nyctaper Recordings

concert discussion and free flac downloads

Ultimate Painting: December 7, 2016 Bowery Ballroom

December 12, 2016
By

Our own acidjack was early on the bandwagon for Ultimate Painting, as he captured the band back in 2014 and raved about their debut album. The British neo-psych quartet is now three records into their career and just completed a headlining tour with twelve US dates in support of their newest release, Dusk (Trouble In Mind Records). The tour’s final date was last week at Bowery Ballroom and if the crowd was not packed, it was notable for the music luminaries in attendance — Matador Records co-founder Gerard Cosloy, Rolling Stone’s senior editor David Fricke, Stereogum founder Scott Lapatine, and brooklynvegan’s Bill Pearis.

Ultimate Painting’s set was a seventy-minute exercise in precision and synchronicity. The band’s two protagonists, Jack Cooper and James Hoare share vocal and lead-guitar duties and both are superb performers. The other aspect of the band’s success is the songwriting. The songs can be tight and guitar driven psych-pop, but when the band wants to open up and explore, they remain focused and in synch. While Ultimate Painting does borrow stylistically from the mid-60s London scene, the music also shows influences from the US — the Velvets and Television in particular. Among contemporary comparisons, I hear similarities to White Fence and Courtney Barnett (“Central Park Blues” in particular). The band worked through a nice selection of numbers from all three of their albums before ending the set with a sixteen-minute extended version of “Ten Street” that capped off the show in fine fashion.

I recorded this set with the Schoeps cards in the balcony mixed with Kenny’s outstanding feed. The sound quality is superb. Enjoy!

Download and Stream this Recording at our Bandcamp Page:

Ultimate Painting
2016-12-07
Bowery Ballroom
New York NY

Digital Master Recording
Soundboard + Audience Matrix

Soundboard [Engineer: Kenny Lienhardt] + Schoeps CCM4u Cardioids > Edirol R-44 (Oade Mod) > 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 1:07:14]
01 Ultimate Painting
02 Rolling in the Deep End
03 Riverside
04 Bills
05 Song for Brian Jones
06 (I’ve Got The) Sanctioned Blues
07 I’m Set Free
08 [banter – band intro]
09 Break the Chain
10 Lead the Way
11 Monday Morning Somewhere Central
12 Central Park Blues
13 Sweet Chris
14 Ten Street

If you enjoyed this recording, PLEASE SUPPORT Ultimate Painting, visit their website, and purchase Dusk from Trouble In Mind Records HERE.

Steve Gunn: December 9, 2016 Bell House

December 11, 2016
By



Watching Steve Gunn and his latest band play this performance at The Bell House reminded me of the below Gunn performance with Alex Bleeker & the Freaks at the “Play Dead” show that we captured in 2015. Gunn’s music at the time — consisting of solo guitar records, his duo work in Gunn-Truscinski Duo, and his two Paradise of Bachelors LPs, Time Off and Way Out Weather — wasn’t necessarily the work of someone who revered the Dead. But as he and Bleeker’s band played “Wharf Rat” that night, it all clicked. Part of what continues to make the Grateful Dead so special is that there are multiple entry points to the band, a whole universe of styles and vibes contained within individual tours and individual shows and, even, individual songs. Gunn wasn’t a person who mimicked the band’s style(s), at all, but he had absorbed many of their lessons. And this show, more than most of his I have seen, proved it.

This show, the band’s final of the year after a long slog of touring and greatly increased exposure thanks to Gunn’s Matador Records debut, Eyes On the Lines, was my first time seeing most of Eyes On the Lines in the live setting, despite having seen Gunn several times this year. Maybe it was the hometown crowd, whose love is unconditional and the opposite of the “play the hits” mentality of the festival crowds, maybe it was the finely honed interplay among the musicians, maybe it was just them saying “fuck it” and doing things the way they wanted — whatever it was, Gunn and Co. came out and turned even some of the relatively concise material of Eyes On the Lines into life-affirming jams that both challenged and enlightened. What’s most gratifying about watching an artist that you’ve followed for a while keep doing this after achieving his greatest commercial popularity to date is to know how unafraid of it he is, how resolutely true to himself.

Gunn bookended the show with stripped-down songs, starting things off with a fourteen-minute solo acoustic “Old Strange” that was a classic mix of Gunn’s earnest lyrics and desert blues guitar, with the “Wildwood” encore with James Elkington on the electric and Steve on the acoustic. While hearing the new songs — especially a personal favorite, “Ancient Jules” — was a blast, what also stuck me was once again how the music cut through the heaviness of the political moment without flinching from it. Gunn’s impassioned intro to “Park Bench Smile” about inclusion and “fighting what the fuck’s happening” hit its mark, but the song, as rendered, spoke for itself. A noisy, messy, emphatic rendition of the song, it felt like so much of this moment, chaotic but, ultimately, resolved into something hopeful, defiant, and right. What a way to end a year.

I recorded this set with engineer David Hurtgen’s house mix combined with Schoeps MK41V hypercardiod microphones. David’s regular work with the venue shows here, as the sound is dialed in and excellent. Enjoy!

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

Stream the complete show:

Steve Gunn
2016-12-09
The Bell House
Brooklyn, NY USA

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

Soundboard (engineer: David Hurtgen) + Schoeps MK41V (at SBD, PAS)>KC5>CMC6>>Zoom F8>2x24bit/48kHz WAV>Adobe Audition CC (align, mix down, compression, fades)>Izotope Ozone 5 (EQ, effects, image)>Audacity 2.0.3 (track, amplify, balance, downsample, dither)>FLAC ( level 8 )

Tracks [Total Time 1:26:57]
01 [intro]
02 Old Strange [solo acoustic]
03 Way Out Weather
04 Conditions Wild
05 [banter]
06 Ancient Jules
07 Night Wander
08 Full Moon Tide
09 [banter2]
10 Ark
11 [banter3]
12 Park Bench Smile
13 [encore break]
14 Wildwood [duo w/ Elkington]

Band:
Steve Gunn
James Elkington – Guitar
Jason Meagher – Bass
John Truscinski – Drums

PLEASE SUPPORT STEVE GUNN: Go to matadorrecords.com or your local record store and buy Eyes On the Lines. 

And then, please consider donating to local organizations that support freedom and fair treatment for all, such as the New York Civil Liberties Union and the New York Immigration Coalition.

Daniel Bachman: November 22, 2016 Trans-Pecos

December 8, 2016
By

bachman-pecos_jeremy-wright
[photo by Jeremy Wright]

Of all the ultra-talented musicians that have graced the pages of this site, Daniel Bachman is perhaps the most gifted performer of them all. With no accompaniment, no pedals, no significant amplification and really just his hands, an acoustic guitar and a slide, Daniel is capable of creating whole symphonies of modern mountain blues. As one of the foremost contemporary purveyors of “American primitive guitar” music, Daniel has taken the mantle from such luminaries as Leo Kottke, John Fahey and Peter Lang and advanced the genre to a twenty-first century model.

This year saw the release of Daniel Bachman’s self-titled album on Three Lobed Recordings — a record that received a healthy dose of highly positive reviews and for Daniel, further recognition of his proficient musical output. We were fortunate to be able to present Bachman’s NYC album release show at a venue that fit the vibe of his show perfectly, Trans-Pecos. This show took place on a relaxed Tuesday night and as the substantial crowd filtered in, Daniel mingled among the fans, and when he took the stage it was as if he were playing for a room full of friends. The performer’s ease with people was apparent from his on-stage demeanor, but at the instant he began to play the room fell silent with attention and Daniel’s intensity was clear. Bachman worked through an hour-long set that felt much shorter in large part because its easy to get lost in the music of this artist. The set touched on his recent output and included about half of the new album. As we’ve indicated in the multiple times that Daniel Bachman has appeared on this site, this is a performer not to miss when he comes to town. We hope to be able to bring him back and present another night like this magical one last month at Pecos.

Daniel is currently booking a European tour for the Spring, but dates are not yet announced. His next performance is an annual Holiday show in Fredericksburg Virginia, info here.

I recorded this set with the Schoeps cards mounted at the front of the stage and mixed with a board feed provided by our friend Joe who did a great job with sound on this night. The result is a superb recording. Enjoy!

Download and Stream this Recording from our Bandcamp page:

Daniel Bachman
2016-11-22
Trans-Pecos
Queens NY

Digital Master Recording
Soundboard + On-Stage Audience Matrix

Soundboard [Engineer Joe Jeffers] + 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 1:01:59]
01 Untitled I
02 Bells
03 Watermelon Slices On A Blue Bordered Plate
04 The Flower Tree
05 Wine And Peanuts
06 [tuning]
07 Song For The Setting Sun I
08 Song For The Setting Sun II
09 Old Country Rock
10 [banter – false start]
11 Orange County Serenade
12 Untitled II

Support Daniel Bachman: Website | Facebook | Buy Daniel Bachman from Three Lobed [HERE]

Chris Forsyth & The Solar Motel Band: December 3, 2016 Union Pool

December 6, 2016
By

Chris Forsyth & The Solar Motel Band

We’re always happy to have a new Solar Motel Band tape to share; even more so when that tape features three brand new jams. Appearing this past Saturday night at Union Pool as a trio (that’s Chris Forsyth, Peter Kerlin, and Ray Kubian), the band came prepared with some previously unheard funk. Maybe it’s just because Forsyth has been soundtracking the Stones film Cocksucker Blues recently, but I couldn’t help but be reminded of later 70’s Rolling Stones—especially on the eighteen-minute closer, “American History & Science Fiction” (working title). But whatever far-out rock gods these guys are channeling these days, it sounds damn fine.

I recorded this from our usual location in the venue, with a board feed from Union Pool engineer Doug. The sound is excellent. Enjoy!

Downloads are available at the Live Music Archive

Chris Forsyth & The Solar Motel Band
2016-12-03
Union Pool
Brooklyn, NY

Recorded and produced by Eric PH for NYCTaper.com

Soundboard [engineer: Doug] + AKG C480B/CK63 > 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 [43:10]
01. Dreaming In The Non-Dream, Parts I-II
02. Mistaken The Bottle
03. American History & Science Fiction

Support Chris Forsyth & The Solar Motel Band: Website | Facebook | Buy The Rarity of Experience from No Quarter

Herbcraft: November 13, 2016 Trans-Pecos

November 30, 2016
By

herbcraft-1

The first time I saw Herbcraft, I had no idea who they were, had barely gotten set up, and had no idea what to expect. Two years later, I can say that that show by the Portland, Maine band remains one of the true gems of my entire recording “career,” and one of the most pleasant surprises I’ve ever come across from a live band period, let alone an opener. The band’s fluid, almost entirely improvisational sets are a thing of cosmic beauty, taking you to that comfortable yet foreign place where your mind and music unite. This set at Trans-Pecos, opening for MV & EE, continued in that vein, as the band played an extended thirty minute improv that even they couldn’t give a name to. This afternoon set required neither fancy lights nor the cover of darkness to take us back to that place, to open our minds and our imaginations to a better world that is not quite our own. Dig in.

I recorded this set with Schoeps MK4V microphones in the audience and Naiant X-X omnidirectional microphones split onstage. The sound quality is excellent. Enjoy!

Stream the complete set below. You can download it on a “Pay What You Will” basis from our bandcamp site if you click through.

Herbcraft
2016-11-13
Trans-Pecos
Queens, NY USA

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

Schoeps MK4V (FOB, DFC)>KCY>Z-PFA + Naiant X-X (split onstage)>>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 Live at Trans-Pecos

PLEASE SUPPORT Herbcraft: Bandcamp | Facebook | Woodsist

Chris Forsyth x Nick Millevoi Duo: November 13, 2015 Trans-Pecos

November 23, 2016
By

Chris and Nick

Yep, you read that right: November 13, 2015. This one’s from the archives, at a fan’s request. This is Chris and Nick in Solar Motel Duo form, opening up for Lee Ranaldo the night after I had seen the full band opening for Futurebirds at the Bowery Ballroom. What can I say except that I’ve seen a lot of Solar Motel shows and this one’s something unique—just a pure dual guitar mindmeld on some Solar Motel tracks you know and love.

I recorded this at the stage lip, the left mic picking up mostly Nick’s guitar and the right Chris’s guitar. The sound is excellent. Enjoy!

Downloads are available at the Live Music Archive

Chris Forsyth x Nick Millevoi Duo
2015-11-13
Trans-Pecos
Queens, NY

Exclusive download hosted at nyctaper.com
Recorded and produced by Eric PH

AKG C480B/CK61 (stage lip) > Roland R-26 > 2xWAV (24/48) > Adobe Audition CC (normalize, fades) > Izotope Ozone 5 (EQ) > Audacity 2.0.5 (downsample, dither, tracking, tagging) > FLAC (16/44.1, level 8)

Tracks [43:56]
01. Paranoid Cat
02. The Ballad of Freer Hollow
03. Harmonious Dance

Support Chris Forsyth & The Solar Motel Band: Website | Facebook | Buy The Rarity of Experience from No Quarter

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

long-ryders-psquared
[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)

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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.

All recordings and original content posted on this site are @nyctaper.com as live recordings pursuant to 17 U.S.C. Section 106, et. seq. Redistribution of nyctaper recordings without consent of nyctaper.com is strictly prohibited.

nyctaper.com hereby waives all copyright claims to any and all recordings posted on this site to THE PERFORMERS ONLY. If any artist posted on this site requests that recordings be removed, those recordings will be removed forthwith.