Posts Tagged ‘New York Taper’

Woods-2016-Matt Rubin-805x453

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Woods
2011-08-13
Bowery Ballroom
New York, NY USA

6-Channel Multitrack Digital Master Recording
Recorded by nyctaper and acidjack
Produced by acidjack

Soundboard + Neumann KM150 + DPA 4021>Sound Devices USBpre2 >> Tascam DR680>6x24bit/48kHz WAV>Audition (mixdown, EQ)>Audacity (tracking, set fades, amplify and balance)>FLAC Level 8

Tracks
01 [intro]
02 Pushing Onlys
03 Suffering Season
04 Blood Dries Darker
05 Bend Beyond
06 Rain On
07 Be All Be Easy
08 Say Goodbye
09 Find Them Empty
10 To Clean
11 I Was Gone
12 [encore break]
13 Military Madness [Graham Nash]

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Parquet Courts, they’ve become more and more assured and impressive. The Brooklyn band — who are now “big” enough to headline many a venue,  decided to end their latest stint on the road in the best possible way. The foursome landed this time at Bushwick’s Palisades, a resolutely scrappy DIY venue where the room is spare, the drinks are cheap and the vibe is warm for a two-night stint. This level of ticket sell-out reminded me of the best days of the venue 285 Kent ,

Parquet Courts inspires that kind of loyalty, and deserves to. Their style may be rooted in garage and punk, but they play like serious musicians, shredding their way through material from both of their 2014 records, “Sunbathing Animal” and the newer Album  “Content Nausea” (released under the name “Parkay Quarts”). Besides Andrew Savage’s lead vocals that are easy to actually make out , the band’s most notable calling card is their ability to construct earworm riffs that make you remember songs of theirs even if you’ve only heard them once. This set did a fine job of mixing up short masterpieces of the band’s like “Light Up Gold II” and “Careers In Combat” with pieces that give Savage, guitarist Austin Brown, bassist Sean Yeaton and drummer Max Savage a chance to stretch out and show their chops, especially the “Instant Disassembly” that came earlier in the set. At times it felt like the band wasn’t even taking a breath between songs, with the riff of the next number cranking up at the last downbeat of the one before. It made for a kind of momentum that reminded me of Parquet Courts’ current career.

Befitting their love for the hometown crowd, the set we got here was longer than than other recent shows, and included a new song mix, including a cover. At first, the Monday night crowd felt a little sedate, to the point that you can hear a fan screaming “Wake the fuck up!” at least once on this recording. But the only blame for that can go to how densely packed it was in there — sardines can’t dance, either. By mid-set, the true believers had assumed their rightful places up front, and the pogoing and pit were in effect. The band kept joking with the crowd about how any of us got tickets in the first place. But that’s one advantage of having your tour-ending shows at Palisades on a Monday and Tuesday night — you can make a pretty educated guess that the people who choose to be there are the ones that actually give a shit.

The band is off to Australia and New Zealand, and then the festival circuit, in March. At their current pace, they may as well have another album done by summer. Until then, we wish them well. Success sits well with them.

many thanks to the New York Taper,

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The Thurston Moore Band — aka Thurston, his former Sonic Youth bandmate Steve Shelley on drums, My Bloody Valentine’s Deb Googe on bass, and guitarist James Sedwards — put out their SY-esque The Best Day earlier this year and recently toured it, hitting NYC twice..

 

 

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Fat White Family is not a subtle band. In an era of “chill wave” and “chamber pop” and “nu gaze”, these former South London squatters are loud, rude, and beholden to no artificially-defined style. If you want to know what type of music they make, just consult one of the band’s song titles — “I Am Mark E. Smith”. And while the music of The Fall is clearly an influence, Fat White Family doesn’t simply sneer. They sweat, spit, expose themselves and generally make a depraved mess of the whole thing. But don’t let the stage antics hide that musically, Fat White Family is an entertaining band playing a contemporary British garage rock. Their debut album Champagne Holocaust was originally self-released but after gaining some notoriety in the UK — positively and negatively, the album has been released in the US by Fat Possum Records. The band was in the States for a while in the Fall and made a splash during CMJ for not only their music but the stage antics. In December, Fat White Family did a two-week residence at Baby’s All Right . This set is a full one and perhaps the longest time-wise of all of the recent US shows, encompassing basically all of the songs the band worked up for the live show which includes much of Champagne Holocaust and only two older tracks, the aforementioned “Smith” and the band-name-generating “Bomb Disneyland”. We’re streaming “Heaven on Earth” which begins and carries through with a familiar surf-garage guitar line that makes the song perhaps the most accessible of the set. Fat White Family will return to the US in March and we’d recommend catching their highly entertaining show at least once.

thanks to http://www.nyctaper.com/