FREE DOWNLOAD: Âme – You.FM Clubnight [09-04-2011]

This deep duo is making the trek across the pond for a very special performance at E-villa, Baltimore’s newest home for EDM. The new Mt. Vernon venue is hosting a pre-valentines day ball on Saturday February 11th, 2012 featuring the FIRST EVER Baltimore appearance by German deep house & amp; techno artist Âme.

Statement from Press Release: Although the music of the night will be distinctly modern and forward-thinking dance music, the name “A Love Bizarre” is a reference to the classic ‘Sheila E’ song from 1984’s Krush Groove film. Produced by Prince, the song featured a video with an inspired club atmosphere: flirtatious, uninhibited, beautifully odd characters. “We’re working to create an atmosphere where people from any kind of background are invited. We look at nightlife differently than most venues. In many clubs, there’s only one performer – the DJ. We feel that everyone on our dance floor is a performer as we work together to create a vibe.” says Melissa Ravelo, who works with E-Villa in their nightlife promotions. (Russell Seaver)

LINK TO FACEBOOK EVENT PAGE

BUY TICKETS: Âme @ E-Villa [2/11/12]

By ALEXANDER RAUBICHECK

To many live music enthusiasts, seeing one’s favorite band perform on the world’s biggest stage during the holiday season is beyond a treat. For a select core of jam band aficionados, however, specifically those (author included) who are most partial to two acts in particular, December 28, 2011 would prove to be a magical evening.

Flashback: December 29, 1998

The Disco Biscuits, a four piece electronic rock band from Philadelphia, who started out chiefly influenced by Phish‘s complex instrumental compositions and harmonization, burst onto the scene in the late 1990s with the group’s unique ‘Trancefusion’ sound.

A hybrid blend of traditional rock n’ roll values such as the hammond B3 organ and piano accompanying a bluesy, electric guitar played over pulsating, electronic dance rhythms set the Disco Biscuits apart from other jam band counterparts of the era.  Others began to take notice.

It was the end of 1998 and the quartet was booked to play an after show at the storied Wetlands Preserve for Phish’s performance at Madison Square Garden, on the evening of December 29th.  In a sense, the young, University of Pennsylvania based group had been handed its golden ticket.

By performing their cutting edge sound, in the early hours of the morning post Phish, in a time where the listening landscape was just beginning to tip up from the seemingly unbreakable roots of rock n’ roll (the post 1980s’ reclaiming of rock music, if you will), towards a new and unchartered genre – electronica – the Disco Biscuits found their most desired mold.  And they delivered a superb and meaningful performance.

Displaying the band’s diverse talents, the setlist included jazzy originals such as “Pat & Dex” and “Smoothie King.”  Additionally, the first set featured a Prince fake out – “1999”- promptly segueing into a swirling, psychedelic and interpretative journey of Pink Floyd’s “Run Like Hell,” a staple in the group’s repertoire throughout its career.  The Beatles’ “Norwegian Wood” also made an appearance.

Moreover, this concert is best known for the band’s debut of “Above The Waves,” guitarist Jon Gutwillig’s neo-classical masterpiece and one of the pinnacle tracks from the Hot Air Balloon rock opera, arguably the Biscuits’ most critically acclaimed material.  Beneath the aura of this inaugural performance, however, lies the true gem of this show: the improvisation following the composed verses of “Trooper McCue,” a rich and beautiful soundscape exemplifying the musical wonders of a young act during one of its finest hours.

****

These precious moments, though thankfully captured on tape, would not repeat themselves in the years to follow.  After several near break ups and hiatuses, both The Disco Biscuits and Phish endured their respective share of hardships in the first half of the last decade.  Even the Wetlands, a club steeped in New York’s musical history over the preceding years, closed soon thereafter.

And by the end of summer 2004, Phish had officially hung up its skates, while the Biscuits’ original drummer, Sam Altman, soon after announced that he would be leaving the band the following year to pursue a career in medicine.

The Disco Biscuits would find a new drummer in the fall of 2005 – the talented Allen Aucoin won a “drum-off”contest show at the Borgata Casino in Atlantic City that November.  By 2006 they had resumed a relatively busy national touring schedule, and fittingly, the band began to regain a steady fan base in the new-look, Phish-less jam band scene during 2007-2008, which was becoming increasingly more electronic in nature.

Then, Phish returned in the spring of 2009, and has since remained a steady touring force.  However, it wasn’t until this past December that both groups had once again been billed to play in the same city, on the same night – one after another.

The Biscuits had scheduled three nights at the Best Buy Theater in Times Square, and upon Phish’s announcement of its four night New Year’s Eve run at Madison Square Garden, the last and first shows of each run (respectively), intersected, in an utmost convenient fashion.  The Disco Biscuits would play after Phish, just as they did at the Wetlands  – one day before the thirteenth anniversary of this fantastically rare happening – and a musical dream would become reality.

December 28, 2011

Hoards of people poured up, out of the escalators from beneath the archaic Pennsylvania Station below, as thousands of us ascended up into Madison Square Garden, a packed bill of music in store.

Though this unique scenario was embarking on its own course, the marvel that is Phish at this arena superseded thoughts of the night’s second show, and the progressive rock giants delivered a powerful opening night that included more (and unique) venturing outside of the box than had been expected for a night one.

This journey began with a fantastic experimental jam following The Talking Heads’ “Cities,” and lasted all the way through a powerhouse of an encore that featured the always welcome “Tube,” followed by a rare gem of a bluegrass cover, the University of Tennessee’s alma mater, “Rocky Top.”  “Tweezer (reprise)” capped the show in standard yet satisfying fashion, causing a roar to arise from the Garden floor.

Upon exiting the venue’s Seventh Avenue side, a group of tightly knit friends was thrusted into a sea of people going every which way, the prototypical scene after every Phish performance.

We trudged our way through the oncoming crowds, and as they began to thin, the extreme chill of an early winter’s blast passed down our spines, our shivering bodies huddled together on the west side of Fashion Avenue, en route to the evening’s second, special event.

Blue, silver and red blinked overhead upon the approach toTimes Square.  We marched towards our destination: submerged below the sea of tourists, in a former cineplex, we had soon arrived.

Assuming our respective positions throughout the venue for set one, The Disco Biscuits purposefully took the stage, and with the opening notes of Aron Magner’s piano introduction of the beautiful, “The Very Moon,” a classical tone paved the way for one of the most highly anticipated performances in the group’s career.

One of the Biscuits’ more specialized musical functions is executing the segue (transition) from song A to song B.  While the “funk” section of the night’s opening songbegan to steady, a distinct, industrial vibe began to emerge from Magner’s rig, ushering the quartet into their first unknown musical patch of the show.

Bassist Marc Brownstein’s two part, nine note ascending line then nearly inserted itself into the audible landscape, leading the band into the popular new jam vehicle, “Bombs.”  Unlike other versions, Gutwillig’s rhythm guitar work before the song’s beginning was extremely reminiscent of a synthesizer lead, a slick interchangeability between the group’s two extraordinarily gifted lead musicians.

A very well executed first set was concluded with the utmost rare gem, “My Lady Survives,” the composed ending to the better known, but still very scarce, “Haleakala Crater.”  Gutwillig’s joyful and romantic composition stylistically ended act one, especially for such an occurrence – the Biscuits have a loaded arsenal of rare and exotic tunes to choose from; playing this was a highly refined choice.  Ironically last performed on a stage in 1998, Brownstein’s setlist writing was, perhaps, paying homage to the past.

Following a set break, the group trotted back out for the second set of music.  Opening with “M.E.M.P.H.I.S.,” Aucoin showed off his chops with a precise, down tempo beat.  This, in turn, lead the way for Magner to begin to take the reins on this night, and make it his own.  Showcasing a highly digital lead, the keyboardist employed a four note call and response melody, working his way up and down the ladder, as if to make his presence known.

The next portion of improvised music egued, slowly but surely, into another jam staple,  “And The Ladies Were The Rest Of The Night.”  The approach to the composed part featured a patient, thematic guitar peek over a retro, hollow sounding synth, before turning a corner into the standard four on the floor beat associated with this tune.

Continuing to be a synthesizer driven second act, Magner once again reverted to the now familiar four note ascending, then descending phrase.  Brownstein’s conducting style of play soon gave away the identity of next song, the instrumental, “Cyclone.”  The theater crowd at full fury, and with the clock reading past 3:30 in the morning, the foursome began the minor ascent into one of their more challenging executions – into the peak of  “Above The Waves.”

The keyboardist standing on his tip toes, Magner then delivered a gorgeous, arpeggio phrase with his Virus (a state of the art, European synth), taking hold of the music like a talented video gamer to his controller, in sync with the rest of the band members’ increasingly augmented pace, beneath the strobing, colorful cones shining down from above.

The minor progression quickly turned major, and the signature, gleeful chord placements displayed, as always, why this song is so special.  Turning from a fast, dark and twisted rhythm into the celebratory style that evokes a West Indian vibe, the house lights flooded throughout the energized room. The band then abruptly dropped into the classic, “House Dog Party Favor,” the set’s final stop.

After returning for a one song encore, the night’s listening and dancing was finally complete.  The dream of seeing one’s favorite group, the premier late night act within the U.S. jam band scene, perform after one of the greatest rock bands in the heart of midtown Manhattan, had been achieved.

Though, the night’s most magnificent memory will forever be the walk – from 34th street to 44th street, against traffic, during the year’s most bustling season.  Everything great in this world always includes the wonderful act of anticipation, and alongside a group of lifelong acquaintances, this live music lover entered a euphoric state during such a chilly stroll, one that lasted through the show’s final note, a defining and ultimate night in a live music seeing career spanning the past 15 years.

The Disco Biscuits, just as they did at the end of 1998, fit perfectly into the mold of a post midnight act.  And while we may never see them perform in this fashion again, this show solidified their reputation as the most ideal jam band to play electronic dance/rock music on a late night stage.

Following The Disco Biscuits‘ tenth anniversary of the band’s annual music festival, Camp Bisco (which reached capacity by selling over 25 thousand tickets this past summer), the group joined Kaskade, Steve Aoki, Booka Shade and many more on the inaugural tour of IDentity Festival, a month long traveling bill of electronic musical acts spanning from coast to coast.  On the front end of this string of gigs, this full day of music made a hometown stop for The Disco Biscuits featuring live performances on three stages over the course of twelve hours at the Susquehanna Bank center, located along the Camden waterfront across from Philadelphia’s picturesque Center City skyline.  The evening was capped with a special two and a half hour headlining set by the Biscuits, the tour’s only organic (non DJ) act to receive such a nod.

As the day unfolded and the amphitheater began to fill up, F5F’s Alex Raubicheck paid a visit backstage to the Disco Biscuits’ tour bus, where he sat down with Aron Magner, the band’s extremely talented keyboardist.  The two talked all things music, including the group’s presence on IDentity Festival, the recent release of the Biscuits’ sixth studio LP, Otherwise Law Abiding Citizens, and Magner’s other chief live musical endeavor, Conspirator.

Enjoy a recap of this interview by clicking ’Play’ in the embedded video below:

Fortune5Fifty.TV Presents: An Exclusive Interview with Aron Magner of The Disco Biscuits from Fortune5Fifty.TV on Vimeo.

The Disco Biscuits’ 2011 New Year’s Eve run is less than two weeks away, as the band prepares to wrap up 2011 in style!  Following three shows at the Best Buy Theater in New York, including a special late night performance on the night of December 28th, the group heads to the Midwest to the Auditorium Theatre in Chicago, where it will play its final two shows of the year, ushering in 2012 with a three set performance on New Year’s Eve.  Additionally, Mr. Bugsly Presents will be providing late night entertainment with a lineup of gifted musical acts, hosting two official Disco Biscuits’ after parties in New York, located just two blocks away at B.B. King Blues Club and Grill.  And of course, the Biscuits will be joined by several other talented artists in the Windy City as well, via Silver Wrapper at the House of Blues Chicago.  Tickets for all the above mentioned concerts can be purchased by clicking the links below.

12.26 – Disco Biscuits with Mord Fustang - Tickets

12.26 – Official tDB After Party with Mord Fustang, Abakus and The Manhattan Project - Tickets

12.27 – Disco Biscuits with Tipper - SOLD OUT

12.27 – Official tDB After Party with Tipper, Orchard Lounge and Alpha Data - Tickets

12.28 – Disco Biscuits with Brothers Past and Orchard Lounge - SOLD OUT

12.30 – Disco Biscuits with EOTO and Abakus - Tickets

12.30 – Official tDB After Party with Dr. Fameus - Tickets (on sale 12/26)

12.31 – Disco Biscuits (3 sets) with Future Rock - Tickets

1.1.12 – Official tDB NYE After Party with The Polish Ambassador and DJ Thibault – Tickets (on sale 12/26)

Photo by Dave Vann © Phish 2011

BY ALEXANDER RAUBICHECK

(Images by Dave Vann)

Flashes of artificial light reflect off the giant silver ball, which is cradled by a matching silver pedestal – also enlarged.  Crowds of people gather near the sculpture under a dark sky, one that is illuminated by colorful streaks from the flurry of a special brand of an early morning bustle.  These live music lovers are awaiting an unannounced, late night performance by the festival’s host band, something which has not occurred at one of these events in nearly a decade.

The speakers begin to play an array of psychedelic effects, and suddenly, four silhouettes appear in the front windows of a square shaped structure.  A sign on its front reads  “Self Storage USA,” though this is no ordinary shed: the house is a box of art – specially constructed just for this set – and the four men inside playing the ambient, improvisational rock music are the creative geniuses behind this unique get-together. On this occasion, tens of thousands of like-minded individuals have congregated in the picturesque, Finger Lake region of western New York.  This is Phish: the world’s greatest living rock band, hosting their ninth music and camping festival, Super Ball IX, on July 4th weekend, 2011, at Watkins Glen International speedway.

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We arrived circa 3 a.m. Friday morning, and upon entry to the grounds which would act as our weekend playground, the professionalism and efficiency of the production and staff immediately stood apart from other summer festivals.  The wait in line took no more than an hour’s time, the vehicle search was quick and sensible, and the paid employees (as well as volunteers) were polite and engaging.

General camping was split into areas designated by states in which Phish has never performed (Wyoming, Hawaii etc.), which surrounded the racetrack itself.  Inside the track’s perimeters loomed the main stage, noticeably taller and thinner than expected.  In addition to the giant silver ball, several other sculptures and buildings were arranged just to the musical group’s liking, along with a Phish festival staple: a giant ferris wheel.  Like a painter to a canvas, the Vermont quartet’s relationship with these grounds would parallel the band’s interaction with their large and beyond loyal fan base: perform music in such a way that fosters community, and the beautiful art that is Phish on top of its compositional and improvisational game will follow.  This would prove to be a theme of this memorable Independence Day weekend.

There was so much to be seen, but a first night’s sleep took precedence.  Our recreational vehicle parked on the track’s infield at turn number six, the location was prime and the table was set: a special weekend was in store, and for this first time Phish festival attendee, a unique aura loomed in the cool, crisp air of the mid summer’s dawn.

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Photo by Dave Vann © Phish 2011

Friday morning brought sunshine to Watkins Glen while the day’s initial meal of fried egg, country ham and white cheddar breakfast sandwiches were accompanied by two unfamiliar surprises: a newspaper and The Bunny, Super Ball’s AM radio station. A stack of Ball Things Considered, the festival’s daily publication, had been delivered to our mobile home – a welcome addition to well rounded morning.  This eleven page edition contained photos and news from the previous day, and its lead story described the site’s initial music festival: the racetrack hosted the legendary one day event, Summer Jam, in 1973, headlined by The Grateful Dead, The Band and The Allman Brothers.  Hence, Watkins Glen International is no stranger to live rock ‘n’ roll.

We finished our delicious meal and sipped on freshly brewed coffee and tea, as the pleasant sounds of an early recording of the host band hummed from The Bunny.  Having never attended a festival showcasing only one musical act, it was comforting to know that a full day of nothing but blue skies and good friends – old and new – lay ahead.

The grounds of this speedway were very green and to the north and east, rolling hilltops were dotted with dairy farms and vineyards. .  A lengthy exploration walk featured the discovery of a local farmer’s market, and frequent photography stops revealed a nearly flawless physical layout, and a spacious one, to say the least. Super Ball IX was quite large, and also, somewhat vacant.

“It’s not like the 90s anymore, when Phish was throwing the only music and camping festival of the summer,” said Benjy Eisen, a long time fan and rock journalist.  “Back then, in 1997, for example, The Great Went was the only festival that summer and tons of kids who weren’t fans of the band just tagged along with their friends who loved Phish, and thus, seventy thousand people showed up.  Nowadays, festivals such as this have to compete with world renowned acts like Tiesto” (who performed at Electric Forest Festival in Michigan this same weekend).

With an estimated population of 30,000, Super Ball IX’s attendance was anything but stellar, especially considering the magnitude of the event – this was Phish’s first east coast festival since 2004.  Nevertheless, sometimes life’s best things come in unanticipated forms, and while the organization and Red Light Management had undoubtedly hoped for a more substantial turn out, this weekend was to be about something much greater than commerce.

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Photo by Dave Vann © Phish 2011

We passed through the gates for the first main event while the setting sun casted an orange hue upon the buzzing crowd.  The center field was packed, and as a crew of friends assembled to the right of the Front of House, a loud roar arose.  The quartet took the towering stage beaming, all four members grinning with delight.  Even the infamously stoic bassist, Mike Gordon cracked a smile as he and Trey Anastasio (guitar, lead vocals) geared up, while Page McConnell (keys, vocals) and Jon Fishman (drums, percussion) assumed their positions at the flanks.

Phish opened Super Ball IX with a 3.0 (referring to the band’s current era) favorite, Possum, a fitting choice to initially adjust the levels of the live mix.  As Gordon’s bass was augmented, a collective sigh of joy could be heard throughout the crowd.  The volume was high, the balance sounded phenomenal and the four stringed bass guitar resonated throughout the main concert field with authority.

On deck was an unexpected treat, Frank Zappa’s Peaches en Regalia, marking only the third live performance of the song since 1999.  Its short yet eloquent progressive composition went hand in hand with the colorful sky, as the setting sun began to fade into the horizon. In fact, this song would set the tone for this first set, which contained an unusually high number of cover songs: six.  As perhaps a tribute to 2009’s Festival 8, Torn And Frayed (The Rolling Stones) was played mid-set, as well as David Bowie’s Life on Mars and Ween’s Roses Are Free.

Several tunes later the band ripped through the Son Seals’ fan favorite, Funky Bitch, in a particularly rowdy fashion.  The pace then slowed, and this first set of music concluded with Mighty Quinn (Quinn The Eskimo), from Bob Dylan’s The Basement Tapes. Were these six covers an indirect nod to all of the legendary bands that had played at Watkins Glen in the summer of 1973?  Or, perhaps, were they an indication that a surprise set of another artist’s music (a la a “costume set” on Halloween) was waiting in the wings?

Regardless, this set’s stand out was certainly The Moma Dance, marking one of 3.0’s best versions of the song.  Topping eleven minutes, it featured a patient build to the piece’s climax, as Anastasio carefully worked his way towards the peak along side the other three members, ensuring not to “wail” above his fellow musicians.  Following a satisfying, though not extraordinary, initial slice of music (fittingly, they were just warming up) we headed back to turn six to grab an extra layer of clothing before returning for the meat of any Phish show: set two.

Photo by Dave Vann © Phish 2011

After finding a spot on the opposite of the field (“Page side”) the house music ceased and four members returned for their second act.  Soon they were playing, but what?  A dark, psychedelic jam seeped from the giant speakers above, as lighting director Chris Kuroda toyed with his board, working the magic which his lights bring to every nightly Phish performance.

This Super Ball IX Jam #1 continued for several minutes, before Anastasio and Fishman locked rhythms, exploding with the opening phrase from The Talking Heads‘ Crosseyed And Painless, a summer tour ’11 (and personal) favorite.  Hoards of freshly cracked glow sticks flew into the sky by the bag load as Fishman belted Byrne’s heavily induced lyrics with a fiery passion.  The jam out of this roaring set two opener turned back to the realm of psychedelia, building off the opening improvisational section with a great deal more cohesive harmony this second go-around.  Unbeknownst, this was Phish practicing for its secret, late night show which would take place the following night.

Space evolved into a recognizable riff -  Chalkdust Torture. A textbook version of the song was followed by a brief stoppage in play, before Anastasio’s quiet, jazzy notes were met with force – Fishman’s snare coupled with Gordon’s thickly grooved phrasing: Sand. A tune undoubtedly about addiction, this late 90s Anastasio original has really taken flight in 2011.  Though not quite as “out there” as the Portsmouth version, this one was smooth and purposeful – McConnell backs the lead guitar with intricate harmony leading to a swirling peak, before the band eases back into the song’s familiar, thumping bass line.

Soon after, the group slipped into familiar second set territory with Mike’s Song. A shortened version of the heavy-hitter quickly morphed into Simple, and musically, this is where things went from well-done to exceptional. Out of the piece’s beautiful instrumental section emerged a blissful, height of summer jam, harping back to the creative beauty of 1/1/11’s improvisational work.  Several minutes of this recurred, before the theme of this set returned – psychedelia.  McConnell’s effects rendered this atmospheric sound, and Anastasio’s guitar reached to meet his notes, the two joining together in a gorgeous section of harmony (and in this passage of time, when listening back on tape, one can almost hear an Amazing Grace tease around the twelve and a half minute mark of the tracking, before McConnell’s organ takes the reins, guiding the roaring, patriotic notes of the guitar into silence).

Phish’s most recent album’s self-titled track, Joy, was played near the set’s end, and the words “we want you to be happy, for this is your song too” seemed to make more sense than before.  This was, above all else, a communal experience, personal tastes and choices aside.   The band ended with Character Zero and returned for a short encore in Show of Life. Seven covers, some interesting improvisation, an unforgettable jam, and night one’s music had drawn to a close.  The Bee Gee’s Night Fever blared as the  lights went up, displaying thousands of fans dancing and disappearing to their respective campgrounds to rendezvous until the early hours of the morning.

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Photo by Dave Vann © Phish 2011

Following a satisfying night of music, fun and friends, we awoke on Saturday to the cheers of hundreds of festival goers who had assembled along the track’s infield’s fence.  They were here to root on their fellow festival attendees, who were running in the Runaway Jim 5K Marathon.  Several thousand people participated in the race, even a man donning his birthday suit (police initially accosted the individual, who was permitted to complete the race as is, with the agreement that he would immediately dress once finished; the naked man complied, and the race went on).

After the marathon, a pace car along with several other vehicles could be seen continuously circling the track.  At one point, four tour buses were spotted gunning around one of the turns.  The band was doing its own victory lap, and getting ready to take the stage much earlier than on a typical day of show – Super Ball’s day set was slated for mid afternoon, at 3 p.m.  The scents of lemon pepper-marinated chicken and creole sausage suddenly emerged from around the corner.  An early afternoon meal was underway in order to provide the group with protein for the long day ahead – a most necessary act.

Another day of bright and sunny skies blessed this festival crowd, and despite a steady breeze, the air was hot and dry. Undoubtedly the warmest day of the weekend, hundreds of personal umbrellas were erected in order to spell some relief from the heat.  The band took the stage and opened with a ripping Tube, as hundreds of beach balls floated and bobbed above the front of the crowd to the highly danceable, familiar jam.  It was a sight to be had – a defining imprint into one’s memory of summer gatherings such as these.  Bluegrass made a welcoming appearance in the short and sweet Poor Heart, and Gordon’s Suskind Hotel made its Phish debut, a song that has potential for some serious bass and drums interplay.

Photo by Dave Vann © Phish 2011

After the ballad When The Circus Comes To Town, Phish debuted a new cover – Monkey Man (The Rolling Stones, Let It Bleed), a dark and raging saloon-rock tune that should certainly stay in the repertoire’s current rotation.  Following a fun-filled day set we headed back to our campsite to relax before the evening show, scheduled to begin only several hours later.  Rumblings of a secret set had surrounded the weeks leading up to the festival, and via the confirmation of some friends working for Super Ball’s security team, it was now official: Phish would be playing an unannounced, late night performance in the main concert field following the scheduled two sets that night, an exact location to be determined.

Saturday’s second set began with Runaway Jim, as Anastasio announced the marathon’s winners and issued awards on stage to the athletically elite.  Next up was a song from Gamehendge (the guitarist’s fictional setting that can be traced to his senior thesis while attending Goddard College in 1987) – McGrupp And The Watchful Hosemasters. Featuring a decorative McConnell piano solo, this version was most welcomed early in the set, most especially in the outdoor, mid-summer setting.

Other performances from this set two, of note, were the Birds of a Feather and Stash. The former displayed some of Trey’s fastest (and cohesive) playing to that point of the festival, and the latter possessed a steady journey of a jam that didn’t “over do it,” so to speak, directing its nose towards the song’s conclusion after several minutes of progressive, exploratory territory.  Soon after we were treated with another rarity, Scents and Subtle Sounds, the first since December of 2009.  The song featured a melodic jam that was played with a purpose, and was followed by the familiar set closer, Run Like An Antelope. From a set of six cover songs, to this hour of nothing but Phish originals, the host band from Vermont was making Watkins Glen their own.

Photo by Dave Vann © Phish 2011

Following a round of India pale ales and a quick walk around the nearby grounds, we re-situated ourselves in front of the soundboard and awaited Saturday’s third set (now of four).  The band opened with a newer cover, TV On The Radio’s Golden Age. The festival crowd, primed to party, was treated to its delight with this highly danceable tune, one that Phish has done an excellent job of performing in both this and its previous (debut) version, from Darien Lakes Amphitheater in early June.  Super Ball IX Jam # 2 was attached to the opening set’s song – a funk section was proceeded by an interesting break-down of rhythm, leading the foursome through a chromatic-heavy, organic jam that remains relevant upon several re-listens.

Soon after came Piper, a bit of an extended take that shied away from the short and sweet 3.0 versions of the song, featuring a free-form, jazzy part leading into Tweezer. This favorite showcased some patient takes on the instrumental composition, before breaking into a psychedelic funk section that would leave any fan live rock ‘n’ roll craving more.  Coupled with Kuroda’s especially creative lighting design, this jam was a highlight of the festival’s second night.

Despite a solid Twist, the back half of this set seemed to lose its creative steam – the transition into Also sprach Zarathustra seemed rushed, while Fishman then proceeded to  play the tune at an awkwardly quick pace, throwing the rest of the band off-kilt and resulting in one of the year’s poorer renditions of this classic Phish cover.  Harry Hood followed, and was expected at some point in the weekend, though on this night, the band did not delve into the song’s mystique like they did earlier this summer at Bethel Woods, New York.  The set concluded with The Beatles’ A Day In The Life, an interesting set two closer.

The band encored with Loving Cup, yet another Stones’ song, and rang in the night typically with Tweezer (reprise). Though not for long – the secret set was only an hour away, and a strange, intrigued anticipation hummed through the crowds of people, heading every which way to prepare for the night’s most coveted occurrence: Phish’s late night show, but in what form?

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Photo by Dave Vann © Phish 2011

Thousands of excited (and somewhat confused) festival attendees packed inside the dimly lit “Ball Square,” the center area nestled between the storage shed, ferris wheel and silver ball.  Strange sounds sporadically erupted from the recently erected stacks of speakers, as heads continued to turn in circles, searching for any sign of the band or its performance space.  We settled near the front of the masses, about ten rows back from the front of the storage shed – the most logical place for the group to play.  Hearsay was that a platform would suspend them in the air, out of the roof of the structure.  Trusting nothing but our own vision, we stood in silence, searching for clues of initiation.

In a flash, several festival patrol horsemen rode off into the darkness behind the nearby  buildings, signaling the group’s arrival to the scene.  Simultaneously, several hundred overly eager fans rushed after them, in a comical, blind pursuit.  Then, four figures finally appeared in the translucent windows of the shed, as the quartet began experimenting with non – respective roles, playing different instruments than the audience is typically accustomed to seeing.  While at first thinking this was merely a warm-up exercise, the realization soon became clear: this was the secret set.

After twenty five or so minutes of this unique and tranquil psychedelic rock, each member eventually found his way to his principle instrument.  The band’s use of electronic drums and other synthesizers was unique for Phish, a group that took a five year break when electronic jam music began to flourish on the country’s live music circuit.  About midway through the hour-long set Fishman started patiently drumming his bass and snare – as percussion finally filled the space the ambience had produced, the band harped on Pink Floyd’s Us and Them with an absolutely gorgeous, image-invoking slice of improvisation.  This evolved, staggered for a bit, then petered out into space once more, before the group found themselves playing a synthesizer-heavy version of Sleeping Monkey, a beast which they so quietly awoke in a mature and enticing manner, marking the end to Saturday night.

The surprise had concluded, and while many fans seemed disappointed in the set’s lack of songs and up-tempo rhythm, this performance was something to be appreciated in a whole different light than in regards to expectations of today’s music festivals.  Playing to a crowd that was perhaps craving a type of live music more conducive to the dance, Phish continued on their unique path of adhering to the unscripted and unprescribed: this live session was a re enactment of the band’s roots (a story which would be revealed the following night).  Writing its own rules, Phish continued to demonstrate its exception from the norm – not for the purpose of acting extraordinary, but for the sake of art itself.

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Photo by Dave Vann © Phish 2011

Super Ball IX’s attended crowd may have expended a hefty load of energy in the festival’s first few days, but it certainly had something up and on its sleeves for the weekend’s final show: it was the eve of the anniversary America’s independence, a holiday event culminating on the festival’s final night.  Red, white and blue outfits appeared in great number throughout the day, and by sun down, all of us were in the most festive of moods.

The band opened Sunday’s first set with Soul Shakedown Party, ushering positive energy into the already glowing sea of people with the song’s melodic nature.  Several songs later, Phish tapped into its vault with the Gamehendge classic, Colonel Forbin’s Ascent, and before transitioning into Fly Famous Mockingbird, Anastasio took the opportunity to explain the previous night’s events: in 1988, on the group’s first tour, the four young musicians pushed their lone vehicle, a Plymouth Voyager, into the open bay of a storage shed, not far from the town of Watkins Glen, New York.  Unexpectedly, the bay’s door shut behind them, and the young men were trapped inside, lacking any kind of cellular phone or other communication device, for it was the late 1980s.  With no food or water, and the possibility of isolation until the next day, the young group did what they knew best: play music, in a free, non-conforming form.  “So, when we end this whole thing, we’re all going to vaporize… and end back up where we were in 1988, back inside this storage unit,” Anastasio exclaimed, holding back a light, satirical laugh.  Bringing closure to the previous evening, the jovial front man amusingly declared the incident a mental projection of the rest of their careers, including our collective experience at Super Ball IX.

The set progressed with Destiny Unbound, which carried with it a twisted funk section that seemed to revamp the audience.  Another not so frequent guest, Mound, then joined the party, and a gem of a version ensued.  Following was A Song I Heard The Ocean Sing. The playing of this post-Hiatus piece was well timed – the sun dove behind Ball Square as Anastasio’s reverberation echoed throughout the grounds, invoking Jimmy Page’s influence with this passionate style of play.

Over an hour and fifteen minutes in Phish continued to alter expectations by playing another half hour of music, covering the whole of two classics: Reba, and David Bowie.  Reba’s jam was thorough and pleasing and, for the first time this year, the band played the song’s original ending.   Thousands roared as whistles passed through the microphones, evolving into more psychedelic space that transitioned into the beginning of David Bowie, a stellar take that maintained a high level of excitement with the weekend’s final hour of music looming on deck. This first set clocked in at an impressive hour and forty nine minutes, the longest of the weekend.

Photo by Dave Vann © Phish 2011

Twilight emerged and Phish took the main stage for the seventh and final time, while a group of giant, inflatable balls could be seen waiting behind a nearby gate.  A dotted half note, followed by three descending eighth notes and then another dotted half note – rewinding to the soundtrack of high school, and playing to the tune of their own event, the band opened their final set with ACDC’s Big Balls, as the giant spheres were unleashed into the sea of eager, open palms.

The quartet then morphed into a more familiar section of music – the introduction to Down With Disease, which led the group into a relaxed, hopping jam that showcased the artists’ ability to listen to one another, harmoniously sharing the instrumental spotlight.  This lasted for several moments before slowing into a thicker brand of psychedelia as the band ceased playing, save the keyboard’s electronic notes.  Inserting a heavy (and highly desired) Lizards tease, McConnell then transitioned into the epic opening phrase of Led Zeppelin’s No Quarter, one the most refined and influential masterpieces of hard rock ‘n’ roll.  This was the second time Phish had covered the song, and this rendition saw a bit more experimentation than the first.  Issuing an erie and awesome aura upon the crowd with Plant’s lyrics, “The snow falls hard and don’t you know, the winds of Thor are blowing cold,” the group was paying tribute to one of their greatest influences, in a scene of grand proportion.

Photo by Dave Vann © Phish 2011

The gothic mystique of Zeppelin’s music faded into the cool night, as a drum roll signaled a second set awakening – Party Time. A Fishman original, the band finally relaxed and played this song not merely to blow through it, but to enjoy the well written carnival music they were providing at their own festival.  It worked, and the extended jam was the sign of good things to come for this young song.

Ghost followed, which many had been waiting for all weekend.  After a brief disco theme from Fishman’s kit was replaced by the familiar beat that is the foundation for the song’s jam, the band unfortunately decided to take a quick exit and enter a silent space, before the bluesy riff of Gotta Jibboo emerged out of the quiet.  This placement was perfect and the jam was delicate, as precision of tone seemed to dominate this version’s theme.  A gorgeous Waves highlighted the end of the set, rivaling the tour opener’s version from May 27th.

After returning to a roaring encore, the Phish from Vermont gathered around Anastasio’s microphone and paid tribute to our nation’s birthday by singing “The Star-Spangled Banner.”  The danceable First Tube capped the performance, as beautiful fireworks were set off in the west.  A dissonant cadence faded into silence, and as the rockets continued to light up the evening sky, Simon and Garfunkle’s America began to hum from the speakers above.  Arms linking friends, we gazed upon the beauty of this moment, singing along to the words of our parents’ childhoods as loud as we possibly could.

Photo by Dave Vann © Phish 2011

The festival was over, but we would continue to bask in the independent spirit this amazing weekend had embodied.  Free of any predestined form, Phish and its fans celebrated their own independence on America’s most treasured holiday, and in doing so, put a unique stamp on the musically historic grounds of Watkins Glen International, whose remembered name will never again be uttered without the mention of Phish, at Super Ball IX.

Synth pop super group known as Cut Copy, have just released their third album entitled Zonoscope, via Modular Recordings, which features 11 original tracks that already include two hit singles, “Take Me Over” & “Need You Now”.  Even with its recent release, the album has already seen the likes of several quality remixes, mostly notably one done by Mylo of their first single, “Take Me Over.

The album features heavy elements of 80’s nu wave throughout the entire disc, but highlights like “Pharaohs & Pryamids” & “Corner of the Sky” explore a variety of dance styles while not straying too far from their catchy hooks.  More laid back cuts like “Where I’m Going” & “Alisa” remind me of cruising through the city on a warm summer night with no place to go.  One of my favorite tunes “Blink and You’ll Miss A Revolution”, is an upbeat 1980’s vocal anthem that easily could be a single & should be hitting dance floors across the states within a few weeks.  The last track of the album “Sun God” ,displays Cut Copy’s ability to extend past their catchy melodies into; long, extensive, spacey, 15 minute jam sequences.

2011 has already been a very busy year for Cut Copy, with several mainstream TV performances, one a few nights ago on “Late Night with Jimmy Fallon” , where an ape played drums with the band.  They also have joined fellow synth rockers, Holy Ghost, for a Nationwide tour which will make a stop in Washington D.C. (via the 9:30 Club) on March 29^th 30th, before heading to Philadelphia, Pa (via the TLA) on Thursday March 31st.  We hope you already have your tickets though, as all three shows have already sold out, except the DJ Set after the show at U Street Music Hall

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However fear not, you’ll have a chance to catch both acts at this years Camp Bisco Festival in Upstate, NY on July 7^th-9^th featuring The Disco Biscuits, Bassnectar, Rusko, Skrillex, & Ghostland Observatory just to name a few.  For a full lineup, tickets, & more head over to www.campbisco.net

Links:

A Place Behind the Moon Review

Black and Yellow Remix Link

No Coast TV Tour Video:

***FREE Download: The Magic Mix Tapes 1-6***

To help promote his North American tour in 2011; Here is a 1980’s inspired video set to the tone of his remix for The Aikiu’s “The Red Kiss.” Check out the American 2011 Winter tour dates below.

****Tour Video****

The Magician: “A Magical Winter Tour in America”

01.13 San Francisco, CA: Popscene @ Rickshaw Stop
01.14 Vancouver, BC: Ginger 62
01.15 Los Angeles, CA: A Club Called Rhonda
01.19 Washington, DC: U Street Music Hall
01.20 Philadelphia, PA: Snacks @ Voyeur
01.21 New York, NY: Fixed @ Public Assembly
01.22 Toronto, ON: Wrongbar
01.23 Boston, MA: Wonder Bar

photo cred – Dan Wilton

Tickets are still available for Rusko ’s show at the Trocadero in Philadlephia, Pa this Friday October 22nd!!! Be sure to get yours before this show sells out! The two opening acts for the show will include Dirty South Joe and Flufftronix

FREE Download: Dirty South Joe & Flufftronix – Luvstep

Purchase Tickets directly HERE

This album is a fusion of jazz, hip hip, funk, drum n’ bass with a hint of dub step.  Dominic Lalli is responsible for the production & live saxophone while Jeremy Salken lays down live drums.  2010 has been a very successful year for Big Gigantic with multiple festival appearances  as well as joining STS9 on their end of summer tour.  Fortune5Fifty had the pleasure of hosting a very special appearance by Dominic Lalli with Two Fresh at Baltimore’s Official STS9 Re:Creation After Party.  Dom has also graced the stage with STS9 on multiple occasions most notably on their ‘Axe The Cables’ acoustic sets.

‘A Place Behind The Moon’ is available for free download but donations are suggested.  Also for $9.99 you can purchase this EP with the Bonus track featuring STS9 through 1320 Records.

DOWNLOAD ‘A Place Behind The Moon’

Free Download: Michal Menert – Dreaming of a Bigger Life