Posts Tagged ‘ terminal 5 ’

The War On Drugs: September 19, 2017 Terminal 5

September 21, 2017
By


[screen capture from this video]

This is what the “next level” looks like. On the heels of the release of their 2017 major-label debut, A Deeper Understanding, The War On Drugs showed up for a two-night stand in New York, first at a packed Terminal 5, to be followed by a sold-out Central Park Summerstage on this Friday night. If the band’s Radio City show in 2015, right after they signed with Atlantic Records, portended what was to come, here we were, in the thick of the actual next step. I won’t retell the story from that 2015 post, but it’s worth a read if this is your first time with a War On Drugs recording from this site.

Being on a major label, or selling out lots of bigger shows, doesn’t signify whether a band is “good” or not, or worthy or not, of course. In fact, this part of the process can be a nasty trap for many musicians — anyone who knows anything about Nirvana or a zillion other bands can tell you that. But in the case of this band, the product of years of hard work, with a wide-open, intricate sound that screams for a bigger stage, it’s the right result, and it’s one that validates Adam Granduciel’s songwriting efforts in particular. Granduciel is the perfect vehicle for big-tent lyrics, writing songs that are both personal and universal, and the sound he has developed is of a piece with that. Beginning with Lost In A Dream, and continuing in a major way with A Deeper Understanding, War On Drugs albums have a precise, densely arranged, melodic sound with an almost otherwordly sheen to it. Of course, what’s funny about that is that it’s so unusual today. If you grew up in the 1980s, or listen to much music from that era, having albums that sounded good was table stakes for even cult-favorite bands. Studio budgets, and album sales, were different then. Many fewer bands show up these days with fourteen instruments credited to a single track — nearly half of them, in many cases, played by Adam Granduciel.

To reference the 1980s, and stalwarts like Tom Petty and Springsteen in particular, is not to malign this band at all. If anything, this show at Terminal 5 underscored that The War On Drugs are rightful heirs to that personal-yet-massive rock style. Like the best of their forebears, The War On Drugs are also able to translate their studio sound to the stage. Perhaps in a nod to many of the newer fans in the audience (one of us got asked if we first heard of the band on NPR), this set focused exclusively on the last two albums, and the band was so dialed-in they could very well have been playing the album over the PA. Of course, that would have deprived us of the added guitar pyrotechnics, and the joy of realizing, for the umpteenth time, that even in 2017, a band comprised of talented musicians of limited gimmickry but exceptional live performing skills can still make it big, can still mean something to people who these days are more accustomed to “musical precision” coming from an Ableton Live setup.

In this broad-reaching survey of the band’s last two albums, the band’s other most remarkable quality — consistency — was evident, to the point that it’s almost impossible to focus on a highlight. But for me, The War On Drugs song that will always best-represent this evolution in the band’s journey is “Under the Pressure,” which so elementally captures both Granduciel’s mindset in the making of Lost In A Dream, but also in many ways the enormous weight of the band’s current success. It’s another of those songs with specific meaning to its author that is also able to capture an almost-universal anxiety among its listeners. To see a band that we personally have liked and supported for so long reach this point — not only making it to this proverbial “next level” but thriving against the pressure — is a special and rare thing. To hear, even in the relatively few snippets of stage banter on this night, how they remain the same people who played in tiny bars ten (or even six) years ago, is rarer still. I have to acknowledge, briefly, that I realize this band doesn’t “need” the support of a website like this, but their treatment of us as fans, both in the past and today, says a lot. We appreciate it.

We each recorded this set from our usual location directly at the soundboard, acidjack’s with Schoeps MK41V microphones and nyctaper’s with Neumann KM150s. The sound quality of each is excellent, and both versions are offered here. Enjoy!

Special thanks to The War On Drugs, their management, and the Terminal 5 staff for allowing us to record the show. 

Download the nyctaper Neumann version of this show at Archive.org [HERE] [MP3] / [FLAC]

Download acidjack’s Schoeps version: [MP3] | [FLAC]

Stream acidjack’s version here:

Stream nyctaper’s version here:

The War On Drugs
2017-09-19
Terminal 5
New York, NY USA

Hosted at nyctaper.com
Recorded and produced by acidjack

Schoeps MK41V (at SBD, DFC)>KCY>Z-PFA>Sound Devices MixPre6 (24/48)>WAV>Adobe Audition CC>Izotope Ozone 5 (EQ, effects, image)>Audacity 2.0.5 (track, amplify, balance, downsample, dither)>FLAC ( level 8 )

Tracks
01 In Chains
02 Pain
03 An Ocean Between the Waves
04 Strangest Thing
05 Holding On
06 Red Eyes
07 Knocked Down
08 Nothing To Find
09 Up All Night
10 You Don’t Have To Go
11 Burning
12 Eyes to the Wind
13 [encore break]
14 Under the Pressure
15 Clean Living
16 In Reverse

************************

The War On Drugs
2017-09-19
Terminal 5
New York NY

Digital Master Recording
Recorded at Soundboard Booth

Neumann KM-150s > Sound Devices 744t > 24bit 48kHz wav > Soundforge (post-production) > CDWave 1.95 (tracking) > TLH > flac (320 MP3 and tagging via Foobar)

Recorded and Produced by nyctaper

Setlist:
[Total Time 1:47:30]
01 In Chains
02 Pain
03 An Ocean Between the Waves
04 Strangest Thing
05 Holding On
06 Red Eyes
07 Knocked Down
08 Nothing To Find
09 Up All Night
10 You Don’t Have To Go
11 Burning
12 Eyes to the Wind
13 [encore break]
14 Under the Pressure
15 Clean Living
16 In Reverse

PLEASE SUPPORT THE WAR ON DRUGS: Buy A Deeper Understanding from their website

Animal Collective: November 2, 2016 Terminal 5

November 6, 2016
By

Animal Collective
[photos courtesy of Will and We All Want Someone blog]

If you read this site frequently enough to discern a variety of personas behind the reviews and recordings, you may have noted that I usually don’t go out for the big shows. A dislike of crowds combined with a simple preference for many smaller acts in intimate venues informs most of my concert-going. I skipped Animal Collective’s two-night stand at Irving Plaza this past February for these very reasons; however, upon hearing NYCTaper’s recording of night two I was filled instantly with pangs of regret for having missed some clearly excellent Animal Collective shows. So when the band announced their November tour stop at Terminal 5, I cast aside my usual reservations about the venue and bought a ticket—and my faith was rewarded thoroughly. Terminal 5 is a cavernous room and as NYCTaper notes the last time we saw Animal Collective there, it has the capacity to swallow up the sound. But not on this night: the sound in the venue was dialed in perfectly and the quality of this recording is a reflection of that. I couldn’t be happier with how this recording turned out and I’m sure you’ll agree.

On to the music: now two albums past their breakout, Merriweather Post Pavilion, Animal Collective have made it quite clear that they won’t be content to remake versions of their most popular record over and over again. Instead they’ll push forward as they’ve been doing since the early aughts, always something new. Every tour for Animal Collective is different, but the trend for the last few years since Centipede HZ is towards their jammy side with lengthy transitions between songs (here including a nod to the Dead’s “The Other One” and also a short burst of Panda Bear’s “Drone”). Animal Collective has become of those bands you need to revisit each tour to hear the new arrangements of songs you’ve heard live before plus out-of-the-blue setlist additions you never would have imagined (like “Bees” on the last tour or “Kids on Holiday” here). This nearly two-hour show captures nearly all of the band’s current setlist and is a pretty much perfect document of the current tour. Speaking of which: the tour is still going on and you’d be a fool to miss out. Do it.

I recorded this set with the AKGs clamped at the lip of the balcony, directly over the sound engineer’s head. The quality of this recording is simply stunning. Enjoy!

Download the complete show in a variety of formats at the Live Music Archive.

Stream:

Animal Collective

Animal Collective
2016-11-02
Terminal 5
New York, NY

Recorded and produced by Eric PH for NYCTaper.com
Photos by Will Oliver

AKG C480B/CK63 (DFC, at SBD, PAS) > Roland R-26 > 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 [1:52:26]
01. Recycling
02. Lying in the Grass
03. Golden Gal
04. Summing the Wretch
05. Loch Raven
06. On Delay
07. Jimmy Mack [Martha Reeves and The Vandellas]
08. Water Curses
09. FloriDada
10. The Burglars
11. Kids on Holiday
12. [encore break]
13. Hocus Pocus
14. Guys Eyes
15. Summertime Clothes

SUPPORT ANIMAL COLLECTIVE: Website | Buy Painting With | Facebook

Medeski Scofield Martin & Wood: December 11, 2014 Terminal 5 – FLAC/MP3/Streaming

December 28, 2014
By


IMG_8171

It had been a whopping fifteen years since I last saw Medeski, Martin & Wood (at the Ritz in Raleigh, NC, during the Combustication days, if anyone’s counting), so I was grateful to get another bite at that apple on one of my final shows of the year. The addition of the guitarist John Scofield, the band’s longtime collaborator, made this show at Terminal 5 a special treat.

MMW always straddled the line between being a serious jazz unit and serving up the more funky, R&B and blues-driven music that endeared them to the jam band scene, which has always orbited around the band even though they’re not really a perfect fit for it. With Scofield in the lineup, the band becomes a bit more of a “rock” band, and that made Scofield an especially worthy addition in this cavernous room.

To that end, the first set of the performance worked better for me, kicking off with a few minutes of improv before delving into “Sham Time”, the leadoff track from the foursome’s 2014 album Juice, followed by perhaps the moment of the show, “Juicy Lucy”, featuring Martin’s mother Jean and Jerry Paris dancing together onstage. From there we got an older MSMW tune, “Chank”, followed by two more from Juice. 

The second set fell into the trap that I think befalls too many otherwise-talented bands followed by the “jam band” faithful — the curse of the Rock Canon. I find it unfortunate when a musician of any stripe can’t bring themselves to churn out something more inventive than covers of the best-loved songs of the sixties and seventies, but it’s especially unfortunate coming from what is ostensibly a jazz outfit. Each of “The Times They Are A-Changin'”, “Sunshine of Your Love” and The Doors’ heinous “Light My Fire” can be found on Juice, and none did much credit to these musicians on that album or in the room on this night. While the quartet found some new solo-worthy material to mine in each song, the fact remains that these three well-worn hits are better suited to a jukebox, rather than half of a live set by a band that’s still making quality new material.

That quibble aside, I’m excited to have seen MSMW for the first time, and to have (finally) caught MMW again after so long of a break.

I recorded this set with Schoeps MK41 supercardiod microphones right at the soundboard, into the Aerco custom preamp for extra warmth and realism. The sound quality is excellent. Enjoy!

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

Stream the complete show:

Medeski Scofield Martin & Wood
2014-12-11
Terminal 5
New York, NY USA

Exclusive download hosted at nyctaper.com
Recorded and produced by acid jack

Schoeps MK41 (at SBD, DFC, PAS)>KC5>CMC6>Aerco MP-2>Sony PCM-D50>24bit/48kHz WAV>Izotope Ozone 5 (EQ, exciter, imaging)>Adobe Audition CS 5.5 (light dynamics)>Audacity 2.0.3 (track, amplify, balance, downsample, dither)>FLAC ( level 8 )

Thanks to aaronji for the setlist/tracking assistance

Tracks
Set One [Time 52:06]
01 [improv]
02 Sham Time
03 Juicy Lucy
04 Chank
05 North London
06 Helium
07 [banter]

Set Two [Time: 1:02:14]
08 Louis the Shoplifter
09 Little Walter Rides Again
10 Sunshine of Your Love
11 I Know You
12 Light My Fire
13 [banter2/encore break]
14 The Times They Are A-Changin’

If you enjoyed this recording, PLEASE SUPPORT MMW, visit their website, and buy Juice from the band.

Mogwai: May 9, 2014 Terminal 5 – FLAC/MP3/Streaming Full Set

May 12, 2014
By


mogwai-9
[Photos by P Squared Photography]

Some bands seem born for big stages, fueled by theatrics and spectacle. I first saw Glasgow’s Mogwai opening for Pavement in 1997. Back then, drunks in the audience made stupid jokes about kilts and wondered aloud why their songs didn’t have any words. Their music had grand sweep — that much was obvious — but their style was still something foreign, hard to imagine outstretching those humble confines, no matter how good it was. Today, this music has become the stuff of soundtracks, more familiar. The difference in Mogwai and many acts that followed is that they not only helped start the trend, but their output defined it. Mogwai have never been simple shillers of the soft-loud dynamic, not even since their early work on Young Team. The band on stage on this night, playing material from their latest release Rave Tapes, has grown in the 14 years since that first show I saw. First through remix albums, and later in their main body of work, the band kept with the times, incorporating a greater degree of electronica and kraut rock into their repertoire. Rave Tapes is the furthest they have taken that aesthetic, with an exclamation point put on that choice by their choice of opening act, the Pittsburgh-based electronic composer Majeure. What hasn’t changed since the beginning is the band’s kindness to their fans, and the quality and depth of their work. Mogwai, like the sci-fi creature for which they’re named, are an ever-evolving, fearsome beast.

As with some of the West Coast and European shows we’ve seen popping up on the Internet, this set surveyed the band’s entire career right from the get-go, from the one-two punch of the Rave Tapes song “Heard About You Last Night” followed by “Friend of the Night” from Mr. Beast and Rock Action‘s “Friend of the Night”, then all the way back to the Ten Rapid days for tour favorite “Ithica 27/9”. New York has always held a special place in the band’s collective heart, with the band’s three-night stand at the intimate Music Hall of Williamsburg having served as the site for the band’s live album, Special Moves (two of which shows we recorded). Despite the big light show and the distance between us, this still felt like one of those intimate nights in the many smaller venues they’ve played on the way here. Their beautiful noise closed the distance.

Together with hi and lo and Johnny Fried Chicken Boy, I recorded this set from our usual spot in the venue, with Schoeps MK41 supercardiod microphones pointed at the stacks, placed on an extension pole almost directly over Mogwai’s engineer’s head. What you’re hearing on this recording is almost exactly what he heard. Enjoy!

This NYCTaper recording is being hosted on the Live Music Archive.  You can stream the entire show by clicking the song titles below or download it via the links provided.

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

Stream the entire show:

mogwai-25

Mogwai
2014-05-09
Terminal 5
New York, NY USA

Hosted at nyctaper.com and archive.org
Recorded and produced by acidjack

Schoeps MK41 (At SBD, DFC, PAS)>KCY>Z-PFA>Sound Devices USBPre2>Sony PCM-D50>24bit/48kHz WAV>Adobe Audition CS 5.5 (fades, light compression), Izotope Ozone 5 (EQ, exciter)>Audacity 2.0.3 (tracking, amplify, balance, downsample, dither)>FLAC ( level 8 )

Tracks [Total Time 1:29:24]
01 Heard About You Last Night
02 Friend of the Night
03 Take Me Somewhere Nice [w/ Luke Sutherland]
04 Ithica 27/9
05 Mastercard
06 Ex-Cowboy
07 Rano Pano
08 Auto Rock
09 How to Be a Werewolf
10 Deesh
11 Re Murdered
12 We’re No Here
13 [encore break]
14 Hunted by a Freak
15 Mogwai Fear Satan
16 Batcat

If you enjoyed this recording, please support Mogwai, visit their website, and buy Rave Tapes directly from Sub Pop.

mogwai-3

Wild Cub: October 18, 2013 Terminal 5 – FLAC/MP3/Streaming

January 24, 2014
By


IMG_5997
[photo by acidjack]

Some people can’t stand music that isn’t ironic, or witty, or whatever quality it is that keeps half of the 90s indie canon coming back for reunions these days. Odd, then, the pairing of Nashville up-and-comers Wild Cub with 90s stalwarts The Dismemberment Plan, playing the overlarge room at Terminal 5. If a clearer delineation between musical generations could be made in one lineup, I can’t think of one. The D-Plan are a great band — they’re ironic and often witty, sure, and they have some killer tunes. Listening to them makes you feel like an insider — like some people just don’t get it.

Wild Cub make straight up synth pop, relentlessly upbeat and big-tent inclusive. This show was during CMJ, where almost everyone is networking and ignoring the bands anyway, and worse yet, most of them are playing for free. But nobody seemed to have bummed out Wild Cub; they thanked us over and over for our generosity. Even a not-yet-full Terminal 5 couldn’t contain their enthusiasm. It made me feel like a jerk, to be so blown away that these guys were so nice, to wonder, really, what they had to be so effing happy about.

Many of their songs are good, too, full of big hooks and exuding big-hearted earnestness like middle period U2. Just listen to “Thunder Clatter” or the new “Blacktide” — you’ll get the picture. You might even smile, or at least, feel a feeling other than self-indulgent disdain for your fellow man. The band just re-released their debut album, Youth, to the world with two new tracks, and it’s a well-crafted dose of sunshine and songcraft that, in the manner popular these days, drags the guitars onto the dance floor. Up front, they even got some of these D-Plan veterans moving.

Wild Cub aren’t a band for cynics, and maybe that’s a good thing. Maybe your music ought to be happy, no matter how much the real world sucks. Isn’t that what inspires the future to happen, after all?

I recorded this set with Schoeps MK41 microphones and a Sound Devices preamp. The sound quality is limited by being at the back of the floor of Terminal 5, with there being additional echo as the room filled up during the set. Nonetheless, it is a quality capture. Enjoy!

Thanks to Wild Cub’s team for inviting us to record their set.

Stream “Thunder Clatter”

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.

Wild Cub
2013-10-18
Terminal 5
New York, NY USA

Hosted at nyctaper.com
Recorded and produced by acidjack

Schoeps MK41 (BOB, DFC, PAS)>KC5>CMC6>Sound Devices USBPre2>Sony PCM-D50>24bit/48kHz WAV>Izotope Ozone 5 (EQ, exciter)>Audacity 2.0.3 (fades, tracking, amplify, balance, downsample)>FLAC ( level 8 )

Tracks
01 Shapeless
02 Colour
03 Jonti
04 Wild Light
05 Hidden In the Night
06 Blacktide
07 Wishing Well
08 Thunder Clatter
09 Summer Fires / Hidden Spells

If you enjoyed this recording, PLEASE SUPPORT Wild Cub, visit their website, and buy signed LPs and digital versions of Youth there.

The Black Crowes: October 26, 2013 Terminal 5 – FLAC/MP3/Streaming

October 30, 2013
By

IMG_6133
[Photos by acidjack]

That this two-hour show counts as a “short set” by Black Crowes standards says a lot about the generosity of this band. For their twenty-plus-year career, the Robinson brothers and their bandmates have gone out there and given it their all, even when their personal issues clouded the situation offstage. Even if these were the band’s “last area shows” for this year and next (according to them) I’d say it’s a certainty they’ll be back at it in 2015. This band wouldn’t still be around if these guys didn’t love to play.

If the acoustic set we recorded last week was a bit longer, it also had a more languid pace than this all-business run-through that included more than its fair share of guitar pyrotechnics and uncommonly played offerings, but very little in the way of tuning pauses or stage banter. Even if the Led Zeppelin cover “Hey, Hey, What Can I Do” signaled a night that ended a bit too soon, nobody was denying how pumped they were to hear it. Similarly, the band’s cover of Stephen Stills’ “Isn’t It About Time?” had the entirety of Terminal 5 rocking. So did the one-two combo of “Hard To Handle” directly into Deep Purple’s “Hush” and a searing rendition of “Exit” from The Tall Sessions, among other moments that put this show up there with any Crowes gig I’ve seen.

So don’t worry — if you missed them at any of the numerous NYC dates they just played, expect them to be back. Until then, these fine captures should tide you over.

I recorded this set with Schoeps MK41 supercardiod microphones in a tight configuration from our usual spot in the venue. Johnny Fried Chicken Boy was next to me with his Milab VM-44 Links. Both recordings are on offer here and both are excellent. Enjoy!

Stream “Hard to Handle>Hush”

Stream “Black Moon Creeping”

Download acidjack’s Schoeps MK41 source: [MP3] | [FLAC (16/44.1)] | [FLAC (24/48)]
(Users intending to burn to disc should download the 16bit, 44.1kHz FLAC files. 24bit/48kHz FLAC files cannot be burned to CD)

Download JFCB’s Milab VM-44 source: [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.

IMG_6141

acidjack’s source:

The Black Crowes
2013-10-26
Terminal 5
New York, NY USA

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

Schoeps MK41 (PAS)>KCY>tinybox v2>Sony PCM-D50>24bit/48kHz WAV>Izotope Ozone 5 (EQ, exciter, stereo imaging)>Audacity 2.0.3 (tracking, fades, amplify, balance, downsample, dither)>FLAC ( level 8 )

Tracks [Total Time 1:54:02]
01 Under A Mountain
02 Gone
03 Exit
04 No Use Lying
05 Black Moon Creeping
06 Virtue & Vice
07 Sister Luck
08 Thorn In My Pride
09 Nonfiction
10 Isn’t It About Time [Stephen Stills]
11 Soul Singing
12 Sting Me >
13 Twice As Hard
14 Hard To Handle [Otis Redding] >Hush [Deep Purple]
15 [encore break]
16 Wee Who See The Deep
17 Hey Hey What Can I Do [Led Zeppelin]

JFCB’s source:

The Black Crowes
Saturday, October 26, 2013
Terminal 5
New York, NY, USA

Source: AUD > Milab VM-44 Links (cardioid) > Edirol R-44 (WAV @ 24-bit/48kHz)
Lineage: R-44 > PC > Adobe Audition (mixdown, downsample, dither, tracking) > WAV (16-bit/44.1kHz) > TLH (check/fix SBEs, FLAC conversion) > FLAC (level 8)
Recorded and produced by: Johnny Fried Chicken Boy
Premiere download offered at: http://www.nyctaper.com/

SETLIST:
01. Under a Mountain
02. Gone
03. Exit
04. No Use Lying
05. Black Moon Creeping
06. Virtue and Vice
07. Sister Luck
08. -Jam-
09. Thorn in My Pride
10. Nonfiction
11. Isn’t It About Time [Stephen Stills / Manassas]
12. Soul Singing
13. Sting Me
14. Twice As Hard
15. Hard to Handle [Otis Redding / Al Bell / Allen Jones] > Hush [Billy Joe Royal / Deep Purple] > Hard to Handle
16. [encore break]
17. Wee Who See the Deep
18. Hey Hey What Can I Do [Led Zeppelin]
———————-
Total time: 1:53:32

If you download this recording, we expect that you will PLEASE SUPPORT The Black Crowes, visit their website, visit their Facebook page, and purchase their official releases and merchandise [HERE], at Amazon and at iTunes.

IMG_6135

Animal Collective: December 4, 2012 Terminal 5 – Flac/MP3/Streaming

December 26, 2012
By

AC T5
[photo courtesy of Two Sails]

Ever the new music innovators, for their tour in 2012 Animal Collective has gone retro. Over the last decade the band has slowly evolved into a purely electronic live act. And when founder Deakin took a “leave”, the band was a trio for the last several years. But Deakin is back and so is a more traditional band layout on stage. At Terminal 5 earlier this month, Panda Bear spent the entire show playing a full drum set, Deakin was primarily on guitar and Avey Tare played keyboards. Surely, there were electronics — Geologist mostly, but each of the other three had their gizmos laid out in front of them. This year the band is touring on the strength of the new album Centipede Hz (Domino), a release that flew under the buzz radar but which is as solid as anything the band has ever produced. At Terminal 5 Animal Collective played two consecutive nights, a make-up of sorts for the Williamsburg Waterfront show postponed in August. AC seemed quite comfortable in the “new” config on the first night of the Terminal 5 shows, and played nearly two hours. The setlist began with almost all of Centipede before the classics to closed the show. Animal Collective will tour Australia after the New Year, and likely return to NYC for Spring or Summer shows.

I recorded this show with the 4-mic configuration from inside of the soundboard booth on the floor. The large venue swallowed up some of the sound on this night, so that while the recording is rich in bottom end, its also a bit “boomy”. With that caveat, enjoy!

Stream “Monkey Riches”:

Stream “My Girls”:

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

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.

Animal Collective
2012-12-04
Terminal 5
New York, NY USA

Digital Master
Front of Board Four-Track Audience Recording

Sennheiser MKH-8040 Cardioids + Neumann KM-150s > Edirol R-44 (Oade Concert Mod) > 2x 24bit 48kHz wav file > Soundforge (level adjustments, mixdown, set fades) > CDWave 1.95 (tracking) > TLH > flac (320 MP3 and tagging via Foobar)

Recorded and Produced by nyctaper
2012-12-10

Setlist:
[Total Time 1:47:45]
01 Rosie Oh
02 Todays Supernatural
03 Wide Eyed
04 Applesauce
05 Honeycomb
06 Lion In A Coma
07 Moonjock
08 Pulleys
09 New Town Burnout
10 Monkey Riches
11 Brother Sport
12 Peacebone
13 [encore break]
14 Cobwebs
15 My Girls
16 Amanita

If you download this recording from NYCTaper, we expect that you will PLEASE SUPPORT Animal Collective, visit their website, and purchase Centipede Hz from the Domino Records Store [HERE].

Kurt Vile: December 1, 2012 Terminal 5 – FLAC/MP3/Streaming

December 6, 2012
By


[Photos courtesy of Dean Keim. See his Flickr stream [HERE]]

It is hard not to be overshadowed a bit when you have the task faced by Kurt Vile and the Violators, who opened the epic Dinosaur Jr. 25th Anniversary Show last weekend at Terminal 5. But, even facing an expectant crowd yearning for J. Mascis’ guitar shredding (and that of a slew of special guests, including Kurt himself), Vile was not to be outdone so easily.  Since we last caught one of his sets opening for Yo La Tengo at Maxwell’s last year, Kurt has continued to rack up accolades for his Matador-released Smoke Ring For My Halo and continued to improve and develop his live sound. That was on full display here, as the band’s psychedelic guitar pyrotechnics on songs like “Jesus Fever” from Halo dominated the room. The Violators on this night included a second guitarist from another Philly band and site favorite, Purling Hiss frontman Mike Polizze, who added his own unique style to this seven-song set. Getting to check out a set from Kurt Vile before an epic two-hour plus Dinosaur Jr. show was just the first of this night’s many awesome moments.

Johnny Fried Chicken Boy and I recorded this set from the floor in front of the soundboard, in a designated taping section graciously arranged for us by Dinosaur Jr. The microphones used were AKG 414s in the “mid/side” configuration, which allows the user to vary the amount of room reflections, and gave some nice clarity to the sound of this often-boomy room. Enjoy!

The Dinosaur Jr. set was recorded and will be posted on the site shortly.

Stream “Jesus Fever”

Download the MP3 files [HERE] | Download the FLAC files [HERE]

If the FLAC link is no longer working, email nyctaper for the FLAC files

Follow acidjack on twitter

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.

Kurt Vile and the Violators
2012-12-01
Terminal 5
New York, NY USA

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

AKG C 414 B-XLS (FOB, DFC, M/S)>Sound Devices USBPre2>Edirol R-44 [OCM]>24bit/48kHz WAV>Izotope Ozone 5 (EQ, exciter)>Adobe Audition CS 5.5 (decode M/S, adjust levels)>Audacity 3.0 (set fades, tracking, amplify, balance, downsample)>FLAC ( level 8 )

Tracks
01 Hunchback
02 Monkey
03 Jesus Fever
04 On Tour
05 Ghost Town
06 Freeway
07 [banter]
08 Smoke Ring for My Halo

If you enjoyed this recording, PLEASE SUPPORT Kurt Vile, visit his website, and purchase Smoke Ring For My Halo from Matador Records [HERE].

Wilco: July 25, 2012 Terminal 5 – Flac and MP3 Downloads + Streaming Songs

July 27, 2012
By


[photos by JC McIlwaine]

A few hours after this post appears on the site, the entire NYCTaper crew will drive four hours up to Cooperstown to see Wilco again at the Ommegang Brewery. The reason why we will travel so far is essentially encapsulated in this recording. On Wednesday, we all saw Wilco at Terminal 5, and the band once again reminded us about why we’ll make sacrifices as fans to see them live. The meme of all the Wilco reviews on nyctaper (and there are a lot) is that this band is extremely good to its fans. The long sets, interesting song selections, lengthy encores and full dedication to the performance positions Wilco as the preeminent live band around today, and for the better part of the last two decades. On Wednesday, we were treated to a “deep cut” setlist where songs were performed that we haven’t seen very often or at all since the 1990s. “What’s The World Got in Store” is probably the rarest of the tracks — a song from the first record of the two-lp 1996 album Being There. We are streaming it below, along with “Passenger Side”, another early era nugget that has seen infrequent plays in recent years. The final treat was a heartfelt final encore (the 9th encore song) of “The Lonely 1”, another Being There song and one that I’m not sure that I’ve ever actually seen live. Its these kinds of treats that keep us coming back. I’m sure Cooperstown will yield the same kind of satisfaction.

I recorded this set along side the rest of the crew. For this recording, I’m using the Neumann and Sennheiser 4-mic rig and relying heavily on the hypercard Neumanns. I’ve also patched acidjack’s Schoeps recording for the first track since I experienced some technical issues during the first song. Overall it an excellent capture. Enjoy!

Stream “What’s The World Got In Store:”

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Stream “Passenger Side”:

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Direct download of complete show in MP3 files (HERE)

Download the Complete show in FLAC [HERE]

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.

Wilco
2012-07-25
Terminal 5
New York, NY USA

Digital Master
Front of Board Four-Track Audience Recording

Sennheiser MKH-8040 Cardioids + Neumann KM-150s > Edirol R-44 (Oade Concert Mod) > 2x 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, acidjack, hiandlo and johnnyfriedchickenboy
2012-07-26

Setlist:
[Total Time 2:14:29]
01 One Sunday Morning
02 Art Of Almost
03 I Might
04 At Least That’s What You Said
05 She’s A Jar
06 Kamera
07 Can’t Stand It
08 Too Far Apart
09 What’s The World Got In Store
10 Impossible Germany
11 Born Alone
12 Capitol City
13 Laminated Cat
14 Summer Teeth
15 Whole Love
16 Theologians
17 I’m The Man Who Loves You
18 Dawned On Me
19 A Shot in the Arm
20 [encore break]
21 Passenger Side
22 Casino Queen
23 Candyfloss
24 Hesitating Beauty
25 A Magazine Called Sunset
26 Kicking Television
27 [second encore break]
28 The Late Greats
29 Dreamer In My Dreams
30 The Lonely 1

If you email nyctaper for access to this recording, we expect that you will PLEASE SUPPORT Wilco, visit their website, and purchase their official releases directly from their website [HERE].

NYCTaper Top 25 Concert Moments of 2011: MP3 Downloads and Streaming Songs

December 23, 2011
By

SONY DSC

Live music in 2011 saw several newer bands consolidate their hold on greatness, while well-established acts from the 90s brought out crowds for reunion shows and, sadly, farewells. For those of us at the site, we were inspired by crowds of people who were, in a lot of cases, younger than we were checking out bands like Archers of Loaf live for the first time, or finally gaining appreciation for the work of artists like Cass McCombs and Bill Callahan. At the same time, favorite new or new-er bands like Widowspeak, The War on Drugs, White Fence and Mr. Dream, each of whom we saw multiple times, saw their fanbases grow quickly. If you heard their music for the first time on this site, and liked it enough to give them a look for yourself, well, we are all the more honored and grateful.

With four tapers contributing recordings to the site on a regular basis, picking the “best” 25 moments of an entire year is practically impossible. Looking back on another great year for the site, though, each of these particular moments from a show we recorded stands out in some particular way (though they are in particular order). A complete seamless mix is available for download below, plus streaming selections of each. We hope you enjoy our picks, and look forward to sharing more great artist-approved recordings in 2012.

Want the first word about recordings in 2012 (including in-show updates)? Follow nyctaper and acidjack on Twitter, and like NYCTaper on Facebook.

DOWNLOAD A FULL SET OF ALL 31 SONGS IN MP3 FORMAT [HERE]

1. Sonic Youth – “Inhuman” (Williamsburg Waterfront, August 12)

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Well-publicized changes in the personal lives of Thurston Moore and Kim Gordon, the reigning king and queen of indie rock for the past two decades, may mean that Sonic Youth‘s performance at the Williamsburg Waterfront in August was their last NYC show. We hope that’s not the case. But if it is, wow, this band went out in as massive a style as possible, delivering a set full of rarities with the energy of 18-year-old punks instead of “elder” statesmen. The night closed with the apocalyptic noise squall of “Inhuman”, an at-times brutal piece of music that highlighted Sonic Youth’s roots as an art-punk noise band. While it is probably the worst quality recording of anything in this top 25, this blowout show closer, with its blasts of feedback, was easily one of the most memorable. Maybe there was something even more personal in those screams and feedback than we realized at the time.

Full post of this show [HERE]

2. The War on Drugs – “Arms Like Boulders” ( Bowery Ballroom, January 8 )

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The War on Drugs were a band we unabashedly fell in love with this year. An act that we first saw as an opening band, and who we saw in a huge range of venues this year (from Cameo Gallery to Webster Hall), these guys have earned their acclaim the old-fashioned way. First, their 2011 album Slave Ambient was an instant classic, a Dylanesque masterpiece. Second, they played a flat-out great live show, and they just kept getting better as the year went on. We chose this recording from the Bowery Ballroom because, well, it’s Bowery, and that place always sounds amazing.

Full post of this show [HERE]

2011_01_08_WarOnDrugs002

3. Deerhunter – “Flourescent Grey” (Webster Hall, August 23).

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Although Deerhunter and Atlas Sound had appeared on this site several times, I (not speaking for the others from the site) counted myself as a Bradford Cox skeptic. That is, until Bradford and the band led off this show at Webster Hall with this song. The band’s sound became a living alien beast, breathing and hissing as the stage was bathed in an eerie green glow. The effect was aurally and visually arresting, and the show didn’t slow down a bit from there. I count myself a believer now.

Full post of this show [HERE]

4. Cass McCombs – “County Line” (Bowery Ballroom, May 12)

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The American songwriter Cass McCombs is a critical darling, and has been since his first releases early last decade. Humor Risk, his new release on Domino Records, seems like the record that will make Cass a favorite with fans as well as critics. We know for sure that he sold out this show at Bowery quite handily, and Wit’s End has made an appearance on many a year-end list. This song, in particular, is a highlight, and this beautiful recording is a nearly flawless capture of Cass at his best.

Full post of this show [HERE]

5. The Psychic Paramount – “Ddb” (Union Pool, July 26)

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The Psychic Paramount provided me with one of those classic moments where an opening band completely overshadows the headliner, and wins a ton of new fans in the process. I caught the band this summer at Union Pool after reading some positive notice for their latest record, II. The album is an excellent work of psychedelic instrumental rock, but the live show – with the band shrouded in a stream of thick smoke, shredding on their guitars – took the experience to the next level.

Full post of this show [HERE]

6. The Smashing Pumpkins – “Muzzle” (Terminal 5, October 18)

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The latest addition to our team, hi and lo, is a longtime Smashing Pumpkins taper who has crisscrossed the country covering the band. This was another act that I admittedly had somewhat given up on after their late-90s release Machina failed to ignite. Once again I was more than happy to be proven wrong, and reminded of the original greatness of this band. hi and lo invited the entire crew to this show, and it was one of the best we saw this year – a powerfully delivered, rocking performance that rivaled this band at their stadium rock peak in the mid-90s. The Mellon Collie and the Infinite Sadness track “Muzzle” – slightly lesser known but one of that album’s best – was a highlight in a show that was filled with them.

Full post of this show [HERE]

SP_2011-10-21_c

7. Low – “Witches” (Bowery Ballroom, April 27)

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Low are a longstanding band who recently proved that they may yet hit their critical peak. Their 2011 release, C’mon, was outstanding – an artistic triumph, and one of their best since their inception in 1993. This show, as I put it then, demonstrated the value of speaking softly, as the band delivered a set of understated grace and majesty. The song “Witches”, with its somber guitar riff, is one of my favorite on the new record, and was one of the highlights of the night.

Full post of this show [HERE]

8. DELETED

9. Lucero – “Across the River” (Mercury Lounge, July 23)

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Johnny Fried Chicken Boy went to see “Nobody’s Darlings” booked as the late show at Mercury Lounge knowing full well that who this mystery band would be. Taking a pause from their stint on the Warped Tour, Lucero rocked an appreciative and typically rowdy weekend Mercury crowd with a 100-minute, free-ranging set. This is the kind of band that defines live rock n’ roll – great players who sound natural, relaxed and like they’re having as good a time as you are. Since first seeing this band as an opener for The Black Keys back in 2009, we have watched their star continue to rise. With a headlining show coming up the day before New Year’s Eve at Brooklyn Bowl, you can be sure Lucero has plenty left in the tank for this year.

Full post of this show [HERE]

10. Godspeed You Black Emperor! – “World Police and Friendly Fire” (Brooklyn Masonic Temple, March 16)

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I wrote what I thought was my best review that year on my iPhone during the first run-through of this song I heard the night before – so inspired by what I was seeing and hearing I had to capture my thoughts that instant. Of the show, I said in part: “GYBE are an unabashedly political band, and their music, as well as the intense visuals that their live performances soundtrack, are political in a mostly-abstract way. The visuals are mash-ups that evoke the world’s extremes; majesty and beauty in the midst of nascent dread. Here you see the fires of smoldering factories soundtracked by a plaintive surge of sound, where the sound of even the lowly triangle can take on menace. But there is beauty there, as there is in an unmolested glen; in a snippet of a nostalgic ramble that is both endearing and creepy. During the two and a half hour opus that was this phenomenal return to Brooklyn at the Brooklyn Masonic Temple … we were reminded that out of each paroxysm of suffering and bout of anxiety, there remains the zeal and fervor of hope.”

Full post of this show [HERE]

GYSBE

11. Yo La Tengo feat. David Byrne – “Thank You For Sending Me An Angel [Talking Heads]” (Maxwell’s, March 23)

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Our original goal for this post was not to repeat any bands that made the list last year, but Yo La Tengo deliver something so special at every show, it was impossible to ignore this once-in-a-lifetime happening. Musicians across New York and the United States were moved to help their brethren in Japan after the terrible damage wrought by the tsunami and subsequent nuclear reactor meltdowns. Yo La Tengo did their part by throwing this very special benefit show at their homebase venue of Maxwell’s, with all proceeds going to Peace Winds Japan. David Byrne appeared with the band and performed a special rendition of this Talking Heads classic. A direct donation to Peace Winds Japan was required to be able to download this set, and through those donations, we have raised over $5,000 for the organization to date.

Full post of this show [HERE]  donation to Peace Winds Japan is required to download the show.

yolatengobyrnejapan

12. Destroyer “Kaputt” (Webster Hall, April 3)

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Pitchfork may have ultimately handed the #1 spot on their year-end best-of to Bon Iver, but I called it back in April that Destroyer’s Kaputt would be close. A weird, wonderful album that resurrected the saxophone for new generation of rock fans, as I put it back then, “…Bejar’s music is almost radically foreign to what else is going on in American music today. Which is to say, Kaputtisn’t really dance music, nor can it be considered “rock” of most common varieties, and neither is it some fist-pumping, amped-up hybrid of the two. Bejar’s edges are soft, his choruses delivered on a silky train of trumpet and sax trills in a moderate, almost diffident tone. If the common mode for today’s bands is a marriage of post-punk and hard dance music, 2011’s Destroyer could be, well, “indie rock and smooth jazz…” This live show at Webster Hall was a hotly anticipated one this year, and Bejar nailed it.

Full post of this show [HERE]

13. The Antlers – “Putting the Dog To Sleep” ( Knitting Factory, May 8 )

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The Antlers continued their rise in the ranks of local bands this year with the release of their new album, Burst Apart. We were fortunate enough to catch a very special secret show at The Knitting Factory sponsored by BrooklynVegan, at which the band played the entire new album for a group of hardcore fans. This was the first time we had heard a number of these songs live, and it was evident from the start that Burst Apart was a huge creative leap forward for the band.

Full post of this show [HERE]

theantlers04

14. Wye Oak – “The Alter” (Rock Shop, January 27)

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It was absolutely freezing out when I went to see Wye Oak, performing a special invite-only show after opening for The Decemberists the night before. The band was on the cusp of releasing Civilian, an album destined for many best-of lists, and they were surrounded by friends and family to debut many of its songs live. The intimate jewel box of Rock Shop was the perfect place to do it, feeling like our personal living room as we watched the duo play. After going through the experience of being an opening act at the Beacon Theatre the night before, I’m sure it felt like a sort of homecoming for the Baltimore natives.

Full post of this show [HERE]

15. White Fence – “Baxter Corner” (Bowery Ballroom, August 13)

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Our first exposure to White Fence came as they opened for Woods at Bowery Ballroom, on a night when the NYCTaper crew decided to team up and use a combination of our finest equipment. Not only is our capture one of our best recordings of the year, but this new “band” (basically the solo artist Tim Presley, with members of Woods and drummer Nick Murray as his backing band) blew us away with its catchy garage-psych tunes.

Full post of this show [HERE]

16. Family Band – “Again” (Backyard Brunch Sessions, July 23)

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Our friends at the Backyard Brunch Sessions held another successful summer season of intimate outdoor shows. Not only did they give the NYCTaper team the chance to show off what we can do recording-wise, but they introduced us to some fantastic new talent. Of all the acts hosted at the BBS this summer, Family Band was probably my single favorite. Lead by the husband and wife team of Jonny Olsin and Kim Krans, the band played a mesmerizing set on this sweltering midsummer afternoon. They call their music “death prom,” and indeed, it is downbeat, but its pastoral quality is one of its greatest strengths, well earned in the band’s upstate Catskills recording location.

Full post of this show [HERE]

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17. Blitzen Trapper – “Good Times Bad Times [Led Zeppein]” (Maxwell’s, December 9)

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Blitzen Trapper were out east from Portland for a live appearance on Letterman, and decided to grace their big fans with a Maxwell’s show while they were at it. The tight, energetic and totally fired-up crowd lapped up the 25-song set, which culminated with a ripping cover of “Good Times Bad Times” by the mighty Led Zeppelin.

Full post of this show [HERE]

18. Bill Callahan – “Say Valley Maker” (Bowery Ballroom, July 12)

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Bill Callahan is an uncanny musician – with songwriting chops, unique phrasing and a distinctly American style that is both timeless and timely. His new record Apocalypse is but one of a long run of critical and fan favorites from the songwriter, who recorded during most of the 90s under the moniker Smog.  This show found Callahan combining a set heavy on new material with some of his earlier favorites.  Callahan and his band performed a rich set that found some numbers stretching into lengthy instrumental meditations, and none so much as this nearly 10-minute rendition of “Say Valley Maker” from his 2010 effort, Rough Travel for a Rare Thing.

Full post of this show [HERE]

bill-callahan_dana

19. The Hold Steady – “How A Resurrection Really Feels” (Beekman Beer Garden, September 17)

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Four years to the day that the site first covered The Hold Steady, we caught them again at an outdoor show that took full advantage of Craig Finn’s barroom-friendly tunes. We saw the Hold Steady twice this year, and both times the band continued to capture the magic they’ve had since their inception. Finn slows no sign of slowing down – or selling out.

Full post of this show [HERE]

holdsteady1

20. Fucked Up – “Running On Nothing” (Warsaw, November 15)

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In some ways, it’s appropriate that Fucked Up would follow The Hold Steady on this list – both are known for raucous, exceptionally fun live shows. Fucked Up is my one repeat choice from last year, and the reason I chose them again is simple: Once again, they have transcended the confines of their ostensibly “punk” roots to deliver an album of exceptional complexity and bravado. This show at Warsaw was a complete run-through of that album, David Comes to Life, and this song, with its dueling guitars, was one of the highlights.

Full post of this show [HERE]

21. Tristen – “Doomsday” (NYCTaper CMJ Day Party at Cake Shop, October 21)

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For the last several years, NYCTaper has thrown an unofficial “day party” during the CMJ Music Festival – an opportunity for us to get drunk throw a concert for artists we appreciate and make some damn fine recordings, too. Tristen released a new record this year, earned lots of good reviews, but hadn’t really hit the NYC scene very hard, despite the immediate accessibility of her country-tinged indie-folk. Several people thanked us for urging them not to miss her set at our show at Cake Shop. But if you did, here’s a second chance – don’t miss Tristen.

Full post of this show [HERE]

tristen01

22. Jessica Lea Mayfield – “Run Myself Into the Ground” (Glasslands, November 17)

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Glasslands was my most common haunt this year for a couple of obvious reasons – the semi-DIY Williamsburg venue and its partnership with PopGun Booking continue to bring in some of the best up-and-coming talent in this city in an artful, relaxed environment – and it sounds great most nights, thanks to current house engineer Josh Thiel. As to Jessica Lea Mayfield, we’ve caught her in fancier environs like Bowery, but this intimate, packed and sold-out show was the best of hers that we’ve seen. It was hard to pick a single favorite of the many revelatory shows I saw at Glasslands, but this one is certainly in my top few.

Full post of this show [HERE]

23. Archers of Loaf – “Dead Red Eyes” (Music Hall of Williamsburg, June 25)

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Archers of Loaf had been gone long enough at this point that some original fans had forgotten to even miss them. Well, that’s OK – there were plenty of new ones to take their place at this show at Music Hall of Williamsburg. Screaming out for songs they’d never heard live, singing along with lyrics, plenty of new fans showed up for this gig. Plenty of veterans did, too – after reliving this band’s greatness on records like Vee Vee and Icky Mettle. Frontman Eric Bachmann hasn’t stopped making music (he’s Crooked Fingers more often these days), and it showed in his instant poise once back together with his old bandmates. This slow burner was one of many memorable moments of a night that made us hope Archers of Loaf would stick around awhile.

Full post of this show [HERE]

24. Guided by Voices – “Don’t Stop Now” (McCarren Park, June 18)

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The NYCTaper crew contributed this recording as an official release that is for sale on the Guided by Voices website. In case you were wondering, we weren’t paid for doing it – our goal was only to make the definitive recording of this legendary band. “Definitive” or not, I think this one is very good – and a perfect representation of the highlight show of this year’s Northside Festival.

This show for sale at gbvdigital.com [HERE]

GBV-Ventrice

25. Mountain Goats – “This Year [with Craig Finn]” (Bowery Ballroom, March 28)

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Appropriately, our year-end compilation ends with John Darnielle and guest Craig Finn singing the perfect sendoff to 2011. “I am gonna make it through this year if it kills me” could mean a lot of things, but for us, we’re fortunate that we were able to continue to do what we love doing as a hobby, without financial support, and to – yeah – be able to continue to treat this thing that we do as a hobby rather than a job. Bands like the Mountain Goats, and their consistently surprising, fan-friendly performances are a big part of what makes this site worth doing. The other part is of course you, our readers. Happy New Year!

Full post of this show [HERE]

HONORABLE MENTIONS:

Lemonheads – “My Drug Buddy” (Bowery Ballroom, October 10)

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Sebadoh – “Willing to Wait” (Maxwell’s, November 11)

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Deer Tick – “Bastards of Young [The Replacements]” (Webster Hall, November 20)

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Hoop Dreams – “Home Alone” (Glasslands, August 2)

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Sharon Van Etten – “Love More [w/ Peter Silberman]” ( Bowery Ballroom, January 8 )

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Melvins – “Second Coming>The Ballad of Dwight Frye” (Music Hall of Williamsburg, June 6)

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Special thanks to all of the artists, management, labels, photographers and other music sites that have supported NYCTaper this year. And of course, a huge thank you to our readers, who we hope to continue to provide with high-quality, artist-sanctioned recordings, reviews and photos throughout 2012. Happy New Year!

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nyctaper.com is a live music blog that offers a new paradigm of music distribution on the web. The recordings are offered for free on this site as are the music posts, reviews and links to artist sites. All recordings are posted with artist permission or artists with an existing pro-taping policy.

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