Posts Tagged ‘ soundboard ’

MV & EE: November 13, 2016 Trans-Pecos

November 22, 2016
By

mvee_starno
[photo by Sierra Starno. See more of her great work on her Instagram page]

Matt Valentine and Erika Elder, aka MV & EE, have a prolific output of records — 147 releases, if Discogs can be believed — that spans everything from proper albums to live CDRs to all manner of weird EPs and one-offs. But their most recent release, Root/Void, has been one of the most notable. The band’s first record for WoodsistRoot/Void has some of the band’s most focused songwriting to date, without losing the cosmic, herbal flow that gives this couple such a unique musical voice. The band’s latest isn’t missing the homegrown quality that makes MV & EE feel like a perpetually well-kept secret, but it will probably rope in some newcomers along the way.

This show at Trans-Pecos, presented by nyctaper, was pleasantly devoid of political conversation, though by virtue of existing, its politics were evident. Held on a bracing but sunny afternoon in Ridgewood, a like-minded group of souls gathered around the stage as Valentine and Elder pulled out a jam-heavy (even by their standards) hour-plus long set that covered recent road favorites like “Tea Devil” as well as some of the new album’s best jams. Perhaps the winner on that front would be “Roll On,” which arrived here as a furious, 16-minute squall that flowed into “Love Lemma” to close out the show. It was as “rock n’ roll” as this band gets, and it befitted the moment, as the sun fell in the afternoon sky, casting colored shadows on the two players as they did what they do best.

I recorded this set with a soundboard feed, together with Schoeps MK4V microphones in the crowd and Naiant X-X microphones onstage. Matt Valentine was kind enough to mix the sources to his specifications, and the result is a true MV & EE burner.  We are offering this recording in a new format that we believe will benefit both the artists and the fans — our new “official” bandcamp page. The downloads are offered in every format on a “pay what you will” basis, and streaming remains free via the bandcamp page and their handy mobile app. We hope you are as proud of the new effort as we are. Enjoy!

Stream and download this show from our new bandcamp page:

MV & EE
2016-11-13
Trans-Pecos
Queens, NY

Exclusive download hosted at nyctaper bandcamp
Recorded by acidjack
Produced by Matt Valentine

Soundboard (mono) + Schoeps MK4V (FOB, DFC)>KCY>Z-PFA + Naiant X-X (split omni, onstage)>>Zoom F8>3x24bit/48kHz WAV>Matt’s wizardry>Audacity 2.0.3 (fades, tracking, amplify, balance)>FLAC ( level 8 )

Tracks [Total Time 1:08:22]
01 Much Obliged
02 Stars Are In Your Eyes
03 Coot Moon Rap
04 No $>Shit’s Creek
05 Tea Devil>Tea Jam
06 Shout Outs Rap
07 Roll On>jam>Love Lemma

If you enjoyed this recording, PLEASE SUPPORT MV & EE: Their Website | Buy Root/Void from Woodsist | Twitter

Hiss Golden Messenger – November 15, 2016 Music Hall of Williamsburg

November 20, 2016
By

Hiss Golden Messenger

Hiss Golden Messenger’s new album, Heart Like a Levee, is one for dark times—and dark times we’ve got in abundance. Still, last week’s tour stop at the Music Hall of Williamsburg was nothing if not uplifting. “Red Rose Nantahala,” normally dedicated to North Carolina’s horrid (and hopefully former) governor, is here dedicated to “a whole bunch of people,” and I think the whole room here in Brooklyn more than ever felt the import of those lyrics, “Well let me be the one I want / Well let me love the one I want.” On the lighter side, it was the band’s cover of the Grateful Dead’s “Brown-Eyed Women” that stole the show. Their version appeared originally on the Day of the Dead compilation and this was apparently the first time it had been attempted live. The epic, thirteen-minute closer “Brother, Do You Know the Road?” (a personal favorite among HGM tunes), fittingly performed to end a set of songs about finding your way home, and on one of the last dates of their tour, will send you off feeling pretty good.

I recorded this set with the mics set up at the soundboard combined with a board feed from the band’s touring engineer, Luke. The sound is excellent. Enjoy!

Download: MP3/FLAC

Stream:

Hiss Golden Messenger
2016-11-15
Music Hall of Williamsburg
Brooklyn, NY

Recorded and produced by Eric PH for nyctaper.com

Soundboard [engineer: Luke] + AKG C480B/CK63 (DFC, PAS, at SBD) > Roland R-26 > 2xWAV (24/48) > Adobe Audition CC (align, compression, mixdown, normalize, fades) + Izotope Ozone 5 (EQ) > Audacity 2.0.5 (downsample, dither, tracking, tagging) > FLAC (16/44.1, level 8)

Tracks [2:07:11]
01. As the Crow Flies
02. Biloxi
03. Saturday’s Song
04. Mahogany Dread
05. Red Rose Nantahala
06. Day O Day (A Love So Free)
07. [banter]
08. Heart Like a Levee
09. Tell Her I’m Just Dancing
10. O Happy Day
11. Like a Mirror Loves a Hammer
12. Call Him Daylight
13. I’ve Got a Name For the Newborn Child
14. [banter]
15. I’m a Raven (Shake Children)
16. [banter]
17. O Little Light
18. Flags and Banners [Faces]
19. Say It Like You Mean It
20. Cracked Windshield
21. Lucia
22. Southern Grammar
23. [encore break]
24. Brown-Eyed Women [Grateful Dead]
25. Brother, Do You Know the Road?

If you enjoyed this recording, PLEASE SHOW YOUR SUPPORT by buying Hiss Golden Messenger’s records from Paradise of Bachelors and Merge Records, as well as HGM’s online store.

Long Ryders: November 10, 2016 Bowery Ballroom

November 17, 2016
By

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[photo by PSquared Photography]

Any discussion about the beginnings of the “alt-country” or “no depression” movement needs to include the story of the Long Ryders. The band is linked with LA’s early 80s “Paisley Underground”, except that the Long Ryders added Americana to their sixties-influenced pop. The Long Ryders released an EP and three terrific albums before they broke up in 1987, just a few years before the emergence of bands like Uncle Tupelo, Jayhawks and Old 97s would be grouped in a “new” genre that owed much to the path laid out by the Ryders. I owned all of the Ryders releases on vinyl and they often made appearances on my many mixed tapes over the years, cementing the band’s influence in my own music journey.

Each of the four members of the Long Ryders found significant success in the 1990s. Sid Griffin moved to London, founded the great Coal Porters and became a music writer. Stephen McCarthy moved to Virgina and worked with Steve Wynn in Gutterball and in recent years spent time in the Jayhawks. Tom Stevens returned to Indiana and launched a successful solo career, played with Wynn in Danny & Dusty and earned a degree in Computer Science. Greg Sowders stayed in LA and became a music publishing executive as a senior VP of A&R at Warner Chappell. The band did have a couple of brief reunions last decade but for the most part have moved on from the Long Ryders.

This year finally saw the release of the ultimate Long Ryders box set Final Wild Songs (Cherry Red Records), which includes all 3 albums, the EP, a bunch of bonus tracks, and a full live set from 1985. This extraordinary collection of material made the current music press sit up and take notice. The Box Set received five stars from AllMusic, 8/10 from Popmatters, and four stars from UnCut. The band played some reunion dates in Europe in the Spring, and this Fall saw the Long Ryders visit NYC for the first time in 29 years.

We’ve acknowledged that these reunion shows can be a mixed bag. Generally speaking, the relative life situation of the members often dictates the quality of the return to the music. That is to say that if we’re dealing with folks who don’t need to revisit past glories, the performances tend to be more tight and focused. Given that all four Long Ryders have had significant success in their lives after the band’s demise, this group was among the category of folks who reunited for all of the right reasons — love of music, dedication to fans, and an opportunity to reach younger fans to cement their rightful place in music history.

Last week at Bowery Ballroom, the Long Ryders were clearly focused and fully in sync. The set began in earnest with the roots rock of Sid Griffin complimented by McCarthy’s sweet tenor country rock. Sowders and Stevens provided a precise rhythm section with Stevens stepping forward as the protagonist in two expert numbers. The setlist comprised exactly the songs you’d want the Ryders to play (“Lights of Downtown”, “State Of My Union”, “Looking for Lewis and Clark”), included some great covers that were part of their recorded output (“I Want You Bad”, “Masters of War”) and indeed one cover that I believe the band never laid down in a studio — Buffalo Springfield’s “On The Way Home”, which proved a perfect outlet for McCarthy. Sure the crowd was older — to the point where at least a dozen of them pulled out chairs onto the Bowery floor — but this music sounded as fresh and new as it did in the mid-1980s, in large part because the Long Ryders were a direct influence on bands still making music today.

The Long Ryders have completed their tour but just recently announced that they will appear at the Stagecoach Festival in California in April, along with dates in Santa Ana and Hollywood, info here.

I recorded this set in our standard location at Bowery with the Schoeps cards mixed with an excellent balanced feed from the band’s talented FOH Adrian. The sound quality is superb. Enjoy!

Download the Complete Show [MP3] / [FLAC]

Stream the Complete Show:

Long Ryders
2016-11-10
Bowery Ballroom
New York NY

Digital Master Recording
Soundboard + Audience Matrix

Soundboard [Engineer Adrian] + Schoeps CCM4u Cardioids > Sound Devices 744t > 2 x 24bit 48kHz wav files > Soundforge (post-production) > CDWave 1.95 (tracking) > TLH > flac (320 MP3 and tagging via Foobar)

Recorded and Produced by nyctaper

Setlist:
[Total Time 1:29:31]
01 Tell It to the Judge on Sunday
02 Lights of Downtown
03 A Stitch in Time
04 Gunslinger Man
05 You Don’t Know What’s Right, You Don’t Know What’s Wrong
06 Years Long Ago
07 Run Dusty Run
08 Ivory Tower
09 [banter – Joshua Camp intro]
10 The Light Gets In The Way
11 Masters of War [Dylan]
12 Two Kinds of Love
13 [banter – dedication]
14 I Want You Bad [NRBQ]
15 I Had a Dream
16 [banter – chick on a horse]
17 And She Rides
18 Final Wild Son
19 Man of Misery
20 You Just Can’t Ride the Boxcars Anymore
21 (Sweet) Mental Revenge [Mel Tillis]
22 State of My Union
23 [encore break]
24 On the Way Home [Buffalo Springfield]
25 Looking for Lewis and Clark

SUPPORT Long Ryders: Website | Twitter | Merch! | Purchase Final Wild Songs from Cherry Red Records [HERE].

Ryley Walker: November 3, 2016 Villain

November 16, 2016
By

ryley_sierra_starno

[Photo by Sierra Starno on Instagram]

The second time I saw Ryley Walker happened to be not long after I had received some bad news. I had immersed myself in his music since encountering him at Hopscotch Music Festival in Raleigh some months before. This time, I knew what to expect from him, but on a personal level, I felt unmoored in a way that I hadn’t in years. What struck me as he poured himself into “Summer Dress” that afternoon at Rough Trade in 2014 was not that the actual words he was saying necessarily spoke to my condition, but the way they sounded. Part of the beauty of Walker’s work is that his often-obtuse lyrics can be a blank canvas, albeit one surrounded by a complex web of sound. I couldn’t speculate what Ryley had experienced in order to pen these songs, but whatever it was, somehow, hearing him experience it made me feel better.

This show, at the multipurpose Williamburg venue Villain (relocated from the temporarily re-shuttered Market Hotel), took place less than week before what would become the most catastrophic political event in my lifetime, so I can’t say that it gave me the same level of comfort at the time. Listening back to this performance now, though, I think this music once again serves the same purpose. Even in the darkest of times, there are voices that speak to us, that lift us up, that remind us why it’s worth it to go on.

This set came at the rollicking end of the band’s U.S. tour. And I do mean band. As has been the case with recent shows I’ve seen, Ryley arrived with not only the stalwarts Ryan Jewell on drums and Anton Hatwich on bass, but he also had sometime musical partner Bill MacKay there to do double duty with him on guitar. It befitted not only this larger room (you can hear its size in the recording) but the direction Ryley has preferred of late, with his album songwriting serving as more of a jumping off point to dense psychedelic folk jams, Grateful Dead-style, than as pieces to stand by themselves. To wit, this show of just four songs was the longest I’ve seen by Walker yet–over 80 minutes long.

One of Walker’s more interesting paradoxes is how different his between-song persona is from the music he plays. To the same degree that his songs drift toward melancholy and darkness, the guy that shows up in between traffics in an exuberant, could-give-a-fuck abandon, cracking jokes about showing up at the wrong kind of “improv” party, talking about his band of accomplished jazz players as if they’re no different than the twenty-year-old punk knuckleheads down the block. Maybe that’s right–maybe they’re not. Music itself may often be serious, but it doesn’t have to be somber, at least in a room of friends.

My favorite of this night’s numbers was a song from Ryley’s latest, Golden Sings That Have Been Sung, that I hadn’t seen live yet. This twenty-three minute version of “Age Old Tale” began with a sustained ambient noise jam that paid homage to this neighborhood’s roots (“this is where you’d have gone to see a noise band fifteen years ago” Ryley said of the room, or something approximate). If you’d walked in during this song, you might have had no idea that the best comparison that certain corporate publications can come up with for Ryley is Van Morrison. It might be true of his albums, to a point, but what you experience in the room is something else entirely, and a sustaining reason why I personally never miss his shows. We need music right now. We especially need music like this.

I recorded this set with a soundboard feed from the FOH Ryan together with Schoeps MK4V microphones back by the soundboard. If I do say so myself, it’s pretty fucking cool that I got a shoutout from stage during the process of recording this. This isn’t one of the easier rooms, sound-wise, but based on the music alone, this recording should be a must-add to your collection.

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

Stream the complete show:

Ryley Walker
2016-11-03
Villain
Brooklyn, NY USA

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

Soundboard (engineer: Ryan) + Schoeps MK4V (DFC, at SBD)>KCY>Z-PFA>Zoom F8>2x24bit/48kHz WAV>Adobe Audition CC (compression, fades)>Izotope Ozone 5 (EQ, effects, image)>Audacity 2.0.3 (track, amplify, downsample, dither)>FLAC ( level 8 )

Tracks
01 [intro banter]
02 The Roundabout
03 [banter2]
04 Sullen Mind
05 [banter3]
06 Age Old Tale
07 [banter4]
08 Funny Thing She Said

Band
Ryley Walker
Bill MacKay – Guitar
Anton Hatwich – Bass
Ryan Jewell – Drums

PLEASE SUPPORT Ryley Walker: Website | Twitter | “Ryley Walker Bootlegs” (his word, not ours)

Lambchop: September 8, 2016 Hopscotch Music Festival (Raleigh, NC)

November 14, 2016
By

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By now, Lambchop fans have had a chance to hear the band’s daring new record, FLOTUS, a critically-acclaimed shot across the bow to anyone who would dare claim a classic artist can’t reinvent themselves. But back in September, at the Hopscotch Music Festival, fans were probably more ready for a show like the one we witnessed there in 2012, or any number of the band’s lauded full-band shows whose cast can stretch to over a dozen people.  So when Kurt Wagner sang the first Vocoder-enhanced lines of “NIV” — a song nobody there had heard before — a fan might have been forgiven for being freaked out. When the entire show, including pre-FLOTUS material, continued in that vein, you have to imagine more than a few WTFs were exchanged. But that would have been a serious mistake, as not only are these new songs compelling in their own right, but the very fact of their existence says something special, too. Artists in the third decade of their career don’t often make these kinds of stylistic moves, and when they do, they often ring hollow. Wagner had already experimented with an electronic sound with his side project HeCTA in 2015, but for that to migrate to his main act represents an additional leap.

Wagner, on the other hand, has made a stripped-down, gorgeous album whose songwriting, pacing and structure (bookended by two epic-length tracks) are as equally of note as the dedication to the vocoder. The new sound echoes something essential about our era, taking a style once so resolutely organic and making it largely electronic. You feel both excited by the new possibility, yet threatened by the loss of something more natural, more human.

Here, in Raleigh’s comfortable Fletcher Opera Theater, those electronic tones were warmed up by not only the band’s physical presence, but Wagner and his bandmates’ banter, which alone was worth the price of admission. If he gets tired of music, pianist Tony Krell might well have a career in front of him as a comic sideman, as he traded jokes with Wagner throughout the night. Though this was the first time that many of these songs saw the light of day, it turns out that these versions are faithful to the album versions. Equally interesting were the FLOTUS-fied versions of earlier material like the standout Mr. M track “If Not I’ll Just Die” and several of its fellow Mr. M tracks. Stripped of that album’s lush arrangements, we’re left with arctic tone of Wagner’s altered words. The effect was unsettling but lovely, adding focus to Wagner’s words.

If you haven’t heard FLOTUS yet, I’d encourage you to give it a shot. Whether you knew Lambchop before or not, the album, and the quality of its songs, stands on its own as an of-the-moment document by an artist who has followed his own muse for decades. Also, I’d like to thank our friends at Merge Records for letting us post this recording. As eager as we were to share it with the world, both Merge and we thought the best thing was to hold back this live show of a large chunk of the new album until fans have gotten to hear it for themselves. Now, you can compare the two side by side.

I recorded this set with a soundboard feed and Schoeps MK4V microphones. The sound quality is outstanding. Enjoy!

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

Stream the complete show:

Lambchop
2016-09-08
Hopscotch Music Festival
Fletcher Opera Theater
Raleigh, NC USA

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

Soundboard + Schoeps MK4V (ROC, at SBD)>KC5>CMC6>Zoom F8>2x24bit/48kHz WAV>Adobe Audition CS 5.5 (compression, fades)>Izotope Ozone 5 (EQ, effects)>Audacity 2.0.3 (track, amplify, downsample, dither)>FLAC ( level 8 )

Tracks
01 NIV
02 The Hustle
03 [banter]
04 Poor Bastard
05 Old Masters
06 If Not I’ll Just Die
07 [banter2]
08 Gone Tomorrow
09 In Care of 8675309
10 [banter3]
11 Nice Without Mercy
12 [banter4]
13 Directions To the Can
14 [encore break]
15 When You Were Mine

PLEASE SUPPORT Lambchop: Website | Merge Records

AJJ: November 6, 2016 Warsaw BK

November 13, 2016
By

ajj_byericalauren02
[photos by Erica Lauren]

“You’re an irreplaceable human soul with your own understanding of what it means to suffer” sings Sean Bonnette in AJJ’s “People II 2: Still Peoplin'”. The band formerly known as Andrew Jackson Jihad has spent its decade-long career writing songs about the myriad of issues involving depression, anxiety and bi-polar disorders. This year AJJ released its sixth full-length album The Bible 2 and the record offers a breakthrough of sorts — not in a traditional music industry sense — but rather a true explication of a path beyond a life dictated by the limitations of mental illness. The linked tracks “No More Shame, No More Fear, No More Dread” and “Small Red Boy” plot a path to wellness through self-determination. While the message may not work for everyone, the concept that we are in control of our own destinies — even if only a little bit — is inspiring and hopeful. AJJ has often used dark humor to offset the troubles of the characters in their songs, but the protagonist in songs like “People II: The Reckoning” lives in a spiral of “manic depression” that “comes and goes”. The Bible 2 offers a character who swears off doubt, resentment, fear, and fixations, and ultimately controls the inner devil “Red Boy” through power, truth and nurture.

AJJ are currently on tour in support of the new album and arrived in Brooklyn last Sunday for a show at Warsaw. This is the band’s third performance at this venue, after the date last year that we recorded at Knitting Factory. From the outset, the energy was palpable — this is a band with a tremendous relationship with its fans. There was two times during the night when AJJ had to ask the crowd to move back to prevent crushing the people up front. The set was culled from a strong representation of the band’s best material and included most of The Bible 2. In the end, it was clear that this is a band at the top if its game and offering a message that is both welcome and necessary for all of its fans.

I recorded this set by using the hypercardioid Neumanns from the front of the soundboard in this large venue. The excellent board feed was provided by the band’s superb touring FOH Stripes and the mix resulted in a recording of which we are extremely pleased. Enjoy!

Download the Complete Show [MP3] / [FLAC]

Stream the Complete Show:

AJJ
2016-11-06
Warsaw
Brooklyn NY

Digital Master Recording
Soundboard + Audience Matrix

Soundboard [engineer Stripes] + Neumann KM-150s > Sound Devices 744t > 2 x 24bit 48kHz wavs > Soundforge (post-production) > CDWave 1.95 (tracking) > TLH > flac (320 MP3/tagging via Foobar)

Recorded and Produced by nyctaper

Setlist:
[Total Time 1:32:27]
01 [introduction]
02 The Michael Jordan of Drunk Driving
03 Gift of the Magi Two
04 Distance
05 Cody’s Theme
06 [banter – false start]
07 Fucc The Devil
08 Love in the Time of Human Papillomavirus
09 A Song Dedicated to the Memory of Stormy the Rabbit
10 Bad Bad Things
11 Coffin Dance
12 Do Re And Me
13 American Garbage
14 [banter – Erica]
15 Little Prince
16 People II – Still Peoplin
17 Rejoice
18 El Paso Border Patrol
19 My Brain Is A Human Body
20 No More Shame, No More Fear, No More Dread
21 Personal Space Invader
22 Love Will Fuck Us Apart
23 Back Pack
24 Terrifyer
25 [banter – Samsung]
26 Heartilation
27 Kokopelli Face Tattoo
28 Black Dog
29 Goodbye, Oh Goodbye
30 Small Red Boy
31 When I’m A Dead Boy
32 Big Bird
33 [encore break]
34 Brave as a Noun

SUPPORT AJJ: Website | Facebook | Purchase The Bible 2 from SideOneDummy Records [HERE].

ajj_byericalauren01

Wrekmeister Harmonies: November 4, 2016 Trans-Pecos

November 10, 2016
By

wrekharm-pecos-fox
[photo by Kathleen Fox]

There might not be a better time for us to post this show in light of Tuesday night’s horrific events. The new Wrekmeister Harmonies album Light Falls is a meditation on the struggle against all odds to overcome evil. Inspired by Primo Levi’s writings about his time at Auschwitz, Levi’s anti-fascist resistance fighter model of fortitude and resolve is perhaps an extremely apt guide for us all at present. For the album, Wrekmeister’s J.R. Robinson and Esther Shaw added some gravitas to the proceedings by inviting three members of Godspeed You! Black Emperor to perform on the record. The result is a profoundly moving musical piece that explores the emotional ebbs and flows while on the ledge of life and death surrounded by pure evil — 1944 becomes 2016.

Wrekmeister Harmonies came East last week for a special show at Trans-Pecos, hosted by AdHoc, before leaving for a lengthy tour of Europe in November and December. The live band did include along with J.R. and Esther, the drummer Tim Herzog from Godspeed, Dana Schechter (Insect Ark) on lap steel, and Martin Farmer on bass. The set was one full uninterrupted suite consisting of the entire Light Falls album with three non-album tracks interspersed within the suite. However the focus was not on individual pieces but the performance as a whole — a profound use of light and dark, peace and anger, and subtlety and cacophony to draw out emotions very rarely felt while viewing a musical performance. Wrekmeister Harmonies is a unit not to be missed, and while they are in Europe we recommend playing Light Falls and this performance loudly and often.

I recorded this set with the usual setup in this venue, Schoeps at stage lip mixed with a board feed. Chris did a superb job mixing the band and the room sound was outstanding. The result is we feel a superb recording that accurately captures this moving music. Enjoy!

Download the Complete Show [MP3] / [FLAC]

Stream the Complete Show:

Wrekmeister Harmonies
2016-11-04
Trans-Pecos
Queens NY

Digital Master Recording
Soundboard + On-Stage Audience Matrix

Soundboard [Engineer Chris Cherry] + Schoeps CCM4u’s > 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 44:17]
01 A 300 Year Old Slit Throat
02 Light Falls I – The Mantra
03 Light Falls II – The Light Burns Us All
04 Light Falls III – Light Sick
05 Posting A Death Notice
06 The Gathering
07 Preparing To Be Lazarus In A Cooling Bed
08 Where Have You Been My Lovely Son – Some Were Saved Some Drowned – Lovely Son Reprise

Esther Shaw – violin, keyboards, vocals
Timothy Herzog – drums
Dana Schechter – lap steel
Martin Farmer – bass
J.R. Robinson – guitar, vocals

SUPPORT Wrekmeister Harmonies:  Facebook | Bandcamp | Purchase Light Falls from Thrill Jockey Records [HERE].

Joan of Arc: October 7, 2016 Knitting Factory

October 31, 2016
By

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The last time we recorded Joan of Arc, I noted that they could be a bit of an acquired taste; that they are a band that rewards listeners who want to be challenged, not who show up for something typical. At this Knitting Factory performance, their first in New York in quite some time, they doubled down on that statement, as they played a set of songs that was alternately fascinating and head-scratching, but consistently expectation-defying. The current band includes Tim Kinsella on guitar and vocals, regulars Bobby Burg and Theo Katsaounis on bass and drums, Jeremy Boyle and the artist Melina Ausikaitis, who performed both an a cappella number mid-set and joined Kinsella on vocals at points in addition to playing some custom instruments.

This set was meant to showcase the band’s forthcoming album, He’s Got the Whole This Land Is Your Land In His Hands, which you can pre-order here, and which is of a piece with the band’s general perspective. The record contains a heavier emphasis on electronic instruments than one might expect from a member of the legendary Cap’n Jazz and the much-vaunted (or maligned, depending on your perspective) “emo” scene, which was a term that never really meant much of anything, but means even less when considered in light of this band. Songs like “This Must Be the Placenta” (the album’s first single) and “Stranged That Egg Yolk” are sure to stretch boundaries for some fans, and if their reception tonight was to be believed, Joan of Arc’s fans are ready for them. Things got weirder after we hit the halfway point, with Ausikaitis’ pseudo-Appalachian a cappella number followed by “The Hands” from the band’s first album, which then led into a lengthy aside by Kinsella about seeing the Misfits in a hockey arena, followed by two mostly-instrumental songs that I found to be the most compelling in the set (if these have names, please help me out), which made up a combined twenty minutes of the just-over-an-hour total.

In total, then, this show felt reminiscent of that show back in 2011: depending on one’s perspective, some things may have “worked” better than others, but you have to applaud the whole of it for its willingness to take risks, to let things go to uncomfortable places. Based on the preview tracks floating around on the Internet, the new album should be a more than worthy entry into the band’s canon, and represent some of the best of those experiments. Nearly twenty years after their first album was released, Joan of Arc know who they want to reach and how they want to reach them, and that has continued to make their story one worth following.

I recorded this set with Schoeps MK4V microphones next to the soundboard with a feed from house engineer Rob. The sound quality is excellent. Enjoy!

Download the complete set: [MP3/FLAC]

Stream the complete set:

Joan of Arc
2016-10-07
Knitting Factory
Brooklyn, NY USA

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

Soundboard (engineer: Rob) + Schoeps MK4V>KCY>Z-PFA>>Zoom F8>2x24bit/48kHz WAV>Adobe Audition CS 5.5 (fades, align, compression)>Izotope Ozone 5 (EQ, effects)>Audacity 2.0.3 (track, amplify, downsample, dither)>FLAC ( level 8 )

Tracks [Total Time 1:07:10]
01 Explain Yourselves #2>instrumental
02 Stemingway and Heinbeck
03 Flowers
04 This Must Be The Placenta
05 Stranged That Egg Yolk
06 Staying Alive and Lovelessness
07 Shown and Told
08 “Red Headed Girl”
09 The Hands
10 [banter]
11 [new]>
12 [new2]

PLEASE SUPPORT Joan of Arc: Website | Pre-Order the new album

JEFF The Brotherhood: September 27, 2016 Market Hotel

October 30, 2016
By

jeff-market-keim-2
[photos by Dean Keim]

In 2016, JEFF The Brotherhood is the perfect band to play Market Hotel. Both the band and the venue are survivors of the early years of NYC DIY and after JEFF spent some time in major label land and Market reconstructed after a 2010 closure, both are back this year better than ever. JEFF’s new album Zone harkens back to their earlier work — 70s-influenced party/stoner rock with songs that are about carefree days of youth.

This Market Hotel show took place last month on a Tuesday night — the first of three consecutive mid-week nights on the venue’s schedule in the final week before the ramp up to a full liquor license and a full calendar. JEFF’s draw in Brooklyn was strong enough to fill the place on a school night and the band was thankful in acknowledging the crowd size and its participation level. The band played a heavy dose of Zone material, but also relied on a nice mix of older songs including an epic nine-minute version of “Whatever I Want” to close the night. With the frenetic crowd, the M Train passing by the panorama windows, and the Orrall brother ripping through this classic number, all seemed perfect for a moment in Bushwick. We’re hoping their are many more nights like this with JEFF gigs at Market.

JEFF The Brotherhood just returned from a tour of Europe and will have selected shows in the South through November and December, dates HERE.

I recorded this set with the mounted AT mics mixed with John’s excellent feed. The room sounded really excellent and the crowd level of excitement led me to favor the room mics in this mix. The sound quality is superb. Enjoy!

Download the Complete Show [MP3] / [FLAC]

Stream the Complete Show:

JEFF The Brotherhood
2016-09-27
Market Hotel
Brooklyn NY

Digital Master Recording
Soundboard + Upfront Audience

Soundboard [John Rau] + Audio Technica 4051 > Sound Devices 744t > 2 x 24bit 48kHz wav files > Soundforge (level adjustments, mixdown, set fades) > CDWave 1.95 (tracking) > TLH > flac (320 MP3 and tagging via Foobar)

Recorded and Produced
by nyctaper

Setlist:
[Total Time 1:06:53]
01 Roachin
02 Melting Place
03 [banter – great venue]
04 Stay Up Late
05 Bad
06 Hey Friend
07 Zone
08 The Diamond Way
09 [banter – Market Hotel]
10 Idiot
11 Punishment
12 [banter – Zone]
13 Toasted
14 You
15 Portugal
16 Whatever I Want

SUPPORT JEFF The Brotherhood: Website | Facebook | Buy Zone from Infinity Cat Recordings HERE

jeff-market-keim-1

Sloan: October 17, 2016 Bowery Ballroom

October 27, 2016
By

sloan-bowery
[photo by Jim Sharky]

Twenty years ago the end game in the script for success in the music industry was still a big record deal. But like most “sure things”, the big deal was often a big trap. For Sloan that meant signing with Geffen Records for their 1992 album Smeared, but by the time of the release of their second album their relationship with Geffen went sour. After 1994’s Twice Removed, Sloan left the label and rumors of their break-up began to circulate.

The reports of their death having been greatly exaggerated, Sloan recorded One Chord To Another in 1996 on a shoestring budget and with modest recording techniques. And not only were they not dead, One Chord ended up being Sloan’s best selling record and a Juno Prize winner. Twenty years later it was time to celebrate this pivotal point in the band’s long and illustrious career and in 2016 One Chord To Another got the box set treatment and a tour.

At Bowery Ballroom last week, the One Chord tour rolled into town and Sloan played a two-set show with the album played straight through as the first set, and an intentionally democratic selection of songs as the second set. The band specifically referenced trying to cover at least one song from every album for this show — and that they did. The two hours of music and full album play made this show an event, but what made the night even more special occurred with two fans in between sets. In 2011, a couple had their first date at the Sloan show at Bowery Ballroom and play our recording every year on their anniversary. Five years later, Bowery and Sloan was perfect time and place for Ben Lindbergh to propose — and she said yes!

I recorded this set in a slightly different manner from our usual way — the placement of Sloan’s touring soundboard moved our mounted room microphones a little to the left and our feed from the remote board came with some issues. It took me a while to sort everything out in editing this set, including trying to minimize the sonic issues that came with the amplifier that exploded at the end of the first set. But all in all, I feel like this is now a superb recording. Enjoy!

Download the Complete Show [MP3] / [FLAC]

Stream the Complete Show:

Sloan
2016-10-17
Bowery Ballroom
New York NY

Digital Master Recording
Soundboard + Audience Matrix

Soundboard + Schoeps CCM4u Cardioids > Sound Devices 744t > 2 x 24bit 48kHz wav files > Soundforge (post-production) > CDWave 1.95 (tracking) > TLH > flac (320 MP3 and tagging via Foobar)

Recorded and Produced by nyctaper

Setlist:
[Total Time 1:47:10]
Set One (One Chord To Another)
01 The Good in Everyone
02 Nothing Left to Make Me Want to Stay
03 Autobiography
04 Junior Panthers
05 G Turns to D
06 A Side Wins
07 Everything You’ve Done Wrong
08 Anyone Who’s Anyone
09 The Lines You Amend
10 Take the Bench
11 Can’t Face Up
12 400 Hundred Metres
Set Two
13 [Ben Lindbergh Proposal]
14 Deeper Than Beauty
15 Underwhelmed
16 C’mon C’mon
17 Money City Maniacs
18 So Far So Good
19 Unkind
20 Who Taught You to Live Like That
21 Sinking Ships
22 People of the Sky
23 Midnight Mass
24 I’m Not a Kid Anymore
25 I Can Feel It
26 Snowsuit Sound
27 The Rest of My Life
28 Losing California
29 [encore break]
30 The Marquee and the Moon
31 If It Feels Good Do It

SUPPORT Sloan: Website | Facebook | Buy One Chord To Another Box Set HERE

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