Posts Tagged ‘ acidjack ’

Spacin’: September 6, 2013 King’s and September 7, 2013 Paradise of Bachelors Day Show (Hopscotch Music Festival, Raleigh, NC) – FLAC/MP3/Streaming

September 20, 2013
By

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[Photos by acidjack]

We first caught up with the Philadelphia-based garage rockers Spacin’ at 285 Kent back in April. As that review noted, this band is part of a proud and growing Philadelphia music tradition that continues to grow stronger as Brooklyn gets taken over by laptops. This is authentic, hard-rocking spaced-out rock for any era, but music that’s badly needed in this one. At this year’s Hopscotch Music Festival, fans in the know got to experience Spacin’ doing two somewhat-different sets in the span of two days.

First the band brought it hard at a rock-dominated bill at Raleigh’s Kings Barcade on Friday night. Then, for those hoping to nurse their hangovers in a positive way, they joined the more eclectic Paradise of Bachelors day show bill, following on the heels of Lonnie Holley. Band founder Jason Killinger had an especially busy Saturday, as he would join his other band, Birds of Maya, to close out the PoB day show. Of the two, it was this raunchier, rawer set that stood out for me — even in a WPA-era amphitheater backdropped by a rose garden, Spacin’ turned out an elemental, hard-hitting rock show that I won’t soon forget. Their first full-length, Deep Thuds, is a must-have for fans of riffed-out rock, as well as aficionados of great album art. Tracks from each show are streaming below, and both shows can be downloaded as well.

I recorded the King’s set with a rig installed there with the assistance of a couple of North Carolina friends, consisting of my Audio Technica 3031 microphones and a mono board feed. The Paradise of Bachelors Day Show rig consisted of Schoeps MK4V microphones in front of the stage, plus a stereo soundboard feed. Both recordings are outstanding. While there is a bit of distortion on vocals on the PoB show due to the heavily-taxed soundboard, it only adds to the experience. Enjoy!

Thanks to Paradise of Bachelors for having us out to the show!

Stream “Gary In the Universe” from the Paradise of Bachelors show

Stream “Ego-Go” from King’s

Download the Paradise of Bachelors show: [MP3] | [FLAC]

Download the King’s show: [MP3] | [FLAC]

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Spacin’
2013-09-07
Paradise of Bachelors Day Show
Louise “Scottie” Stephenson Amphitheatre
Raleigh, NC USA

Hosted at nyctaper.com
Recorded and produced by acidjack

Schoeps MK4V>KC5>CMC6 + Soundboard>Edirol R-44 [Oade Concert Mod]>2x24bit/48kHz WAV>Adobe Audition CS 5.5 (mix down, adjustments)>Izotope Ozone 5 (tube effect, EQ)>Audacity 2.03 (tracking, fades, amplify, balance, downsample)>FLAC ( level 8 )

Tracks
01 [intro – Chris Smith]
02 Sunshine No Shoes
03 Gary In the Universe
04 Total Freedom
05 Ego-Go
06 Human Condition
_____________________________
Spacin’
2013-09-06
Hopscotch Music Festival
King’s
Raleigh, NC USA

Hosted at nyctaper.com
Recorded and produced by acidjack

Audio Technica 3031 (FOB, DFC, ceiling mount)+Soundboard (mono)>Roland R-26>2x24bit/48kHz WAV>Adobe Audition CS 5.5 (mix down)>Izotope Ozone 5 (tape effect, stereo imaging, EQ)>Audacity 2.03 (fades, amplify, parallel compression)>FLAC ( level 8 )

Tracks
01 American Ruse
02 Empty Mind
03 [banter]
04 Ego-Go
05 Sunshine No Shoes

If you enjoyed this recording, PLEASE SUPPORT Spacin’, check them out on Facebook, and buy their album Deep Thuds from Midheaven Mailorder.

Pop. 1280: August 16, 2013 Mercury Lounge – FLAC/MP3/Streaming

September 19, 2013
By

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I’d heard nothing but good things about Pop. 1280 since my NC buddy David Schwentker posted their Hopscotch Festival recording here from last year. It’s not just about the dark, synth-driven sound or the vocals that sound like the voice of the apocalypse. It’s about how they convert the sound of their excellent records, including this year’s Imps of Perversion on Sacred Bones, into a live show that, even in the late slot at Mercury Lounge, will wake you the hell up. The band tore through a short set of material that focused almost exclusively on Imps of Perversion, with one track from 2011’s The Horror making an appearance. Compared to the Hopscotch set, Pop. 1280’s sound has become even more refined and able to dominate a crowd, and we look forward to a longer engagement in the future.

I recorded this set in our usual manner for Mercury Lounge, with Schoeps MK41 microphones and an excellent soundboard feed from head engineer Kevin Mazzarelli. The sound is outstanding. Enjoy!

Stream “Human Probe”

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.

Pop. 1280
2013-08-16
Mercury Lounge
New York, NY USA

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

Schoeps MK41>KCY>Z-PFA + Soundboard >> Roland R-26>2x24bit/48kHz WAV>Adobe Audition CSS 5.5 (align, mix down, fades)>Izotope Ozone 5 (effects, eq)>Audacity 2.03 (tracking, amplify, balance, downsample)>FLAC ( level 8 )

Tracks
01 Human Probe II
02 The Control Freak
03 Nailhouse
04 [tuning]
05 New Electronix
06 Human Probe>
07 Do the Anglerfish

If you enjoyed this recording, PLEASE SUPPORT Pop. 1280, visit their Tumblr, and buy their records from Sacred Bones.

Lonnie Holley: September 7, 2013 Paradise of Bachelors Day Show, Stephenson Amphitheatre (Raleigh, NC) – FLAC/MP3/Streaming

September 17, 2013
By

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The tiny new North Carolina imprint Paradise of Bachelors may only have a catalog ten LPs deep, but among their offerings have been many of my favorites of the past couple years. For the first time, PoB decided to throw their own day show during the Hopscotch Music Festival to show off collaborations among artists they work with as well as friends of the label. Unlike the festival’s other events, which took place in downtown Raleigh, this show was held among the green expanse of a lovely outdoor amphitheater that is part of the Raleigh Little Theater complex. The result was a bright day with some of the festival’s best music.

Lonnie Holley began the show almost in the style of an invocation, setting a mystical, reverent tone for the day. Best known as an artist and sculptor, Holley’s forays into music have attracted the attention of a variety of well-known players in the indie music world, from Bill Callahan and Deerhunter’s Bradford Cox to his co-collaborators elsewhere at Hopscotch such as Mac McCaughan, Brad Cook, and Steve Gunn. What exactly to call Holley’s music eludes me, to be honest, so take it away, Aquarium Drunkard (in a review of this year’s LP, Just Before Music):

Holley restrains himself from too much conventional musicality—melody and that sort of thing. There is scarcely a proper chord change in his music, much less a full progression. He sings with an intense, emotional voice and unleashes lyrics without consistent meter or rhyme over gossamer keyboard lines that hang in the ether. His music is a blues nebula, splotched with riffy word jazz that shares in some rappers’ collagist aesthetics as well as the runaway passion of a gospel preacher enlivened by the Spirit.

Holley’s album title says something about what he’s trying to tap into with his sound. His music isn’t “primitive”, but it is primal, intended to speak to the universality of the human experience. On this day, Holley came out alone onstage, with the buzzing of cicadas his quiet backdrop. These four songs each told a story, but perhaps the most passionate was “One Garden But Many Gardens”, Holley’s tribute to what he called “Mother Universe” and her “gumbo-ish manner”.  To fully get the metaphor, I recommend checking out the banter track, but out here, among nature, Holley’s words resonated powerfully. There couldn’t have been a better way for this day to begin./

I recorded this set with a soundboard feed and Schoeps MK4V microphones directly in front of the stage. This recording emphasizes the soundboard feed to capture the full range of the vocals. While it reveals both some wind noise and the limits of the simple PA setup, it is nonetheless a solid recording. Enjoy!

Stream “One Garden But Many Gardens”

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.

Lonnie Holley
2013-09-07
Paradise of Bachelors Day Show
Louise “Scottie” Stephenson Amphitheatre
Raleigh, NC USA

Schoeps MK4V>KC5>CMC6 + Soundboard>Edirol R-44 [Oade Concert Mod]>2x24bit/48kHz WAV>Adobe Audition CS 5.5 (mix down, adjustments)>Izotope Ozone 5 (tube effect, EQ)>Audacity 2.03 (tracking, fades, amplify, balance, downsample)>FLAC ( level 8 )

Tracks
01 [intro]
02 Opening Flower After Dew Drop
03 Water Coming Down
04 Grandma Wanted Me To Be Like the Bee
05 [banter]
06 One Garden But Many Gardens

If you enjoyed this recording, PLEASE SUPPORT Lonnie Holley, visit his facebook page, and buy Just Before Music from Dust Digital or iTunes.

Marnie Stern: September 5, 2013 Lincoln Theatre, Raleigh, NC (Hopscotch Music Festival) – FLAC/MP3/Streaming

September 12, 2013
By

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[Photos by acidjack]

Normally when somebody plays finger-tapping guitar high up the neck the way that Marnie Stern does, the way that’s defined her sound, their style comes with a surfeit of leather and outdated machismo. Marnie Stern records for Pacific Northwest stalwarts Kill Rock Stars, and she’s reclaimed that technique for modern fans who’re as far away from the spandex-and-leather set as you can get. But for the boys down front in ironic headbands, leading between-song chants, there was nothing to worry about. Marnie’s got a sense of humor to go with the chops and the cred. This year’s The Chronicles of Marnia represented the apex-to-date of her career, and Marnie seems poised to take full advantage.

This Lincoln Theatre show, on the kickoff night of the Hopscotch Music Festival, gave Marnie a big-enough stage to let her rip, without compromising the intimacy of her personality or her performance. She may have begun with a hilariously off-color joke about getting older, but Marnie’s sound is as youthful and energetic as it was on her first record, In Advance of the Broken Arm, six years ago.

Marnie wasn’t even the headliner (that went to Kurt Vile), but she brought out a packed house that howled loudly for the favorites and even started a mosh pit. Marnie exudes energy and charisma of a kind that doesn’t require a larger band to do it. After delivering some of Chronicles of Marnia’s strongest numbers, plus older songs, she and the band closed out the show with a long-form rendition of “The Crippled Jazzer”, at more than twice the length of the other songs. Bonus points to bassist Nithin Kalvakota for playing along gamely to the hooker jokes throughout the night!

I recorded this set with Schoeps MK4V cardiod microphones from the ideal location in the venue. While I felt the vocals were a tad high in the house mix at times, the sound is excellent. Enjoy!

Stream “Year of the Glad”

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.

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Marnie Stern
2013-09-05
Hopscotch Music Festival
Lincoln Theatre
Raleigh, NC USA

Schoeps MK4V (FOB, DFC, PAS)>KC5>CMC6>Sound Devices USBPre2>Edirol R-44 [OCM]>24bit/48kHz WAV>Izotope Ozone 5 (EQ, effects, fades)>Audacity 2.03 (tracking, amplify, downsample)>FLAC ( level 8 )

Please let me know any setlist corrections.

Tracks
01 The Chronicles of Marnia
02 [banter1]
03 Hell Yes
04 You Don’t Turn Down
05 [banter2]
06 Immortals
07 For Ash
08 Transformer
09 Nothing Is Easy
10 Risky Biz
11 Year of the Glad
12 The Crippled Jazzer

If you enjoyed this recording, PLEASE SUPPORT Marnie Stern, visit her website, and buy her records from Kill Rock Stars.

Mikal Cronin: September 6, 2013 Pour House, Raleigh, NC (Hopscotch Music Festival) – FLAC/MP3/Streaming

September 11, 2013
By


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[Photos by acidjack]

For the second year in a row, I joined my friends in Raleigh, North Carolina for the Hopscotch Music Festival, which finds top North Carolina-based talent (and the talent from many of North Carolina’s most famous labels) rubbing shoulders with giants of the national and international music scene.

Mikal Cronin happens to be from San Francisco rather than NC, but he’s also one of the hottest acts this year on Durham, NC’s Merge Records for good reason. With his new MCIIMikal established himself as a master of well-crafted power pop with his best work to date. He’s had exposure to some of the best in the field — including touring as part of Ty Segall’s band over the past year — but Cronin is very much his own man. As one would have to be with two well-regarded albums and a slew of seven inches and other output to their credit.

This show at Raleigh’s Pour House Music Hall proved to be the perfect way for Hopscotch revelers to end their second night. What sets Cronin apart almost immediately is the musicianship of he and his band, as they careened through thirteen tracks split between MCII and his Trouble In Mind debut, Mikal Cronin. Cronin isn’t the type to mug for attention — he set himself off to stage right, decidedly out of the spotlight — but anyone in the room that night couldn’t help but pay attention (even if you can hear people partying in the background of the recording). Of the standout tracks of the night, I was partial to “See It My Way”, streaming below, a perfect burst of a song that echoes predecessors like Sloan, Redd Kross and the band that made what Cronin identified at one point as his favorite album, Nirvana.

I recorded this set with my new Schoeps MK4V cardiod microphones and a soundboard feed by the longtime Pour  House engineer, Jac. As most instruments were running through on-stage amps, this recording favors the audience mics and picks up a bit more crowd, but overall, the recording is excellent. Enjoy!

Look for more many more Hopscotch Music Festival recordings to appear on this site in the coming weeks, as well as on future official releases on Three Lobed Recordings.

Stream “See It My Way”

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.

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Mikal Cronin
2013-09-06
Hopscotch Music Festival
Pour House
Raleigh, NC USA

Schoeps MK4V>KC5>CMC6 + Soundboard (engineer: Jac)>Edirol R-44 [Oade Concert Mod]>2x24bit/48kHz WAV>Adobe Audition CS 5.5 (mix down, adjustments)>Izotope Ozone 5 (tube effect, EQ)>Audacity 2.03 (tracking, fades, amplify, balance, downsample)>FLAC ( level 8 )

Tracks
01 Is It Alright
02 Situation
03 Apathy
04 Am I Wrong
05 [banter1]
06 You Gotta Have Someone
07 Get Along
08 Weight
09 See It My Way
10 Shout It Out
11 Again And Again
12 Change
13 Green and Blue
14 Gone

If you enjoyed this recording, PLEASE SUPPORT Mikal Cronin, like him on Facebook, and buy MCII directly from Merge Records.

Ume: July 23, 2013 Maxwell’s – FLAC/MP3/Streaming

August 22, 2013
By


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[Photo courtesy of Oliver Lopena]

There are many reasons to like the Austin band Ume, who’ve been hailed as a Next Big Thing in guitar rock more than a few times by people in the know. They’ve built that reputation on a few solid pillars, the first being an excellent live show helmed by vocalist/guitarist Lauren Langner Larson. Larson is a riot of thrashing hair and gravelly vocals onstage, almost impossible not to watch. The band coasted into Maxwell’s for one of its final nights riding a wave of SXSW buzz and ready to warm up for a show or two in Manhattan in the next days. These shows would also give the band a chance to test out some of the songs for the follow-up to their 2011 album, Phantoms, a cohesive set of music best experienced at high volumes, even better, live in a room.

Ume came out strong on this night with “The Conductor”, one of the highlights from Phantoms, followed by a song they’re calling “Bass Face” for now. They were sharp, intense, rabid — real guitar rock, and proud of it. Then, in the middle of yet another semi-titled song, “Curish”, the band’s momentum took a devastating hit when some house gear blew, causing them to lose guitars. “Curish” stopped.

These are the moments that solidify or break young bands. They either pull through, or they don’t. Ume took a few minutes to re-group, re-write their setlist, switch out gear. Then they pummeled us with another new one, called “On the One” right now. Three more songs after that, whose intensity made up for lost time and momentum. For the band, the night went less-than-ideal. For people like me, who’d never seen them before, it gave a lot of reasons to see them again.

So, in deference to the band, please listen to the concert captured here with this caveat: I can’t claim it’s this band at their best, because they don’t. We felt, and the band agreed, that as this would be their only show at the now-closed legendary club, it was worth having out there as a document for history. And really — if this isn’t this band at their absolute best, how good must that be? I’d urge you to find out by streaming and buying their tracks on bandcamp, and more importantly, seeing them on tour.

I recorded this set with Schoeps MK5 microphones and a soundboard feed from Mitch, a Maxwell’s engineer. The sound quality of the capture it excellent despite the equipment issues on stage.

Stream “The Conductor”

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.


[Photo courtesy of Chris Casciano and available for sale on his site]

Ume
2013-07-23
Maxwell’s
Hoboken, NJ USA

Hosted at nyctaper.com
Recorded and produced by acidjack

Soundboard (engineer: Mitch) + Schoeps MK5 (PAS)>KCY>Z-PFA>>Roland R-26>2x24bit/48kHz WAV>Adobe Audition CS 5.5 (align, mix down)>Izotope Ozone 5 (EQ, tape exciter)>Audacity 2.03 (fades, tracking, amplify, balance, downsample)>FLAC ( level 8 )

Tracks
01 The Conductor
02 Bass Face $
03 Curish *
04 On The One $
05 Chase It Down
06 Xie Xie
07 Black Stone

$ working title
* working title/gear issues and cuts out

If you enjoyed this recording, PLEASE SUPPORT Ume, visit their website, visit their bandcamp page, and purchase their music there and from their online store.

Hiss Golden Messenger: August 17, 2013 Glasslands – FLAC/MP3/Streaming

August 20, 2013
By

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[Photos courtesy of P Squared Photography]

A man can make complicated music these days in a room alone with a machine. Create a symphony out of bits and bytes, a hit single out of a 4/4 beat and an idea. If you look at what’s celebrated most often in music these days it’s one person transcending the limits of money and time and space and the need for bandmates, usually because of his or her skill with a machine. In case you forgot, men alone have been doing that for decades, centuries, eons. Just the machines were simpler.

Hiss Golden Messenger has more words in its name than regular band members. In the studio the band is MC Taylor, former lead singer of beloved San Francisco band The Court & Spark, and longtime collaborator Scott Hirsch, plus the cream of available guest players. On the road, it’s often Taylor alone.

What started it all — a rough-hewn bit of work called Bad Debt — was nothing more than Taylor banging out songs with a guitar and a tape deck in his kitchen, while his baby slept. If it sounds old-fashioned, way more old-fashioned than some wide-eyed impresario making beats with a MacBook Pro and Ableton, well, that’s because it is. Sometimes the best things are the simplest things, the ones made how we used to before everything got too easy. But to hear the deep feeling and rich meaning that Taylor can put into a song with the tools he has, well, the old way starts to look economical. Take the Bad Debt spirit, add a band and unforced, high-quality production, and you’ve got masterpieces like his two primary releases on North Carolina imprint Paradise of Bachelors Poor Moon and this year’s Haw, which are probably my two favorite records of the past two years.

This night’s show at Glasslands — Taylor’s first New York show in four years — brought us back to the Bad Debt days, with Taylor alone at a guitar in front of a room that, with no disrespect to the night’s headliner Daughn Gibson, seemed to include a lot of folks, myself included, who’d come to see him. We were rewarded again and again. Taylor’s typical set-starting song, “Father Sky” found itself replaced with his version of a traditional song, most recently popularized as “When I Was A Young Girl” by Nina Simone. Two new numbers, possibly to appear on an upcoming EP, showed up for the first time I’ve heard them. “Southern Grammar”, streaming below, was particularly breathtaking, continuing Mike’s ongoing lyrical struggles with faith. On stage sitting down in old jeans, a white tank top and a Caterpillar hat, Mike looked like an anachronism, especially on a Saturday night. He didn’t have much for us to look at, gimmicks to parlay into Twitter excitement or iPhone photos. Hiss Golden Messenger had nothing but music, and words. He sang, and the world went still.

This recording is primarily the soundboard feed of engineer Josh Thiel’s house mix, plus a small amount of the house mics for ambiance. The sound is excellent. Enjoy!

Stream “Southern Grammar”

Stream “The Serpent Is Kind (Compared to Man)”

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.

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Hiss Golden Messenger
2013-08-17
Glasslands
Brooklyn, NY USA

Exclusive download hosted at nyctaper
Recorded and produced by acidjack

Soundboard (engineer: Josh Thiel) + Naiant XR>Sound Devices USBPre2>>Edirol R-44 [OCM]>Adobe Audition CS 5.5 (light reverb to SBD)>Izotope Ozone 5 (tape effect)>Audacity (fades, tracking, amplify, balance, downsample)>FLAC ( level 8 )

Tracks [Total Time 38:28]
01 When I Was A Young (Boy) [Nina Simone]
02 [banter1]
03 Blue Country Mystic
04 Call Him Daylight
05 [banter2]
06 O Little Light
07 He Wrote the Book
08 Southern Grammar
09 [banter3]
10 Chapter & Verse
11 The Serpent Is Kind (Compared To Man)
12 [banter4]
13 I’ve Got A Name For The Newborn Child

If you enjoyed this recording, PLEASE SUPPORT Hiss Golden Messenger, like him on Facebook, and purchase Haw and his other releases on digital or vinyl from Paradise of Bachelors [HERE], or all of his releases on vinyl [HERE].

Alex Bleeker & The Freaks: July 27, 2013 Bowery Ballroom – FLAC/MP3/Streaming

August 16, 2013
By

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[photo by acidjack]

I know I’ve thrown around the term “indie rock jam-band” before. But it’s hard to find a more appropriate label for Alex Bleeker & The Freaks, who used their three quarters of an hour opening for fellow Brooklynites Woods at Bowery Ballroom to play more than a few songs that hearkened to an earlier era in tone and in their ability to flow seamlessly from one to the other. Bleeker, who also serves as bassist in Real Estate, had a birthday on this night, and he treated himself by playing songs that I suspect reminded him of home. You knew this set was going to be right when the band led off with the Grateful Dead’s “Let the Good Times Roll” and went from there into a mix of songs from the band’s latest record and fun-loving covers that did exactly what the first one promised.

If you listen to their new record, How Far Away, you’d be forgiven for the cheap comparison that Bleeker & the Freaks sound almost like a hybrid of Woods and Real Estate at points, with some of the former band’s lo-fi style blending with Real Estate’s easygoing sound. That’s no more in evidence than on “Home I Love”, which made for one of this show’s most compact bursts of good feeling. That led into a superjam of sorts, with three more numbers from the album, with “See You On Sunday” jamming into “Steve’s Theme” and then “Rhythm Shakers” before the band switched gears into Katrina and the Waves’ all-time classic “Walking On Sunshine”. After “Step Right Up (Pour Yourself Some Wine)”, Bleeker toasted his birthday in grand style with their song “Epilogue” teasing Dylan’s “You Ain’t Goin’ Nowhere” into the set closer, Brewer & Shipley’s “One Toke Over the Line”. A happy birthday, indeed.

I recorded this set in the same manner as the Woods recording with Schoeps MK5 microphones and a soundboard feed from longtime Bowery engineer Kenny. The sound is outstanding. Enjoy!

Stream “Home I Love”

Stream “Epilogue>One Toke Over the Line”

Download the complete show in [MP3] or [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.

Alex Bleeker & the Freaks
2013-07-27
Bowery Ballroom
New York, NY USA

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

Schoeps MK5 (DINa, DFC)>KCY>Z-PFA>Sound Devices USBPre2 + Soundboard (engineer: Kenny)>>Edirol R-44 [OCM]>2x24bit/48kHz WAV>Adobe Audition CS 5.5 (align, mix down)>Izotope Ozone 5 (EQ, effects)>Audacity 2.03 (fades, tracking, amplify, light parallel compression, balance, downsample)>FLAC ( level 8 )

Tracks
01 [intro banter]
02 Let the Good Times Roll [Grateful Dead]
03 Don’t Look Down
04 Home I Love
05 [banter]
06 See You On Sunday>Steve’s Theme>Rhythm Shakers
07 Walking On Sunshine [Katrina and the Waves]
08 Step Right Up (Pour Yourself Some Wine)
09 Epilogue>One Toke Over the Line [Brewer and Shipley]

If you enjoyed this recording, PLEASE SUPPORT Alex Bleeker & The Freaks, visit their website, and buy their latest, How Far Away, from Woodsist Records.

The Love Language: August 1, 2013 Glasslands – FLAC/MP3/Streaming

August 13, 2013
By

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[Photos by acidjack]

The Raleigh, NC band The Love Language just released its third record, Ruby Red, but in some ways it feels like a debut. Frontman Stuart McLamb delivered his first album under this moniker in 2009; the band’s Merge Records debut was a similarly insular affair. Both Ruby Red and the band’s live show represent a vision blown wide open. Two years in the making, the record gave McLamb all the tools he needed to make the pop-driven, big-room-filling style of rock that he was born to make.

This show at Glasslands fulfilled the promise of the record in every way, with one big number after another making the case for a band on its way to the next level. McLamb’s songs manage to toe that narrow line between earnestness and bombast without over delivering either. Ruby Red itself is a high-gloss production that features a cast of twenty musicians, grand flourishes and ear-pleasing micro-details. The live show, with a touring cast of five, felt comparatively stripped down, but it gave the songs the chance to prove themselves. The Love Language came across as a hungry, tightly-rehearsed unit, delivering tracks like the album opener “Calm Down” with a sense of purpose and poise. Taking full advantage of every second they had before the usual 11:30 p.m. switchover to dance music in this venue, the band played homage to a now-classic New York band with The Strokes’ “The Modern Age”. In that context, not to mention the choice of city, covering the last band tasked with “saving” rock felt right. I won’t freight The Love Language or Ruby Red with that baggage, but for those still looking for new rock music that excites them, they’re a find.

I recorded this set with our usual combination in the venue of Naiant X-R microphones and a soundboard feed from house engineer Josh Thiel. As the band’s very loud guitar amps were not run through the board mix, this mix leans more heavily on the audience mics than normal, and is slightly lower in quality than the absolute best of our Glasslands recordings. That said, it’s still more than worth checking out. Enjoy!

The Love Language is currently touring the Southeast, Midwest and West Coast. Click here for tour dates.

Stream “The Modern Age [The Strokes]”

Stream “Calm Down”

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.

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The Love Language
2013-08-01
Glasslands
Brooklyn, NY USA

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

Naiant X-R (cardiod, DFC, ORTFish)+Soundboard (engineer: Josh Thiel)>Roland R-26>2x24bit/48kHz WAV>Adobe Audition CS 5.5 (align, mix down)>Izotope Ozone 5 (EQ, effects)>Audacity 2.03 (fades, tracking, amplify, balance, downsample, dither)>FLAC ( level 8 )

Tracks
01 Kids
02 Hi Life
03 On Our Heels
04 For Izzy
05 [banter1]
06 Providence
07 Heart To Tell
08 First Shot
09 Golden Age
10 Sparxxx
11 [banter2]
12 Manteo
13 Faithbreaker
14 Gray Court
15 Pilot Light
16 [banter3]
17 Calm Down
18 [encore break]
19 The Modern Age [The Strokes]
20 Lalita
21 This Room

If you enjoyed this recording, please support The Love Language, visit their website, and buy Ruby Red from Merge Records [HERE].

Walking Shapes: May 15, 2013 Glasslands – FLAC/MP3/Streaming

August 8, 2013
By

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When the opening band has as big or an even bigger crowd than the headliner, it’s often a clue that they’re on their way up. So it went for this Walking Shapes show at Glasslands, where even on the earlier side the club had a packed house — and for a band that didn’t have a single record out. Now, they do — the Brooklyn band released their Mix Tape (Vol. 1) in increments throughout July, and now the full LP is available free from No Shame Records and on their bandcamp page. (It’s also on Spotify as well). The band’s sound on record shares some of the nostalgic glaze that’s made Foxygen such a hit this year, with an equal nod to some of the better moments of the Britpop sound that ruled the mid-90s.

Which is all to say that Walking Shapes are a very accessible band; this is music for the masses, nothing obtuse about it. Listen to the big-chorus-driven “Keep”, for example, and imagine how that song could possibly not make it on the radio. For that reason, the band’s live show seemed almost incongruous with the intimate Glasslands setting. As they played song after song of big-tent, bombastic rock, I kept feeling like I ought to be in Terminal 5. Musically tight, well-rehearsed and armed with heart-on-your-sleeve lyrics to go with it, I wouldn’t be shocked to see them get there.

I recorded this set in the same manner as the other recording from this night, with a pair of Naiant X-X omnidirectional mics split at the stage lip, our installed Naiant X-R mics in the audience and a soundboard feed by Glasslands engineer Jeremy. Owing to Jeremy’s extremely tight mix plus the additional pair of mics, this is a truly outstanding recording. Enjoy!

Walking Shapes play the Knitting Factory on September 3 with Seasick Mama. Get your tickets [HERE]

Stream “Pusher”

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.

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Walking Shapes
2013-05-15
Glasslands
Brooklyn, NY USA

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

[Naiant X-X (split omni, ROC stagelip, 3ft split) + Soundboard (engineer: Jeremy)>Edirol R-44 [OCM]] + [Naiant X-R (cardiod, DFC, ORTFish)>Sound Devices USBPre2 (clock sync to R-44)>Sony PCM-D50]>6x24bit/48kHz WAV>Adobe Audition CS 5.5 (align, mix down)>Izotope Ozone 5 (EQ, tube effect)>Audacity 3.0 (fades, tracking, amplify, balance, light parallel compression, tagging, downsample)>FLAC ( level 8 )

Tracks
01 Zombies
02 Pusher
03 Mechanical Arms
04 Keep
05 Elle Deadsex
06 Waves (XYZ)
07 Measure for Measure
08 Horse

If you enjoyed this recording, PLEASE SUPPORT Walking Shapes, like them on facebook, and buy Mixtape (Vol. 1) from No Shame [HERE]

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