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Pitchfork Music Festival Videos

Several videos have now popped up from Foxygen’s recent performance at the Pitchfork Music Festival. The first two videos are via Pitchfork — first up is Make It Known:

And Shuggie:

And here are a few videos posted by fans. First up is Brooklyn Police Station:

We Are The 21st Century Ambassadors of Peace and Magic:

Last up is In The Darkness:

 

Foxygen on the Take Away Show

Foxygen recently was featured on La Blogothèque’s Take Away Show series, recorded when they were in Paris in February earlier this year. The series features live impromptu performances in public settings, so you can imagine what Sam does to take advantage of the format.

They split the performance into two videos — the first is of On Blue Mountain:

And then that’s followed by a video of In The Darkness and No Destruction — don’t miss Sam getting busted for trying to steal a piece of fruit near the start:

The writeup is solid as well:

It’s been awhile since we filmed a group so well suited to a Take Away Show. A group whose presence alone suffices to shake the street, that provokes without seeming involved, that jumps around so much, makes a point of hanging out with everyone around them, and that mocks the fact of being on camera with a playful disdain. Overall, a band that can do all of that without fucking up their harmonies. A group that goes so far as to write the film we’re shooting while we’re shooting it.

One more note — around the 3 minute mark they discuss the fact that the answers in the Turnstyle Films interview from a few weeks ago were, as suspected, all lies.

Foxygen live: Epitonic saki Session

This is a great find — Epitonic recorded a Foxygen show right before their LP was released, so this probably places the recording in December or early January. It’s standard songs from their set, but the audio quality is fantastic. Definitely one of the best live recordings of No Destruction that I’ve heard.

Stream or download the songs at the Epitonic website.

  1. In The Darkness
  2. Make It Known
  3. Shuggie
  4. San Francisco
  5. We Are The 21st Century Ambassadors of Peace and Magic
  6. No Destruction

From Justin Sinkovich, who did the recording:

I hope that everyone will get to witness is a Foxygen show like this one at our Epitonic saki Session right before We Are The 21st Century… was released. In doing my normal research before engineering a session, I listened to their 2012 EP Take The Kids Off Broadway, and found it to be enjoyable, but not great. Within a few minutes of Foxygen’s session set, I was immediately enamoured with the new LP material and the recklessness and playfulness of France in particular, and how he interacted with the crowd and performed. Face to face with our audience in more of a loft or basement style setting, you can hear by the six tracks here are performed with a sense of spirited chaos mixed with an undeniable eccentric ear for pop. Foxygen’s set with us was a ton of fun, and real treasure for the audience at saki and with these six excellent renditions of some of their best songs, four from the new album, a track from last year’s EP, and the “Shuggie” single.

Recorded by Matt Irizarry and Justin Sinkovich
Mixed and mastered by Justin Sinkovich

Foxygen live at the Larimer Lounge in Denver

The Flat Response released a high-quality recording of Foxygen’s March 18 show at the Larimer Lounge in Denver, Colorado. You can download the full concert here or any of the individual tracks using the links below.

Here’s the setlist.

1. intro
2. Bowling Trophies
3. Make It Known
4. Cosmic Vibrations
5. Shuggie
6. On Blue Mountain
7. In the Darkness
8. We Are the 21st Century Ambassadors of Peace and Magic
9. San Francisco

Source:  [Neumann SKM140’s (AK40/KM100) > Lunatec V3 > Oade Mod Edirol R44 @ 24/48 > SDHC > Adobe Audition CS6 > Mixdown > Resample to 16/44.1 > CDWave
Taped by:  Lance Stack

Rado discusses recording details in Westworld interview

Great interview by Tom Murphy that gets into some of the finer details of recording and what the band learned by recording an album “professionally” for the first time:

Related to that the song, “In the Darkness” has a blurring effect on your voice in the middle, and you only seem to use it once or twice on that song but nowhere else on the record. How did you do that and what made that interesting to include?

That’s just a [Roland] Space Echo, and we turned up the intensity on it during that one part. It just loops into itself into oblivion, which is a cool effect you can do on that thing. It’s on that one song and “Bowling Trophies” a bit, too. We recorded everything through a Space Echo on the album. So everything is actually running through that more or less.

Why did you want to run the whole recording through the Space Echo?

I don’t know. You know, even if it’s not doing any echo, it’s still hitting tape, and I like that warble effect. Just from a completely recording standpoint, it has pre-amps that they build really solid, and it sounds really warm even if you’re just using it as a straight pre-amp.

For “On Blue Mountain” near the beginning you have a voice counting. What made that an interesting element in the song. It shifts sonic gears pretty quickly after that.

That was just Richard Swift who produced the album, and he played drums. He was just counting the song off, and there’s that organ part in the beginning. Initially, he just looped a “1, 2” like a metronome to play, too. We were going to cut it out, but he slowed it down and put some echo on it, and we thought it sounded really cool, and left it in there. There’s a lot of stuff on that song. That one probably took the longest to make.

[…]

Was there anything you did for this record that you discovered in making it in terms of sound and production? Perhaps that you hadn’t explored before.

With this album I think sonically we went in knowing what we wanted. We had a very clear vision of what we wanted. But we learned how to make a record professionally. We went into a studio and had an allotted amount of time and made a record, which we hadn’t done before. I think that’s where we learned the discipline to actually make a record like a professional band. Like real people making music rather than do it in our house or something.

What got you interested in playing a twelve-string guitar and what do you see as the virtues of that instrument versus maybe a six-string?

I had the twelve-string for a little bit and played it live. It was strung a little weird. I took away the D and the G double strings. Which I dubbed the “Mr. Tambourine Man Strings” because it made no matter what you were playing sound like The Byrds. It’s the thing that makes it really jangle-y and not every song can be jangle-y.

It was interesting, but it became too hard to tune. It was an old Hagstrom twelve-string, and it could not hold [up], so I had to stop playing it. When it worked, I really liked it. It had the double notes and I thought that was really cool and it would fill out certain parts on the higher strings.

The advantages are that it has a more full sound. But playing it live on every song, you can’t really bend the strings. You have to bend two at the same time, which is sort of hard to do. I went back to 6-string because it’s easier to play. I play a [Fender] Jazzmaster now.

If you want to see that 12-string in action, be sure to watch the video from the 3voor12 session last December.