Posts Tagged ‘ nyctaper ’

Ryley Walker: March 12, 2019 Union Pool

March 14, 2019
By
Photo by Drew Gardner

Listen to this recording for the in-between song comedy, if nothing else.

Huh? Oh, right, but this is Ryley Walker we’re talking about — the Very Serious Musician who writes Very Serious Songs and does Very Serious Things like 55 minute psych-improv blowouts with Steve Gunn and Ryan Jewell. This is Ryley Walker, who does a 2LP song-by-song cover of an unreleased Dave Matthews album as his second record of the year — a cover album so good that it convinces music snobs that yes, Dave Matthews is actually a pretty darn great musician. Come for comedy if you must, but become lifelong believer because of the music.

This was Ryley’s second of four residency shows this month at Union Pool. In addition to a truly hilarious extended riff about garage bands at SXSW circa 2009 (with a note-accurate parody song included) and Chicago bands who fail to get picked up by Touch N Go (with a note-accurate parody song based around the riff from June of 44’s “Dexterity of Luck”), Ryley and drummer Jewell delivered a new jam (title TBD), a very familiar cover (“If I Were A Carpenter”), songs from the exceptional 2018 LP Deafman Glance, and “Primrose Green,” from the 2015 album of the same name that seems like aeons ago musically. Whether or not certain naysayers at the time made lame Van Morrison comparisons (based as much on the album’s cover art as its sound), many of those songs are really good, and it’s a joy to see them coming back in the rotation.

As I’ve mentioned before, what feels like the biggest difference from the 2015-era shows is how Walker’s live renditions more closely match the album’s style. Sure, it’s still “sad acoustic guitar indie folk man” music in a sense (as Walker put it), but “Telluride Speed” and “Spoil With the Rest” were played here more or less in the style of the album versions, versus the 14-minute jam version of “Halfwit In Me” that’s long been a tour staple. I don’t know if it means that Walker feels more comfortable with the Deafman songs as the band played them in the studio, or if these songs are just waiting their turn for the extended treatment, but either way, it’s working.

This show also features a hilarious story about taking acid in relation to a King Crimson concert (listen to the story) and some self-deprecating musings about Primrose Green. This might be the first show I’ve witnessed by a serious musician that almost seemed to spawn a new genre: sort of a Yo La Tengo Hanukkah set with a comedian, except that the comedian appears during the set.

There are two more Tuesday nights this month where you can catch Ryley Walker at Union Pool, with more special guests promised. Based on the first two, it’s pretty clear that you shouldn’t come with any preconceived notion of what you’ll hear, but be prepared to enjoy yourself. Tickets for next week’s show are here.

Doug Graham once again outdid himself behind the board. Combined with my Schoeps MK5 mics, it’s yet another excellent recording for you to enjoy.

Download the recording from its Live Music Archive page

Ryley Walker
2019-03-12
Union Pool (Residency Night 2)
Brooklyn, NY USA

Recorded and produced by acidjack

Soundboard (Engineer: Doug Graham) + Schoeps MK5c (XY, at SBD, DFC)>KC5>CMC6>>Sound Devices MixPre 6>24/48 polyWAV>Adobe Audition CC>Izotope Ozone 5>Audacity 2.2.2>FLAC ( level 8 )

Tracks [Total Time 1:04:03]
01 [intro]
02 The Halfwit In Me
03 [diaper rap]
04 [new jam 1]
05 Spoil With the Rest
06 [garage rock and Thrill Jockey rap]
07 Telluride Speed
08 [King Crimson rap]
09 If I Were A Carpenter [Tim Hardin]
10 [primrose rap]
11 Primrose Green

PLEASE SUPPORT RYLEY WALKER: Bandcamp | Dead Oceans

Ryley Walker, Steve Gunn & Ryan Jewell Trio: March 5, 2019 Union Pool

March 7, 2019
By
Photo by Drew Gardner

Ryley Walker led off his March 2019 Union Pool residency with a shot of his usual self-deprecating humor, telling us he just got dumped and that this was his first show as a New Yorker (he’s lived here for months and performed quite a few sets here since). For those of us who’ve followed his career for the past five-plus years, we knew at least one thing to expect next: Ryley’s music is as serious as his stage persona is flippant.

Still, that couldn’t quite prepare us for the trio set with Steve Gunn and Ryan Jewell that followed. This trio could have done any number of things well, but what we ended up with reminded me tonally of Gunn’s collaborations with the drummer John Truscinski — with a hundred percent more guitar. Over the course of this 50 minute improvisational piece (titled by yours truly given the lack of a given one), I was struck by how, in the right hands, an instrument can be a person’s voice. Take Walker at his word — or put yourselves in the shoes of almost anyone who first moves to NYC from their hometown — and you knew what kind of energy he was working with: frenetic, exuberant and relentless. He played like a person aching to be seen, announcing themselves in an unfamiliar place. It wasn’t his first show as a New Yorker, but it might be the first one with that alchemical mix of awe, anxiety and urgency that turns you into the kind of person who belongs here.

Gunn’s trademark guitar tone undergirds the entire piece, a beacon for what’s to come. There’s a sweetness and calm to even Gunn’s noisiest work that’s of a piece to his own stage persona: confident but laid-back about it, extraordinary without overreaching. Like his recent guest appearance with William Tyler, this collaboration with Walker made for an incredible combination of peer guitarists operating at their creative and artistic peaks (not to say they won’t enjoy more). Likewise the conservatory-trained Jewell, an almost-constant among Ryley’s touring bandmates, who comes in and out of the foreground of this extended improv at the right moments, adding drone-style percussion at critical ebbs in the volume.

From his noise roots to his folk-leaning earlier albums to his wholly-new current material, Walker proves over and over that he refuses not to stretch himself artistically. It was hard to take photos of this show. You could get a clear shot of Steve, eyeing Ryley from stage left. But Ryley Walker, he was a blur, especially at this piece’s final, ecstatic climax. Like a true New Yorker, he never stops moving.

I recorded this set with a flawless feed from Union Pool’s engineer Doug Graham, together with Schoeps MK5 microphones at the soundboard. The quality is excellent. Enjoy!

Thanks as always to the artists and the Union Pool team for having us.

Download the complete show from its Live Music Archive page.

Ryley Walker, Steve Gunn & Ryan Jewell Trio
2019-03-05
Union Pool
Brooklyn, NY  USA

Recorded and produced by acidjack

Soundboard (engineer: Doug Graham) + Schoeps MK5 (XY, at SBD, DFC)>KC5>CMC6>>Sound Devices MixPre 6>24/48 polyWAV>Adobe Audition CC>Izotope Ozone 5>Audacity 2.2.2>FLAC ( level 8 )

Tracks [Total Time 51:41]
01 [Chicago rap]
02 Exodus 2 Brooklyn pt 1
03 Exodus 2 Brooklyn pt 2
04 Exodus 2 Brooklyn pt 3

Ryley Walker – guitar
Steve Gunn – guitar
Ryan Jewell – drums

Dodgeball: September 9, 2018 Trans-Pecos

December 2, 2018
By


[photo by nyctaper]

Back in the last decade when every sub-genre of music had a silly moniker, a particular type of intelligent polyrhythmic punk was clumsily called “math rock”. These days there aren’t really blogs around anymore to invent awkward genres in lieu of actually reviewing the music, but the descendants of the bands who got tagged as “math rock” are having a heyday of sorts. Boston’s Pile seems to be the granddaddy of this little movement, which also includes bands like Spirit of the Beehive, Palm, and Brooklyn’s Dodgeball. In the several weeks since this September show where the band exhibited the best traits of the current crop of mathies — strong sense of rhythm, challenging but rewarding melodic structure, and a great songcraft — Dodgeball released a new four-song EP, three tracks of which appear on this recording. The EP Turns Out I Was Just Really Bored continues the evolution of a band we expect to continue to grow in stature to the point where these cozy nights at Trans-Pecos will likely be a thing of the past.

I recorded this set with the Schoeps capturing the onstage sound mixed with a solid board feed. The recording really captures the energy of the set quite well and we think it sounds great. Enjoy!

Download the Complete Show [MP3] / [FLAC]

Stream the Complete Show:

Dodgeball
2018-09-09
Trans-Pecos
Queens NY

Digital Master Recording
Soundboard + On-Stage Audience Matrix

Soundboard [Engineer Eric Lemke] + Schoeps CCM4u’s > 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 26:04]
01 Edging
02 Swayze
03 Cig Bowl
04 Veggies
05 Robert Parsnip
06 Palm
07 Rock Song 1
08 Nu

PLEASE Support Dodgeball: Bandcamp | Facebook | Twitter

Dirty Projectors: November 18, 2018 Elsewhere (Early Show)

November 20, 2018
By

If you ever doubt the reason to see live music, I’d refer you to the experience of watching Dave Longstreth on stage for eighty minutes with Dirty Projectors. There’s a particular joy to watching such complex, intellectual “rock” music brought to life by players of such immense talent, up close enough to see Longstreth’s fingers work the fretboard. If it’s at Elsewhere — a phenomenal-sounding club — and on a rather convenient late Sunday afternoon, all the better.

Among the waves of NYC/Brooklyn rock music in the first decade of this century, the Dirty Projectors always existed at some remove from even their mid-latter-decade contemporaries. Dirty Projectors is an unapologetically smart band, the work of a highly educated musician’s musician. It’s fitting that I last saw this band at Carnegie Hall in early 2013; if any “indie rock” band belongs there, it’s this one.

This set, the first of two the band performed at Elsewhere on Sunday, spanned the band’s five most recent albums (with Rise Above represented by the particularly affecting “Police Story” that led off the show), as well as two nuggets from the band’s Mount Wittenberg Orca collaboration with Björk. Likewise, this set represented a reasonable facsimile of Longstreth’s emotional states during the recent past, with songs like the joyous “I Found It In U” and “I Feel Energy” offset by the political rumination “It’s A Lifestyle” and the wistful “Little Bubble.” Longstreth has described Lamp Lit Prose and Dirty Projectors as a yin and yang album cycle, and that was evident here. But, while Lamp Lit is stylistically closer to the rest of the band’s recent material, there’s been a darkness in many of Longstreth’s songs before Dirty Projectors, and those, like “Gun Has No Trigger,” were well-represented here also.

To call the current band “new” is a bit of a stretch at this point; they’ve been touring this album as a unit for a while now, and it showed in their formidably well-rehearsed state. Give a quick listen to the soaring harmonies on “Cannibal Resource”, Kristin Slipp’s lead vocal on “The Socialites” or the incredible vocal precision on “When the World Comes To An End” (incidentally, the Mount Wittenberg songs strike me as particularly difficult musically) and you’ll be relieved of any concern that this band isn’t every bit the equal of the one that came before it. It wasn’t just because of Longstreth’s talent that I spent a good bit of these 80 minutes on a Sunday afternoon mouthing the word “wow.” It was hard to tell how serious Longstreth was about engaging a call-and-response situation during the final encore (“Right Now” from Lamp Lit Prose) but it soon became clear that even figuring out how to chant “right now” back at a Dirty Projectors song is a little tougher than usual singalong fare (“it loops unevenly…. that’s as well as I’ve figured out how to do it” a sheepish Longstreth said). “Right Now” proved a fitting end, encapsulating the yin and yang of the show in a single, dark but ultimately uplifting song (which Longstreth also identified as the most difficult to play in the set). The only part that wasn’t perfectly dialed in was the crowd singing “right now” — but that was kind of perfect, too.

I recorded this set with a feed of the house mix together with Schoeps MK4V microphones inside the soundboard cage. All credit for the sound of this belongs to the production team, both Dirty Projectors’ touring engineer, Teresa Murray, and the house team at Elsewhere. I hope you’re as impressed with it as I am — enjoy!

Thanks to Domino Records and Dirty Projectors for giving us permission to record the performance, along with the outstanding Elsewhere production crew.

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

Dirty Projectors
2018-11-18 (early show)
Elsewhere
Brooklyn, NY USA

Recorded and produced by acidjack for nyctaper.com

Soundboard (engineer: Teresa Murray + Tyler (house)) + Schoeps MK4V (FOB, DFC)>KC5>CMC6>>Sound Devices
MixPre6>24/48 polyWAV>Adobe Audition CC (align, mix down, fades, compression)>Izotope Ozone 5 (effects)>Audacity 2.1.0 (track, amplify,
balance)>FLAC ( level 8 )

Tracks [Total Time: 1:20:15]
01 Police Story
02 I Found It In U
03 Break-Thru
04 What Is the Time
05 Cannibal Resource
06 Temecula Sunrise
07 That’s a Lifestyle
08 The Socialites
09 Gun Has No Trigger
10 When the World Comes to an End
11 I Feel Energy
12 Cool Your Heart
13 Useful Chamber
14 [encore break]
15 Beautiful Mother
16 Little Bubble
17 [explanatory banter]
18 Right Now

Band:
Dave Longstreth
Matt Baldwin – bass, bass synth
Mike Johnson – drums
Felicia Douglass – vocals, keyboard, electronic percussion
Kristin Slipp – vocals, Wurlitzer, additional keys
Maia Friedman – guitar, vocals

PLEASE SUPPORT Dirty Projectors: web | facebook | buy Lamp Lit Prose

Object Hours: September 8, 2018 Merge Records/OCSC Day Party, King’s (Raleigh, NC)

October 22, 2018
By


[Photo courtesy of Dave Schwentker]

Sometimes the daytime action at Hopscotch can be even more intense than the evening, as showcases like the Merge/OCSC day party at King’s have a habit of bringing out top local talent to draw the local crowd. For my money, few local acts are more exciting right now than Carrboro, NC’s Object Hours, whose bandcamp helpfully promises to keep songs “under 25 minutes for your sake.” The band’s instrumental explorations, at least during this set, aren’t quite that long, but it’d be just fine if they were. The players — Nora Rogers, Jenny Waters and Harrison Haynes — are vets of a number of bands, and that experience and confidence shows in their improvisational style. For any fan of modern music for heads, add Object Hours to the top of your list — this is a band to watch.

Our man Dave Schwentker made this recording from an optimal spot in the venue using an Olympus LS-10 and its included mics. The sound quality is excellent. Enjoy!

Download the complete show: [MP3/FLAC]

Object Hours
Merge/OCSC Day Party
King’s
Raleigh, NC  USA

Recorded by Dave Schwentker

Tracks
01 Fuse Blower/Vikings
02 The Turning Point
03 Fear Based Excellence

SUPPORT Object Hours: bandcamp | Instagram

Luna: August 24, 2018 Industry City Brooklyn

October 7, 2018
By


[photo from Frank]

In the evolving story of Luna v2.0, the band continues to entertain in new ways. While last year it was the eclectic and meticulously curated covers album A Sentimental Education, this year’s tour seems to be an exercise in finding the deep cuts that haven’t been performed in more a decade. Its been three years now and as we’ve chronicled umpteen shows, but at this Industry City show in August we saw Luna perform four songs for the first time — “Math Wiz”, “I Can’t Wait”, “Broken Chair” and the Galaxie 500 number “Strange”. Overall, this show was one of the stronger performances we’ve seen from Luna, and it wasn’t just the ambitious selist. The band seems in particularly good form, tight, focused, and in great spirits. These days Luna shows are must see and we’re luck the band continues to faithfully play NYC shows when they do their mini tours.

While Luna currently does not have any shows scheduled (they just finished a tour of Europe), Dean Wareham has a new collaboration with Cheval Sombre and they will play NYC at Le Poisson Rouge on December 7. Tickets here.

I recorded this set with the outdoor-friendly Neumann large diaphragm cards blended with soundboard feed mixed with precision by Evan Player. Despite some minor noise from the windy evening, the mix worked quite well and the sound quality is superb. Enjoy!

Download the Complete Show [MP3] / [FLAC]

Stream the Complete Show:

Luna
2018-08-24
Industry City
Brooklyn NY

Digital Master Recording
Soundboard Audience Matrix

Soundboard [Engineer Evan Player] > Neumann TLM 102s > Sound Devices 744t > 24bit 48kHz wav > Soundforge (post-production) > CDWave 1.95 (tracking) > TLH > flac (320 MP3 and tagging via Foobar)

Recorded and Produced by nyctaper

Setlist:
[Total Time 1:30:48]
01 Twenty-Three Minutes in Brussels
02 Slide
03 Fire in Cairo [Cure]
04 Math Wiz
05 Sweetness [Yes]
06 I Can’t Wait
07 Lost in Space
08 Broken Chair
09 Chinatown
10 Malibu Love Nest
11 [banter]
12 Kalamazoo
13 Bewitched
14 Friendly Advice
15 [encore break]
16 Strange [Galaxie 500]
17 Lonesome Cowboy Bill [Velvets]
18 Indian Summer [Beat Happening]
19 [second encore break]
20 Car Wash Hair [Mercury Rev]

SUPPORT Luna:  Website | Bandcamp | Buy A Sentimental Education

Kevin Devine: August 23, 2018 Industry City Brooklyn

August 30, 2018
By


[photos by AJ Tobey]

There was a guy in the crowd at the Kevin Devine show at Industry City on Friday who was wearing a “STILL EMO” t-shirt. If by “Emo” we mean an artist who writes candidly about politics, chemical abuse, interpersonal struggles and triumphs, and love, then yeah I guess Devine’s music is technically “Emo”. But as we’ve witnessed in following this superb artist and person for a decade, Kevin Devine is a uniquely honest and passionate performer who makes his audience believe, and rightfully so, that’s he in it with us.

Industry City is essentially a series of re-purposed factories that now house a complex of shops, restaurants, bars, retail stores and offices. In the center is a huge courtyard where Bell House has chosen to host its first annual Summer concert series. This was our first visit to Industry City and we were quite impressed. The setting provided a relaxed vibe and pleasant surroundings for enjoying an early evening Summer concert from one of our favorite artists.

Kevin Devine was joined by two members of the Goddamn Band for this show and the three were in sync all night. Devine released his 9th and most recent studio album Instigator in 2016, but on this night he chose democratically from his deep catalog to provide a lengthy set of material that both opened and closed with Kevin playing intense solo numbers, the apt “Brooklyn Boy” to open and personal favorite “Ballgame” to close. As per usual, there was ample banter with the crowd including multiple references to this being the closest the artist has ever played to his home in Sunset Park. Perhaps buoyed by the surroundings or the fact that there hasn’t been a full Goddamn Band show in New York for quite some time, the trio delivered a memorable night of music that clearly made the fans wish for more of these perfect nights.

I recorded this set with the outdoor-friendly Neumann large diaphragm cards mounted at the soundboard. While the audio was not enhanced by the stage being in-between two large brick buildings, the excellent FOH work by Rob certainly made the “room” work well. The mics were mixed with a well-balanced feed to create an excellent mix and the result is a superb recording. Enjoy!

Download the Complete Show [MP3] / [FLAC]

Stream the Complete Show (minus banter):

Kevin Devine
2018-08-23
Industry City
Brooklyn NY

Digital Master Recording
Soundboard Audience Matrix

Soundboard [Engineer Rob Sutton] > Neumann TLM 102s > Sound Devices 744t > 24bit 48kHz wav > Soundforge (post-production) > CDWave 1.95 (tracking) > TLH > flac (320 MP3 and tagging via Foobar)

Recorded and Produced by nyctaper

Setlist:
[Total Time 1:38:04]
01 [introduction]
02 Brooklyn Boy
03 Off Screen
04 The First Hit
05 Between the Concrete and Clouds
06 No Time Flat
07 No Why
08 Instigator
09 Magic Magnet
10 [yesterday’s bird]
11 Bubblegum
12 Bloodhound
13 I Can’t Believe You
14 [never bird]
15 Little Bulldozer
16 You Brushed Her Breath Aside
17 She Can See Me
18 [Bad Books]
19 Just Stay
20 I Could Be With Anyone
21 [band introductions]
22 No History
23 Redbird
24 Cotton Crush
25 Brother’s Blood
26 [MDA Dance]
27 I Was Alive Back Then
28 [thanks]
29 Ballgame

PLEASE SUPPORT Kevin Devine: Website | Buy Music | Bandcamp

Gunn-Truscinski Duo: July 19, 2018 Elsewhere

July 24, 2018
By

Watching the interplay of Steve Gunn and John Truscinski onstage, you get the sense that these two are hand-in-glove players, to the point you almost can’t imagine them playing with anyone else (though they do). That interplay is part of what makes all of their Three Lobed releases so special. Each of them, including their latest and most adventurous to date, Bay Head, feels like it sprung forth fully-formed, a jam session whose synchrony had to be made permanent. On this night at Elsewhere, after kicking off with their new drone track “Road Bells,” the duo launched into straight into a version of “Banh Mi Ringtones” that felt like just that, with the action peaking in a furious Gunn solo. The Ocean Parkway love continued with that title track, followed by the gorgeous “Seagull for Chuck Berry.” Things came to a close in a similar vein to the show we saw at Union Pool in January, the sprawler “Gunter,” featuring a new drone-based intro. Even that relatively new track felt re-imagined in the moment, and that’s the glory of Gunn-Truscinski duo. Fortunately, this is one of those jam sessions whose synchrony was documented.

I recorded this set from the soundboard cage with a board feed from house engineer Chris, together with Schoeps MK4V microphones. The sound quality is outstanding. Enjoy!

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

Gunn-Truscinski Duo
2018-07-19
Elsewhere
Brooklyn, NY USA

Recorded and produced by acidjack for nyctaper.com

Soundboard (engineer: Chris) + Schoeps MK4V (FOB, DFC, PAS)>Sound Devices MixPre6>24/48 polyWAV>Adobe Audition CC (align, mix down, fades)>Izotope Ozone 5 (EQ, effects)>Audacity 2.2.2 (track, amplify)>FLAC ( level 8 )

Tracks
01 Road Bells
02 Banh Mi Ringtones
03 Ocean Parkway
04 Seagull For Chuck Berry
05 Gunter

• Buy Bay HeadOcean Parkway, and Sand City via Three Lobed

Pylon Reenactment Society: July 1, 2018 Mercury Lounge

July 18, 2018
By


[photos by Chris Sikich]

Pylon’s influence on their contemporaries is indisputable. Indeed, over the years REM has consistently cited Pylon for their positive impact on the 1980s Athens scene. What’s become more clear in the intervening years is that Pylon’s influence is more vast than their local time and place — their revolutionary sound can be heard in new bands even today. Pylon was enjoying a bit of a renaissance in their third reunion period of 2007-2008 when tragically guitarist Randy Bewley suffered a heart attack and passed away at the age of 53. At that point, the band was formally retired and it seemed as if Pylon’s music would only live on in recordings.

After a few one-off local performances, in 2014 lead singer Vanessa Briscoe Hay re-formed the band under the moniker Pylon Reenactment Society. With the blessing of her two former bandmates Michael Lachowski and Curtis Crowe, Vanessa compiled a group of performers from the Athens scene who were both intimately familiar with the music and personally known to the band. Guitarist Jason NeSmith and bassist Kay Stanton were not only members of Athens mainstays Casper & the Cookies, but were also bandmates with Vanessa in Supercluster. Drummer Joe Rowe was a founding member of Athens greats the Glands, who suffered their own deep loss with the 2016 death of leader Ross Shapiro. Vanessa also added a new touch with this new configuration, as her friend and University of Georgia music professor Damon Denton fortifies the sound of PRS with skillful keyboards. So with friendship, familiarity, and a common ethos, its easily understandable that Pylon Reenactment Society has generated universally positive reviews as both an tribute and a celebration of Pylon, and a contemporary band with its own story to write.

Pylon Reenactment Society doesn’t come North very often, but we were fortunate to catch this month’s appearance at Mercury Lounge, a venue where I captured the original band in 2007. With a full crowd there to party, PRS brought the goods — an animated set of old Pylon classics and two new numbers all performed with the precision the songs require but this a new touch from a different skilled set of performers, all fronted by the inimitable Vanessa Briscoe Hay. The set began with “Driving School” and “Volume” from the first Pylon record, 1980’s Gyrate. Indeed, the show would include almost all of the first album and the entirety of Side A of the band’s second album Chomp. The set even included uber-rare b-side “Altitude”, a song with which we were unfamiliar until the fantastic release in 2016 of Pylon Live (Chunklet). With a twenty-song, ninety-minute set, Pylon Reenactment Society gave the crowd of old and newer fans all that could have been asked for — a chance to relive the old classic material in a new configuration with plenty of heart. We hope they’ll be back North again soon.

I recorded this set with the Schoeps cards set up next to the soundboard and mixed with an excellent feed and the sound quality is superb. Enjoy!

Download the Complete Show [MP3] / [FLAC]

Stream the Complete Show:

Pylon Reenactment Society
2018-07-01
Mercury Lounge
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 1:28:45]
01 Driving School
02 Volume
03 Look Alive
04 Cool
05 Messenger [new song]
06 Precaution
07 K
08 Italian Movie Theme
09 Human Body
10 [band introductions]
11 Working Is No Problem
12 Danger
13 Altitude
14 Buzz
15 Crazy
16 Try To Do That [new song]
17 Feast On My Heart
18 Beep
19 [encore break]
20 M Train
21 Dub
22 [banter – thanks]
23 Stop It

PLEASE SUPPORT Pylon Reenactment Society: Website | Bandcamp | Buy Pylon Live

King Gizzard and the Lizard Wizard: June 16, 2018 Brooklyn Steel

July 2, 2018
By


[photos by PSquared Photography]

One of the most advantageous aspects of our involvement in this site is our access and exposure to the world class music at a time before those bands hit it big. When it comes to King Gizzard and the Lizard Wizard, we were there at Day One of their time in the US, including seeing their first U.S. show at McCarren Park, a series of shows at Baby’s All Right, a semi-private Halloween party in a loft, their first show at Bowery Ballroom, and the “secret show” at Baby’s later that week. The three King Gizzard shows we saw in 2015 corresponded to the new music that would eventually become their major label debut and breakthrough album, 2016’s Nonagon Infinity (ATO Records). But it was in 2017 when The Gizz took their career to the next level, accomplishing a feat that will likely never be repeated — the release of five quality albums in one calendar year.

Its been two years since I last saw them in NYC and while much has changed, King Gizzard are still very much the same band. Although it wasn’t Baby’s, the three sold out shows at Brooklyn Steel were very much fan-friendly affairs with the band playing a very democratic selection of material. The show we recorded was the middle night of the three and fortunately for us contained an homage to the “old days”, a long “Head On / Pill” segue that contained long bits of three older numbers and a few other teases. We’d like to think it was the Gizz’s acknowledgement of how important those early days in New York were for the band’s career, days we captured here and remember well.

I recorded this set with the Schoeps cards set up inside the soundboard cage and mixed with a superbly mixed and well balanced soundboard feed. The resulting blend yielded another superb recording from this excellent sounding room. Enjoy!

Download the Complete Show [MP3] / [FLAC]

Stream the Complete Show:

King Gizzard and The Lizard Wizard
2018-06-16
Brooklyn Steel
Brooklyn 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 1:29:17]
01 Rattlesnake
02 Greenhouse Heat Death
03 Digital Black
04 Vomit Coffin
05 The Lord of Lightning
06 Alter Me I
07 Altered Beast II
08 Crumbling Castle
09 The Fourth Colour
10 Deserted Dunes Welcome Weary Feet
11 The Castle In The Air
12 Muddy Water
13 The Wheel
14 Robot Stop
15 Gamma Knife
16 People-Vultures
17 Head On-Pill
18 Cellophane
19 Sea of Trees
20 Am I In Heaven
21 Pill (Reprise)

PLEASE SUPPORT King Gizzard and the Lizard Wizard: Website | ATO Records Site | Bandcamp

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.