Aidan Girt – standing drums and percussion David Bryant – electric guitar Efrim Manuel Menuck – electric guitar Mauro Pezzente – electric bass Michael Moya – electric guitar Sophie Trudeau – violin Thierry Amar – electric bass, contrabass Timothy Herzog – sitting drums Karl Lemieux - 16mm film loop projections
- North American tour for latest album, G_d's Pee AT STATE'S END! (released Apr 2, 2021, Constellation Records)
- 2022 world tour announced on Apr 7, 2021 https://youtu.be/rnCjYwN9uSM
- Manas (Tashi Dorji and Thom Nguyen) opened
Third, final, and (perhaps) “rowdiest” of three Bay Area gigs supporting the excellent “G_d’s Pee AT STATE’S END” release. While the other two shows (in Berkeley and SF) were at relatively classy digs, this one was at the Phoenix, a scrappy youth center with graffiti and skate ramps lining the walls. In hindsight, maybe the Phoenix was the most appropriate venue in which to see a mysterious, anti-establishment collective performing noisy Post-Rock; the band certainly responded to the vibe, giving an occasionally ragged but fiercely energetic performance, and shaking up the setlist in a big way, opening with “Moya” following the drone, closing with an earth-shaking, 25-minute run through “Mladic”, and, notably, busting out the classic “Monheim” for the first time since August 10th, 2018. A fun and memorable performance, to be sure.
About the Recording
Full disclosure up front: This is a flawed tape. The show volume was exceptionally loud, even compared to other Godspeed shows I’ve attended, and, owing to a need to avoid obnoxious talkers in the crowd, I ended up way closer to the stage than originally planned. Even with inputs set low, the noise was too much, so there is clipping on the louder passages.
Normally I would never share a clipped recording, but it appears a better source is not forthcoming for this show, and, given the high quality of the performance and setlist, it seems appropriate to share this out for those who want a document, warts and all. So, here ya go.
Luckily, I was using decent mics (compared to an iPhone, anyway), so the recording remains quite listenable in spite of the distortion, which I’ve done my best to minimize. I was basically right on top of the P.A. stacks, so the capture has a very full, in-your-face quality that, IMO, matches the overall mood of the show. You’ll occasionally hear some meathead behind me shouting “FUCK YEAH!”, but otherwise, crowd noise is minimal.
Source: SP-CMC-25 Mics > Edirol R-05 Recorder > Audacity (minor EQ/Clip Fix/Fades) > WAV. Recorded around five feet from stage right P.A. stack.
The taper is right that that's clipped in parts, but on the majority of the show the recording quality is actually great. Shuffling 'Moya' around to the first song is an inspired choice, it's an especially haunting version. 'Monheim' is played for the first time since 2018, and while it's not an especially spectacular version it's one of their best songs so it's fun to see it there again, and moving it into 'Mladic' as a closer is amazing.