Posts Tagged ‘ soundboard ’

Nap Eyes: March 9, 2016 Union Pool

March 22, 2016
By

FullSizeRender

Nap Eyes, of Halifax, Nova Scotia, occupy a bit of a time warp. Listen to Thought Rock Fish Scale, their fantastic new record on Paradise of Bachelors, without knowing what you’re hearing and you might believe you were hearing mid-70s Californians raised on Lou Reed, combining laid-back rhythms with a conversational, wry delivery. Frontman Nigel Chapman has the effect of sounding like someone you’ve heard a thousand times, but haven’t quite heard before. Beneath the winsome surface, Nap Eyes have a lot going on, including Chapman’s lyrics, which swing from the confessional to the bizarre. Not that it matters much in the live setting, where we caught the band’s sold-out show at Union Pool last week. The band showed off tunes from both Thought Rock and their recently-reissued debut, Whine of the Mystic, as well as one brand-new song that shows the same level of promise as the two recent offerings. Combined with the guys’ good-natured banter (even a parent was in attendance), the show gave you the sense that the positive press surrounding this band is well-earned, a sign of their low-key appeal and their ability to casually surprise.

I recorded this set with Schoeps MK5 cardiod microphones from our usual spot in the balcony, combined with a soundboard feed from Union Pool engineer Robert. There are two flaws: the level of the vocals fluctuates a bit halfway through, and the house music isn’t totally faded out for about half of the first song. With those two caveats, the sound quality overall is excellent. Enjoy!

Download the complete show: [MP3/FLAC]

Stream the complete show:

Nap Eyes
2016-03-09
Union Pool
Brooklyn, NY USA

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

Schoeps MK5 (A-B, DFC, at SBD) + Soundboard (engineer: Robert)>>Zoom F8>2x24bit/48kHz WAV>Adobe Audition CS 5.5 (align, mix down, adjust balance of SBD, adjust levels)>Izotope Ozone 5 (effects, EQ)>Audacity 2.0.5 (track, amplify, balance, downsample, dither)>FLAC ( level 8 )

Tracks
01 Mixer
02 Roll It
03 Dark Creedence
04 [new song 1]
05 Stargazer
06 Tribal Thoughts
07 Click Clack
08 No Fear of Hellfire

Support Nap Eyes: visit their bandcamp page, and buy their records from Paradise of Bachelors.

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

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Alan Licht: March 4, 2016 Saint Vitus

March 16, 2016
By

Alan Licht
[photos by PSquared Photography]

Since 2011, Alan Licht has been playing guitar in Lee Ranaldo’s backing band, The Dust. For someone normally associated with the downtown No Wave and Minimalist set, The Dust has been an outlet for Licht to play song-oriented guitar rock. His recent album, Currents, splits the difference between experimental and rock music, blending minimalist and melodic solo guitar work into one of the most compelling solo-guitar records of the last few years.

Last week at Saint Vitus, opening for Rangda (that recording here), Licht devoted most of his set to tracks off Currents, adding a special cover that he has only recently begun playing solo. Openers “Riding on the S’s” and “First Love, Haleema” recall Licht’s guitar work with The Dust, and accomplish what even the most seasoned guitar players have difficulty doing: creating a narrative without words. Those tracks are followed by “Raw Deal” and the album-closer, “(Thems the) Breaks,” which despite their titles manage not to sound like downers.

For his closing piece, Licht looks back to his performance at the 2004 No Fun Fest (where he and band were billed as Alan Licht’s 1970), for a fifteen-minute explorative composition based on The Stooges’ “1970.” What begins as an earnest cover with that most-recognizable riff, wanders into a thematic meditation on that tune before returning back to the original. While I normally expect some audience chatter to seep in to a solo guitar set, in this recording you can almost feel the crowd’s collective breath held for the length of Licht’s set. The performance of this Stooges—and Licht—classic tops off an already excellent set.

I recorded this set from our usual location at Saint Vitus, the room mics combined with a board feed from FOH Nick. I mixed those two sources, favoring the room sound. The quality is outstanding. Enjoy!

Download the complete show: [MP3/FLAC]

Stream the complete show:

Alan Licht

Alan Licht
2016-03-04
Saint Vitus
Brooklyn, NY

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

Soundboard (engineer: Nick) + AKG C480B/CK61 (PAS) > Roland R-26 > 2xWAV (24/48) > Adobe Audition CC (align, mixdown, compression, normalize, fades) > Izotope Ozone 5 (EQ, exciter) > Audacity 2.0.5 (downsample, dither, tracking, tagging) > FLAC (16/44.1, level 8)

Tracks [35:57]
01. Riding on the S’s
02. First Love, Haleema
03. [banter]
04. Raw Deal
05. (Thems the) Breaks
06. 1970 [The Stooges]

Support Alan Licht: Buy Currents via VDSQ

Cian Nugent: March 9, 2016 Union Pool

March 14, 2016
By

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With his brand new album Night Fiction, the Irish guitarist Cian Nugent has followed in the footsteps of some of his other guitar proteges. That is, without abandoning the intricate guitar sound that brought us in to begin with, he’s also stepped to the mic as vocalist in a full band. This was Nugent’s first U.S. tour in that capacity, and the Union Pool crowd knew it, stuffing the place to the gills on a warm Wednesday night. With a crack band that includes Ryan Jewell (also of Ryley Walker’s regular outfit, among others) and Conor Lumsden, Nugent delved straight into the new material with a stirring “First Run,” one of the bluesier rock numbers in his new repertoire. As another review put it, Nugent didn’t exactly need to “find his voice,” but his new turn as a singer nonetheless felt assured. Things took a contemplative turn mid-set with the unhurried “Things Don’t Change That Fast,” one of the album’s centerpiece tracks, followed by the like-minded “Shadows.”

But if you thought Nugent was going down on a somber note, I hope you didn’t miss the show’s piece de resistance, with a surprise visit from Steve Gunn on the fifteen-minute album boogie monster “Year of the Snake.” Conjuring the magic of the stunning Desert Heat show we captured a few years ago, Gunn and Nugent traded riffs like the longtime collaborators they are, with both clearly feeling the energy of the room and the night. It was an absolute barnstormer of a song, with the two players so far in the zone you almost hoped it wouldn’t end. Cian will be back in town on April 9 at Alphaville — be sure to see him there.

I recorded this set with Schoeps MK5 cardiod microphones and a soundboard feed from Union Pool engineer Robert. The sound quality is outstanding. Enjoy!

Download the complete show: [MP3/FLAC]

Stream the show (minus banter):

Cian Nugent
2016-03-09
Union Pool
Brooklyn, NY USA

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

Schoeps MK5 (A-B, DFC, at SBD) + Soundboard (engineer: Robert)>>Zoom F8>2x24bit/48kHz WAV>Adobe Audition CS 5.5 (align, mix down, adjust balance of SBD, adjust levels)>Izotope Ozone 5 (effects, EQ)>Audacity 2.0.5 (track, amplify, balance, downsample, dither)>FLAC ( level 8 )

Tracks
01 [intro]
02 First Run
03 [banter1]
04 Lost Your Way
05 [banter2]
06 Things Don’t Change That Fast
07 Shadows
08 [banter3]
09 Year of the Snake *

* with Steve Gunn on guitar

If you enjoyed this recording, check out Cian Nugent on Facebook, and buy Night Fiction from Woodsist.

 

Sunwatchers: March 6, 2016 Palisades & March 11, 2016 The Studio at Webster Hall

March 13, 2016
By

Sunwatchers

Sunwatchers’ self-titled debut record was unleashed on unsuspecting turntables everywhere last week, via Castle Face Records. In celebration, the band embarked on a short tour bookended by two hometown shows: March 6th at Palisades for a late night vegan chili- and alcohol-fueled set, then March 11th opening for Yonatan Gat at the Studio at Webster Hall. We caught up with Sunwatchers for both.

The Palisades recording captures the band playing to an audience of friends and family who know what to expect from their jazz-psych excursions. Most of the record’s cuts are represented here, with a couple non-album additions: “There Are Weapons You Can Take to School” and “New Dad Blues.” For the raucous denouement of “Ape Phases” and “Moonchanges,” Sunwatchers are joined by Sam Kulik on trombone and Jesse DeRosa on trumpet to round out the brass section.

Meanwhile, their Studio at Webster Hall set finds the band among an audience who may not know Sunwatchers yet; but opening for Yonatan Gat, the open-minded had their minds opened indeed. For the shorter opening slot, Sunwatchers pared down to the essentials with album-opener “Heard of Creeps,” “For Sonny,” and “Moonchanges,” plus newcomer to their repertoire, “New Dad Blues.”

I recorded the Palisades set from the stage lip, combined with a board feed from Palisades FOH, Ariel, while Acidjack recording the Studio at Webster Hall set from our usual location at the soundboard with a board feed from the Studio’s FOH, John. The recordings each sound fantastic, presenting different shades of Sunwatchers—I highly recommend both.

Sunwatchers will be back in Brooklyn on March 22, at The Living Gallery. More info here.

Download the Palisades show at the Live Music Archive

Download the Studio at Webster Hall show at the Live Music Archive

Stream the Palisades show:

Stream the Studio at Webster Hall show:

Sunwatchers

Sunwatchers
2016-03-06
Palisades
Brooklyn, NY

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

Soundboard (engineer: Ariel) + AKG C480B/CK61 (stage lip) > Roland R-26 > 2xWAV (24/48) > Adobe Audition CC (align, mixdown, balance, compression, normalize, fades) > Izotope Ozone 5 (EQ, exciter) > Audacity 2.0.5 (downsample, dither, tracking, tagging) > FLAC (16/44.1, level 8)

Tracks [59:17]
01. [Intro]
02. Herd of Creeps
03. [banter]
04. For Sonny
05. [banter]
06. There Are Weapons You Can Bring to School
07. [tech break]
08. New Dad Blues
09. [banter]
10. White Woman
11. [banter]
12. Ape Phases
13. [banter]
14. Moonchanges


Sunwatchers
2016-03-11
Studio at Webster Hall
New York, NY  USA

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

Schoeps MK41V (at SBD, DFC, PAS) + Soundboard (engineer: John)>>Zoom F8>2x24bit/48kHz WAV>Adobe Audition CS 5.5 (align, mix down, adjust balance of SBD, adjust levels)>Izotope Ozone 5 (effects, EQ)>Audacity 2.0.5 (track, amplify, balance, downsample, dither)>FLAC ( level 8 )

Tracks
01 Herd of Creeps
02 For Sonny
03 [banter]
04 New Dad Blues
05 Moonchanges

Support Sunwatchers: Facebook | Bandcamp | Buy Sunwatchers via Castle Face

Pill: February 25, 2016 Palisades

March 9, 2016
By

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Pill seized our attention from the first time we saw them. Signed to Dull Tools for their first EP last year, since then they’ve been bringing their unholy marriage of free jazz, noise rock and feminist punk to haunts across Bushwick and Williamsburg, where you’re still best able, in this city, to find people who’re willing to “get” something that’s not always an easy listen. This band is a direct retort to the “nothing interesting happens in New York” crowd, a screeching, howling, shapeshifting rejoinder to anyone who pretends that all “Brooklyn music” means these days is low-stakes, people playing it safe. Frontwoman Veronica Torres hurls herself into the band’s sound, turning the room into her stage as she takes her final number out in the crowd, and while we’ve seen her do it before, it never fails to get everyone’s attention. Befitting the band’s rapid evolution, fully half of this show at Palisades featured new (to us) songs that didn’t make it to the EP or their last show, including “Vagabonds,” “Fetish Queen,” “Hot Glue” and “Medicine.” Of them, “Hot Glue” might have been my favorite of the bunch, with its consistent meld between John Campolo’s atmospheric guitars and Ben Jaffe’s sax, or “Medicine,” which features an almost-conventional chorus. But at this point in their career, really, seeing Pill is really about seeing Pill, experiencing the totality of the band for what it is, not one specific song or another. It’s the kind of experience that makes you grateful to be here.

I recorded this set with Schoeps MK22 open cardiod microphones at the stage lip plus a soundboard feed. The sound quality is excellent. Enjoy!

Download the complete show: [MP3/FLAC]

Stream the complete show:

Pill
2016-02-25
Palisades
Brooklyn, NY USA

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

Schoeps MK22 (ORTF, stage lip)>NBob cables>PFA + Soundboard (engineer: Leeor)>Adobe Audition CS 5.5 (align, mix down, narrow onstage image)>Izotope Ozone 5 (effects)>Audacity 2.0.3 (track, amplify, downsample, dither)>FLAC ( level 8 )

Tracks
01 Which Is True?
02 Vagabonds
03 Psychic Nipple
04 Misty-Eyed Porno Reader
05 [tuning]
06 Fetish Queen
07 Hot Glue
08 Medicine

If you enjoyed this recording, PLEASE SUPPORT Pill by visiting their bandcamp page and buying their EP there.

Martin Courtney: February 13, 2016 Baby’s All Right

March 8, 2016
By

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There’s much love for the band Real Estate both at this site and in NYC in general, but that doesn’t mean everyone’s a fan. With the detractors, it seems that what bugs them the most is that Real Estate make things too easy — their music seems to positively roll forth from them in a smooth wave, with breezy melodies and approachable hooks, vocals wafting in a comfortable haze. That voice comes from one Martin Courtney, who rolled out a solo effort, Many Moons, last year. It’s what you hope for in a solo album — a scaled-back version of a Real Estate album in some ways, a much more personal, intimate album in others. If you don’t like Real Estate, well, I don’t know what you to tell you, because Courtney doesn’t abandon the band’s formula so much as peel back a few layers. “You will not find me wasting my energy” begins one couplet on the album’s opener “Awake,” and you get the sense with this record that it’s not a lack of effort by any means, but it is a great example of not trying too hard.

Courtney hit that sweet spot at this recent Baby’s All Right show, a venue which at this point feels like a second home for a certain caste of Brooklyn music regulars. This performance, falling near the end of the tour, had the mellow, easy feel of a weekend show before a friendly crowd. We got to hear the entire album, highlighted by the single “Airport Bar,” and the kickoff track “Northern Highway.” Of course, it wouldn’t have been a show by a Real Estate band member without some crucial covers, and Courtney nailed both the placid “Harvest Moon” and Echo and the Bunnymen’s “The Killing Moon” before the grand finale, with opener EZTV joining the headliners for a Feelies cover, “On the Roof,” from their second album The Good Earth. It was a night for the familiar, a night for the good, and one for a longtime friend to share with the people who were with him from the beginning.

The engineer Jason Kelly of Baby’s All Right recorded and mixed this set. The sound quality is outstanding. Enjoy!

Download the complete show: [MP3/FLAC]

Stream the complete show (banter tracks removed):

Martin Courtney
2016-02-13
Baby’s All Right
Brooklyn, NY USA

Exclusive download hosted at nyctaper.com
Recorded and live mixed by Jason Kelly
Produced by acidjack

Soundboard (main stereo mix) + Audio Technica 4051 (FOB, DFC, XY)>Pro Tools>4x24bit/48kHz WAV>Adobe Audition CS 5.5 (align, mix down, adjust levels)>Izotope Ozone 5 (effects)>Audacity 2.0.5 (track, amplify, balance, downsample, dither)>FLAC ( level 8 )

Tracks
01 Northern Highway (fades in)
02 Focus
03 [banter]
04 Foto
05 Asleep
06 Airport Bar
07 Awake
08 [banter2]
09 Little Blue
10 Before We Begin
11 Many Moons
12 Vestiges
13 [banter3]
14 Harvest Moon [Neil Young]
15 The Killing Moon [Echo & the Bunnymen]
16 [banter4]
17 On the Roof [The Feelies]*

* w/ EZTV

Support Martin Courtney at his website and by buying Many Moons from Domino.

Rangda: March 4, 2016 Saint Vitus

March 8, 2016
By

Rangda
[photos by PSquared Photography]

When the first Rangda record, False Flag, arrived in 2010, it was a transmission out of the multiverse—from an alternate reality where Corsano, Bishop, and Chasny wielded their instruments for evil instead of good. The roaring cacophonies bore titles like “Waldorf Hysteria,” “Bull Lore,” “Fist Family,” “Sarcophagi,” and “Serrated Edges” (to literally list in order the first five of the six songs on that record), ensuring that Rangda was not for the psych-tourist or those with pacemakers. At the time, who knew if these three could sustain this cosmic energy, or even find overlap in three busy touring schedules to make Rangda more than a one-off supergroup.

Two albums later, even if they aren’t the most prolific band out there, Rangda is sticking around. 2012’s Formerly Extinct softened their approach only slightly, trading in the instrumental clash for interlocking rhythms and something resembling rock songs. Their latest, The Heretics Bargain, continues on that trajectory, making Rangda downright palatable. Songs like “The Sin Eaters” and “Spiro Agnew” sound upbeat, anthemic even. But if the album itself isn’t proof Rangda is drawing the newly-initiated, last week saw the band play their largest yet NYC venue and crowd, with a set focused most-heavily on Formerly Extinct and the new material.

False Flag is here represented by the sole “Bull Lore.”  Formerly Extinct by “Majnun,” “Silver Nile,” “Idol’s Eye,” “The Vault,” and “Plugged Nickel.”  From The Heretic’s Bargain, it’s “The Sin Eaters,” “To Melt the Moon,” “Spiro Agnew,” and the song nearly as long as its title, “Mondays Are Free at the Hermetic Museum.” For opening night of their tour, the band is on fire. I can only imagine the many realities ahead.

Rangda may be coming to your very hometown! Full tour dates over at Drag City.

I recorded this set from our usual location at Saint Vitus, the room mics combined with a board feed from FOH Nick. I mixed those two sources, favoring the room sound. The quality is outstanding. Enjoy!

Download the complete show: [MP3/FLAC]

Stream the complete show:

Rangda

Rangda
2016-03-04
Saint Vitus
Brooklyn, NY

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

Soundboard (engineer: Nick) + AKG C480B/CK61 > Roland R-26 > 2xWAV (24/48) > Adobe Audition CC (align, mixdown, compression, normalize, fades) > Izotope Ozone 5 (EQ, exciter) > Audacity 2.0.5 (downsample, dither, tracking, tagging) > FLAC (16/44.1, level 8)

Tracks [56:36]
01. Majnun
02. The Sin Eaters
03. Bull Lore
04. [tuning]
05. To Melt the Moon
06. Silver Nile
07. [tuning]
08. Idol’s Eye
09. Spiro Agnew
10. [tuning]
11. The Vault
12. [tuning]
13. Plugged Nickel
14. [tuning]
15. Mondays Are Free at the Hermetic Museum

Support Rangda: Buy The Heretic’s Bargain and other records from Drag City

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

Ty Segall & the Muggers: February 27, 2016 Webster Hall

March 3, 2016
By

Ty at Webster 2016 Will Oliver
[photo courtesy of Will Oliver at We All Want Someone]

Ty Segall has been all over this site for years, and the reason we keep coming back to his shows is the same reason that he sold out these two nights at Webster Hall last weekend: He’s one of the most exciting live acts around. Here with his latest band, the Muggers, Ty delivered a powerhouse 90-minute set that covered the entirety of the new Emotional Mugger album before delving into some of his best-loved jams from the past few years.

Compared to some of the more intimate Ty shows we’ve covered in the past, this first of the two Webster performances had all the ridiculousness and bombast of a Big Rock Show, with Segall hitting the stage in a mask to the tune of a baby crying. The first few songs felt both true to his garage roots and ridiculously over the top, with Segall barking his lyrics into the microphone, hurling himself into the crowd, and working overtime to try to turn the big room into some kind of facsimile of, say, Death By Audio circa 2012. As time went on though — particular into the lengthy jamming on “Feel” — what stood out most was the quality of the Muggers, who managed to undergird the shambolic moments with accomplished playing. That’s part of the great paradox and joy of Ty Segall, too — you’ve got a prolific performer with a great voice and pop sensibility, but who isn’t afraid to go wild, to get dirty, and to have fun. If you saw any of the New York acoustic shows in 2015 (almost all of which we covered), then you know what I mean. Most garage-rock singers would be lost playing acoustically on a stool — not only would their uneven skills be exposed, but the songs wouldn’t work without the fuzz. Segall doesn’t have that problem. His songs move crowds in any context. The show closed out with a stretched-out, saxophoned-up “The Singer,” both a tribute to the man himself, and his ability to capture a crowd no matter how big the tent.

I recorded this set with a soundboard feed and Schoeps MK41V supercardiod microphones. Even though we weren’t in a DIY venue, the sound bears many of those hallmarks: loud, in your face, and raw. The recording is true to that. Enjoy!

Download the complete show: [FLAC/MP3]

Stream the complete show:

Ty Segall & the Muggers
2016-02-27
Webster Hall
New York, NY USA

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

Soundboard (engineer: Ty’s FOH) + Schoeps MK41V (at SBD, DFC, PAS)>>Zoom F8>2x24bit/48kHz WAV>Adobe Audition CS 5.5 (align, mix down)>Izotope Ozone 5 (EQ, effects, image)>Audacity 2.0.5 (track, amplify, downsample, dither)>FLAC ( level 8 )

Tracks
01 Squealer
02 Californian Hills
03 Emotional Mugger/Leopard Priestess
04 Breakfast Eggs
05 Diversion
06 Baby Big Man (I Want A Mommy)
07 [jamming]
08 Mandy Cream
09 Candy Sam
10 Squealer Two
11 The Magazine
12 Thank God For Sinners
13 They Told Me Too
14 You’re the Doctor
15 [banter1]
16 Spiders
17 Manipulator
18 Feel
19 [encore break]
20 Finger
21 The Feels
22 The Singer

Visit Ty Segall on the web, and buy Emotional Mugger from Drag City here.

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