Posts Tagged ‘ nyctaper ’

Dinosaur Jr.: October 3, 2017 Brooklyn Bowl

October 5, 2017
By


[photo courtesy of Omar Kasrawi and Pancakes and Whiskey]

From the very outset of Tuesday night’s Dinosaur Jr. show at Brooklyn Bowl — the second of a two night run — it was fairly obvious that the sonic onslaught was in full on mode. Monday’s show was an extraordinary show that we were happy to have attended and recorded, but Tuesday was fully in your face. Any decibel restrictions that the venue may have sought to impose were disregarded as J Mascis’ Marshall guitar stack was well utilized, and the thumping bass of Lou Barlow and Murph’s monster percussion rattled the rib cage. The band also switched up the setlist, so we got some oldies for Bug fans (rare “Budge” and ubiquitous “Freak Scene”), and You’re Living All Over Me diehards (“Little Fury Things”). J and Lou also brought out old friend and Deep Wound bassist Scott Helland to perform one of the first songs the guys ever recorded for that band. We also saw a handful of guests for the “Sub Pop version of The Wagon” including legendary guitarist Don Fleming. And if that wasn’t enough, the show ended with a mini Negative Approach set as singer John Brannon (also of openers Easy Action), drummer Opie Moore and guitarist Harold Richardson joined J and Lou to play two of the seminal Michigan hardcore band’s songs. If we learned anything from this outstanding two-fer of Dinosaur Jr. shows at Brooklyn Bowl, its that this band remains a powerful presence in today’s music. Our still-ringing ears agree.

We recorded this set with the mic stand about midway on the right side of the venue and nyctaper used Schoeps cards while acidjack employed Schoeps hypers. The full sonic blast of this show is faithfully captured in both recordings. Enjoy!

Download the Complete Show:
nyctaper version [MP3] / [FLAC]
acidjack version [MP3] / [FLAC]

Stream nyctaper version:

Stream acidjack version:

Dinosaur Jr
2017-10-03
Brooklyn Bowl
Brooklyn NY

Digital Master Recording
FOB Audience

Schoeps CCM4u Cardioids > Sound Devices 744t > 24bit 48kHz wav > Soundforge (level adjustments, mixdown, EQ, set fades) > CDWave 1.95 (tracking) > TLH > flac (320 MP3 and tagging via Foobar)

Recorded and Produced by nyctaper

Setlist:
[Total Time 1:25:03]
01 Thumb
02 Goin Down
03 Lost All Day
04 Left Right
05 Watch the Corners
06 Pieces
07 Out There
08 Feel the Pain
09 Little Fury Things
10 [banter – Wagon intro]
11 The Wagon
12 Budge
13 Start Choppin
14 Training Ground [Deep Wound]
15 Freak Scene
16 Gargoyle
17 [encore break]
18 Just Like Heaven [Cure]
19 [banter – Negative Approach intro]
20 Can’t Tell No One [Negative Approach]
21 Nothing [Negative Approach]

*******************************

Dinosaur Jr.
2017-10-03
Brooklyn Bowl
Brooklyn, NY USA

Recorded and produced by acidjack for nyctaper.com

Schoeps MK41V (FOB, ROC, PAS)>KCY>Z-PFA>Sound Devices MixPre6 (24/48)>WAV>Adobe Audition CC (fades, limiter, light compression)>Izotope Ozone 5 (EQ, image, effects)>Audacity 2.0.5 (track, amplify, balance, downsample, dither)>FLAC ( level 8 )

Tracks [Total Time 1:24:56]
01 Thumb
02 Goin’ Down
03 Lost All Day
04 Left/Right
05 Watch the Corners
06 Pieces
07 Out There
08 Feel the Pain
09 Little Fury Things
10 The Wagon*
11 Budge
12 Start Choppin’
13 Training Ground [Deep Wound]^
14 [tuning]
15 Freak Scene
16 Gargoyle
17 [encore break]
18 Just Like Heaven [The Cure]
19 Can’t Tell No One [Negative Approach]%
20 Nothing [Negative Approach]

*w/ Don Fleming, John Moloney and Marc Seedorf
^ w/ Scott Helland
% w/ Negative Approach

SUPPORT Dinosaur Jr.: Facebook | Website | Buy Their Records

Dinosaur Jr.: October 2, 2017 Brooklyn Bowl (Night One)

October 3, 2017
By


[Photos courtesy of Omar Kasrawi and Pancakes and Whiskey]

The return of the original lineup of Dinosaur Jr. continues to be a good thing for fans, as the band’s vitality has never been stronger. Backed by his usual wall of amps, J. Mascis led the band through the first of two nights at Brooklyn Bowl like the pro that he is, delivering the scorching riffs for which he’s known on classic after classic. Lou Barlow whips his voluminous hair around like a man half his age; if you don’t see his face much these days, his stage presence is impossible to miss. Still on the road for their latest, Give A Glimpse of What Yer Not, the new material slots in with classics like “In A Jar” better than ever. Early in the set, we got both the winning “Lost All Day” and the Barlow-led “Left/Right,” which couldn’t help but sound a bit like a much-heavier Sebadoh. Given the likely generation of the crowd, it’s no shock that a mid-set “Feel the Pain” earned some of the most frenzied reaction, but it was a less-heard track from Where You Been, “Get Me” that was the real treat. The back half of the set continued in strong form, with a memorable “Freak Scene” and a one-two punch of an encore, with the other most popular Where You Been track “Out There” followed by an anarchic cover of The Stooges’ “TV Eye” with John Brannon of Negative Approach (and the night’s openers, Easy Action). The biggest challenge for this band, at least here in Brooklyn, will be topping themselves tonight.

I recorded this set from an “FOB” position along the right-side rail with MBHO microphones. The sound quality is excellent. Enjoy!

Download the complete show: [MP3/FLAC]

Dinosaur Jr.
2017-10-02
Brooklyn Bowl
Brooklyn, NY USA

Recorded and produced by acidjack for nyctaper.com

MBHO 603A/KA200N (FOB, ROC)>Zoom F8 (24/48)>WAV>Adobe Audition CC (fades, limiter, light compression)>Izotope Ozone 5 (EQ, image, effects)>Audacity 2.0.5 (track, amplify, balance, downsample, dither)>FLAC ( level 8 )

Tracks [Total Time 1:38:03]
01 The Lung
02 Goin Down
03 Lost All Day
04 Left/Right
05 In A Jar
06 Watch the Corners
07 [tuning]
08 Crumble
09 Feel the Pain
10 Get Me
11 [tuning2]
12 The Wagon
13 Tarpit
14 Start Choppin’
15 Lose
16 Freak Scene
17 Forget the Swan
18 [encore break]
19 Out There
20 TV Eye [The Stooges]*

* w/ John Brannon

SUPPORT Dinosaur Jr.: Facebook | Website | Buy Their Records

Chuck Johnson: September 8, 2017 Three Lobed / WXDU Hopscotch Afternoon Jamboree (Raleigh, NC)

October 1, 2017
By

As a multitalented musician — a soundtrack composer, rock guitarist, and solo guitarist, among other things — it was nonetheless an exciting turn when the Bay Area (by way of NC) artist Chuck Johnson released Balsams, an album of pedal steel compositions that invented what Pitchfork rightly deemed a new genre unto itself: “country post-rock.” This being the annual Three Lobed Recordings / WXDU Hopscotch Afternoon Jamboree at King’s in Raleigh, NC, Johnson did the only-partly-expected, playing a Balsams track, “Riga Black,” but reworking the original into an extended ambient meditation. There’s an undeniable grace and peace to the work that melded perfectly with the afternoon’s inclusive, forward-looking vibe. We never miss a chance to see Chuck in action, and Balsams is yet another evolution the career of a gifted and visionary artist.

I recorded this set with Schoeps MK4V microphones onstage plus a soundboard feed of Evan Lamb’s house mix. The sound quality is outstanding! Note: If you purchased an earlier version (before 10/1/2017) of this from bandcamp, go back and snag this version, as it has been re-mastered to remove some glitches from the original.

Chuck performs at the Ambient Church in Brooklyn this Friday with Windy & Carl. Check it out.

Chuck Johnson
2017-09-08
Three Lobed / WXDU Hopscotch Afternoon Jamboree
King’s
Raleigh, NC USA

Schoeps MK4V (onstage, DFC)>KCY>Z-PFA + Soundboard (engineer: Evan Lamb)>Zoom F8 (24bit/48kHz WAV files)>Adobe Audition CC

(align, mix down, compression)>Izotope Ozone 5 (EQ, effects)>Audacity 2.0.5 (track, amplify, dither)>FLAC ( level 8 )

Tracks
01 Riga Black

PLEASE SUPPORT Chuck Johnson: Buy this recording via the bandcamp link above, and buy his other recordings on his bandcamp page | Buy Balsams via an independent retailer

Nicole Atkins: September 9, 2017 Mercury Lounge

September 25, 2017
By


[photos by Will Oliver and We All Want Someone To Shout For blog]

Its hard to believe that the last time we checked in with Nicole Atkins, it was three years ago. Our extended review of her album Slow Phaser and the Bowery Ballroom show that we recorded concentrated mostly on the record’s clear 1970s AM radio influences. For that album, Nicole put her stamp on the diverse styles prevalent in that decade’s pop. Three years later, several major events in Nicole’s life have guided her approach to the new album Goodnight Rhonda Lee, including her move to Nashville, dedication to sobriety, and marriage.

Goodnight Rhonda Lee is clearly an album faithful to its surroundings — both in the existence of multiple regional session players, and in the distinct sound of the record. Similarly to Slow Phaser, Goodnight Rhonda Lee is clearly influenced by the 1970s, perhaps not AM radio but more from that unique time in Nashville when the permissiveness of the 60s finally seeped into the old music town and brought a freedom to the country music capital that it had never experienced before. For about three or four years, the long hairs finally reached the mainstream — perhaps personified best through the career of Kris Kristofferson. When legend Johnny Cash recorded Kristofferson’s “Sunday Mornin’ Comin’ Down” in 1970 and took the song to Number 1, it represented the triumph of the new. And on the other side of Tennessee, Elvis welcomed new bloods Eddie Rabbit and Ronnie Milsap in the recording of his 1970 hit “Kentucky Rain”. Both songs communicate a drop-out melancholy that seemed to permeate the best of the new country during this time frame. But the melancholy also represented a distinctively different feel to the sound in the studio itself. The newly available technologies offered greater multi-tracking and effects not standard to country music that permitted the use of rock-styled guitars, reverbed piano, horns, and strings. Its that identifiable early 70s new Nashville sound that Nicole Atkins captured with stunning authenticity on Goodnight Rhonda Lee. Sure, there’s the album opener co-penned with Chris Isaak that could have been written for Patsy Cline or the neo-soul of “Listen Up” that would sound great covered by Aretha. But for the most part, the album really feels like a Nashville record and the songs themselves — struggles with alcohol, love, and a life in the music world feel at home in the country capital. And ultimately though its remarkable that the album itself wasn’t even recorded in Nashville, but rather at Niles City Sound in Fort Worth Texas.

The tour in support of Goodnight Rhonda Lee finds Nicole Atkins fronting a five piece band performing stripped down versions of the album material. There are no horns or strings but the album’s piano is present and guitarist Steven Cooper fills up the rest of the sound with tremendous tone and technique. Cooper is a young Nashville guitar wiz who seems destined for a long and productive career. At a packed Mercury Lounge last week, Nicole and the band performed a 75-minute set with much of the Rhonda Lee material and a few surprises. The set opened with a nice tribute to the recently passed Holger Czukay as Nicole brought back her cover of Can’s “Vitamin C”. Another major moment came when guest Tommy Stinson joined the band to perform a world premiere of his duet with Nicole called “Too Late”. The song was actually released this week. And the Slow Phaser track “Who Killed The Moonlight” took a detour through the Rolling Stones “Miss You” (remember that 70s pop influence). But the focus of this show was the fantastic material from the new album and it was clear that not only the massive talent of the singer but also a crack band were able to pull off the songs live. This show was that good.

Nicole Atkins has one more show on this tour, Friday night in Virgina. But she’ll be back with a bunch of shows in November, all dates [here].

I recorded this set with the Schoeps cards mounted at the soundboard and mixed with a perfect feed from house FOH Alex. This recording is absolutely superb. Enjoy!

Download the Complete Show [MP3] / [FLAC]

Stream the Complete Show:

Nicole Atkins
2017-09-09
Mercury Lounge
New York NY

Digital Master Recording
Soundboard + Audience Matrix

Soundboard [engineer Alex] + 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 1:10:16]
01 Vitamin C [Can]
02 Darkness Falls so Quiet
03 Brokedown Luck
04 [banter – sinkhole]
05 A Little Crazy
06 Listen Up
07 Maybe Tonight
08 Cry Cry Cry
09 [banter – Louise Goffin]
10 If I Could
11 Goodnight Rhonda Lee
12 Who Killed The Moonlight/Miss You
13 [banter – Tommy intro]
14 Too Late [with Tommy Stinson]
15 [banter – so horny]
16 Sleepwalking
17 A Night Of Serious Drinking
18 A Dream Without Pain
19 [encore break]
20 The Way It Is

PLEASE SUPPORT Nicole Atkins: Website | Pledge Music | Single Lock Records

The War On Drugs: September 19, 2017 Terminal 5

September 21, 2017
By


[screen capture from this video]

This is what the “next level” looks like. On the heels of the release of their 2017 major-label debut, A Deeper Understanding, The War On Drugs showed up for a two-night stand in New York, first at a packed Terminal 5, to be followed by a sold-out Central Park Summerstage on this Friday night. If the band’s Radio City show in 2015, right after they signed with Atlantic Records, portended what was to come, here we were, in the thick of the actual next step. I won’t retell the story from that 2015 post, but it’s worth a read if this is your first time with a War On Drugs recording from this site.

Being on a major label, or selling out lots of bigger shows, doesn’t signify whether a band is “good” or not, or worthy or not, of course. In fact, this part of the process can be a nasty trap for many musicians — anyone who knows anything about Nirvana or a zillion other bands can tell you that. But in the case of this band, the product of years of hard work, with a wide-open, intricate sound that screams for a bigger stage, it’s the right result, and it’s one that validates Adam Granduciel’s songwriting efforts in particular. Granduciel is the perfect vehicle for big-tent lyrics, writing songs that are both personal and universal, and the sound he has developed is of a piece with that. Beginning with Lost In A Dream, and continuing in a major way with A Deeper Understanding, War On Drugs albums have a precise, densely arranged, melodic sound with an almost otherwordly sheen to it. Of course, what’s funny about that is that it’s so unusual today. If you grew up in the 1980s, or listen to much music from that era, having albums that sounded good was table stakes for even cult-favorite bands. Studio budgets, and album sales, were different then. Many fewer bands show up these days with fourteen instruments credited to a single track — nearly half of them, in many cases, played by Adam Granduciel.

To reference the 1980s, and stalwarts like Tom Petty and Springsteen in particular, is not to malign this band at all. If anything, this show at Terminal 5 underscored that The War On Drugs are rightful heirs to that personal-yet-massive rock style. Like the best of their forebears, The War On Drugs are also able to translate their studio sound to the stage. Perhaps in a nod to many of the newer fans in the audience (one of us got asked if we first heard of the band on NPR), this set focused exclusively on the last two albums, and the band was so dialed-in they could very well have been playing the album over the PA. Of course, that would have deprived us of the added guitar pyrotechnics, and the joy of realizing, for the umpteenth time, that even in 2017, a band comprised of talented musicians of limited gimmickry but exceptional live performing skills can still make it big, can still mean something to people who these days are more accustomed to “musical precision” coming from an Ableton Live setup.

In this broad-reaching survey of the band’s last two albums, the band’s other most remarkable quality — consistency — was evident, to the point that it’s almost impossible to focus on a highlight. But for me, The War On Drugs song that will always best-represent this evolution in the band’s journey is “Under the Pressure,” which so elementally captures both Granduciel’s mindset in the making of Lost In A Dream, but also in many ways the enormous weight of the band’s current success. It’s another of those songs with specific meaning to its author that is also able to capture an almost-universal anxiety among its listeners. To see a band that we personally have liked and supported for so long reach this point — not only making it to this proverbial “next level” but thriving against the pressure — is a special and rare thing. To hear, even in the relatively few snippets of stage banter on this night, how they remain the same people who played in tiny bars ten (or even six) years ago, is rarer still. I have to acknowledge, briefly, that I realize this band doesn’t “need” the support of a website like this, but their treatment of us as fans, both in the past and today, says a lot. We appreciate it.

We each recorded this set from our usual location directly at the soundboard, acidjack’s with Schoeps MK41V microphones and nyctaper’s with Neumann KM150s. The sound quality of each is excellent, and both versions are offered here. Enjoy!

Special thanks to The War On Drugs, their management, and the Terminal 5 staff for allowing us to record the show. 

Download the nyctaper Neumann version of this show at Archive.org [HERE] [MP3] / [FLAC]

Download acidjack’s Schoeps version: [MP3] | [FLAC]

Stream acidjack’s version here:

Stream nyctaper’s version here:

The War On Drugs
2017-09-19
Terminal 5
New York, NY USA

Hosted at nyctaper.com
Recorded and produced by acidjack

Schoeps MK41V (at SBD, DFC)>KCY>Z-PFA>Sound Devices MixPre6 (24/48)>WAV>Adobe Audition CC>Izotope Ozone 5 (EQ, effects, image)>Audacity 2.0.5 (track, amplify, balance, downsample, dither)>FLAC ( level 8 )

Tracks
01 In Chains
02 Pain
03 An Ocean Between the Waves
04 Strangest Thing
05 Holding On
06 Red Eyes
07 Knocked Down
08 Nothing To Find
09 Up All Night
10 You Don’t Have To Go
11 Burning
12 Eyes to the Wind
13 [encore break]
14 Under the Pressure
15 Clean Living
16 In Reverse

************************

The War On Drugs
2017-09-19
Terminal 5
New York NY

Digital Master Recording
Recorded at Soundboard Booth

Neumann KM-150s > 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 1:47:30]
01 In Chains
02 Pain
03 An Ocean Between the Waves
04 Strangest Thing
05 Holding On
06 Red Eyes
07 Knocked Down
08 Nothing To Find
09 Up All Night
10 You Don’t Have To Go
11 Burning
12 Eyes to the Wind
13 [encore break]
14 Under the Pressure
15 Clean Living
16 In Reverse

PLEASE SUPPORT THE WAR ON DRUGS: Buy A Deeper Understanding from their website

Rosali: September 8, 2017 Three Lobed / WXDU Hopscotch Afternoon Jamboree (Raleigh, NC)

September 18, 2017
By


[courtesy of Three Lobed’s Instagram]

It just wouldn’t make sense to have a talent like Rosali Middleman, who performs as Rosali, show up for a Three Lobed Recordings / WXDU Hopscotch day show and NOT do double duty. So after tearing shit up with the Long Hots earlier in the day, Rosali took the stage again to play her own material, including songs from her forthcoming second LP. Her 2016 debut, Out of Love, arrived like a confident tailwind in a year that was a veritable sea of tumult, and it’s worth revisiting it if you missed it then. This full-band set (featuring Nathan Bowles on drums, Paul Sukeena on guitar, and Dan Provenzano on bass) beefed up certain songs like the key Out of Love opener, “Good Life” as well as making a first (for many of us, at least) showing off new songs like “If I Was Your Heart” and “Dead and Gone.”

These Three Lobed / WXDU day shows tend to have a way of revealing themselves, with the internal logic of the order of (often) wildly divergent styles of bands evident only once you’re standing in the room. Such is the case with Rosali’s position near the end of the day. “Rise To Fall” is a new song of hers, and while certainly the emotional and musical highlight of Rosali’s set, it may also have been that for the whole day, as Middleman’s voice soared over the thick zone of guitars. It felt like an affirmation of all that is right about this day, every year, as a band that had started their set with a measured country-folk number was suddenly blowing the doors off the place with a huge rock song. These shows also have a way of veering from the intellectual to the contemplative to the delightfully weird, but somewhere, there’s always the urgent, throbbing heart, and for me, that was this moment. Stay tuned to Rosali’s bandcamp to find out more about the forthcoming album version.

I recorded this set with fellow taper Randy’s ceiling mounted AKG 460s together with the house mix by Kings’ Evan Lamb. The sound quality is excellent. Enjoy!

Rosali
2017-09-08
Three Lobed Recordings / WXDU Hopscotch Afternoon Jamboree
King’s
Raleigh, NC USA

Recorded and produced by acidjack
Hosted at nyctaper.com

Soundboard (engineer: Evan Lamb)+AKG 460/CK61 (FOB, DFC)>Zoom F8 (24bit/48kHz WAV files)>Adobe Audition CC (align, mix down, compression)>Izotope Ozone 5 (EQ, effects)>Audacity 2.0.5 (track, amplify, dither)>FLAC ( level 8 )

Tracks
01 If I Was Your Heart
02 Good Life
03 Hangin
04 Dead And Gone
05 Blind Bird
06 Rise to Fall

SUPPORT ROSALI: bandcamp | Facebook

Diet Cig: September 8, 2017 Bowery Ballroom

September 14, 2017
By


[photos by Joe Saturday]

Its hard for me to imagine that someone exists who actually doesn’t like Diet Cig. The duo exudes such positive energy and real enthusiasm for their music that it’s infectious in a live setting. This is not world-changing music, but two-minute pop song relatable slices of life. When Pitchfork assigned an intern whose last piece was likely in an Annandale creative writing class to review Diet Cig’s most recent album, the result was a tragically misdirected hit piece that managed to be both tone-deaf and indicative of a wider problem with publications like Pitchfork. Sometimes music doesn’t have to have a larger meaning and when the writer savages the musicians for failing to meet a false standard, it says more about the writer’s inadequacies than anything the music set out to achieve. To paraphrase Billy Bragg, Diet Cig don’t want to change the world, they’re just looking to sing some pop songs.

At Bowery Ballroom on Friday night, the band played to a sold-out crowd and all of the good vibes coming from the stage were returned all night. This was a crowd in love with the band for all the right reasons. Sure, lead singer Alex Luciano opened the set by declaring that all of the band’s show are safe spaces and later she gently chided the dancers in front to keep it fun and not too physical, but it was more than that. Luciano played a wireless guitar on a nearly bare stage — drummer Noah Bowman was set up to the far left — in order to be able to dance, run, jump and literally never stop moving throughout the set. Her unbridled ebullience drove the hour-long set from start to finish, to the point where the briefest of breaks were only to catch her breath. Diet Cig performed just about every song they’ve ever recorded — from their debut EP and a double-sided single on Father/Daughter Records, and all but one song from their first album I Swear I’m Good At This released this year on Frenchkiss. The show also featured the debut performance of the song the band wrote for the Amazon tv show “American Girl” called “Together We Can Conquer Whatever”. When the band returned to play their very first recorded track “Harvard” as an encore, it brought me back to the initial time I heard a pre-release promo of that very track. The song made me smile that day and a few years later, this Bowery show did it again many times over.

Diet Cig has a handful of US dates remaining before they spend much of the Fall touring throughout Europe, all dates here.

I recorded this set in our usual manner in this venue, Schoeps from the front of the balcony mixed with a board feed. Other than a few bits of static from Alex’s wireless guitar, the sound quality is very representative of the set with bundles of energy and non-stop movement. Enjoy!

Download the Complete Show [MP3] / [FLAC]

Stream the Complete Show:

Diet Cig
2017-09-08
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 51:00]
01 [introduction]
02 Sixteen
03 Bite Back
04 Leo
05 Dinner Date
06 [banter – slumber party]
07 Cardboard
08 Sleep Talk
09 Breathless
10 [banter – rollercoaster]
11 Scene Sick
12 Pool Boyz
13 Apricots
14 Maid of the Mist
15 [Tummy intro]
16 Tummy Ache
17 Blob Zombie
18 [Conquer intro]
19 Together We Can Conquer Whatever
20 Link in Bio
21 Bath Bomb
22 Barf Day
23 [encore break]
24 Harvard

PLEASE SUPPORT Diet Cig: Website | Frenchkiss Records Page | Father/Daughter Records Page | Bandcamp

Sunburned Hand of the Man: August 28, 2017 Rough Trade NYC

September 12, 2017
By

Sunburned Hand of the Man are such a disparate psychedelic force (with over 100 releases to their name) that you can’t ever guarantee what’s going to come out of them. For this set, we got a ten-person band on the stage of Rough Trade NYC to play a four-part improvisation that the band referred to as the “Blizzard of Zoz.” Compared to some of the sets we served up to you last year, the “Blizzard of Zoz” was a bit more of a groove-driven affair, expanding over 42 mind-melting minutes from a low drone into a tight groove, then heading into freakout territory. Don’t worry, these sets were plenty noisy, too. The intensity of the proceedings was maximized by the Mad Alchemy liquid light show going on behind the band, which absorbed us all through the end.

I recorded this set with Schoeps MK22 “open cardiod” microphones and a soundboard feed from Noel Ford, engineer of Dinosaur Jr. and several other bands. The sound quality is excellent. Enjoy!

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

Sunburned Hand of the Man
2017-08-28
Rough Trade NYC
Brooklyn, NY USA

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

Schoeps MK22 (at SBD, DFC, PAS bar)>KCY>Z-PFA + Soundboard (engineer: Noel Ford)>>Sound Devices MixPre 6>24bit polyWAV>Adobe Audition CC (align, mix down, adjust levels, compression, limiter)>Izotope Ozone 5 (EQ, effects, image)>Audacity 2.0.3 (track, amplify)>FLAC ( level 8 )

Tracks
01 Blizzard of Zoz Pt 1
02 Blizzard of Zoz Pt 2
03 Blizzard of Zoz Pt 3
04 Blizzard of Zoz Pt 4

Support Sunburned Hand of the Man: Website | Buy Sunburned releases via Bandcamp

Doug Tuttle: August 28, 2017 Rough Trade NYC

August 31, 2017
By

Doug Tuttle, originally known as a member of the New Hampshire psych voyagers MMOSS, is now three albums deep into his journey as a solo artist. What he has proven across those three records, including his latest, Peace Potato, is how adept he is with melodic songcraft, with Chilton-esque hooks and an acid-washed, classic sound that matches his multilayered vocals perfectly. What this live show at Rough Trade NYC established, though, was that Tuttle remains a serious instrumentalist, capable of leading those earworm hooks into florid, all-out jams. Adding to the inspiration on this night was the truly incredible liquid light show courtesy of Mad Alchemy, whose work set the perfect generational and visual tone for what was going on onstage. If one had to pick some highlights from the night, my votes would go to a snappy version of “Bait the Sun” from Peace Potato, “Lasting Away” from Doug’s self-titled first album, and the night’s mind-bending conclusion, as “Turn This Love” segued into a twelve-minute untitled jam that was both the set’s most cosmic of all.

I recorded this set with Schoeps MK22 “open cardiod” microphones and a feed of engineer Dustin Myers’ house mix. The sound quality is outstanding. Enjoy!

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

Doug Tuttle
2017-08-28
Rough Trade NYC
Brooklyn, NY USA

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

Schoeps MK22 (at SBD, DFC, PAS bar)>KCY>Z-PFA + Soundboard (engineer: Dustin Myers)>>Sound Devices MixPre 6>24bit polyWAV>Adobe Audition CC
(align, mix down, adjust levels, compression, limiter)>Izotope Ozone 5 (EQ, effects, image)>Audacity 2.0.3 (track, amplify)>FLAC ( level 8 )

Tracks [Total Time: 1:24:31]
01 A Place for You
02 Leave Your Body
03 Where You Plant Your Love… Is Where It Grows
04 Time Will Show the Wiser
05 E Kraut
06 [tuning]
07 Bait the Sun
08 Can It Be
09 All You See
10 Lasting Away
11 Falling to Believe
12 C Firebrand Jam
13 [tuning2]
14 It Calls On Me
15 Saturday-Sunday
16 Painted Eye
17 Turn This Love>
18 jam

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A Place To Bury Strangers: July 16, 2017 Out In The Street Festival

August 28, 2017
By


[photo by nyctaper]

It was ten years ago when A Place To Bury Strangers broke. It was during that small window of time when blogs were tastemakers and willy-nilly determined random band flavors of the month. Except when it came to APTBS, their talent and depth were hard to get wrong. This was a band whose intensity was clear and whose ability to project a wall of sound was magnified by Oliver Ackermann’s world class pedal business. The Death By Audio pedal company pre-dated and survived the venue of the same name and the electroncic wizardry and meticulous and inventive craft propelled noise makers of all shapes and sizes, but none more directly than APTBS.

The second day of the annual Out In The Streets Fest was headlined by APTBS and the band came prepared. Before doors even opened for the day, Oliver spent several minutes playing with gadgets in the middle of the floor and he and bassist Dion Lunadon did some neat improv. Hours later in the pitch dark APTBS began their sonic assault and did not let up for the better part of an hour. The band last released an album in 2015 (Transfixiation on Dead Oceans) and several of those songs were featured in the set. But there also seemed to be a handful of newer songs that may feature on an upcoming release. At least it seems that APTBS is gearing up for recording and working out the material on the road — their packed tour schedule cuts through most of Europe through September, October and part of November (dates here). This band still very much has the intensity that first brought them into prominence and this set was our confirmation of that fact. We’ll be back when they return to the US.

I recorded this set with the Neumann large diaphragm cardioids mounted in the center of the floor in front of the soundboard and mixed with an excellent feed from the board. This set was intensely loud and the band was plentiful in its use of effects, so there are some moments where the mix is rough, but overall this is an excellent representation of a tremendous set. Enjoy!

Download the Complete Set [MP3] / [FLAC]

Stream the Complete Set:

A Place To Bury Strangers
2017-07-16
Out in the Streets Fest
The Well
Brooklyn NY

Digital Master Recording
Soundboard + Audience Matrix

Soundboard [Engineer: Cliff Ribeiro] + Neumann TLM-102s > 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 42:44]
01 [intro]
02 We’ve Come So Far
03 [unknown 1]
04 Deadbeat
05 Drill It Up
06 [unknown 2]
07 Situations Change
08 Ocean
09 Never Hold Back
10 [unknown 3]
11 [unknown 4]
12 [unknown 5]

(Any help with titles of songs marked unknown would be much appreciated)

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