Whereas week two of Garcia Peoples’ Nublu residency celebrated One Step Behind with an extra-long outing of its title track, the band gets back to the shorter tunes in the third week. With Danny Arakaki handling most of the vocals, the band debuts two new songs: “This Place” and the embryonic “Terry” with some improvised vocals. The real standout though is the opening “Total Yang” into “I Ain’t Hurt.” Neither song has ever sounded as sweet as they do here.
Garcia Peoples have a ton of shows coming up throughout the US. Check out their tour dates for a show near you!
I recorded this from our usual location at Nublu. The sound is excellent. Enjoy!
If you’re like me, it was our friends at Beyond Beyond Is Beyond who first turned you onto Tokyo’s Kikagaku Moyo with their stateside release of the band’s second album, Forest of Lost Children. Judging by the sold-out crowd at venerable Greenpoint venue Warsaw this past Friday, quite a lot of people have now gotten the message. Besides the obvious (musicianship, attention to melody), one of the things that makes this band so special is their comfort with different styles, from instrumental jammers like “Dripping Sun” from their current LP Masana Temples, to delicate folk numbers like “Cardigan Song,” which they played acoustically along with an unreleased new song they’ve been working on during this tour. Those barely scratch the surface of all there is to love in this 80-minute set as this band’s virtuosity hits its peak, as they draw from both their compatriot forebears like Ghost to the wide world of American classic rock. This night felt like another step in these guys’ slow-built success (we saw them at Sunnyvale not that long ago), and we can’t wait to hear some of these new tunes laid down on record.
I recorded this set with touring FOH Eric Lemke’s feed, plus Schoeps MK41V hypercardiod mics. All credit here goes to Eric, as this room may never have sounded as good as it did for this set. Enjoy!
Garcia Peoples’ October residency at Nublu was a resounding success. For five Thursdays the band brought out old songs, new songs, special guests, and terrific openers. Night one of the residency was posted last month and in the next week or so we’ll be sharing the rest of the recordings.
Night two was the record release show for One Step Behind, their most ambitious record yet. Just two songs, with the title track clocking in at 30 minutes and featuring Tom’s father Bob Malach on saxophone. Of all the residency shows, this night was my most anticipated, not only because it was a chance again to hear “One Step Behind” after a long absence from setlists, but also because the elder Malach would be joining them on saxophone to bring the record to life. It did not disappoint, to say the very least. Stretching the track to nearly 50 minutes, the band improvises in each of the song’s parts, once more reminding us how great this band is and how thrilling and worthwhile live music can be.
Garcia Peoples have a ton of shows coming up throughout the US. Check out their tour dates for a show near you!
I recorded this from our usual location at Nublu. The sound is excellent. Enjoy!
If you follow this site, you know that we are fans of “American primitive guitar” and have documented much of its greatest musicians in live performance. As examples, Daniel Bachman, Glenn Jones, Richard Bishop, Chuck Johnson, Bill Orcutt, Ben Chasny, and William Tyler have all graced these pages, often multiple times. If there’s a “wunderkind” of APG its our featured performer for today, Eli Winter. A native of Houston who went to college in Chicago, Winter has been around the scene since he was in his teens. The first time I heard a live recording several years back, it seemed pretty obvious to me that Eli Winter was a unique talent and a person with skills far beyond his modest years.
In 2019, the music world seems to have taken notice. Winter released his first full length record The Time To Come, and was selected by Ryley Walker to appear on a the Walker-curated release on Tomkins Square Records called Imaginational Anthem. In the Fall, Winter self-booked an fairly extensive tour of the Northeast and we were fortunate to be able to present him as direct support for the Walker/Grubbs duo show at Trans-Pecos in mid-September. Winter’s set was exactly what we had hoped to see — a showcase for a generational talent who could literally become the face of American primitive guitar in the decades to come. We fully expect to be attending Eli Winter shows for years to come, in progressively larger venues. But for now, this Trans-Pecos gig will suffice.
This set was recorded straight from the soundboard to a thumb drive. Due to the quiet nature of the show, the volume was quite low and elevating levels did produce some minor hiss. Otherwise, this is a quite listenable recording. Enjoy!
Sunburned Hand of the Man are the type of act that people might call “hard to pin down.” Over their sprawling catalog (their sprawling bandcamp page has only a fraction of their 100+ titles) these guys’ music runs the gamut from the bizarre (“Clowns In Jail”) to the improvisationally psychedelic (the “Blizzard of Zozz” show we recorded in 2017) to bordering-on-conventional songs (recently-released “microdose” Intentions).
This night at Nublu fell somewhat in between the two, as a relatively stripped-down version of the band performed this long-form improv with a running spoken word narrative, with a current of the occult running throughout. It felt appropriate to the season, and was a hell of a lot of fun to listen to. Dig in.
I recorded this set with Schoeps MK4V microphones up front in the venue on the right side. The sound quality is excellent. Enjoy!
Did you make a mistake and miss Philly’s Long Hots at their two prior Three Lobed / WXDU day show appearances during Hopscotch? Might’ve been an easier ticket than getting into the door at the packed Slim’s this year, where the Hots brought the fire in this seven song set. This show was so slammed I couldn’t even get in the door, but our man Dave Schwentker had it covered with a fine setup. Don’t let that bookstore ad fool you into thinking that this was anything less than what it was: a no-BS guitar slammer that, for those who actually got in the door, was one of the highlights of the entire festival.
Dave recorded this set with Church Audio CA-1 mics mounted on the ceiling, into an Olympus LS-10. The sound is excellent. Enjoy!
The days are getting shorter, which means it’s the perfect time for a little sunshine from One Eleven Heavy. The band concluded their US tour for Desire Path with this set at Trans-Pecos, slinging positive vibes and good tunes. A little shorter than their tour opener at Union Pool a couple weeks previously, this set nevertheless boogies pretty hard (and sounds a little better to boot).
I recorded this with MBHO mics in DIN stereo configuration at the stage lip, combined with a board feed from Trans-Pecos FOH, RL. The sound is outstanding. Enjoy!
What else to say about Ryley Walker? We first saw the champ at this festival, Hopscotch, way back in 2014. In that span of 5 years, he’s expanded his sound, produced definitive records (and the definitive Dave Matthews cover album), gotten wild, gotten sober, and hit stages all over the world. As much has changed, his essence hasn’t — a relentlessly searching, gifted musician who doesn’t pause his growth to keep his audience comfortable, but gives that audience his very best every night. If being the top card late at night at Nash Hall wouldn’t seem like the right opportunity for a wild 90-minute set, you need to know more about Ryley.
Beautifully recorded by our bud Randy Hoke, this set has all the elements — some inside-baseball music biz comedy, classic songs (“On the Banks of the Old Kishwaukee”), and of course, long-form improvisation, in particular, the closing “Primrose Green,” which Ryley seemed determined to push as far from its roots as possible. I think he agrees with us that among his many performances this year, this one was a particular winner. Have a listen and I think you’ll agree.
In a useful piece of Ryley news, he’s launched his own private press label, which includes a sold-out LP pressing of his Walker/Jewel/Gunn trio performance from Union Pool back in March. If you’re lucky, you might find a copy out on tour…
Randy recorded this set with a soundboard feed, AKG shotgun mics at the back of the room, and onstage AKG mics. Even though this room is a challenge, he made an outstanding recording. Enjoy!
Tracks [Total Time 1:24:06] 01 [intro banter] 02 Telluride Speed 03 [banter/tuning] 04 The Halfwit In Me 05 [banter2] 06 Spoil With the Rest 07 [banter3] 08 22 Days 09 [banter4] 10 On the Banks of the Old Kishwaukee 11 [banter5] 12 Opposite Middle 13 [banter6] 14 Primrose Green
The calendar year 1999 was one of great upheaval and positive personal change in my life and of the few records that soundtracked that eventful year, The Pernice Brothers Overcome By Happiness was right at the top. The album was a breakthrough of sorts for Joe Pernice, whose previous project the alt-country Scud Mountain Boys had disbanded after one album on Sub Pop Records. Overcome was a master work of perfectly written pop gems that touched on elements of alt-folk and chamber pop, and was an album created among a fellowship of Joe’s best friends at the time, including his brother Bob. There’s a great piece in Magnet Classics that describes the making the album [here].
When it was announced earlier this year that the Pernice Brothers would be returning with a new album for the first time in nearly a decade, I revisited Overcome and twenty years on, the album definitely stands the test of time. So kudos to my 1999 self for recognizing its brilliance and for continuing to follow the band through five more excellent albums before the hiatus. We were also lucky to have caught them live several times last decade, including at Mercury Lounge in 2006, a show I recorded mere months before NYCTaper became a thing. That Merc show it ends up would be the last Pernice Brothers show in NYC for thirteen years until this month.
The new album Spread The Feeling is a remarkable return to form for Pernice Brothers. The wit, wisdom, and melancholy that pervades the band’s catalog is clearly present, but this time around Joe Pernice tackles a variety of new subjects, including the abusive priests, drug abuse, and fatherhood, in a batch of songs that seem to be flexing more musical muscle than the band’s previous outings — albeit with virtually the same set of contributors.
The handful of dates that were announced included a return to Mercury Lounge and we were so pleased to be there and be permitted to record. What transpired was literally exactly what we had hoped to see. The band was tight and in great spirits, and the setlist featured both a substantial number of tracks from the new album, a nice selection of classic tracks, a classic cover, and quite a bit of a hilarious banter. And the early set time allowed me to fully experience this event, pack up, and go a few blocks to also see the Luna show we posted earlier. Quite an unforgettable night.
Joe Pernice announced on his active twitter account that the band will return with dates in the new year, and we’re hoping that includes another NYC show.
I recorded this set with the Neumann hypers mounted next to the soundboard and mixed with an excellent feed by FOH Manny. The sound quality is superb. Enjoy!
Please support this legendary band:
https://pernicebrothers.bandcamp.com/
http://pernicebrothers.com/
Recorded and Produced by nyctaper
Setlist: [Total Time 1:04:56] 01 [intro] 02 Eric Saw Colors 03 [band introductions] 04 Lullabye 05 [banter – first show] 06 Monkey Suit 07 [banter – thermometer] 08 The Ballad of Bjorn Borg 09 Something for You 10 [banter – are you high] 11 There Goes the Sun 12 Skinny Jeanne 13 I Came Back 14 [banter – Cardinal Law] 15 Always in All Ways 16 [banter – whisper] 17 She Don’t Care About Time [Gene Clark cover] 18 Baby in Two 19 Throw Me to The Lions 20 Mint Condition 21 Working Girls 22 [banter – Elvis] 23 The Weakest Shade of Blue 24 [non-encore break] 25 Somerville
It seems reductive to call Joshua Abrams Natural Information Society “jazz,” but language has limits that music does not. To quote our friend Eric PH in his own earlier review, “Mandatory Reality, the latest double-LP from Joshua Abrams Natural Information Society, sounds like a band erasing borders.” I couldn’t agree more — and this night’s single session, dubbed “Surveil Echo Analeptic” by Abrams, plumbs yet more deep territory, incorporating elements of drone, traditional North African music and, yes, jazz into a hypnotic moment. Joined on this night at Union Pool by the very special guest Jim White (Dirty Three, Xylouris White, etc.), Abrams (on the guimbri), Lisa Alvarado (harmonium), Jason Stein (bass clarinet) and White created a piece that felt free and otherworldly, but no less meticulous; Abrams is a master at creating an environment that elevates all players rather than restrain them.
In further good news, while Abrams’ catalog of releases on experimental Northampton, Mass. label Eremite Records are almost perpetually sold out, a second pressing of Mandatory Realityhas appeared. Get it while you still can.
I recorded this set with Schoeps MK22 “open cardiod” mics and a soundboard feed from Doug Graham. The sound quality is outstanding. Enjoy!
Thanks to Joshua Abrams for permitting us to record and share the performance.
Natural Information Society on this night: Joshua Abrams – guimbri, composition Lisa Alvarado – harmonium Jason Stein – bass clarinet Jim White – drums
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