Posts Tagged ‘ soundboard ’

Ryley Walker / David Grubbs / Ryan Jewell / C. Spencer Yeh: March 26, 2019 Union Pool

April 15, 2019
By

Ryley Walker’s March residency at Union Pool covered all the bases of Walker’s sound, from relatively “straight-ahead” song-based performances to instrumental blowouts with friends and colleagues like Ryan Jewell and Steve Gunn. Count this final night’s performance firmly in the latter camp, as Walker and residency mainstay Jewell were joined by David Grubbs (Gastr del Sol, others) and C. Spencer Yeh (Burning Star Core) for a full set of avant-garde experimentation that found Walker stepping away from the mic but fully present as guitarist and spiritual force.

Ryley Walker’s March residency at Union Pool covered all the bases of Walker’s sound, from relatively “straight-ahead” song-based performances to instrumental blowouts with friends and colleagues like Ryan Jewell and Steve Gunn. Count this final night’s performance firmly in the latter camp, as Walker and residency mainstay Jewell were joined by David Grubbs (Gastr del Sol, others) and C. Spencer Yeh (Burning Star Core) for a full set of avant-garde experimentation that found Walker stepping away from the mic but fully present as guitarist and spiritual force.

Over the course of these residency shows (plus bonus Queens show), I’ve said my piece about Ryley Walker and “who” he is musically, so I won’t belabor the point. Suffice it to say that even if you follow all things Walker, this unique collaboration is a standout, something not likely to be repeated. Walker made it known what an honor it was for him to play with these musicians. It was equally our honor to have heard it.

I recorded this set in the same manner as the other Union Pool shows, with Doug Graham’s outstanding house mix leading the way. Enjoy!

Thanks to Union Pool and Will S for continuing to book and host interesting and experimental music in north Brooklyn.

Download the complete show from its Live Music Archive page.

Ryley Walker/David Grubbs/Ryan Jewell/C. Spencer Yeh
2019-03-26 (Residency Night 4)
Union Pool
Brooklyn, NY  USA

Recorded and produced by acidjack

Soundboard (engineer: Doug Graham) + Schoeps MK5c (XY, at SBD)>KC5>CMC6>>Sound Devices MixPre 6>24/48 polyWAV>Adobe Audition CC>Izotope Ozone 5>Audacity 2.3.0>FLAC ( level 8 )

Tracks
01 UP Quartet Jam Pt 1
02 UP Quartet Jam Pt 2
03 UP Quartet Jam Pt 3
04 UP Quartet Jam Pt 4
05 UP Quartet Jam Pt 5

PLEASE SUPPORT RYLEY WALKER: Bandcamp | Dead Oceans

Avey Tare: April 1, 2019 Market Hotel

April 8, 2019
By
Photos by Justin Joffe (Twitter/Instagram)

This year marks ten years since Animal Collective released Merriweather Post Pavilion, and coincidentally ten years since the recordings of their landmark gigs at The Bowery Ballroom and Manhattan Center Grand Ballroom crashed the NYCTaper servers. Since then we’ve seen Animal Collective countless times and have covered shows by each member individually, none more than Avey Tare.

Back in 2017, Avey returned to The Bowery Ballroom to play songs off Eucalyptus and preview his most current album, Cows on Hourglass Pond. Never content to linger in the same place too long, last week’s show at Market Hotel was heavy on the Cows songs, with one song each from Eucalyptus and Down There. The sole unreleased song from this set, “Enjoy the Change,” was also played back at Bowery but surprisingly didn’t end up Cows.

I recorded this set with Market Hotel’s installed Audio Technica 4051’s, combined with a board feed courtesy of the venue and engineer, Eric. The sound is outstanding. Enjoy!

Download MP3/FLAC


Avey Tare
2019-04-01
Market Hotel
Brooklyn, NY

Recorded and produced by Eric PH for nyctaper.com

Soundboard (engineer: Eric) + AT4051 >> Sound Devices MixPre-6 > WAV (24/48) > Adobe Audition CC (mixdown, compression, normalize, fades) + Izotope Ozone (EQ, compression) > Audacity 2.0.5 (tracking, tagging) > FLAC (24/48, level 8)

Tracks [1:24:30]
01. Remember Mayan
02. What’s the Goodside?
03. HORS_
04. Eyes on Eyes
05. Taken Boy
06. K.C. Yours
07. Enjoy the Change
08. When You Left Me
09. Heads Hammock
10. Nostalgia in Lemonade
11. Saturdays (Again)

Buy Avey Tare records via Bandcamp

Garcia Peoples: March 24, 2019 Trans-Pecos

April 3, 2019
By

Those in the know around these parts have probably seen Garcia Peoples a handful of times or more by now — they’ve maintained a hyperkinetic schedule of local and tour shows that would be the envy of any hungry young band.

Listen to this set from Trans-Pecos a couple Sundays ago and you can understand why no promoter ever says no to these guys . This band is absolutely on fire right now, its players dialed in to a level that normally takes years. Being a private event, this was a “play what you want” set for the band, and they took that to heart, leading off with an extended improv that transitioned into their cover of “Laila Pt 2” by Agitation Free (which we first heard at Union Pool) followed by “High Noon Violence” from their brand-new breakout album, Natural Facts. After a spot-on “Total Yang,” the band were joined by Ryley Walker for an extended 16-minute improv that found Walker joining Tom Malach and Danny Arakaki as a third guitarist. Adding to the special nature of the proceedings, the band was joined by semi-regular member Pat Gubler (aka P.G. Six) on keys.

As the writer Jesse Jarnow memorably puts it, Garcia Peoples are “your heady, friendly reminder that it’s alright to let the sunshine in”. Arakaki, Malach, Derek Spaldo (bass) and Cesar Arakaki (drums) are after something here that’s so much more than being a Grateful Dead-referencing tribute band. In fact, their principal resemblance to a musician named Garcia is that each of these guys are skilled musicians with a hot improvisational streak, rarely playing a song the same way twice. Their sound lives in a zone all its own, and seems sure to cast a wide net far beyond the GD/Phish crowd. It’s no accident that they cover the likes of Agitation Free and Relatively Clean Rivers more frequently than, say, this alchemical rendition of “The Other One” with Chris Forsyth.

So yes, New York-based heads will probably end up seeing Garcia Peoples whether they specifically plan to or not. But really, you ought to plan to. A band this good should be top of mind for anyone who cares about how the best live music should sound.

I recorded this set with a soundboard feed and Schoeps MK5 cardiod microphones onstage. The sound quality is excellent. Enjoy!

Download the complete show from its Live Music Archive page.

Garcia Peoples
2019-03-24
Trans-Pecos
Queens, NY  USA

Recorded and produced by acidjack

Schoeps MK5c (onstage, XY)>KC5>CMC6 + Soundboard>>Sound Devices MixPre6>24/48 polyWAV>Adobe Audition CC>Izotope Ozone 5>Audacity 2.3.0>FLAC ( level 8 )

Tracks
01 Jam>
02 Laila Pt. 2 [Agitation Free]>
03 High Noon Violence
04 [banter]
05 Total Yang
06 Pecos jam*

* w/ Ryley Walker

PLEASE SUPPORT GARCIA PEOPLES: bandcamp | Facebook

Ryley Walker & Ryan Jewell: March 24, 2019 Trans-Pecos

April 2, 2019
By

Making music is an act of generosity — the sharing of your inner self with a public that may or may not appreciate or understand it. The music in the world that is great is also the music in which the artist is most honest with her/himself. Honesty often means getting close to the dark places inside you.

Ryley Walker’s music has always embodied a certain conflict. When Walker takes a fairly straightforward folk-rock album track and turns it into a live 15-minute jazz-psych freakout, I don’t think the change is just about the “freedom” of the live setting or a fundamental dislike of the album track. Maybe that’s part of it, but I see a contest of impulses — to be a commercially approachable troubadour or the more esoteric, improvisational player he’s been since his career began. Do you want to be the guy who wears British tailoring in leafy photo shoots, or do you want to be the guy who uses his trio show with Ryan Jewell and Steve Gunn to play 50 minutes of psych jams? Walker is both of those things — he’s good at being both of those things — but one gets the sense that he isn’t totally comfortable living solely as either. I get it: A lot of us want to be more than our headline.

There’s a well-known paradox of the “sad clown” — that people who are funny are often people who aren’t happy. Anyone who has caught Ryley live or read him in Vice or reads his Twitter knows that he is certainly the former: he can be very, very funny. Listen to his lyrics as sung, and you might be surprised: Most of Walker’s songs are varying degrees of melancholic. Even a whimsical-sounding tune like “Summer Dress,” if you listen to his delivery, is more anxious than it seems: for a person with a belly full of wine singing about green pastures of desire, the narrator sounds ill at ease. The song is especially vivid for me because it’s the first one I ever heard Ryley Walker play. That very first song lacerated me; I believed the voice I heard.

Generosity. It’s sharing those darkest places in yourself, but it’s also playing a huge fan’s birthday party at Trans-Pecos in the middle of the day, even though you’ve got another show in town that Tuesday (which ends up being a jaw-dropping improv set with Jewell, David Grubbs, and C. Spencer Yeh—check back here soon). This set (a duo of Walker and Jewell) encapsulated all of the different sides of Ryley Walker at once — from his best-known song (and total live jammer) “The Roundabout” to the not-often-played-anymore “Summer Dress,” to the ending jam, which hews closer to his most recent Union Pool shows — and also kills.

That Walker puts his conflicts out there for everyone to see is not a flaw, nor is one choice he makes more true or “real” than another. They’re who and what he is — honest to the point of ache, always pushing to be something more. The late 2010s don’t feel like a moment for generous spirits, but you don’t choose when you’re born, anymore than you choose to whom, or where. Yet here he is: a generous spirit, one for whom, on this particular day, I was especially grateful.

Download the complete set from its page on the Live Music Archive.

Ryley Walker & Ryan Jewell
2019-03-24
Trans-Pecos
Queens, NY  USA

Recorded and produced by acidjack

Soundboard + Schoeps MK5c (onstage, XY)>KC5>CMC6>>Sound Devices MixPre6>24/48 polyWAV>Adobe Audition CC>Izotope Ozone 5>Audacity 2.3.0>FLAC ( level 8 )

Tracks
01 The Roundabout
02 [banter]
03 Summer Dress
04 [American Primitive rap]
05 Primrose Green
06 [HBD]
07 Pecos psych jam

PLEASE SUPPORT RYLEY WALKER: Bandcamp | Dead Oceans

Ryley Walker: March 12, 2019 Union Pool

March 14, 2019
By
Photo by Drew Gardner

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

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

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

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

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

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

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

Download the recording from its Live Music Archive page

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

Recorded and produced by acidjack

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

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

PLEASE SUPPORT RYLEY WALKER: Bandcamp | Dead Oceans

William Tyler: February 26, 2019 (Le) Poisson Rouge

March 6, 2019
By

Here’s a nice companion to William Tyler’s record release show last month at Rough Trade NYC. That show was the start of his tour for Goes West and as it turns out, was only a small preview of what he’s been up to. For the (Le) Poisson Rouge crowd, Tyler pulled out all the stops, playing acoustic and electric songs, and inviting locals Steve Gunn and Ryan Sawyer to join in for a few. Gunn plays on “High Anxiety” from Modern Country and contributes guitar and vocals to a cover of Michael Chapman’s “Among the Trees.” Things kick into high gear when Ryan Sawyer joins Tyler for “Whole New Dude” from the Lost Colony EP. They make an outstanding duo and the energy on that song is just incredible. Is there hope someday for a Tyler-Gunn-Sawyer jam sesh? Let’s plant the seed.

I recorded this set with the MBHO hypercardioids, combined with a board feed courtesy of the venue and engineer, Jason. The sound is outstanding. Enjoy!

Download MP3/FLAC


William Tyler
2019-02-26
(Le) Poisson Rouge
New York, NY

Recorded and produced by Eric PH

Soundboard (engineer: Jason) + MBHO KA500HN/603A (at SBD) > Naiant PFA >> Sound Devices MixPre-6 > WAV (24/48) > Adobe Audition CC (mixdown, compression, normalize, fades) > Audacity 2.0.5 (tracking, tagging) > FLAC (24/48, level 8)

Tracks [1:16:04]
01. Intro
02. Man in a Hurry
03. Fail Safe Intro
04. Fail Safe
05. I’m Gonna Live Forever (If It Kills Me)
06. Eventual Surrender Intro
07. Eventual Surrender
08. Gone Clear Intro
09. Gone Clear
10. We Can’t Go Home Again Intro
11. We Can’t Go Home Again
12. Our Lady of the Desert
13. Highway Anxiety Intro
14. Highway Anxiety
15. Among the Trees Intro
16. Among the Trees [Michael Chapman]
17. Whole New Dude Intro
18. Whole New Dude

14, 16 with Steve Gunn
18 with Ryan Sawyer

Buy William Tyler’s records, including Goes West and Modern Country at Merge

Willie Lane: February 7, 2019 Union Pool

February 21, 2019
By
Photos by Drew Gardner

Willie Lane has long been something of a mystery, appearing sporadically on live MV/EE CD-R’s and quietly self-releasing tiny pressings of highly-coveted solo guitar records. Until recently, you couldn’t even find them online, having to resort to in-the-know record stores that would stock these rarities. But recently a Willie Lane Bandcamp page appeared with digital downloads of his three LPs and one single, followed by a reissue of the long-scarce Known Quantity from Feeding Tube. Already down to the last box of that one, the reissues will keep coming in March when they put Guitar Army of One back out into the world. Meanwhile, on The Avant Ghetto, Jeff Conklin played an awesome live set from Scratch Ticket (Lane on guitar, Rob Thomas on bass, and John Moloney on drums), stoking excitement at the possibility Lane would down to NYC for a gig.

For this performance, Lane recruited local drummer-of-record Ryan Jewell for a mix of rehearsed material and improvisation. Though quite different from the stark, lonesome guitar on his records, their set manages to conjure those same slanted vibes.

Extra thanks to Jeff Conklin and The Avant Ghetto Presents for getting Willie Lane out to NYC and for inviting us down. Check out his show on WFMU for the good stuff!

I recorded this set with the MBHO cardioids set up in stereo DIN configuration, combined with a board feed courtesy of Union Pool FOH Doug. The sound is excellent. Enjoy!

Download MP3/FLAC


Willie Lane
2019-02-07
Union Pool
Brooklyn, NY

Recorded and produced by Eric PH for nyctaper.com
Photos by Drew Gardner

Soundboard (engineer: Doug) + MBHO KA200N/603A (DIN) > Naiant PFA >> Sound Devices MixPre-6 > WAV (24/48) > Adobe Audition CC (mixdown, compression, normalize, fades) + Izotope Ozone 5 (EQ, compression) > Audacity 2.0.5 (tracking, tagging) > FLAC (24/48, level 8)

Tracks [36:40]
01. Poolside Jam
02. Lower Life Forms
03. Bottles & Cans > Improvised Interlude > Blister Pack
04. Sorry Wicks

Willie Lane: guitar, vocals
Ryan Jewell: drums

Buy Known Quantity and Guitar Army of One at Feeding Tube

William Tyler: January 23, 2019 Rough Trade NYC

February 18, 2019
By
Photos by @qbertplaya

Howdy guitar-heads, and just-plain-old-heads! One of our favorite travelers, William Tyler, Goes West on his new LP, out now on Merge. He’s currently touring the U.S. into March and Europe in April, so do check out his full tour dates for your local gig. Here in NYC, Tyler appears at (Le) Poisson Rouge on February 26. It’s a sure bet he’ll be slinging some tunes old and new, so grab your tickets.

We got a lucky chance to hear Tyler preview the new album at Rough Trade NYC last month, as well as play some songs from Modern Country. In typical fashion he was nice and chatty, sharing some anecdotes between songs and being an all around positive guy. Meanwhile, Tyler also penned an essay about Cosmic Pastoral music for Aquarium Drunkard—more evidence that he’s one of the most interesting and thoughtful voices on instrumental guitar.

I recorded this set with the MBHO cardioids set up in stereo DIN configuration, combined with a board feed courtesy of Rough Trade FOH Jeremy Rychard Snyder. The sound is outstanding thanks to Jeremy and a quiet crowd. Enjoy!

Download MP3/FLAC


William Tyler
2019-01-23
Rough Trade NYC
Brooklyn, NY

Recorded and produced by Eric PH for nyctaper.com

Soundboard (engineer: Jeremy Rychard Snyder) + MBHO KA200N/603A (DIN, at SBD) > Sound Devices MixPre-6 > WAV (24/48) > Adobe Audition CC (compression, normalize, fades) + Izotope Ozone 5 (EQ) > Audacity 2.0.5 (tracking, tagging) > FLAC (24/48, level 8)

Tracks [34:26]
01. Man in a Hurry
02. Call Me When I’m Breathing Again
03. Eventual Surrender
04. Virginia is For Loners Intro
05. Virginia is For Loners
06. Gone Clear Intro
07. Gone Clear
08. Not in Our Stars
09. Rebecca
10. Sunken Garden

Buy William Tyler’s records, including Goes West and Modern Country at Merge

Dire Wolves: February 7, 2019 Union Pool

February 15, 2019
By
Photos by Drew Gardner

San Francisco’s Dire Wolves don’t come around too often, but when they do they bring the heat. This one features the Wolves’ Jeffrey Alexander backed by what he calls a “strange” version of the band: Jesse Sheppard (Elkhorn) on bass, Jeff Tobias (Sunwatchers) on sax, and Scott Verrastro (Bardo Pond) on drums. What results is the Wolves’ shaggy psych mixed with jazzy excursions.

Speaking of which, it’s Excursions to Cloudland, released on Beyond Beyond is Beyond Records, that hipped me to Dire Wolves. And then there’s also this fantastic split with Headroom that I’ve gravitated towards when looking for a fix. Dire Wolves will have another one out with BBiB sometime soon so stay tuned to find out what new lands they’ve got in store.

Thanks to Jeff Conklin for putting on this awesome bill. Tune in to The Avant Ghetto on WFMU for more of the goods!

I recorded this set with our usual setup for Union Pool: a board feed from FOH extraordinaire Doug combined with the MBHOs in DIN configuration at the board. The sound is excellent. Enjoy!

Download MP3/FLAC


Dire Wolves (Inspiration Family Band)
2019-02-07
Union Pool
Brooklyn, NY

Recorded and produced by Eric PH for nyctaper.com

Soundboard (engineer: Doug) + MBHO KA200N/603A (DIN) > Naiant PFA >> Sound Devices MixPre-6 > WAV (24/48) > Adobe Audition CC (mixdown, compression, normalize, fades) + Izotope Ozone 5 (EQ, compression) > Audacity 2.0.5 (tracking, tagging) > FLAC (24/48, level 8)

Tracks [55:32]
01. Grow Towards The Light
02. Transmigrations
03. Enter Quietly > Take A Step Back
04. West Ellet Fadeaway

Buy Dire Wolves music via Bandcamp
• •
Buy Excursions to Cloudland via Beyond Beyond is Beyond

Big Ups: January 18, 2019 The Bowery Ballroom (Final Show!)

January 30, 2019
By
Photo courtesy of Edwina Hay

Big Ups began its life as a band in 2010 and ended on this very night in 2019. In a scene with hundreds of bands, many vying for attention in the same overall lane, Big Ups always stood out. I first saw them hot off the release of their first LP, Eighteen Hours of Static, at the now-defunct DIY venue Shea Stadium, and the experience stuck with me long after the feedback, and even the venue, faded. A DIY scene is ephemeral by definition–dozens of venues opened and closed during this band’s run, not to mention the number of bands who did the same. Big Ups persisted through it all, and they deserved to. Up through this very last night, at the very un-DIY Bowery Ballroom in Manhattan, they made better music, played better shows, and earned better fans.

No matter what type of Big Ups fan you were, this show offered something. The setlist served as a ready-made career retrospective, spanning the band’s earliest EPs through their final, and most intricate, release, Two Parts Together. If you’d never seen Joe Galarraga, Brendan Finn, Amar Lal, and Carlos Salguero Jr. play together before, well, now you got it (if too late). For the rest of us, we were reminded why this band was a can’t-miss on any night of the week. Their particular flavor of “post-hardcore” music, steeped in the soft/loud dynamic, relied on precision as well as Galarraga’s hyperkinetic stage presence. No matter how many times you’d seen and heard them perform something, it landed hard, straight in the gut. The words were direct, the music was explosive, and the crowd was always, always with them. Tonight, it was no different, with a teeming pit that gave the Bowery Ballroom floor more resemblance to a place like Shea Stadium that it seems possible to have.

A band’s last show has a nasty habit of inviting too much nostalgia, both about them, and about the scene from whence they came. It’s without dispute that the scene “isn’t what it used to be” — because it isn’t supposed to be. A music community is an organism that thrives on change, and this is one of them. Bands like Big Ups, and the places they play, set the tone, and then, eventually, the hand off the torch. Keeping that sentiment as literal as possible, the band ended their set with “Not Over Yet” (ironically, from one of their early EPs). “Even if I never sing this song again / you know I won’t forget” Galarraga sings — and I believe it.

I recorded this set with a feed of RJ Gordon’s house mix, together with Schoeps MK4V microphones mounted at the soundboard. The sound quality is outstanding. Thanks to RJ for the feed, and best of luck to everyone in Big Ups on the next chapter.

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

Big Ups
2019-01-18 [Final Show]
The Bowery Ballroom
New York, NY USA

Recorded and produced by acidjack

Soundboard (engineer: RJ Gordon) + Schoeps MK4V (at SBD, slightly LOC, PAS)>KCY>Z-PFA>>Sound Devices MixPre 6>24/48 polyWAV>Adobe Audition CC>Izotope Ozone 5>Audacity 2.3>FLAC ( level 8 )

Tracks [Total Time 1:05:38]
01 Body Parts
02 Justice
03 Not Today
04 In the Shade
05 Hard To Care
06 Meet Where We Are
07 Grin
08 Knight
09 Goes Black
10 Hope For Someone
11 National Parks
12 Dogs
13 T.M.I.
14 [banter]
15 Wool
16 [encore break]
17 Fear
18 Stressed/Pressed
19 No Plan
20 Not Over Yet

If you enjoyed this recording, PLEASE SUPPORT Big Ups, visit their websitelike them on Facebook and buy their records from Exploding In Sound. Also, support your local music scene!

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