Posts Tagged ‘ Shea Stadium ’

So So Glos: July 16, 2016 Out In The Streets Fest

July 31, 2016
By

42_So-So-Glos
[photos by Dean Keim]

There may not be another band whose influence and work ethic has done more to establish the music of Brooklyn over the last ten years than So So Glos. The band was the original tenant of the Market Hotel, and later established Shea Stadium — two venues still open today that support and incubate local music. As an active touring band, So So Glos have performed across the globe with a large variety of bands and recorded and released five full length albums.

Kamikaze (Votiv Records) is the latest So So Glos release and it may be their most fully realized album. The album appears three years after the breakthrough of Blowout, but continues in the same vein of offering intelligent and aggressive punk which is both faithful to the genre and to the borough that produced the band. So So Glos headlined the first night of Out In The Streets Fest and were afforded the opportunity to play a full set. A healthy crowd remained throughout the day in the good and bad weather and by the time the Glos took the stage and the band commandeered everyone inside, the tent filled up and their energetic set was a great send-off to a terrific day. The band performed much of the last two albums in a set that began with a burst of energy and never let up.

I recorded this set in the same manner as the Guerilla Toss set from the same day of the Festival and the sound quality is superb. Enjoy!

Download the Complete Show [MP3] / [FLAC]

Stream the Complete Show:

So So Glos
2016-07-16
Out in the Streets Fest
Onderdonk House
Queens 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 1:00:23]
01 Dancing Industry
02 Diss Town
03 ADD Life
04 Going Out Swingin
05 Devil’s Doing Handstands
06 Magazine
07 Black and Blue
08 Lost Weekend
09 Cadaver
10 Fool on the Street
11 [banter – thanks]
12 We Got The Days
13 [encore break]
14 Mold Baby
15 Wrecking Ball
16 Replay [Lost Boy]
17 Son of an American

Support So So Glos: Website | Facebook | Buy Kamikaze | Votiv Records Page

Oneida: March 11, 2016 Shea Stadium

April 27, 2016
By

Oneida

Last month, Oneida embarked on a weeklong tour and as promised, we were there to catch the tour opener at Shea Stadium. Typical for recent sets, the band played mostly new songs that you may be familiar with if you’ve been following along here, plus two covers, “S.P.Q.R.” by This Heat and “All Data Lost” by Chrome that were recently released on the Positions EP. “All Data Lost” gets augmented with the “It Was Me” intro, last (and first) heard in October 2014, stretching the jam into an epic, twenty-six minute closer. Similarly, “Cedars” is joined with “Bad Habit,” which we first saw way back in May 2012 at 285 Kent. The band has been on a roll the last few years, despite their infrequent schedule, and when Oneida eventually gets around to releasing their next LP, I think we’re going to be in for something that rivals Rated O as their definitive statement. Until then, we’re fortunate the band is brining these new tunes out on the road.

This set was recorded to multitrack by Shea Stadium engineer Dave. I think mixed down the fourteen tracks, resulting in a recording of exceptional clarity. Enjoy!

Download: [MP3/FLAC]

Stream:

Oneida setlist

Oneida
2016-03-11
Shea Stadium
Brooklyn, NY

Exclusive download hosted at nyctaper.com
Recorded by Dave
Produced by Eric PH

Soundboard (engineer: Dave) > 14xMono WAV (16/44.1) > Adobe Audition CC (mixdown, balance, compression, normalize, fades) + Izotope Ozone 5 (EQ, effects) > Audacity 2.0.5 (tracking, tagging) > FLAC (16/44.1, level 8)

Tracks [70:08]
01. Economy Travel
02. I Will Haunt You
03. Cedars > Bad Habit
04. Reputation
05. S.P.Q.R. [This Heat]
06. Cock Fight
07. It Was Me > All Data Lost [Chrome]

If you enjoyed this recording, PLEASE SUPPORT Oneida. Visit their website, like them on Facebook, and buy the Positions EP from Rocket Recordings.

Media Jeweler: April 3, 2015 Shea Stadium – FLAC/MP3/Streaming

May 29, 2015
By

Media Jeweler
[Photo by acidjack]

Media Jeweler are a new-ish four piece from the OC, and since 2013 they’ve been laying down a category-defying brand of post-rock with complex, overlapping rhythms and repeating motifs. Acidjack and I stumbled upon them last month playing an opening set at Shea Stadium. We were blown away by their unique jams and a set crafted not like a collection of disparate elements but as a concise and deliberate piece. That ability carries over to their upcoming album, $99 R/T HAWAII, for which I scored a sneak preview that lives up to the high expectations conjured by their live performance. The band was in town for one night only, stopping off at Shea after recording in Providence, RI and this marks their first live appearance outside of California. The album is due out soon, but in the meantime you can catch Media Jeweler at some live dates out by their home turf. They’re planning a return to the east coast this fall, a visit I’m already looking forward to.

This set was recorded by Shea Stadium engineer, Nick Pitman. I mixed down the multitrack files and the sound is excellent. I hope you enjoy it as much as I do!

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

Stream the complete show:

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.

Media Jeweler
2015-04-03
Shea Stadium
Brooklyn, NY

Exclusive download hosted at nyctaper.com courtesy of liveatsheastadium.com
Recorded by Nick Pitman
Produced by Eric PH

Soundboard multitrack > Adobe Audition CC > Izotope Ozone 5 > Audacity 2.0.5 (amplify, fades, downsample, dither, tracking, tagging) > FLAC (16/44.1, level 8)

Tracks [25:12]
01. Untitled
02. No Exit
03. Passport Invalid
04. Blistered
05. Looking Glass
06. Looking Back
07. Looking Glass (Reprise)

Support Media Jeweler: Facebook | Website | Bandcamp

The Gradients: September 5, 2014 Shea Stadium Interview/FLAC/MP3/Streaming

October 14, 2014
By


gradients_webster_StephenBalser
[Photo from the Studio at Webster Hall show by Stephen Balser, as featured on the band’s facebook page]

The night of their self-titled and debut record release at Shea Stadium, Emilio Herce sat down with The Gradients, comprised of Charlie DY, Sammy Weissberg, Luca Ba, and J Boxer, to talk to us about their song writing process, touring down to SXSW, and the DIY ethic they bring to their live shows. Featured with this interview is a full live set for streaming and download. You can catch The Gradients’ next show at Palisades this Thursday.

NYCTaper: All of you play in different bands. Do you ever had a moment when you’re writing a song, but you decided, ‘hey, maybe I want to save it for this other band’”?

Sammy: Not for me, this is the only band I write music in. I also play in Bluffing and Le Rug. But Bluffing’s all John.

J. Boxer (John): Nah, I definitely know. There’s definitely stuff that I write where I’m like ‘this would be really weird for Gradients.’

NYCT: The Gradients have four songwriters, most bands have only one or two, so how does the song writing process work? Does everyone have equal input, or does someone bring in a skeleton and then lead in the process of building it?

Luca Ba: I mean, usually one or two people will have an individual thing that they bring in.

NYCT: Like a riff? Do you ever bring in a complete song?

Luca: Some people have.

Charlie: A lot of times it’s a song that gets changed, like as a band we’ll work on it. Also it’s funny that you say that cause like, we have a lot of trouble naming our songs, and a lot of the time they wind up being labeled as whoever brought it in, like ‘Sammy New,’ or ‘Charlie New,’ or ‘Luca New,’ ‘John New,’ but I wouldn’t say that any of those songs truly belong to that person.

Sammy: I think in this band you can’t really bring in a song, and like anything is subject to change. Every song I’ve brought in has basically just ended up different.

NYCT: You guys are releasing a four track EP, each of you writing one song. Are those songs written yet, are you still working on them?

Sammy: We’re playing two of them tonight. One is pretty close to being done. I guess the fourth one we haven’t even started yet.

Charlie: Mine is in the lab.

NYCT: At what point do you feel comfortable performing a song. When it’s fleshed out entirely?

Luca: I think often it’s not.

NYCT: So the writing process happens on stage too.

J Boxer: We know we’re not playing it the way it’s going to be, the finished product or whatever, and there’s kind fear or nervousness about it, but that’s what you have to do.

Sammy: Just play it over and over again, that’s kind of how I write songs anyway. Usually when I write something, I play it every day, like multiple times a day and over a long period of time things start to develop. I think that repetition is a good way to develop ideas, if you just have it in your ear.

J Boxer:  I feel good about the two new ones that we have.

Charlie: The first show that we ever played as a band, way before John was in the band, we got offered a show and we weren’t ready, but we just played it.  We were just like ‘why not, we were going to open the show.’ It came together on stage, and I feel like that vibe carried out into our band in general. You know a lot of times, like honestly, we’ll play a song, and the lyrics aren’t completely finished, but they’ll even grow from what we come up with, when we play it.

NYCT: Was this years South By your first tour experience as a band? How was that?

Luca: We became a family with the other members of Bluffing, Heeney and Slonk Donkerson. I’d say that those four bands are joined forever.

Charlie: It was a pretty magical time in Austin. I mean it was a great experience, and we played a lot of great shows, but it really almost felt like a musical vacation.

Sammy: It wasn’t the most organized show.

Charlie: The last tour we went on was like totally just you know play, go to the next place.  Austin, we played a bunch of shows getting down there, and we got to Austin an we kind of went nuts. A lot of bonding and hanging out.

NYCT: Are you going to do anything differently in the studio this time around? Did you learn anything last time, that you’re not going to do this time, or is there anything that you’re going to bring over from the last record?

Luca: Ideally it won’t take as long to come out, I would say.

Sammy: I think I learned a lot about overdubs, like what sounds good, and what doesn’t and I couldn’t really explain it any more than that, but there are things on the record that obviously bug me, so you’re not going to be totally satisfied.

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

Stream the complete show:

The Gradients
2014-09-05
Shea Stadium
Brooklyn, NY USA

Exclusive download hosted at nyctaper.com
Recorded by Emilio Herce and Shea Stadium
Produced by acidjack

Multitrack digital soundboard>Adobe Audition CS 5.5 (mix down)>Izotope Ozone 5 (effects on individual tracks, compression, imaging, exciter)>Audacity 2.0.3 (fades, tracking, amplify, balance, downsample)>FLAC ( level 8 )

Tracks
01 Growing Pile>
02 Boxed In
03 [new song 1]
04 Gradients
05 [new song 2]
06 I’ll Find Your Grave
07 In Perspective
08 Charlie 182
09 Shelf
10 Something to Blame

If you enjoyed this recording, PLEASE SUPPORT The Gradients by visiting their bandcamp page, where you can buy their debut album release.

Zula: August 7, 2014 Shea Stadium – Interview/FLAC/MP3/Full Stream

August 26, 2014
By


zula
[Photo from the band’s Facebook page]

Zula released one of the more underrated albums of 2013, the spry This Hopeful, a sweet and well-produced pop album with electronic flourishes. The record was a damn fine confection of a debut LP, with just about everything you could want in such a debut. It had solid hooks, yet room to grow.

Brand-new correspondent but veteran music writer Emilio Herce sat down with the band earlier this month. His interview is below, along with a full MP3 and FLAC download and stream of the show, below after the interview. I mixed down Shea’s multitrack audio, and the audio quality is outstanding. Enjoy!

Zula Interview, by Emilio Herce

Zula’s music has been described by the New York Times as “pointillistic structures with a mainspring of minimalism.” New York locals and cousins, Nate and Henry Terepka, took a couple moments before playing their tour kick off show at Shea Stadium to talk to me about their writing process, Arto Lindsay, and touring with site friends Friend Roulette

NYCTaper: How did you decide upon “This Hopeful” as the title for the latest record? Was that an easy choice to make for the band?

Henry Terepka: It wasn’t an easy choice. [Laughs] It took a few months of brain storming, and living with a few different ideas.

Nate Terepka: That was one of the last things we figured out for the record, I feel like.

HT: Yeah, it’s hard, it’s like the way we wrote those songs, they were kind of each on their own, as individual moments, individual feelings, and so it was one of those albums, it was kind of ‘these are the songs we’ve got.”

NYCTaper: Did you have other songs that didn’t make the record; are you saving those for later?

HT: Yeah, we kind of have a surplus of material in general as a band. The big challenge for us in terms of picking the songs was which were going to make it on the specific vinyl format, which has a time constraint on it, which I didn’t know about going into the process.

NYCT: Your songs and the stories in them all have a hopeful bent, but the universe they exist in has this sort of anxious cloud hanging over it. Is this a unifying theme in the music of Zula, or were there events surrounding the writing of the first album that shaped the record’s outlook?

NT: I think our writing is reflective of our internal space when we’re writing a song. I think we both write sort of stream of conscious with our lyrics, and I think we both feel hopeful and anxious.

HT: Yeah, that’s definitely something that’s not going to go away from our music anytime soon. I think those sentiments are important to, I guess, our perspective, our worldview.

NYCT: When do you consider a song to be “done”?

NT: I think that song and recording are two different things.

HT: There’s like a complete idea, thinking about what’s a complete idea, and then there’s thinking about how to present an idea in a way that does justice to that idea. Sometimes those processes get mixed up a little bit.

NYCT: Do you consider the songs on the last record done, or are they still changing?

HT: They’re always changing in live performance. We try to keep things fresh, you know, to keep being in the moment. I think compositionally, we’re pretty happy with where they ended up.

NT: Yeah, I don’t know. That’s an interesting thought. ‘Done’ seems intense in a way. I’m happy with the recordings. I think those recordings are complete, but I’d like to think that songs can take on new life or if they’re not taking on new life you can put them aside.

NYCT: How important is improvisation in your work, like on stage? Is that a part of it or do you pretty much play the songs as they are on the record?

NT: I’d say it’s very important. I think that certain things, structures end up getting a little cemented, but we try to work things into our arrangements where rather than “we’re going to do this for a certain number of measures,” one of us will cue something and then give ourselves the space to stretch out, and I think in general we welcome people trying new lines or messing around if they’re inspired in the moment. We embrace the roughness and magic that can sort of pop up in the moment of playing a song.

NYCT: You often play, and have recently toured with the band Friend Roulette, another band known for their rhythmic and dynamic ability. Has playing with them affected your approach to music? Are there any stories you’d like to share from the tour?

HT: It was really fun getting to know that band, hanging out with them, and soaking up their vibe. I though that one impression they made, is just that over time they were really kind of putting a world together. You could, you know, have whatever feeling you wanted about it, they weren’t asking you to feel one particular thing about it.

NT: Yeah it was really cool getting to know them. I always liked them, but I liked them more and more, seeing them play more shows and spending time with them because I think something what’s not apparent right away is just how that band goes back really far. They’re all very close friends, and that’s very much a band of friends that’s sort of in their own world and vision.  They have a really strong vibe that maybe’s a little hard to penetrate at first.

NYCT: Is that something you try to go after yourself? Your songs are pretty straightforward and accessible, but there’s something to be said about listening to them over and over again.

HT: I think we write more complicated songs than we intend to, but we’re not necessarily as good at intentionally withholding pleasure in the way that I’d like to be a little better at.

NT: Yeah, I mean we don’t want our songs to be difficult I don’t think. Pop satisfaction and approachability is something that we aspire to. At the same time there’s a slot of things, a lot of conventions towards accessibility that are a little bit boring and I think we try to do the best that we can to balance accessibility with surprising ideas.

NYCT: The band has always been able to recreate live the sounds on the record, no easy feat. Have you ever written songs, or parts of songs, which have proven difficult to perform on stage?

HT: Our process is pretty oriented towards our live performance as a band, and I think that at least for the last few album projects we’ve been doing our recordings have followed our live arrangements, or come after our live arrangements, but I’m interested to try those approaches. Both Nate and I come from multi-tracking backgrounds, layering stuff and doing stuff that like is not playable live necessarily.

NT: But I also think that we don’t get attached to the specific sound source of a part, more so the role that it plays in a song. So if in the process of recording for a record we end up tracking this part that we can’t reproduce live exactly because of the sound source or whatever, whatever role that part ended up playing in the composition might come into our live set but it’ll be different.

NYCT: In a recent interview, Arto Lindsay, a fellow New York musician, and pioneer in the No Wave movement during the late 70s and 80s said: “Everywhere I go people think I’m too cynical or my humor’s too negative or I treat my friends badly, and I say, ‘That’s the way we do it in New York!’” It seems like Lindsay was being facetious, but do you think there’s any truth to this? How does it compare to your experience as New York based musicians?

HT: I work for a music publisher and we had a composer come in once, an older gentleman who had extensive plastic surgery. He made a kind of odd impression on my staff, but one of the things he said during the course of his interview, he was talking about getting ripped off for music by a company. He was like “So I’m from New York, so like fuck you!,” and that was his whole thing, like you’re from New York, so like fuck you I’m going to beat you up, but I think that that’s a little antiquated.

NYCT: You think that’s old school?

HT: Yeah, I think that’s old school and I think that New York City more than anything is defined by multiple identities, not having one particular identity that you can pin down, but Arto Lindsay’s got a really interesting perspective and certainly we try to take cues from the way he presents himself, and there’s a long tradition of like sarcastic and sort of pessimistic… because in New York things are real, that’s one thing I think is like a legit assumption about New York as opposed to other places.

NYCT: What do you mean by real?

HT: People are open about what they want, so if that means expressing negativity, then that’s totally appropriate, because that’s within the healthy bounds of human emotion.

Direct download of the complete show: [MP3] | [FLAC]

Stream the complete show:

Zula
2014-08-07
Shea Stadium
Brooklyn, NY USA

Exclusive download hosted at nyctaper.com
Recorded by Emilio Herce and Shea Stadium
Produced by acidjack

Multitrack digital soundboard>Adobe Audition CS 5.5 (mix down)>Izotope Ozone 5 (effects on individual tracks, compression, spacing, exciter)>Audacity 2.0.3 (fades, tracking, amplify, balance, downsample)>FLAC ( level 8 )

Tracks
01 Lucy Loops
02 Basketball
03 Getting Warm
04 [tuning]
05 Be Around
06 [tuning2]
07 Speeding Towards the Arctic

If you enjoyed this recording, PLEASE SUPPORT Zula, like them on Facebook, and buy This Hopeful here.

Low Fat Getting High: February 21, 2014 Shea Stadium – FLAC/MP3/Streaming

March 21, 2014
By


walter-wlodarczyk-low-fat-getting-high-2
[Photos courtesy of Walter Wlodarczyk]

The website for Brooklyn band Low Fat Getting High describes their sound as “post-noise-grunge-core-shredding”. After this show at Shea Stadium — where they packed twelve songs into a set less than a half-hour long — I’d say that’s about right. There’s a definite 90s influence going on — at points, they feel in like what Local H might have sounded like with more balls — but LFGH dispenses with much of that decade’s sad-sack navel-gazing in favor of jams that deliver the party like a gut punch. This set roiled from the first notes of their single, “Better Better Worse” through what practically qualifies as a “jam” number for this band, the four-and-a-half minute “My Hate”. But where some bands in this territory are content with turning it up and getting stoopid, LFGH has some real craft behind their work. Snag their EP, Bad Yoga, or better yet, head over to Muchmore’s on March 29, and see for yourself.

Like our other set’s from this night, this  was recorded in full digital multitrack combined with a pair of my audience mics. The Shea team was gracious enough to let us use their digital multitrack files, which made for a recording of outstanding, almost album quality. We’d encourage you to check out their site for their own version of this show (coming soon) and those of hundreds of other bands.

Stream “Better Better Worse”

Download the complete show: [MP3| [FLAC]

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.

walter-wlodarczyk-low-fat-getting-high-1

Low Fat Getting High
2014-02-21
Shea Stadium
Brooklyn, NY USA

Exclusive download hosted at nyctaper.com courtesy of liveatsheastadiumbk.com
Recorded by R.J. Gordon and acidjack
Produced by acidjack

Soundboard multitrack + Naiant X-X>Edirol R-44 [OCM]>>Adobe Audition CS5.5 (mixdown and effects)>Izotope Ozone 5 (effects, compression, limiting)>Audacity 2.0.3 (tracking, fades, additional EQ, dither, downsample)>FLAC ( level 8 )

Tracks
01 Instrumental #1
02 Better Better Worse
03 Childhood Friends
04 The Claw
05 Bath Salts
06 Don’t Blame Me
07 Hate Them All
08 Instrumental #2
09 Emasculator
10 Police Cop
11 Don’t Believe You Anymore
12 [banter]
13 My Hate

If you enjoyed this recording, PLEASE SUPPORT Low Fat Getting High, visit their website, and buy their records on bandcamp.

BOYTOY: February 24, 2014 Shea Stadium – FLAC/MP3/Streaming

March 17, 2014
By

walter-wlodarczyk-boytoy-1
[Photos courtesy of Walter Wlodarczyk]

The Brooklyn band BOYTOY only has some scattered bandcamp tracks to their name, but don’t expect their anonymity to last. Leading off a four-band bill anywhere isn’t easy, but BOYTOY grabbed our attention immediately at Shea Stadium on this Friday night, with a wide-ranging brand of rock n’ roll delivered with a poise that belies their limited output. Their style ranged from the bratty pop-punk of “Bad Brain” to the more dense, shoegazey stylings we saw at the end of the set with “Blazed”, which recalled early Lush. Vocalist Saara Untracht-Oakner shows consistency even as the song styles change, and bandmates Glenn Van Dyke (guitar) and Matthew Gregory aka Matty Beans (drums) are right there with her, churning out one song after another that demands repeat listens. We enjoyed it so much that we are offering the entire set for stream, as well as the traditional FLAC and MP3 downloads, below. An EP is expected in late spring; keep an eye out on the band’s bandcamp page for more info.

As with the sets posted from Big Ups and Slothrust, this set was recorded in full digital multitrack provided by the Shea Stadium team, combined with a pair of my Naiant audience mics. We’d encourage you to check out Shea’s site for their own version of this show (coming soon) as well those of hundreds of other bands.

Stream the entire set:

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

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.

walter-wlodarczyk-boytoy-2

BOYTOY
2014-02-21
Shea Stadium
Brooklyn, NY USA

Exclusive download hosted at nyctaper.com courtesy of liveatsheastadiumbk.com
Recorded by R.J. Gordon and acidjack
Produced by acidjack

Soundboard multitrack + Naiant X-X>Edirol R-44 [OCM]>>Adobe Audition CS5.5 (mixdown and effects)>Izotope Ozone 5 (effects, compression, limiting)>Audacity 2.0.3 (tracking, fades, additional EQ, dither, downsample)>FLAC ( level 8 )

Tracks
01 Road Dog
02 Bad Brain
03 Helluva Party
04 TV Dreams
05 Shallow Town
06 Visits
07 Postal
08 Runner
09 Blazed

If you enjoyed this recording, PLEASE SUPPORT BOYTOY, like them on Facebook, and buy their music at their bandcamp page.

Big Ups: February 21, 2014 Shea Stadium – FLAC/MP3/Streaming

March 2, 2014
By

walter-wlodarczyk-big-ups-1
[Photos courtesy of Walter Wlodarczyk]

Big Ups sent the crowd into a frenzy from start to finish. Crowd surfers, held aloft on a sea of hands, pumped their fists. Frontman Joe Galarraga sprawled on the floor, tearing at his shirt, howling into the mic. Isn’t New York talked about, in lesser cities, as a place where crowds have been there, done that, don’t give a damn? Well, maybe not enough bands are asking us to pay attention. Big Ups, for their part, aren’t asking.

This show was punk rock at its elemental best, played in the right kind of setting, to the right kind of crowd. Shea Stadium feels like a safe space for shirt-ripping, lung-tearing pandemonium, and that’s what we got, the intimate space flung into chaos as Galarraga and his bandmates powered through songs from their killer new release Eighteen Hours of Static. Begun a few years ago when the band members were seniors in college, the Big Ups of today plays like the veteran outfit they are. What’s on offer isn’t just three-chord punk played loud; Brendan Finn, Amar Lal, Carlos Salguero Jr. and Galarraga deliver plenty of volume, but it’s the force with which they deliver it that sets them apart. They hit like a punch to the gut. 

This set was recorded in full digital multitrack provided by the Shea Stadium team, combined with a pair of my audience mics. We’d encourage you to check out their site for their own version of this show (coming soon) as well as a previous Big Ups show and those of hundreds of other bands.

Big Ups will be playing this Monday, March 3 at Baby’s All Right, followed by the traditional tour down to Texas for South By Southwest. Check out the dates here.

Stream “Goes Black”

Stream “Wool”

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

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.

Big Ups
2014-02-21
Shea Stadium
Brooklyn, NY USA

Exclusive download hosted at nyctaper.com courtesy of liveatsheastadium.com
Recorded by R.J. Gordon and acidjack
Produced by acidjack

Soundboard multitrack + Naiant X-X>Edirol R-44 [OCM]>>Adobe Audition CS5.5 (mixdown and effects)>Izotope Ozone 5 (effects, compression, limiting)>Audacity 2.0.3 (tracking, fades, additional EQ, dither, downsample)>FLAC ( level 8 )

Tracks
01 Shut Your Mouth
02 Goes Black
03 Not Today
04 [banter]
05 TMI
06 Wool
07 Fresh Meat
08 Rash
09 Negative

If you enjoyed this recording, PLEASE SUPPORT Big Ups, visit their website, like them on Facebook and buy Eighteen Hours of Static there.

Slothrust: February 21, 2014 Shea Stadium – FLAC/MP3/Streaming

February 25, 2014
By


walter-wlodarczyk-slothrust-1
[Photos courtesy of Walter Wlodarczyk]

Slothrust have been kicking around Brooklyn for a while now, and the time they’ve spent gigging has paid off big-time with their latest release, Of Course You Do, a well-crafted slab that belongs on the shelf of any fan of aggressive guitars and soft/loud dynamics and instant-classic melodies. Vocalist/guitarist Leah Wellbaum, bassist Kyle Bann and drummer Will Gorin aren’t just your average rock n’ roll power trio, either — the members come from the jazz and blues scenes, which you might not have picked up on amid the pandemonium of this burner of a record release show at Shea Stadium. Because Slothrust, my friends, can play fucking heavy, and they brought it end-to-end during this fifty minutes at one of New York’s finest DIY venues.

Those nostalgic for a past golden age of guitar sounds, particularly the early 1990s, can be forgiven, I guess, for labeling Slothrust a “grunge band” and leaving it at that. The problem is, that term was fraught from its inception — none of the bands playing the “style” embraced it, and many of those bands didn’t sound much alike. What would be fair to say is that Slothrust’s set gave off the vibe of the best acts of that era (one site even compared them to early Nirvana). They can create community through noise, though their music is more than just that. Wellbaum can be deceptively thoughtful in her lyrics, and after a few listens, you pick up some of the blues streak that you might not have noticed on first go. Seeing this crowd, this band, gave me hope. Label it whatever you want, but there’s a type of heart in this music that you can’t replace with machines and samples. Lots of music can move bodies. I’m not sure all of it can move souls.

We are very pleased to announce that we’ll be covering Slothrust and a hose of other worthy acts at the Northern Spy / Ba Da Bing Records SXSW Showcase in Austin next month. Tiny Mix Tapes will be streaming live, and we will be hosting the recordings for download here. Here’s the press release.

This set was recorded in full digital multitrack in combined with a pair of my audience mics. One unique element of Shea Stadium is that the venue is (officially) a recording studio, so all of the shows there are recorded for streaming on their site. Because the layout of the venue makes our normal recording methods kind of impossible, the Shea team was gracious enough to let us use their digital multitrack files. That made for a recording of outstanding, almost album quality. We’d encourage you to check out their site for their own version of this show (coming soon) as well as previous Slothrust shows and those of hundreds of other bands.

Recordings of the rest of the bill — Big Ups, Low Fat Getting High, and Boytoy — will be available here soon.

Stream “Juice”

Download the complete show [MP3] | [FLAC]

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.

slothrust33

Slothrust
2014-02-21
Shea Stadium
Brooklyn, NY USA

Exclusive download hosted at nyctaper.com courtesy of liveatsheastadium.com
Recorded by R.J. Gordon and acidjack
Produced by acidjack

10-track soundboard multitrack + Naiant X-X>Edirol R-44 [OCM]>>Adobe Audition CS5.5 (mixdown and effects)>Izotope Ozone 5 (effects, compression, limiting)>Audacity 2.0.3 (tracking, fades, additional EQ, dither, downsample)>FLAC ( level 8 )

Tracks
01 [intro]
02 Cubicle
03 Juice
04 7:30 AM
05 [banter]
06 The Couch Incident
07 Magnets Pt. 1>
08 Magnets Pt. 2
09 [banter2]
10 For Marshall
11 Misnomer
12 [banter3]
13 Crockpot
14 Homewreck Wifey
15 [banter4]
16 Beowulf

If you enjoyed this recording, PLEASE SUPPORT Slothrust, visit their website, like them on Facebook, and buy Of Course You Do from Ba Da Bing Records.

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