Posts Tagged ‘ schoeps ’

Woods: May 7, 2016 Music Hall of Williamsburg

May 9, 2016
By

woodsmhow2016pp
[photo courtesy of P Squared Photography]

At one point during this Woods show at Music Hall of Williamsburg, keyboard/sax player Kyle Forester remarked that North 6th Street in Brooklyn was like the “Broadway of shows.” Coming from the longtime New York musician, it was a statement both ironic and, weirdly, kind of true. It’s old news that what was once the epicenter of DIY has long-since ceded to luxury boutiques and corporate outposts, and, of course, Woods have been in the rotation at the city’s fancier clubs for some time now — we’ve covered them at Bowery Ballroom as far back as 2009, Music Hall as early as 2010. But there’s a message in there somewhere about the trajectory of this band versus their surroundings. Woods have never exactly been an overtly “anti-corporate” band — they simply haven’t played that game. Yet, to call them a “DIY” band understates the professionalism of what Jeremy Earl, as bandleader, has accomplished. If you compare the band that took the stage this Saturday to the one we saw at, say, Market Hotel in 2009, or now-defunct Monster Island in 2011, there is a “next level” that this band, and Earl’s vision, have reached without any of the negative trappings that tend to come with it. What you saw this past Saturday was a now-six-piece (seven when Cole Karmen-Green jumps in on trumpet) full-on spectacle of a rock band, creating some of the most musically complex work of their career.

The band was back in town after touring their latest and ninth album, City Sun Eater In the River of Light, and as tends to be the case with homecoming shows, they came ready to bring their best. The new material, with its sax, trumpets and Afro-Cuban style percussion, takes full advantage of the expanded band, with Aaron Neveu on main drums and John Andrews running a second kit and additional percussion. While this show reflected the new record’s relatively downshifted tempo and accessible, focused songwriting, Woods continued their tradition of adding new “jam songs” to the mix. In this case, that’d be “The Take,” which merge a 1970s Lauren Canyon vibe to the band’s trademark psychedelic sound. Likewise, “With Light and With Love,” from the band’s last album, continued its role as the band’s other longform offering, with a classic guitar freakout that gave Earl and Jarvis Taveniere the chance to fully stretch their wings. Not that the longtime fans weren’t taken care of by this set, either — among the band’s earlier tunes, the combo of “Suffering Season” and “Cali In A Cup” was there for the early decade stalwarts.

The band closed on the oldest number of the night, their cover of Graham Nash’s “Military Madness” from 2009’s Songs of Shame. We first recorded the band playing that song at that Market Hotel show in 2009, as ramshackle of an affair as this evening at Music Hall wasn’t. Since that time, that DIY club has closed and been reborn as a (mostly) grown-up venue, and Woods have produced an embarrassment of musical riches. In the end it isn’t the spaces in cities that matter, but what inhabits them. We continue to be grateful that Woods visits so many of ours.

I recorded this set from our usual spot in the venue, together with a direct feed of Kevin Mazzarelli’s flawless mix. The sound quality is outstanding. Enjoy!

Download the complete show from the Live Music Archive.

Woods
2016-05-07
Music Hall of Williamsburg
Brooklyn, NY USA

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

Soundboard (engineer: Kevin Mazzarelli) + Schoeps MK41V (at SBD, DFC, PAS)>KC5>CMC6>Aeta PSP3>>Zoom F8>2x24bit/48kHz WAV>Adobe Audition CS 5.5 (align, mix down, light compression, fades)>Izotope Ozone 5 (EQ, effects, imaging)>Audacity 2.0.3 (track, amplify, balance, downsample, dither)>FLAC ( level 8 )

Tracks [Total Time 1:16:57]
01 Morning Light
02 Politics of Free
03 Leaves Like Glass>
04 Hollow Home
05 Sun City Creeps
06 The Take
07 [banter1]
08 Shepherd
09 Suffering Season>
10 Cali In A Cup
11 [banter2]
12 Creature Comfort
13 With Light and With Love
14 [encore break]
15 Moving to the Left
16 Military Madness [Graham Nash]

Band:
Jeremy Earl – vox / guitar
Jarvis Taveniere- guitar
Aaron Neveu – drums
Chuck Van Dyck- bass
Kyle Forester – keys / sax
John Andrews- percussion/ drums
Cole Karmen-Green – trumpet

Support Woods: websiteFacebook | store

Nathan Bowles: March 26, 2016 Three Lobed Sweet Sixteen Spectacular, King’s (Raleigh, NC)

May 5, 2016
By

image1
[photo courtesy of Eric PH]

Nathan Bowles has made in appearance in all kinds of bands connected to Three Lobed Recordings in one way or another, from Pelt to the Black Twig Pickers to Hiss Golden Messenger to Steve Gunn‘s band to his own fine work. And that’s not even solely as a banjo player, either; Bowles is an accomplished drummer, as his work with Gunn in particular has shown. As essential as he has been to the greater Three Lobed family, it was of course an honor to have him for the label’s sixteenth birthday party.

Originally slated to be a bit of a reprise of his 2014 duo performance with Daniel Bachman here at King’s in Raleigh, NC, this set ended up being a special kind of Bowles solo show, as he tried out some new material slated to appear on his forthcoming album on Paradise of Bachelors. The thirteen-minute “I Miss My Dog,” which Bowles recently performed at Pickathon, is as powerful a statement as he has made musically, and furthers the notion that his command of this instrument is not about some kind of “revival” but rather a true evolution. You have only to listen to the short and sweet “Burnt Ends Rag” that came after it to understand what a talent Bowles is, and why we’ll be so fortunate to see him in so many different settings in the years to come.

I recorded this set in the same manner as the other recordings of the day, with a soundboard feed from engineer Justin Perrachon and a combination of onstage and audience mics. The sound quality is excellent. Enjoy!

Download the complete set: [MP3/FLAC]

Stream the set (minus banter tracks):

Nathan Bowles
2016-03-26
Three Lobed Sweet Sixteen Spectacular
King’s
Raleigh, NC USA

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

2x Soundboard channels (engineer: Justin Perrachon) + MBHO 603a/KA200N (FOB, DFC, PAS) + Schoeps MK22 (onstage, ORTF, DFC)>KC5>CMC6>Aeta PSP3 >> Zoom F8>6x24bit/48kHz WAV>Adobe Audition CS 5.5 (align, mix down, compression)>Izotope Ozone 5 (EQ, effects)>Audacity 2.0.3 (track, amplify, balance, downsample, dither)>FLAC ( level 8 )

Tracks
01 [intro]
02 Words Spoken Aloud
03 [tuning/banter]
04 I Miss My Dog
05 [banter2]
06 Burnt Ends Rag

If you enjoyed this recording, PLEASE SUPPORT Nathan Bowles, visit his website, and buy Nansemond from Paradise of Bachelors.

the Mountain Goats: April 19, 2016 City Winery

April 24, 2016
By

tMG Winery 3 Lowden
[photos by Andrew Lowden]

Over the course of three shows at City Winery, John Darnielle gave his Mountain Goats bandmates a subtle but meaningful tribute that you would have missed if you were not paying close attention. For the first song of each of the three John “solo” segments in each show, a different band member was featured in a duo with the band’s protagonist. On Sunday, Matt Douglas played sax on “Foreign Object”, on Monday Peter Hughes played bass on “Jenny”, and for this Tuesday night finale of the residency, Jon Wurster joined John for a cover of Dio’s “Rainbow in the Dark” — a song Darnielle revealed that Wurster had never played before this performance.

These are some of the little things that bring the fans back to see the Mountain Goats time and again. There were many fans who attended each of the three nights at City Winery and perhaps other East coast shows. What brings them back night after night isn’t just the promise of different and sometimes rare songs at any given show, or the often hilarious banter, or the chance to hear their favorite songs — the most compelling aspect of the Mountain Goats experience is the feeling of belonging. There is a strong sense of unity within the band, between the fans, and between the fans and band. The music offers a sense that no matter how difficult things are for you, there are people out there who know what you’ve endured and can tell you from experience that you’re going to be alright.

The final night of this special set of shows became the “celebratory” performance in large part because this particular crowd was quite rambunctious. And John rewarded the energy with a couple of first-time covers and a few songs that had yet to appear on this tour. In particular “Cobscook Bay” and “Nine Black Poppies” were familiar but welcome additions to the tour itinerary, both not having appeared on a setlist since last year. For a final night of the tour and likely the last NYC Mountain Goats show until 2017, this show was exactly what we’d hoped to experience.

I recorded this set in the same manner as the previous night and the sound quality is equally superb. Enjoy!

Download the Complete Show in FLAC and MP3 from Archive.org [HERE]

Stream the Complete Show (minus banter tracks):

Mountain Goats
2016-04-19
City Winery
New York NY

Digital Master Recording
Soundboard + Audience Matrix

Soundboard [Engineer: Brandon Eggleston] + 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 1:42:44]
01 Get Lonely
02 Foreign Object
03 Woke Up New
04 Until I Am Whole
05 Cry for Judas
06 [banter – gimmick intro]
07 Werewolf Gimmick
08 Rainbow in the Dark [Dio]
09 [banter – thanks]
10 Superman [Goldfinger]
11 Nine Black Poppies
12 Cobscook Bay
13 Lakeside View Apartments Suite
14 Southwestern Territory
15 Love Love Love
16 Stabbed to Death Outside San Juan
17 Damn These Vampires
18 [banter – game show intro]
19 Game Shows Touch Our Lives
20 The Young Thousands
21 Liza Forever Minnelli
22 [encore break]
23 See America Right
24 Up the Wolves
25 Home on the Range
26 No Children
27 Spent Gladiator 2
28 [second encore break]
29 This Year

SUPPORT the Mountain Goats: Website | Twitter | Buy Official Releases | Tour Dates

the Mountain Goats: April 18, 2016 City Winery

April 21, 2016
By

tMG City Winery Lowden
[photos by Andrew Lowden]

We saw all three of the Mountain Goats performances this week at City Winery. And while this is not the first time we’ve experienced three straight tMG shows (Bowery in 2011 was 3 in a row), this set of shows was so emotionally rewarding. As we’ve pointed out already this month, the tour that concluded in NYC was inspired by a show we recorded at this very venue one year ago. Each of the nights took on a different personality and on night two, the song choices geared in a subtle way towards the positive and inspiring — perhaps motivated by the birthday of band member Matt Douglas (check out the slowest happy birthday song ever). Monday night included the only NYC performances of “Dennis Brown” and “Never Quite Free”, and the only appearances all tour of the New York-based duo of “Going to Port Washington” and “Going to Queens”. And there was reason to be positive. This tour was entirely successful on its merits, the band is playing at its peak, and City Winery seems to be the perfect fit for the current incarnation of the Mountain Goats. Indeed, this tour also contained a stop in Chicago for two shows at that branch of the venue. The balance of the set consisted of primarily songs we’ve seen on this tour which have included inspired 2016 versions of “Woke Up New” and “Damn These Vampires”, which continued to shine on this night. We expect to post the third and final night in the next few days, so stay tuned.

I recorded this set with the Schoeps cards clamped to a pole 20 feet from the stage and mixed with a perfect soundboard feed provided by the band’s longtime FOH Brandon Eggleston. The sound quality is superb. Enjoy!

Download the Complete Show in FLAC or MP3 at Archive.org [HERE]

Stream the Complete Show:

Mountain Goats
2016-04-18
City Winery
New York NY

Digital Master Recording
Soundboard + Audience Matrix

Soundboard [Engineer: Brandon Eggleston] + 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 1:34:54]
01 Song for Dennis Brown
02 Woke Up New
03 Until I Am Whole
04 [banter – stay on tour]
05 Werewolf Gimmick
06 New Monster Avenue
07 Stabbed to Death Outside San Juan
08 [banter – say yes]
09 Jenny
10 Going to Port Washington
11 Going to Queens
12 [banter – day pants]
13 Black Pear Tree
14 [Happy Birthday Matt Douglas]
15 Lakeside View Apartments Suite
16 Deuteronomy 2:10
17 Get Lonely
18 Alpha Rats Nest
19 Damn These Vampires
20 Oceanographer’s Choice
21 The Young Thousands
22 Liza Forever Minnelli
23 [encore break]
24 Never Quite Free
25 This Year
26 Spent Gladiator 2
27 [second encore break]
28 The Diaz Brothers
29 No Children

SUPPORT the Mountain Goats: Website | Twitter | Buy Official Releases | Tour Dates

Shearwater: March 15, 2016 Rough Trade (Bowie’s Lodger album)

March 23, 2016
By

shearwater-29
[photos by PSquared Photography]

Last month we captured a really outstanding performance by Shearwater at the Mercury Lounge. The show was in the early stages of the band’s tour in support of its superb new album Jet Plane and Oxbow and it featured most of the new album in a tour de force evening. But one of the non-album highlights of the night was the band’s cover of David Bowie’s “Look Back in Anger” from the Lodger album. We learned that night that Shearwater had rehearsed the entire album and upon their return to NYC, would play it live.

Last week at Rough Trade, Shearwater offered a gift to their fans — a free show at a great venue that consisted of that previously promised Lodger show. Jonathan Meiburg has discussed how this fairly obscure late-70s Bowie work helped him personally through some difficult times, but for this performance Meiburg discussed many of the aspects of the album in detail in segments in between the songs. Lodger is the last of the trio of Bowie albums produced in collaboration with Brian Eno, and as expected the Eno influence is all over this record particularly in a kind of world music feel. But the addition of legendary guitarist Adrian Belew also added more of a rock feel to this album as compared with the previous two records in the trilogy, Heroes and Low. The guitar based songs on the album gave Jonathan an opportunity to stretch out and use his pedals liberally. He remarked at the end of the show that he’d never used his phaser so often. While the band has rehearsed these songs and played a few of them at earlier shows, we learned that this was the first time that Shearwater has played the album start to finish. But you wouldn’t know — the songs were well played and the band was tight and the set was a fitting tribute to the late legend.

I recorded this set as I have all my previous trips to this venue — Schoeps cards mounted in the center of the Soundboard booth and mixed with an excellent feed, this time mixed superbly by the band’s touring FOH Jay. The sound quality is quite excellent. Enjoy!

Download the Complete Show [MP3] / [FLAC]

Stream the Complete Show (banter tracks removed):

Shearwater
2016-03-15
Rough Trade
Brooklyn NY

Digital Master Recording
Soundboard + Audience Matrix

Soundboard [Engineer: Jay] + 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 47:28]
01 Fantastic Voyage
02 [banter – Lodger]
03 African Night Flight
04 Move On
05 Yassassin
06 [banter – Adrian Belew]
07 Red Sails
08 [banter – singles in the middle]
09 DJ
10 Look Back in Anger
11 [band introductions]
12 Boys Keep Swinging
13 [banter – SNL]
14 Repetition
15 [thanks]
16 Red Money

SUPPORT Shearwater: Website | Facebook | Twitter | BUY Jet Plane and Oxbow

craw: March 12, 2016 Saint Vitus

March 17, 2016
By

craw-5
[photos by PSquared Photography]

Ohio is an interesting place. In some ways its an Eastern industrial state and in other ways its an agricultural Midwestern state. Its a state with large cities and large swaths of farmlands. Its largest metropolitan area of Cleveland is itself a unique place which is geographically both a lake city and a river city. Despite that Cleveland also happens to be the home of the Rock and Roll Hall of Fame, it’s music has always indicated a similar off-kilter personality. Its most well known punk band was also one of the first art-rock outfits — Pere Ubu. Its early 70’s classic rock band was also a unique mix of jazz and blues — The Numbers Band. Its 80s alternative band was also a “gunk punk” act — Death of Samantha. And its 90s hardcore band was also its 90s metal band — the inimitable craw.

Even craw‘s reunion didn’t follow the standard script. We’ve seen a ton of these 80s and 90s band reunions. Generally speaking, the usual scenario is that the continued existence of a cabal of fans manages to finally convince a band of some repute to bury the hatchet and reuite. Most times the band enters the reunion with the advantages of maturity and sobriety and does their legacy proud. But the craw reunion was in large part the result of one uber fan who grew up to be a respected journalist and musician himself. Hank Shteamer is a senior editor at Rolling Stone and he plays in the bands Aa (Big A little a) and STATS, but as a teenager he was one of a few very rabid craw fans who saw the band repeatedly. His fanship never went away, and as outlined in this excellent Observer piece, when Hank teamed up with local record label Northern Spy the pairing produced 1993-1997, a remastered box set of craw’s long out of print first three records along with a 200-page book with an essential history of the band. The final piece of the puzzle was realized when craw agreed to play two reunion shows, one of course in Cleveland and the other at Saint Vitus in Brooklyn.

I arrived early on Saturday to record the show at Saint Vitus and was immediately met with the good news that the venue was sold out. As the crowd filtered in during the opening sets, it was an interesting amalgam of various types of people of various ages and styles, and as we found out when the band took the stage, from various geographical areas — people traveled from far and wide to see this show. But the crowd did all have one thing in common, they were there to hear the music, as all attention was focused forward to the stage and there’s almost no talking on this recording. craw took the stage and immediately recognized the large contingent of traveling fans before launching directly into a lengthy “Caught My Tell” from their still-in-print 2002 album Bodies for Strontium 90, and then stuck with that album for the next few songs. The remainder of the show consisted of material that appears on the current box set as the songs were roughly grouped by album in reverse-chronological order. By the time craw reached their self-titled debut album and one of its highlights “405”, the show was virtually complete. While craw didn’t leave the stage, the final two “encore” numbers were performed by the entire 7-piece band the represented every player who had appeared on all of their albums.

For a band that hadn’t performed live in the better part of a decade, and who has always relied on mathematical precision in their riffs, this show was phenomenally tight and focused. At the center of it all was lead vocalist Joe McTighe, whose sing/scream/talk approach to the strangely literary lyrics are part of the unique draw of this singular band. Although this show is purportedly the final craw show of this all-too-brief reunion, honestly I can’t imagine that the band won’t keep playing gigs. When something is this good and the fans are calling for more, there’s no reason not to give them more. At least that’s what we hope is the case.

I recorded this set with the Schoeps cards mounted in front of the soundboard and mixed with an excellent feed provided by Vitus’s FOH wiz Nick. The sound quality is superb. Enjoy!

Download the Complete Show [MP3] / [FLAC]

Stream the Complete Show:

craw-29

craw
2016-03-12
Saint Vitus
Brooklyn NY

Digital Master Recording
Soundboard + Audience Matrix

Soundboard [engineer Nick] + Schoeps CCM4u Cardioids > Sound Devices 744t > 2 x 24bit 48kHz wavs > Soundforge (post-production) > CDWave 1.95 (tracking) > TLH > flac (320 MP3/tagging via Foobar)

Recorded and Produced by nyctaper

Setlist:
[Total Time 1:16:48]
01 [introduction]
02 Caught My Tell
03 Chop Shop
04 Space Is the Place
05 Unsolicited Unsavory
06 Killer Microbes Devour Cleveland
07 New Plastics Diet Alters Man’s DNA
08 Parasitic Dad Evades Biocops
09 Divinity of Laughter
10 The Adventures of Cancerman
11 Botulism Cholera and Tarik
12 Sound of Every Promise
13 Strongest Human Bond
14 Cobray to the North
15 My Sister’s Living Room
16 To the Child Reader
17 405
18 Elliot
19 [outro]

SUPPORT craw: Website | Buy 1993-1997 | Facebook | Bandcamp

craw-32

Wussy: March 4, 2016 Studio at Webster Hall

March 6, 2016
By

Wussy Webster 2
[photo by Jack Dash]

If you thought that the unqualified success that Wussy achieved as a result of their 2014 year’s best album Attica was the pinnacle of their career, then you’ve joined the long line of people who’ve underestimated this inspiring band. On Friday, Wussy released Forever Sounds and the record takes the band’s sound to higher levels than even the rarefied air of Attica. The opening track “Dropping Houses” is one of the biggest sounding songs the band has ever produced. Chuck Cleaver’s numbers are more confident and aggressive than his recent oeuvre (“She’s Killed Hundreds” and “Gone”) and his material is consistently strong. Lisa Walker continues to be an incredibly versatile performer with a spectrum of songs that draw from everything to hard rock/grunge (the previously mentioned “Dropping Houses”) to folk (the gorgeous “Majestic-12”). In between those poles are what may be her most perfectly realized rock song “Donny’s Death Scene” and her darkest number “Hand of God”. Forever Sounds is also the album where Wussy’s vocals are better than ever, the production is top notch, and the instrumentation is superb. AllMusic says that to call the album a “masterpiece” would be “premature”, but nevertheless its a “deeply satisfying work”. Of all of the positive reviews that have arrived for Forever Sounds, this seems to be the most accurate assessment of this superb record.

As fate would have it, Wussy arrived in NYC on the very day the album was released and played a show at a venue that is perhaps too modest for their current draw, but a place that has been a positive location for the group. We’ve seen them two prior times at The Studio at Webster Hall, and Wussy has played excellent shows each time. But on Friday, all of the planets aligned and Wussy played a show for the ages. The setlist surely consisted of a good dose of the new album (eight of the ten songs were played) but the band also featured some classic material, deep cuts, a cover that we’d seen before (“Ceremony”) and one thoroughly obscure cover. This show was also the longest shows we’ve seen Wussy play — a few seconds longer than the Knitting Factory show in 2014. The packed house seemed to agree, as the band was called back twice for multiple encores.

As we’ve noted often recently, Wussy will return to NYC to play an NYCTaper Presents show at Trans-Pecos on March 30. I can confirm that this show will consist of a very special setlist. And as there is no late night event at Pecos that night, the band will be permitted to play as long as they choose! Tickets are still available [HERE].

I recorded this set with the Schoeps clamped to the soundboard cage and mixed with a soundboard feed superbly done by house FOH David Fine. The result is an outstanding recording. Enjoy!

Download the Complete Show [MP3] / [FLAC]

Stream the Complete Show [minus banter tracks]:

Wussy
2016-03-04
Studio at Webster Hall
New York NY

Digital Master Recording
Soundboard + Audience Matrix

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

Recorded and Produced by nyctaper

Setlist:
[Total Time 1:21:37]
01 [introduction]
02 She’s Killed Hundreds
03 Gone
04 Teenage Wasteland
05 Pizza King
06 Sidewalk Sale
07 Better Days
08 To The Lightning
09 [banter – record release]
10 Hello I’m a Ghost
11 Hand of God
12 [banter – Trans-Pecos]
13 Ceremony [New Order]
14 [banter – look]
15 Dropping Houses
16 [interlude]
17 Beautiful
18 [encore break]
19 Donny’s Death Scene
20 [banter – Dag Nasty]
21 Aliens In Our Midst [The Twinkeyz]
22 Pulverized
23 Airborne
24 [second encore break]
25 Rigor Mortis

SUPPORT Wussy: Website | Buy Forever Sounds | Bandcamp

The Rooks: December 5, 2015 Mercury Lounge

February 18, 2016
By

The Rooks Mercury
[screen shot from this video]

The indie-soul crossover movement of the last decade that included the likes of Sharon Jones and Raphael Saadiq was admirable but would only be truly meaningful if it led to young bands taking up the mantle. This is where The Rooks come in. The band was formed at Wesleyan College in Connecticut. The Rooks moved to NYC in 2013 and began to play gigs that were immediately lauded — their residency at Pianos in January of 2014 is on record as one of the most highly-attended runs that venue has produced. We caught the band during those shows and acidjack noted the band’s obvious talent, appeal and predicted future success. We’re still sticking with that story. In December, I captured The Rooks in a double bill with their friends Lawrence, and the packed sold-out Mercury Lounge confirmed that we’d been right. The band is bigger than ever and with the crowds bursting at the seams, they are poised to move up the ladder to bigger venues and more high profile gigs. The band’s set included tracks from their 2015 EP Wires, a couple of unreleased songs, and three neat covers, including the closing song from an unmentionable artist that tore down the house. Catch The Rooks on tour this Spring including a show at Rough Trade BK on February 27.

I recorded this set with the Schoeps mounted next to the soundboard and mixed with an excellent feed from Mercury’s FOH Alex. Other than a boisterous crowd somewhat noticeable during quieter moments, the sound quality is superb. Enjoy!

Download the Complete Show [MP3] / [FLAC]

Stream the Complete Show:

The Rooks
2015-12-05
Mercury Lounge
New York NY

Digital Master Recording
Soundboard + Audience Matrix

Soundboard [engineer Alex] + 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 45:47]
01 Intermission (Wires)
02 Doubt
03 Nothing Wrong
04 [Lawrence intro]
05 Gin and Juice [Snoop Dogg]
06 Secrets
07 You’re the One
08 Kiss From a Rose [Seal]
09 May Care
10 Bury Me Deep
11 Purple Reign [Prints]

SUPPORT THE ROOKS: Website | Bandcamp | Facebook

William Tyler: February 2, 2016 Capitol Theatre (Port Chester, NY) + June 26, 2015 Mercury Lounge

February 12, 2016
By

FullSizeRender

Our friend William Tyler has been a real road warrior these past few years, hitting NYC multiple times both as a headliner and support act. These two performances represent the latter, with Tyler’s virtuoso guitar playing setting the stage for another act. This month, Tyler did the duties for Wilco at the Capitol Theatre in Port Chester, NY, a legendary venue that Tyler acknowledged as such before delving into a concise but powerful set that featured a brand-new song, “Venus and Aquarius,” along with growing tour favorite “Highway Anxiety.” The vibe was a bit different at the intimate Mercury Lounge back in summer of 2015, when Tyler opened of the two Ty Segall acoustic sets we covered that day, but what didn’t change was Tyler’s gratitude and generosity toward his audience, as he played another new song (tentatively titled “Going Clear”) as well as another excellent version of “Highway Anxiety,” among others. If you were in the taper’s section at the Cap, you’d have noted the surprise among the Wilco diehards who hadn’t heard Tyler before. Part of Tyler’s charm is that how easily he wins over not only crowds that aren’t his own, but crowds who aren’t generally familiar with instrumental guitar music. Give these sets a listen — both the songs and the banter — and you’ll get a sense of why.

nyctaper recorded each of these sets with Schoeps CCM4 microphones. The Mercury show also includes a soundboard feed. The quality of both is outstanding. Enjoy!

Download the complete sets: [Capitol Theatre] [Mercury Lounge]

Stream the complete sets

William Tyler
2016-02-02
Capitol Theatre
Port Chester, NY USA

Exclusive download hosted at nyctaper.com
Recorded by nyctaper
Produced by acidjack

Schoeps CCM4 (ROC, FOB, PAS)>Sound Devices 744T>24bit/48kHz WAV>Audacity 2.0.5 (track, amplify, balance, downsample, dither)>FLAC ( level 8 )

Tracks
01 Missionary Ridge
02 Venus and Aquarius [new]
03 Highway Anxiety
04 We Can’t Go Home Again
05 Cadillac Desert

_______________________
William Tyler

2015-06-26
Mercury Lounge
New York, NY USA

Exclusive download hosted at nyctaper.com
Recorded by nyctaper
Produced by acidjack

Schoeps CCM4 (ROC, FOB, PAS)>Sound Devices 744T>24bit/48kHz WAV>Audacity 2.0.5 (track, amplify, balance, downsample, dither)>FLAC ( level 8 )

Tracks
01 Portrait of Sarah [fades in]
02 Missionary Ridge
03 [banter]
04 Highway Anxiety
05 [banter2]
06 Going Clear
07 [banter3]
08 We Can’t Go Home Again

If you enjoyed these recordings, PLEASE SUPPORT William Tyler, visit his website, and grab his records from Merge.

Shearwater: February 6, 2016 Mercury Lounge

February 10, 2016
By

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[photos by PSquared Photography]

I’m a big fan of intelligent and accomplished musicians — the type of people who don’t just play music but thrive at other vocations. Recently we enjoyed the music of fashion icon Preetma Singh, mathematics whiz Kiran Gandhi, composing genius Owen Pallett, award-winning novelist John Darnielle, and others. On Friday at Mercury Lounge, it was Jonathan Meiburg of Shearwater, who besides fronting an outstanding band is also a renowned ornithologist, or a bird expert, who has been profiled in Scientific American.

Meiburg’s dual expertise results in some consistent themes in Shearwater’s music. The lyrical content includes many references to nature, with two of the albums actually called Animal Joy and The Golden Archipelago. Last month, Shearwater released their eighth full-length record Jet Plane and Oxbow and its been described as a “protest album” which given current climate science, would seem to be an instinctual reaction for someone in tune with the natural world. At Mercury, the band played eight of the eleven songs on the new album (along with three classics and one cover) and the entire event was truly breathtaking. The show began with a single white light illuminating Jonathan’s face as the band began the set with the album’s opening track “Prime”, a song that offers dual themes of tragic love and a natural world on the precipice of danger. The set continued in dramatic fashion until book-ended by the album’s closing track the somber “Stray Light at Clouds Hill”, a song that shares a lyrical refrain with “Prime” but mourns both human and natural death. For an “encore” (the band never actually left the stage), Meiburg offered a heartfelt tribute to the late David Bowie by pointing out that the album Lodger helped him through some difficult times, before the band broke into a powerful version of “Look Back in Anger”. It was a compelling and appropriate end to what was most certainly one of the best shows we will see all year. Shearwater is currently on tour in Europe but will return to the US in March, including a show back in NYC at Bell House on March 12. Our local readers would be wise to attend that show.

I recorded this set with the Schoeps mounted at the soundboard booth and mixed with an extraordinarily well-mixed board feed by the band’s very talented touring FOH (whose name I did not get, please provide if you know ). The sound quality is superb. Enjoy!

Download the Complete Set [MP3] / [FLAC]

Stream the Complete Set [banter tracks removed]:

Shearwater
2016-02-06
Mercury Lounge
New York NY

Digital Master Recording
Soundboard + Audience Matrix

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

Recorded and Produced by nyctaper

Setlist:
[Total Time 1:02:44]
01 Prime
02 Filaments
03 [banter – crows]
04 A Long Time Away
05 Rooks
06 [banter – uncomfortable dislocation]
07 Quiet Americans
08 You As You Were
09 Wildlife in America
10 [banter – louder]
11 Pale Kings
12 [band introductions]
13 Backchannels
14 [banter – Lodger]
15 Stray Light at Clouds Hill
16 [banter – thanks]
17 Look Back in Anger [Bowie]

SUPPORT Shearwater: Website | Facebook | Twitter | BUY Jet Plane and Oxbow

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