Billy & The Kids have officially arrived! The newest side project from jamband land played a solid gig at the 26th Annual X-Mas Jam in Asheville, NC last Saturday. This “super-group” is lead by Bill “Billy” Kreutzmann of The Grateful Dead, and features members from Brother’s Past, The Disco Biscuits, and more. Now that lineup certainly looks explosive, but how does it sound? Is this new band going to sweep us off our feet, or are they going just going to remind us of what’s gone? We’re leaning toward the former but we’ll let you decide. Check out this video of them performing The Dead’s “Crazy Fingers -> Bertha” below and see how they stack up! Read the rest of this entry
American Babies is hitting the road for a fall tour! You can’t go far in the Northeastern jam-scene without hearing about these guys lately. Babies is yet another Philadelphia super group featuring guitarist Tom Hamilton as the frontman. Since forming in 2007 the band has done impressively well to fill the hole that his other group, Brother’s Past, has left since going on hiatus. When they’re not playing their own compositions, this band takes classic songs like Dylan’s “Tangled Up In Blue” and open new doors with improvised experimental jamming. With Phish playing out West, and The Disco Biscuits going into hibernation until New Years, it’s a great feeling to get excited about a jam band tour again. See where they’re playing below>>>
If Mugatu was a real person, he’d probably say “Tom Hamilton…so hot right now”. The Philly guitarist has been making headlines left and right lately, and it’s no surprise. Hamilton has made a name for himself as one of the most respected musicians in the jamband circuit. It seems like that audience is only getting bigger these days too. Whether playing with Electron, his cult followed group Brother’s Past, or his many other side-projects, he puts 100% passion into his performances. American Babies are here stay it appears, and if they keep going at this rate they’ll be headlining theaters like The Best Buy in no time at all. I think we can even say, guitar-wise, that 2014 is indefinitely The Year Of The T-Ham.
Relix Magazine, the periodical representative of the jamband community, just published a very intriguing article on the oral history of “livetronica” today. The article features a chronological series of oral passages from musicians including Jamie Shields (The New Deal), Dominic Lalli (Big Gigantic), and Marc Brownstein (Conspirator/ The Disco Biscuits). These artists and more give their own first-hand input on the roots, and exponential growth of this dynamic, multi-branched genre, and for that reason it’s a particularly interesting read. You can read the full article here, or below!
“After the death of Jerry Garcia and the rise of Phish and Widespread Panic, the next generation of jambands emerged. Though firmly rooted in the Grateful Dead’s commitment to improvisation, many of these groups looked past American roots music to such sources as jazz, funk and even hard rock. While musically worlds apart from the early electronic movement that was simultaneously blossoming, the two scenes had a number of similarities. Both audiences liked to dabble in drugs like acid and ecstasy and dance for hours on end.
A few enterprising young jambands saw the crossover appeal and began to incorporate electronic sounds and beats into their live, improvisational-based jam-rock. Enter the Disco Biscuits from Philadelphia, Sound Tribe Sector 9 (STS9) from Atlanta, Lake Trout from Baltimore and The New Deal from Toronto. And a scene and a genre were born.” -excerpt from “An Oral History of Livetronica”
Last weekend will go down as one of the best of 2013, that we can guarantee you. If you weren’t in Philadelphia we assume it’s because a relative died or your girlfriend dumped you and in that case we are sorry for your loss. The 2nd Annual City Bisco took place at the gorgeous Mann Center again, featuring some tremendous performances from The Disco Biscuits and other huge acts. Deathwaltz Media showed the people they listen with this year’s official after parties at the Blockley. Last Friday and Saturday saw the first ever performances from Ichisan in the US, something that community of fans just couldn’t have seen coming. Philadelphia residents Brother’s Past performed their instrumental project BpM, along with performances from Plastic Plates, The Swiss, and Kung Fu, all weaved around multiple sets from the guest of honor. What better than a transition from the intensity of City Bisco to the comforting abyss of Ichisan? If there is such a level of satisfaction, it’s likely found in the solace that everyone else present that night was able to experience it.
When a fan is seeing a musician for the first time, there is a lot at stake. There is faith involved. With those unfamiliar the performance then falls into the category of first impressions, but they all might as well be. Everything is crucial. When you’re the type of listener that avidly views the beat through the frame of a spirited live environment, you’re constantly taking a risk in that pursuit. The risk that the musicians you’ve come wrap every spare moment of your day around can’t even perform their music well. For the followers, well…you may have heard the sermon, but you’ve yet to witness the miracle.
Igor Skafar, aka Ichisan respects that faith. He too had something at stake those two nights. This was a new world, a new audience. For all he knew two of his most dedicated fans lived in the USA and counted 400,000 license plates, 5 states, and 3 different gas pump numbers just to be standing in the Blockley that night. He had a responsibility. Friday night transcended above the shallow dimension of your run of the mill DJ set for a collection of reasons. He wasn’t there so much to put on a show, it was more like he was there to love the music with you. No lights, no effects, no costume, just a simple set of turntables, bare and raw and purely a celebration of music. Both parties were exchanging a huge part of each other in a moment of vulnerability. He and the crowd had no idea what to expect.
After The Disco Biscuits played their last set, and the chaos of exiting an amphitheater parking lot in the middle of Philadelphia was nearing an end, the epic theme of the night’s plot continued to unfold. Nestled in the corner of a weathered subdivision in the city sat The Blockely. Upon entering, Ichisan was just commencing his hour long set. I went in with no expectations being his first US show and my first time seeing him live, but I was instantly welcomed to the warm sounds of sonic bliss that he has come to trademark. Akin to his songs, mixes, and his branded flow, the performance resembled a living organism rather than a series of dance tunes. Each note thrives off the last. They breathe. He starts out with one rhythm and goes from there. A rolling synthesizer segment would begin to ascend, augmenting slightly with each step, then dropping back down low with a filter, then coming back up again with more emphasis and perhaps a new layer. The bass follows, snares roll, the cycle repeats until the sounds have fully evolved and you’re thrown into the eye of the storm. The notes continue to build on top of each other, new layers creeping through, and before you know it you’re already 30 minutes into it.
Ichisan’s compositions build patiently on themes and progressions, something that most electronic music doesn’t focus on, not for an entire mix at least. People tend to pool his style in with disco and house, a comparison that barely scratches the surface. Those labels merely serve as a silhouette. There are characteristics of those genres certainly, but the final product is far more intangible. Instead of fast paced, physically demanding dance beats, you’re being told a story. Ichisan is reading the book out loud, and the listener writes the words with each move made, and each place their mind goes when they hear it. This music plays on the emotion of the listener, whether or not you were feeling the way the artist was, the song put you on that plane. It’s powerful stuff. There were times in the set that seemed like a full throttle dance party. Others seemed like a portal to the deepest parts of your consciousness, coincidentally accompanied by a dance beat. It’s all part of a bigger picture, and that is what makes him so good, because he takes the separation out of the equation. Each track hits a specific part of the “soul”, and never hits the same place twice.
Aside from his seamless jumps from one universe to another, he was mixing live and on the fly. Like a good DJ does he played off the vibe off the crowd, improvising his track selection and mixing in different CD’s as the set moved forward. He did this void of any friction. There wasn’t a single point in the show where I heard a track outside his mix catalog and discography. If you we’re looking for an hour of floor-bangers and chart hits then this might not have been the set for you. He tested the crowd’s musical palette, and with great results. His mixture of “untz” and psychedelic atmospheres was oozing out of the speakers that night and he will surely be missed.
The venue itself didn’t pretend to be anything special. The distractions of art, decor, and glamor were not pressing issues. With nothing to command your attention but the music itself, the quality of his performance ventured further into relevancy. Ichisan delivered more than a satisfactory set. I don’t have any doubt that Saturday night’s performance was anything less. We got to speak after the set and Igor is truly a man of his fans. He was sincerely just as pleased to see his fans as they were to see him, and hopefully that connection will bring him back to US soon. Tits & Acid Reviews would really like to tip our hat to Deathwaltz Media Group as well for booking him in the first place. Til next time folks…
This past summer showcased a particularly memorable onslaught of Jam Band assaults on the country, and now it is spilling into the fall. The so called “STUM” tour with Umphrey’s McGee and STS9 (which just ended this weekend) made multiple headlines in places like Jambase and Deathwaltz Media Group. Phish is just culminating a phenomenal summer tour, breaking open the heads of their fans with Herculean jams like the much obsessed 37 minute “Tweezer” in Lake Tahoe, or the recent 23 minute “Chalk Dust Torture” opener in Colorado. The Disco Biscuits’ performances at the annual Camp Bisco this year were undeniably their best of 2013 thus far. We can’t leave out the fact that alongside the festival hosts, the stage was shared with Umphrey’s McGee, Lotus, and STS9. The last time all four of those bands were together was Rothbury 2009! Those are just a few highlights, needless to say it was a huge summer for these guys.
After you clean the mud out of your car from the festivals, or the fast food remains from being on the road, we’ll help you gear up for the season change. We certainly hope your summer was a spacey ride, but the impending chills are coming with some thrills. If your sense of reality and your wallet can take it, the upcoming months are overflowing with dates in the Northeast. The festival season still has the green light; check out the Catskill Chill Music Festival this weekend featuring Lotus, RAQ, Kung Fu, Brother’s Past, and others. On October 18th Phish will kick off their Fall Tour with a three night run in Hampton,VA. Just weeks away the 2nd Annual City Bisco will take place at the gorgeous Mann Center in Philadelphia! The event will feature four sets from The Disco Biscuits as well as performances by Shpongle, Emancipator, Gigamesh, Method Man & Redman, Treasure Fingers, and a whole lot more. The fanbase for Zoogma has sprouted a huge growth over the last year, and they have quite a few dates coming up in New England. That’s just to butter you up, check out all the links below for what’s in store for some of the most elite improv bands this fall season!