Posts Tagged ‘ schoeps mk22 ’

Steve Gunn: March 26, 2016 Three Lobed Sweet Sixteen Spectacular, King’s (Raleigh, NC)

April 8, 2016
By

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[photo by David Schwentker]

In case you live under a rock, Steve Gunn is a pretty big deal in the independent music world. Along with working with Kurt Vile, he’s released a sprawl of killer records, from his duo work with John Truscinski, to his collaborations with Hiss Golden Messenger, Mike Cooper and the Black Twig Pickers, to his work with GHQ, to his singer/songwriter solo work. There is no version of Steve Gunn that isn’t great, that isn’t able to worm its way into your brain and stick there, and maybe make you think in the process.

Like Bardo Pond, Gunn is another artist that Three Lobed Recordings has been aligned with for a long time, and the fact that Steve would take the stage twice at the Three Lobed Sweet Sixteen Spectacular, in celebration of the label’s sixteenth anniversary, says what you need to know about his commitment right back. If (as it would seem) Gunn will prove to be one of the Three Lobed alumni with the greatest popular appeal, it won’t be because he’s abandoned the spirited, inventive and challenging style of playing that early fans have always cherished. The proof of that lies in this single set from King’s, as Steve closed out the morning portion of the day with just three long songs. Sure, “Old Strange” is a bit easier to hum along to than GHQ’s “Four Trees,” but it’s still fifteen freaking minutes long, as played here, with the lyrics and the chorus almost afterthoughts amidst the guitar work that almost makes you forget there’s just one of him up there. That doesn’t discount one of Gunn’s other most-loved and longest epics, “The Lurker (Extended),” which graced the Not the Spaces You Know, But Between Them boxed set on Three Lobed, and arrived in stunning form here. He closed with “Mr. Franklin,” another relatively uncommon number in his current tour repertoire, and readied himself for the second half of this day, when he would join John Truscinski for their first duo set in several years (that recording coming soon).

You owe it to yourself to hear where Steve is going next — preorder Eyes on the Lines here, and check out the new single “Conditions Wild” on YouTube.

I recorded this set in the same manner as the other recordings from the day, with Schoeps MK22 open cardiod microphones onstage, MBHO microphones in the audience, and a multichannel soundboard feed from Justin Perrachon. The sound quality is outstanding. Enjoy!

Download the complete show: [MP3/FLAC]

Stream the complete show:

Steve Gunn
2016-03-26
Three Lobed Sweet Sixteen Spectacular
King’s
Raleigh, NC USA

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

2x Soundboard channels (engineer: Justin Perrachon) + MBHO 603a/KA200N (FOB, DFC, PAS) + Schoeps MK22 (onstage, ORTF, DFC)>KC5>CMC6>Aeta PSP3 >> Zoom F8>6x24bit/48kHz WAV>Adobe Audition CS 5.5 (align, mix down, compression)>Izotope Ozone 5 (EQ, effects)>Audacity 2.0.3 (track, amplify, balance, downsample, dither)>FLAC ( level 8 )

Tracks
01 [intro-Cory Rayborn and Steve Gunn]
02 Old Strange
03 [banter/tuning]
04 The Lurker (Extended)
05 [banter/tuning2]
06 Mr. Franklin

SUPPORT Steve Gunn: Website | Three Lobed Recordings | Paradise of BachelorsPre-Order the New Album

Bardo Pond: March 26, 2016 Three Lobed Sweet Sixteen Spectacular, King’s (Raleigh, NC)

April 6, 2016
By

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[photo by David Schwentker]

Sixteen years ago, longtime rabid music fan and newly minted law student Cory Rayborn came up with an audacious, maybe even ridiculous idea: He would press a ten-inch containing some unreleased Bardo Pond material and sell it for money. Anyone who knows much about the economics of record labels, or the vagaries of vinyl production — especially in the vinyl-challenged year 2000 — knows that usually translates to “lose a bunch of money and piss off a bunch of customers in the process.” But a funny thing ended up happening: First there was that Bardo record, Slab, of which the 500-LP run would go on to sell out. Not but another couple releases in came Purposeful Availment, an 8-CD series that also featured Bardo Pond.  Then there was TLR-012, an LP of Bardo Pond playing with Tom Carter, followed in short order by the Cypher Documents CD. Then another CD series, Modern Containment, found Bardo back on Three Lobed, with their Adrop CD. There are more than ten others since, right up to 2014’s Shone Like A Ton and Refulgo releases and their contribution to the Parallelogram series last year. Out of Three Lobed Recordings‘ 117 total current releases, the Philadelphia-based band makes up not only the largest percentage of the label’s releases, but they’re the label’s original reason for being.

Since that first 10″, Three Lobed has grown, but its original mission hasn’t changed. The label has kept things willfully weird, releasing everything from Bardo Pond’s feedback-soaked psychedelia to the drone/free jazz sounds of Glacial (Lee Ranaldo, David Watson and Tony Buck), to the Parallelogram contribution from Alan Bishop, Bill Orcutt and Chris Corsano, capped with its brain-damaged cover of Cream’s “Politican,” to the delicate guitar work of Danny Paul Grody, to his work with Hiss Golden Messenger and Steve Gunn. Both the Three Lobed name and its iconic logo suggest not just an expanded but an integrated, functioning mind, and at the root of all those seemingly disparate releases has been Rayborn’s, a font of curatorial taste. In his mind, all of these radically different sounds belong together, and in his presentation of them, he connects the dots.

So it meant a great deal, to Rayborn personally and to the followers of the Three Lobed experience, for Bardo Pond’s evening set to close out the marathon of music that was the “Sweet Sixteen Spectacular,” and for them to do with a sprawling, career-spanning set that represented their first return to North Carolina in thirteen years. “Kali Yuga Blues” began the night, with Isobel Sollenberger’s moan floating above the guitar haze. After another Peace on Venus number the setlist went twenty years back to 1996’s Amanita for “Be A Fish” before hurling into what may have been the first live performance of their Parallelogram contribution, “Screens for a Catch (Fur Bearing Eyes)”. Along with four new songs, the band threw in one of the very oldest — “Absence” from Bufo Alvarius — followed by another older number, “Straw Dog,” from Lapsed. Drug references by the band are as prolific as its catalog, and by this point in the evening, even the sober among this crowd had probably lost their sense of time. The set’s, and the night’s, spiritual peak came during the new song “Moment to Moment,” a twelve-minute deep dive into the band’s vision, with each of us led through the deep bed of guitar by Sollenberger’s flute, her voice howling ahead into the void.

There was no encore, but one wasn’t needed after the last song, “Tommy Gun Angel,” whose lyrics about rejoining the primordial ooze, melting away like the snow, gave a long-eyed perspective to the proceedings. Every little contribution makes up part of a larger one, a few more positive ions added to the charge of existence. You never know where a dorm room dream like putting out a ten inch record for one of your favorite bands might take you. It might end up something just for you and the smallest group of friends. Or it might be something great.

I recorded this set with four soundboard channels from King’s engineer Brad Womack, together with Schoeps MK22 microphones onstage and MBHO microphones hung from the ceiling in the middle of the room. Save for a one-second glitch during the first song, the sound quality is outstanding. Enjoy!

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

Stream the complete show

Bardo Pond
2016-03-26
Three Lobed Sweet Sixteen Spectacular
King’s
Raleigh, NC USA

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

4x Soundboard channels (engineer: Brad Womack) + MBHO 603a/KA200N (FOB, DFC, PAS) + Schoeps MK22 (onstage, ORTF, DFC)>KC5>CMC6>Aeta PSP3 >> Zoom F8>8x24bit/48kHz WAV>Adobe Audition CS 5.5 (align, mix down, compression)>Izotope Ozone 5 (EQ, effects)>Audacity 2.0.3 (track, amplify, balance, downsample, dither)>FLAC ( level 8 )

Tracks
01 [intro]
02 Kali Yuga Blues
03 Taste
04 Be A Fish
05 Screens for A Catch (Fur Bearing Eyes)
06 Two Planes
07 [banter]
08 Crossover
09 Out of Reach
10 Absence
11 Straw Dogs
12 Pine Trees
13 Moment to Moment
14 [tuning]
15 Everyman
16 Tommy Gun Angel

SUPPORT Bardo Pond: Website | Three Lobed Recordings | Fire Records

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

March 29, 2016
By

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

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

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

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

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

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

Stream and download the complete show on our bandcamp page:

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

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

4x Soundboard channels (engineer: Brad Womack) + MBHO 603a/KA200N (FOB, DFC, PAS) + Schoeps MK22 (onstage, ORTF, DFC)>KC5>CMC6>Aeta PSP3 >> Zoom F8>8x24bit/48kHz WAV>Adobe Audition CS 5.5 (align, mix down, compression)>Izotope Ozone 5 (EQ, effects)>Audacity 2.0.3 (track, amplify, balance, downsample, dither)>FLAC ( level 8 )

Tracks
01 [intro]
02 Florets
03 [tuning]
04 As I Stand Counting
05 Roadside Auspice
06 Middle Water
07 [banter]
08 Anamet
09 [banter2]
10 Velvet Arc

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

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

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

March 24, 2016
By

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[photos by Joe Lops]

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

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

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

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

Stream the complete set: 

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

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

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

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

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

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Pill: February 25, 2016 Palisades

March 9, 2016
By

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Pill seized our attention from the first time we saw them. Signed to Dull Tools for their first EP last year, since then they’ve been bringing their unholy marriage of free jazz, noise rock and feminist punk to haunts across Bushwick and Williamsburg, where you’re still best able, in this city, to find people who’re willing to “get” something that’s not always an easy listen. This band is a direct retort to the “nothing interesting happens in New York” crowd, a screeching, howling, shapeshifting rejoinder to anyone who pretends that all “Brooklyn music” means these days is low-stakes, people playing it safe. Frontwoman Veronica Torres hurls herself into the band’s sound, turning the room into her stage as she takes her final number out in the crowd, and while we’ve seen her do it before, it never fails to get everyone’s attention. Befitting the band’s rapid evolution, fully half of this show at Palisades featured new (to us) songs that didn’t make it to the EP or their last show, including “Vagabonds,” “Fetish Queen,” “Hot Glue” and “Medicine.” Of them, “Hot Glue” might have been my favorite of the bunch, with its consistent meld between John Campolo’s atmospheric guitars and Ben Jaffe’s sax, or “Medicine,” which features an almost-conventional chorus. But at this point in their career, really, seeing Pill is really about seeing Pill, experiencing the totality of the band for what it is, not one specific song or another. It’s the kind of experience that makes you grateful to be here.

I recorded this set with Schoeps MK22 open cardiod microphones at the stage lip plus a soundboard feed. The sound quality is excellent. Enjoy!

Download the complete show: [MP3/FLAC]

Stream the complete show:

Pill
2016-02-25
Palisades
Brooklyn, NY USA

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

Schoeps MK22 (ORTF, stage lip)>NBob cables>PFA + Soundboard (engineer: Leeor)>Adobe Audition CS 5.5 (align, mix down, narrow onstage image)>Izotope Ozone 5 (effects)>Audacity 2.0.3 (track, amplify, downsample, dither)>FLAC ( level 8 )

Tracks
01 Which Is True?
02 Vagabonds
03 Psychic Nipple
04 Misty-Eyed Porno Reader
05 [tuning]
06 Fetish Queen
07 Hot Glue
08 Medicine

If you enjoyed this recording, PLEASE SUPPORT Pill by visiting their bandcamp page and buying their EP there.

Bambara: February 25, 2016 Palisades

March 2, 2016
By

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The Brooklyn post-punk band Bambara knows how to make noise. This show at Palisades, to celebrate the forthcoming release of their album, Swarm, this Friday (March 4), proved what those who’ve been paying attention already knew — that this band has the charisma, and the delivery, to take them beyond Bushwick DIY stages. They’ve already had a taste of that, of course, having toured with site favorites METZ and A Place to Bury Strangers, among others. But Swarm, the band’s first professionally-recorded effort, shows this band’s possibilities. It’s a gloomy, late-night sort of effort, sustained by its rhythmic appeal and the band’s dead-on delivery. In the live setting, they don’t hold back, with frontman Reid Bateh anchoring the effort with his considerable onstage charisma while his brother Blaze hammers the drums along to William Brookshire’s bass. This show covered some of the standout tracks on Swarm, as well as favorites from the band’s debut, Dreamviolence. You’ll have plenty of opportunities to see the band around NYC in the near future, with upcoming gigs at Berlin and Saint Vitus.

I made this recording with Schoeps MK22 open cardiod microphones at the stage lip plus a soundboard feed from Palisades FOH Leeor. While the sound is a little off balance (a tad heavy on bass guitar) it is overall a high quality listen. Stream the full show (minus banter) plus the available tracks from Swarm below as well. Enjoy!

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

Bambara
2016-02-25
Palisades
Brooklyn, NY USA

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

Schoeps MK22 (ORTF, stage lip)>NBob cables>PFA + Soundboard (engineer: Leeor)>Adobe Audition CS 5.5 (align, mix down, narrow onstage image)>Izotope Ozone 5 (effects)>Audacity 2.0.3 (track, amplify, downsample, dither)>FLAC ( level 8 )

Tracks
01 Her Sister, Touya
02 Filled Up With Night
03 All the Same
04 [banter1]
05 An Ill Son
06 [banter2]
07 Stop
08 All the Ugly Things
09 I Don’t Mind

Check out Bambara on Facebook, and pre-order Swarm from Arrowhawk Records here.

Disappears: February 20, 2016 Baby’s All Right (incl. complete set of David Bowie’s “Low”)

February 21, 2016
By

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Let’s get this out of the way: this is not some thrown-together “tribute”; Disappears had this idea long before Bowie’s recent passing. You can hear the evidence on their 2015 live LP, in fact (which you can still find if you look), which captures their full performances at Chicago’s Museum of Contemporary Art as part of a “Bowie Changes” series of events. Given what’s happened since, this Brooklyn redux of that memorable night took on new meaning, and showed us so much of what to appreciate about live rock music, and Bowie, who was one of the best.

Baby’s All Right was its typical self on Saturday night, a convivial hub for Williamsburg partiers and people of good musical taste. Disappears’ crowd was one of the better ones, composed mainly of the band’s regulars, scenesters and Bowie diehards interested in hearing the band’s take. Disappears’ material usually draws more comparisons to Joy Division and the Fall than the Thin White Duke, but only if you forget that Bowie had his own krautrock streak, evidenced on Station to Station as well as Low itself, a dissonant, dark piece of work that added to Bowie’s mystique as a musical chameleon whose taste rarely missed.

Before any Bowie, of course, Disappears had a full set for us of their own material, kicking off with the propulsive “Joa” followed by “Another Thought” and “I/O,” also from last year’s excellent Irreal, they decided to play some new material. Of these, my favorite might be “Silencing,” a mid-tempo meditation that continues in Irreal’s more subdued, textured vein but goes further down that path. Brian Case and bandmates Damon Carruesco, Jonathan van Herik, and Noah Leger (I’ve said this before, but damn can this guy drum) not only form one of the tightest units in music today, but they carry themselves with an understated poise that you wish you saw more often. Disappears is a band best seen from the front row, where you can watch both Case’s kinetic vocal delivery and get the full effect of the hammering of the drums and slink of the bass, urging on the dual guitars. This recording was made from onstage, making it about the closest thing to that experience.

Of course, everyone wants to know about the Bowie set. There are umpteen “tributes” going on these days, many of them hastily arranged for a quick buck and/or nostalgia jolt, and some of the highest-profile events to date have either reeked of gimmickry or have simply fallen flat. Disappears’ move was not only refreshing because it actually wasn’t a “response” to the artist’s passing, but because it took the most direct route: playing a Bowie album with an obvious relationship to Disappears’ vision. It’s the best kind of tribute, one that honored Bowie by letting his music, alongside Disappears’ own, speak for itself.

Most striking about Low as a live set is how distinct the album is to the LP format, with a clear side A of somewhat more conventional rock tracks followed by the dramatic shift of the Eno-driven side B, a languid, ambient affair that felt much farther afield than the rest of the set. That Disappears not only held our attention, but managed to recreate this album live without many of the electronics that defined the album, testifies to their skill as a band. Similarly, side B isn’t exactly a party-rock record, but for this crowd, “Warszawa” and “Art Decade” weren’t going to clear the room; the crowd tightened in, holding on for the surge of “Weeping Wall,” whose operatic sweep might’ve made you think, had you closed your eyes, that it was Godspeed You! Black Emperor up there making noise with its gaggle of musicians, not four guys. “Subterraneans” made for a subdued ending after that obvious climax, but once again, Disappears gave it the attention it deserved, straight through to the end.

While this Low performance won’t be the only one of the tour, there are only a few others scheduled, interspersed among the band’s regular tour schedule. You can catch the band Monday in Philly, and Tuesday in Pittsburgh (where they’ll do Low again).

I recorded this set with Schoeps MK22 open cardiod microphones onstage for an expansive, up front sound, combined with a soundboard feed of Disappears’ FOH Jason Balla’s mix, with assistance from Harrison Fore of Baby’s in setting it up. The sound quality is outstanding. Enjoy!

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

Stream the complete show:

Disappears
2016-02-20
Baby’s All Right
Brooklyn, NY USA

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

Soundboard (engineer: Disappears FOH Jason Balla) + Schoeps MK22 (onstage, ORTF)>>Zoom F8>2x24bit/48kHz WAV>Adobe Audition CS 5.5 (adjust stereo image on audience, align, mix down)>Izotope Ozone 5 (effects, EQ)>Audacity 2.0.3 (track, amplify, balance, downsample)>FLAC ( level 8 )

[Total Time: 1:37:05]
Set One (Disappears songs)
01 JOA
02 Another Thought
03 I/O
04 11 Mile House
05 Ultra
06 Alarm
07 Silencing
08 Elite Typical
09 Halcyon Days

Set Two (David Bowie’s “Low”)
10 [intro]
11 Speed of Life
12 Breaking Glass
13 What In the World
14 Sound and Vision
15 Always Crashing In the Same Car
16 Be My Wife
17 A New Career In A New Town
18 Warszawa
19 Art Decade
20 Weeping Wall
21 Subterraneans

If you enjoyed this recording, PLEASE SUPPORT Disappears, visit their website, and buy Irreal and their other releases here.

Wilco: February 2, 2016 Capitol Theatre (Port Chester, NY)

February 8, 2016
By

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Wilco’s return to the Capitol Theatre in Port Chester was a welcome one, with us last having caught the band’s three night stint there in 2014. In 2016, they decided to split things up, with these two shows in Port Chester followed by two shows at King’s Theater in Brooklyn (which we missed, unfortunately). This night at the Cap felt like a bit of warm-up, with Tweedy noting some of the equipment problems that occurred during “Art of Almost.” Compared to the second night of the run, Tweedy had much more to say here, at one point noting that his pants had ripped near the crotch, and the he was trying to avoid a Lenny Kravitz situation that would be “much less impressive” than the one that set the Internet on fire back in 2015. It was a welcome moment of levity in a show that followed this year’s Star Wars template, with the band performing a full run-through of that album before delving into the back catalog, then wrapping up with an acoustic set. Among this night’s highlights were the first encore, a superlative, noisy version of “Spiders (Kidsmoke),” as well as the A.M. favorite, “Box Full of Letters.” The acoustic set also came with a special treat, as opener William Tyler joined for “Airline To Heaven.”

The band’s tour continues down the eastern side of the country for another few days of February before they take a pause until June, when they’ll return for Mountain Jam. We’ll see you there.

nyctaper recorded this set with Schoeps CCM4 cardiods, while acidjack recorded the set with MK22 open cardiods on the same stand. Both recordings are outstanding. Enjoy!

Download nyctaper’s recording; [MP3 / FLAC]

Download acidjack’s  recording: [MP3/FLAC]

Stream nyctaper’s recording:

Stream acidjack’s recording: 

Wilco
2016-02-02
Capitol Theatre
Portchester NY

Digital Master Recording
Front Of Board Audience

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 2:07:46]
01 [EKG intro]
02 More
03 Random Name Generator
04 The Joke Explained
05 You Satellite
06 Taste the Ceiling
07 Pickled Ginger
08 Where Do I Begin
09 Cold Slope
10 King of You
11 Magnetized
12 Company In My Back
13 Handshake Drugs
14 Art of Almost
15 [banter – science project]
16 Box Full of Letters
17 [banter – Kravitz]
18 Heavy Metal Drummer
19 I’m the Man Who Loves You
20 Dawned On Me
21 Impossible Germany
22 The Late Greats
23 [banter – fight]
24 Red Eyed and Blue
25 I Got You
26 Outtasite
27 [encore break]
28 Spiders (Kidsmoke)
29 [second encore break]
30 Misunderstood
31 It’s Just That Simple
32 Airline to Heaven
33 A Shot in the Arm
____________________________________________________
Wilco
2016-02-02
Capitol Theatre
Port Chester, NY USA

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

Schoeps MK22 (PAS bar, slightly ROC, FOB)>Nbob cables>PFA>Aeta PSP3>Roland R-26>24bit/48kHz WAV>Izotope Ozone 5 (effects, EQ)>Audacity 2.0.5 (track, amplify, balance, downsample, dither)>FLAC ( level 8 )

Tracks
01 EKG
02 More…
03 Random Name Generator
04 The Joke Explained
05 You Satellite
06 Taste the Ceiling
07 Pickled Ginger
08 Where Do I Begin
09 Cold Slope
10 King of You
11 Magnetized
12 Company In My Back
13 Handshake Drugs
14 Art of Almost
15 [banter1]
16 Box Full of Letters
17 Heavy Metal Drummer
18 I’m the Man Who Loves You
19 Dawned On Me
20 Impossible Germany
21 The Late Greats
22 [banter2]
23 Red Eyed and Blue >
24 I Got You
25 Outtasite (Outtamind)
26 [encore break 1]
27 Spiders
28 [encore break 2]

Acoustic Encore
29 Misunderstood
30 It’s Just That Simple
31 Airline to Heaven w/ William Tyler
32 Shot in the Arm

If you download this recording from NYCTaper we expect that you will PLEASE SUPPORT Wilco, visit their website, and purchase their Star Wars and their other releases from their website [HERE].

Palm: January 29, 2016 Palisades

February 3, 2016
By

IMG_1376

The band Palm bring an impressive amount of music experimentation to the table, especially for a fairly young band. The compatriots, who met at Bard College upstate, but now reside in the independent music hotbed of Philadelphia, claim to be short on formal training, but I’m calling B.S. on that. Or rather, if their ability to produce intricate, jazz-inflected songs filled with unusual, shifting time signatures is something they just came up with on their own, then formal training may as well hang it up. On this packed weekend night at DIY-ish Palisades, the foursome came ready to wow us, playing only one song from their standout 2015 LP Trading Basics, released by Exploding In Sound. So we got the (relatively) hooky “Ankles” from that record, paired with a slew of relatively new or very-new songs, many of which the band themselves don’t have titles for. You could see that at points the members were feeling the songs out among each other, casting glances across the stage, but you wouldn’t have known it without looking at them; this material feels dialed-in and ready for primetime. What Palm are doing certainly has its cultural touchstones — some of the great “math rock” bands of mid-late-90s like Faraquet, Smart Went Crazy, June of 44 and Polvo — but it’s also daring and fresh at a time in “rock” music where the norm is more often party music that keeps a low bar. If the band’s subsequent releases have anything in common with what we heard tonight, or Trading Basics, then we’re going to be impressed by them for a very, very long time.

I recorded this set with Schoeps MK22 open cardiod microphones onstage together with a soundboard feed from Palisades FOH Ariel. The sound quality is outstanding. Enjoy!

Download the complete show: [MP3/FLAC]

Palm
2016-01-29
Palisades
Brooklyn, NY USA

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

Schoeps MK22 (ORTF, stage lip)>NBob cables>PFA + Soundboard (engineer: Ariel Bitran)>Adobe Audition CS 5.5 (align, mix down, narrow onstage image)>Izotope Ozone 5 (effects)>Audacity 2.0.3 (track, amplify, downsample, dither)>FLAC ( level 8 )

Tracks
01 [new song 1]
02 I Don’t Want to know
03 Ankles
04 [new song 2]
05 Crank
06 [new song 3]
07 [new song 4]
08 Two Toes

SUPPORT Palm: Facebook | Bandcamp

North Mississippi Allstars: September 28, 2012 Irving Plaza – FLAC/MP3/Streaming

October 1, 2012
By


[Photos by acidjack]

North Mississippi Allstars frontman Luther Dickinson noted early on during this show at Irving Plaza that NMAS hasn’t been to Manhattan in awhile. While we checked in with NMAS-related projects like Luther’s The Wandering at Joe’s Pub this year and the stripped-down NMAS Duo at Iridium Jazz Club last year, it has seemed that the full band has more or less dedicated its NYC performances to Brooklyn Bowl of late. Besides the venue change, this show represented a return to NYC without a key member of the NMAS crew, as band member Chris Chew is still recovering from a diabetic coma he suffered earlier this summer. While the band has announced that Chew will return to the stage with the band in Milwaukee and Chicago in a few days, this show found the Allstars joined by the legendary blues guitarist Lightnin’ Malcom in Chew’s stead. Several songs also saw appearances from JoJo Hermann, who was in tow with the night’s opening act Missing Cats but is better known as keyboardist of Widespread Panic. Among others, JoJo joined the band for a banging rendition of the RL Burnside classic and NMAS favorite “Po Black Maddie” with an extended bit of jamming, as well as a sick sequence of “Mississippi Boll Weevi” into “Shake ‘Em” that has been a staple on the current tour. Although the band’s set was cut a bit short by the club’s 12 a.m. curfew (combined with a longer Missing Cats’ set due to some very special guests), what this set lacked in length was made up for in quality.

With the full nyctaper crew in attendance, Johnny Fried Chicken Boy and I recorded this set using his Milab VM-44 Links into a Sound Devices MixPre with high-end Lundahl transformers, combined with my Schoeps MK22 “open cardiod” mics in the “NOS” configuration to add spaciousness and depth. The sound is excellent. Enjoy!

Stream “Shake ‘Em”

This Recording is now available to Download in FLAC and MP3 and to Stream at Archive.org [HERE].

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Note: All of the material on this site is offered with artist permission, free to fans, at our expense. The only thing we ask is that you download the material directly from this site, rather than re-posting the direct links or the files on other sites without our permission. Please respect our request.  The show will be archived on the Live Music Archive after it has appeared on this site.

North Mississippi Allstars
2012-09-28
Irving Plaza
New York, NY USA

Hosted at nyctaper.com
Recorded by acidjack and Johnny Fried Chicken Boy
Produced by acidjack

Schoeps MK22 (FOB, DFC, NOS)>KC5>CMC6>Sound Devices USBPre2 + Milab VM44 Links (cardioid, FOB, DFC, PAS)>Sound Devices MixPre >> Edirol R-44 [OCM]>2x24bit/48kHz WAV>Adobe Audition CS 5.5 (mixdown)>Izotope Ozone 5 (light EQ and exciter)>Audacity (set fades, tracking, amplify, balance, downsample)>FLAC ( level 8 )

Tracks [Total Time: 1:49:35]
01 Shimmy She Wobble>My Babe>Sittin’ On Top of the World
02 Hear the Hills
03 Shake What Your Mama Gave You>Chris Chew Tribute>Shake What Your Mama Gave You
04 Meet Me In the City
05 Mississippi Boll Weevil>
06 Shake ‘Em
07 [intro]
08 Po’ Black Maddie [RL Burnside]
09 Ho Down>jam
10 So Much Trouble
11 I Have A Good Woman Waiting At Home
12 K.C. Jones (On the Road Again)
13 ML
14 Up Over Yonder
15 I’m Leaving
16 This A’ Way
17 Eaglebird>
18 Lord Have Mercy>
19 All Night Long [Junior Kimbrough]
20 [encore break]
21 Rollin’ and Tumblin’

If you enjoyed this recording, PLEASE SUPPORT North Mississippi Allstars, visit their website, and purchase Keys to the Kingdom and their other available releases through The Store at their website [HERE].

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