Posts Tagged ‘ punk ’

Grim Streaker: July 16, 2017 Out In the Streets Festival, The Well

July 20, 2017

There are many loud, fast, post-punk guitar bands — even ones with female frontpersons and catchy puns for names. But whatever that exact “it” is that makes one stand out, that makes the front rage and the bored people in the back stand up and pay attention, Brooklyn’s Grim Streaker has it. Obviously, the live performance counts for a lot in this genre, and Amelia Bushell anchors that bit of the proceedings, with wry onstage humor and intense, snarling delivery that’s matched by an equally relentless band. The Out In the Streets Festival, in its second year, was our intro to the band, and they flat-out tore it up for a concise 30-minute set that packed in nine songs. The band has a new EP, Girl Minority, on offer, and it’s a commendably strong slab of digital goodness, but the live show is where the money’s at. The band seems to get that, having released the video for “Guts” as a straightforward live production. Have a look below, have a listen to the set, and you’ll see what we mean.

I recorded this set with a soundboard feed from engineer Cliff Ribiero and Schoeps MK41V hypercardiod microphones. The sound quality is quite good. Enjoy!

Download the complete show: [MP3/FLAC]

Grim Streaker
Out In the Streets Festival
The Well
Brooklyn, NY USA

Exclusive download hosted at
Recorded and produced by acidjack

Schoeps MK41V (PAS, LOC)>KCY>Z-PFA + Soundboard (engineer: Cliff Ribiero)>>Sound Devices MixPre-6>1x24bit/48kHz WAV>Adobe Audition CS 5.5 (align, mix down, adjust levels)>Izotope Ozone 5 (effects, EQ)>Audacity 2.0.5 (track, amplify, downsample, dither)>FLAC ( level 8 )

01 Freak Child
02 Babysitter
03 Kiss
04 Tina’s
05 Savage
06 Guts
07 Miami Girl
08 Psycho
09 Mojito Mountain

Support Grim Streaker: bandcamp | facebook

Jeff Rosenstock: November 18, 2016 Villain BK

January 12, 2017

It is an objective fact that Jeff Rosenstock released one of the best albums of 2016, if not the best record of the year. WORRY is a work that exhibits all of the positive qualities of contemporary punk by one of the genre’s most consistently excellent and prolific performers over the last two decades. During that time, Rosenstock has been a virtually unlimited fount of quality music, having participated as band member, contributor or producer in something like thirty albums in the last fifteen years. But Rosenstock’s recent solo albums may be his highest quality output of his career. WORRY builds on the overwhelming success of his excellent 2015 album We Cool?. The fan response to it crashed the SideOneDummy Records website on the day of its release.

WORRY is album that walks the listener through a set of modern problems in a series of songs that touch on multiple genres all anchored by the indefatigable Jeff Rosenstock. Early in his career Rosenstock fronted a ska-punk band and then an anarchist-punk band but in his late thirties he’s now not beholden to any particular genre. The album touches on themes of loneliness, oppression, politics and music — all of which are pointless without our emotional investment in other people. Indeed “…While You’re Alive” concludes as the penultimate track on the record, by declaring that ultimately “Love is Worry”. We may never be able to achieve a perfect existence (“Perfect Sound Whatever”), but if we appreciate the small events, we’ll be truly alive. Its a simple but effective message from a performer who has spent his career confronting negativity and apathy with a singular work ethic and drive.

The Jeff Rosenstock Fall Tour came to a close on a cold November night in a converted warehouse in Brooklyn a mere ten days after perhaps the most devastating political moment of our lives. The final night of the tour was filled with much love and appreciation for the bands and fans who had supported him throughout, but the night was also fueled by purposeful rage and resistance. Rosenstock dealt with these issues throughout the set but also focused on the healing power of music. The set drew primarily from We Cool? and WORRY material, including an epic segue of the last eleven songs from WORRY to close the set. The band encored with “Police on My Back”, which Rosenstock unfortunately noted as a Clash song. Perhaps the only down moment of the night was that he failed to call attention to the composers of that song, The Equals — a 1960s racially-integrated London band who experienced actual police oppression of immigrant culture. Its a theme sadly still relevant nearly fifty years after the release of that song. Otherwise, the night was an inspiration and Jeff Rosenstock continues to cement his status as perhaps the most important punk artist composing today. Moving forward through 2017 and after, we’re going to need artists like Rosenstock whose life’s work is hell bent on resisting the wave of hate and intolerance bubbling up from the worst aspects of our society.

Jeff Rosenstock is back on tour next month, including two local shows. The just-announced Antarctigo Vespucci (Rosenstock and Chris Farren) show at Trans-Pecos is February 11, and a Jeff Rosenstock date opening for Menzingers at Irving Plaza is on March 30. All dates HERE.

I recorded this set with the Neumann hypers mounted at the soundboard on the far right and mixed with a board feed. The balance and mix took a while the get right but I believe this is now an excellent recording that definitely captures the energy of that great night. Enjoy!

Download the Complete Show [MP3] / [FLAC]

Stream the Complete Show:

Jeff Rosenstock
Brooklyn NY

Digital Master Recording
Soundboard + Audience Matrix

Soundboard [Engineer: Ryan] + Neumann KM-150 Hypers > 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

[Total Time 1:08:27]
01 Wave Goodnight To Me
02 I’m Serious I’m Sorry
03 Hey Allison
04 Pash Rash
05 [banter – on tour]
06 To Be a Ghost
07 Festival Song
08 [banter – donations]
09 Beers Again Alone
10 Nausea
11 [banter – Worry]
12 Pietro 60 Years Old
13 I Did Something Weird Last Night
14 Blast Damage Days
15 Bang on the Door
16 Rainbow
17 Planet Luxury
19 June 21st
20 The Fuzz
21 While You’re Alive
22 Perfect Sound Whatever
23 You In Weird Cities
24 [encore break]
25 Teenager
26 Police on My Back [The Equals]

SUPPORT Jeff Rosenstock: Bandcamp | Tumblr | Buy WORRY at SideOneDummy Records

A Giant Dog: September 8, 2016 Hopscotch Music Festival, Slim’s (Raleigh, NC)

October 5, 2016

[screen capture from this video]

The addition of the Austin band A Giant Dog to the Merge Records team further bolstered the label’s noisier section of the roster. The band’s well-received Merge debut, Pile, is a hard hitting slab of punk-inflected hard rock, an old-fashioned paean to sex, drugs, and not giving a fuck. They’re well-known for their live performances for a reason, and theirs is the kind of music that calls for being listened to in a narrow, all-black closet of a room. Slim’s, Raleigh’s go-to for this sort of thing, fit the bill perfectly on this first night of Hopscotch Music Festival, and A Giant Dog lit it up for the packed house. Led by frontwoman Sabrina Ellis’s frenetic delivery, A Giant Dog proved you can play with both abandon and appeal. By the time they made it to “Sleep When Dead,” they’d pretty much established a mantra for festivalgoers settling into three days of non-stop music, and they’d proven once again that Merge knows how to pick ’em.

David Schwentker recorded this set with Church Audio CA-14 omnidirectional microphones hung from an optimal point in the venue. You may need to turn up the volume on this one a bit more than usual, but believe us, it’s all there. Enjoy!

Download the complete show: [MP3/FLAC]

A Giant Dog
Hopscotch Music Festival
Raleigh, NC USA

Recorded and produced by David Schwentker

Church Audio CA-14 omnis > Olympus LS-10 > WAV > Audacity (track, mixing) > Trader’s Little Helper (conversions) > FLAC (level 8) > foobar2000 (tagging)

01. [intro]
02. Creep
03. [banter/amp issues]
04. Another World
05. Lady Slut
06. Hitchhike Love
07. new song
08. Sex & Drugs
09. & Rock & Roll
10. I’ll Come Crashing
11. Photograph
12. King Queen
13. Too Much Makeup
14. Jizzney
15. Angst In My Pants (Sparks cover)
16. Sleep When Dead

SUPPORT A GIANT DOG: Website | Merge Records

Watery Love: September 9, 2016 Three Lobed / WXDU Day Show, Hopscotch Music Festival, King’s (Raleigh, NC)

September 13, 2016


“We’ve arrived at the volume plateau of the day” Three Lobed‘s Cory Rayborn said as he introduced the Philly “supergroup” Watery Love, taking the stage at the annual Three Lobed / WXDU Day Show at King’s during Hopscotch Music Festival. Rayborn wasn’t lying–the band came out of the gate with the loud-as-fuck blast of “Ned’s Dreamcatcher” and didn’t let up from there. As we were streaming the show live on Duke University radio station WXDU, the team handling that end of the business had to work overtime to “bleep” vocalist Richie Charles’ (of Richie Records) dirty words back to PG-13. Indeed, this was dirty, cuss-spitting, fire-breathing, bad-ass scuzz rock and it was not to be stopped, by outdoor sunshine or otherwise. But while any group of yahoos can stand up and make noise, what sets Watery Love, and this particular performance, apart is that these guys hang together so well, playing well and turning all of that energy into something deceptively cohesive.

This was a perfect wake-up call on a day with a very wide palette of artists, and regulars Charles and Max Milgram (guitar) had arrived equipped with extra firepower in the form of Purling Hiss‘ Mike Polizze and Ben Leaphart, together with harplist/multi-instrumentalist Mary Lattimore (possibly the day’s MVP, or at least, the person who played with the most different bands) on bass, drums and keys, respectively. Watery Love has been a band since 2008, but their performances, especially outside of Philly, have been sporadic, and their recorded output is equally limited. Seeing them is a treat, and the energy they expect is equal to the moments they inhabit. There were many very, very fine performances on this day, but this might be the only one that had even the people in the back howling with glee like teenagers. Whatever it is these guys have, make sure you try to catch some of it.

I recorded this set with King’s engineer Brad Womack’s house mix, plus an additional soundboard channel, and Schoeps MK4V microphones onstage. The sound quality is excellent. Enjoy!

Download the complete show: [MP3/FLAC]

Stream the complete show: 

Watery Love
Three Lobed / WXDU Day Show
Raleigh, NC USA

Exclusive download hosted at
Recorded and produced by acidjack

Soundboard (engineer: Brad Womack) + Schoeps MK4V (stage lip, DFC, PAS)>KC5>CMC6>>Zoom F8>3x24bit/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 )

01 Ned’s Dreamcatcher
02 Sweat Powers
03 Die With Dignity
04 A Condom

PLEASE SUPPORT Watery Love: Facebook | Bandcamp

Big Ups: July 16, 2016 Out In the Streets Festival

July 21, 2016


Big Ups is one of the very best live bands in New York right now. At the core of that has to be the kinetic-but-controlled performance of vocalist Joe Galarraga, who reminds at times of a skinny Henry Rollins with a sense of humor. Mugging for the crowd, twisting his body into unusual positions, he never loses sight of the music or the message being delivered, which he propels at you in spoken word that rises at the right moments to scream. Brendan Finn (drums), Amar Lal (guitar) and Carlos Salguero (bass) make that performance possible, with controlled dynamics that pay as much attention to the softer interludes as to their songs’ frequent climaxes. Having seen these guys twice in 2014, promoting their first album Eighteen Hours of Static, and been blown away each time, we were eager to see where they’d gone from there.

The band’s 2016 record, Before A Million Universes, advances the conversation both lyrically and musically. At this performance at the Out In the Streets Festival, the band’s growth was evident in the current-album numbers “Contain Myself,” “Hope for Someone,” and “National Parks,” as well as a new piece that explores the soft/loud dynamic even further. On this sweltering, thunderstorm-pocked afternoon, the band commanded a friendly crowd who clearly knew them well, and made the most of the thirty minutes’ time allotted. The band’s music may be darker in tone, but Galarraga doesn’t let that get in the way of having a laugh with the crowd, or pulling faces that fall on the lighter side of serious. Even with the sun shining, by the time the set reached the band’s most straightforward hardcore number, “Goes Black,” we were all living in his world, and there was nothing else around.

In a crowded festival season, Out In the Streets is a perfect, smaller-scale local standout, with a tent to shield the bands and the music part of the crowd in the middle of Ridgewood’s historic Onderdonk House’s ample backyard, ringed with vendors, lounge chairs and picnic tables, and (not to be underestimated) plenty of bathrooms. The lineup, of course, reflected that ethos, with many of the best local acts (including Big Ups and, coming soon, Guerilla Toss) that Brooklyn fans see year-round at clubs like Shea Stadium and Baby’s All Right. It was one of those days that brought together like-minded people in a comfortable, manageable way — and gave us yet another serious jones for more Big Ups.

nyctaper and I recorded this set with his Neumann TLM-102 large-diaphragm microphones and an excellent house mix by Cliff Ribeiro. The sound quality is excellent. Enjoy!

Download the complete show: [MP3/FLAC]

Stream the full set:

Big Ups
Out In the Streets Festival
Onderdonk House
Queens, NY

Exclusive download hosted at
Recorded by nyctaper and acidjack
Produced by acidjack

Neumann TLM-102 (FOB, DFC, PAS) + Soundboard (engineer: Cliff Ribeiro)>Sound Devices 744T>2x24bit/48kHz WAV>Adobe Audition CS 5.5 (align, mix
down, compression)>Izotope Ozone 5 (light EQ, exciter, image)>Audacity 2.0.5 (track, amplify, balance, downsample)>FLAC ( level 8 )

01 Contain Myself
02 Hope for Someone
03 Not Today
04 Wool
05 [new song]
06 T.M.I.
07 Goes Black
08 National Parks

If you enjoyed this recording, PLEASE SUPPORT Big Ups, visit their websitelike them on Facebook and buy Before A Million Universes from Exploding In Sound.

Soda: January 28, 2016 Alphaville

February 11, 2016


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

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

Download the complete show: [MP3/FLAC]

Brooklyn, NY USA

Exclusive download hosted at
Recorded and produced by acidjack

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

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

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

B Boys: January 28, 2016 Alphaville

February 2, 2016


Our man EricPH was ahead of the curve when he caught B Boys last spring at Silent Barn, before they had anything but a single to their name. Fast forward a little less than a year, and they’re Captured Tracks‘ latest signing, with their No Worry No Mind EP set to drop in March. Take a look at this twenty minute burner of a show at Alphaville, heavily stacked with both their friends and buzz-seekers, and you can expect B Boys to catch fire. These lighthearted post-punks don’t take themselves too seriously, concerning themselves more with crowd-pleasing hooks and an easygoing onstage presence. This show covered much of the new EP’s territory, though its excellent new single, “Get A Grip” didn’t quite happen. Instead, you can stream that song now on their bandcamp page and over at Captured Tracks’ site — an appropriate home for B Boys’ sound and outlook. It says something about the band that out of a 22-minute set, they closed with two versions of the same song, playing both the slower and more sped-up versions of “Psycho,” both of which also appear on the forthcoming EP. Next time you get the chance, come in out of the cold for B Boys. It’ll be fun.

I recorded this set with Schoeps MK41V supercardiod microphones and a soundboard feed that mostly provided vocals. The capture is appropriate to the venue and the style, a little ragged, but right. Enjoy!

Download the complete show: [MP3/FLAC]

Stream the complete show (minus aborted “Get A Grip” in the middle):

B Boys
Brooklyn, NY USA

Exclusive download hosted at
Recorded and produced by acidjack

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

Tracks [Total Time 21:56]
01 Fear It
02 Sound Frequency
03 Seagulls
04 Other Head
05 Get A Grip [aborted]
06 Nevah
07 I Don’t Mind
08 Psycho
09 Psycho (fast version)

SUPPORT B Boys: tumblr | bandcamp | Captured Tracks

Destruction Unit: October 17, 2015 Ad Hoc Car Wash

November 4, 2015

[photos courtesy of Edwina Hay for Impose Magazine]

I’m pretty sure I can say that Destruction Unit has the best band name of anyone I saw this year. It’s not only catchy in its own right, but describes perfectly the maelstrom of noise that this postmodern Arizona punk band will rain down on you until you either risk your skull in the mosh pit or haul your ass to the exits. Destruction Unit is the kind of experience that’s polarizing, intimidating, and absolutely perfect to close out a show like Ad Hoc’s epic post-CMJ show in a Williamsburg car wash. By the time the band took the stage to close out the evening, the humble PA system was positively shredded, the house team fighting to keep the sound going. The band took things well past the limit, with a long lead-in to the pummeling track “Destruct.” This set stuck entirely to the band’s latest record, Negative Feedback Resistor, their second for Sacred Bones Records, though many of the songs found themselves extended for a few measures. The band was rightly hailed by Newsweek as the best band they saw at CMJ, and it’s hard to argue with that after seeing their live show. Even with the vocals buried under the beating being taken by the PA (you can hear them much better on this recording than you could in the room), it didn’t matter to the crowd, which erupted into a mosh pit early and didn’t let up for the entire, pummeling 35 minutes of this set. If you’re going to make a trip out east to slog your way through a bunch of CMJ shows, you ought to make it count. No question that Destruction Unit did that and more.

I recorded this set in the same manner as the day’s other recordings, with AT 4051 microphones and a soundboard feed. The sound quality is reflective of the setting and the style, and represents it quite well. Enjoy!

Download the complete set: [MP3/FLAC]

Stream the complete set:

Destruction Unit
Ad Hoc Car Wash
Hand & Detail Car Wash Center
Brooklyn, NY USA

Exclusive download hosted at
Recorded and produced by acidjack

Audio Technica 4051 (LOC, FOB, PAS) + Soundboard>Roland R-26>2x24bit/48kHz WAV>Adobe Audition CS 5.5 (align, mix down, edit SBD, compression)>Izotope Ozone 5 (EQ, effects, image)>Audacity 2.0.5 (track, amplify, balance, downsample, dither)>FLAC ( level 8 )

01 Disinfect
02 Salvation
03 Chemical Reaction/Chemical Delight
04 If Death Ever Slept
05 The Upper Hand

If you enjoyed this recording, PLEASE SUPPORT Destruction Unit, like them on facebook, and buy their records from Sacred Bones Records.


Protomartyr: October 17, 2015 Ad Hoc Car Wash

October 23, 2015

[photos courtesy of Edwina Hay as featured in Impose Magazine]

This was the week of the overwhelming, PR-driven quasi-festival known as the CMJ Music Marathon, meaning there were hordes of tired concertgoers and touring bands around by the time the week wrapped. Taking advantage of that, and perhaps bringing the vibes of our own scene back to earth were the already-legendary concert promoters/magazine Ad Hoc, who rented out a vacant car wash (and its adjoining parking lot) to put on a sprawling ten-band bill that boasted the best of local and touring acts. This event felt like an appropriate evolution for the neighborhood that once housed the best-known DIY venues of the prior decade: Here you had an unused commercial space converted to creative purposes, albeit this time with plenty of bathrooms, quality (and cheap and cold) beer by the can, and even a couple of food trucks.

If you went to a CMJ event this year, chances are you might have caught Protomartyr, who were all over the place at this year’s fest making the case for their recently-released third record The Agent Intellect. The Detroit band saw some heat from their last album, Under Color of Official Right, but consensus seems to be that it’s this new offering that is going to break them into wider consciousness. That’d be a more than fair outcome, as this thirty-minute, ten-song set showed off the best of their material, including “Scum, Rise!” from their previous record and a decent chunk of the new album. Frontman Joe Casey doesn’t exactly match the band’s sound or words, performing as he does in a weirdly-dapper dark blazer and sunglasses, but beneath that veneer boil bleak, personal tales set against the backdrop of the band’s hometown, such as the signature track “Pontiac ’87”. Though you could see the daylight streaming through behind the band (filtered only by the yellow car wash sign), they held the atmosphere where it needed to be, trapping the nervous energy within the stripped brick walls. Compared to some of their harder-edged peers who would share the stage throughout the day, Protomartyr were a bit more “musical” band than some of the other fare, and that’s part of what makes them special. If this CMJ was “their year,” then I say they’ve earned it.

I recorded this set with Audio Technica 4051 microphones and a soundboard feed from Ad Hoc’s staff. The sound quality reflects the “DIY” nature of the venue, but is still quite good. Enjoy!

Download the complete set: [MP3/FLAC]

Stream the complete set: 

Ad Hoc Car Wash
Hand & Detail Car Wash Center
Brooklyn, NY USA

Exclusive download hosted at
Recorded and produced by acidjack

Audio Technica 4051 (LOC, FOB, PAS) + Soundboard>Roland R-26>2x24bit/48kHz WAV>Adobe Audition CS 5.5 (align, mix down, edit SBD)>Izotope Ozone 5 (EQ, effects, image)>Audacity 2.0.5 (track, amplify, balance, downsample, dither)>FLAC ( level 8 )

Tracks [Total Time 30:45]
01 Devil In His Youth
02 Cowards Starve
03 I Forgive You
04 Ain’t So Simple
05 Want Remover
06 Scum, Rise!
07 Pontiac 87
08 The Hermit>
09 Clandestine Time
10 Why Does It Shake?

If you enjoyed this recording, please like Protomartyr on facebook and buy their records from Hardly Art.

The Vibekillers: September 12, 2015 Hopscotch Music Festival (Raleigh, NC) – FLAC/MP3/Streaming

September 29, 2015


I guess you have to call Raleigh, NC’s The Vibekillers a bar band — their most frequent haunt is, after all, Slim’s in downtown Raleigh, which is a bar. But give a listen to this set, and see that they are so much more than that. And, despite their protestations to the contrary, they make the vibes just fine, thank you. These guys are real players; for example, frontman Chip Robinson hails from the legendary Raleigh band The Backsliders and Skillet Gilmore, the drummer was in Whiskeytown. Hopscotch Music Festival has always respected the local scene, and having this crew kick off the main stage on the festival’s final night was the perfect way to do that. This set consists of well-rendered covers for the most part, including an outstanding version of Dylan’s “I & I” and The Jim Carroll Band’s “The People Who Died.” The festival’s final night had just begun, but the vibe was already right.

I recorded this set with a soundboard feed and Audio Technica 4051 microphones. The sound quality is reflective of being outdoors, but is overall quite good. Enjoy!

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

Stream the complete show: 

The Vibekillers
Hopscotch Music Festival
City Plaza
Raleigh, NC USA

Exclusive download hosted at
Recorded and produced by acidjack

Soundboard + Audio Technica 4051 (FOB, PAS)>Edirol R-44>2x24bit/48kHz WAV>Adobe Audition CS 5.5 (align, mix down)>Izotope Ozone 5 (EQ, expansion, effects)>Audacity 2.0.3 (track, amplify, balance, downsample, dither)>FLAC ( level 8 )

01 Paradise [Alejandro Escovedo]
02 So Old [Jeff Hart]
03 One of the Boys [Mott The Hoople]
04 I & I [Bob Dylan]
05 The Contenders [The Kinks]
06 Mylow [Chip Robinson]
07 People Who Died [The Jim Carroll Band]

Support the Vibekillers: Facebook

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