digital Master Recording
Soundboard + Audience Matrix

Soundboard + Schoeps CCM4u 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 1:30:23]
01 Start Again
02 I Need Direction
03 Verisimilitude
04 I Don’t Want Control of You
05 [tuning music]
06 Sometimes I Don’t Need to Believe in Anything
07 Hold On
08 It’s All in My Mind
09 Thin Air
10 About You
11 The Darkest Part of the Night
12 Don’t Look Back
13 Can’t Feel My Soul
14 I Have Nothing More to Say
15 I’m In Love
16 Star Sign
17 [banter – thanks]
18 The Concept
19 [encore break]
20 Did I Say
21 Radio
22 Your Love Is the Place Where I Come From
23 Everything Flows

SUPPORT Teenage Fanclub: Website | Facebook | Purchase Here from Merge Records

teenage-fanclub-32

Support nyctaper

DISCLAIMER and LEGAL NOTICE

nyctaper.com is a live music blog that offers a new paradigm of music distribution on the web. The recordings are offered for free on this site as are the music posts, reviews and links to artist sites. All recordings are posted with artist permission or artists with an existing pro-taping policy.

All recordings and original content posted on this site are @nyctaper.com as live recordings pursuant to 17 U.S.C. Section 106, et. seq. Redistribution of nyctaper recordings without consent of nyctaper.com is strictly prohibited.

nyctaper.com hereby waives all copyright claims to any and all recordings posted on this site to THE PERFORMERS ONLY. If any artist posted on this site requests that recordings be removed, those recordings will be removed forthwith.