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Review Summary: Very few bands can jam for over two hours and make it entertaining, and god damn, Bisco is one of them. There are only few artists who even have the capability to jam for 150+ minutes. There are fewer who can do it with an inkling of talent. There are even fewer still who can make it as completely and totally sublime as The Disco Biscuits' The Wind At Four To Fly.
As of this recording, The Disco Biscuits consisted of:
Jon Gutwillig – Guitar, Vocals
Marc Brownstein – Bass, Vocals
Aron Magner – Keyboards, Vocals
Sam Altman – Drum
This album is a live compilation that consists of songs played in December of 2004, and is the second album with the original Bisco lineup. For all intents and purposes this is their magnum opus, cementing them as one of the forerunners in the modern day jam scene. All two hours and thirty minutes of music here is fresh and inventive, and throughout the album the listener is treated to everything Bisco does well; there are dozens of poppy and bouncy guitar riffs to drive the sound, ridiculously groovy bass lines that underlie the entire sound, the drummer never misses a beat and provides an extremely solid backbone, the keyboards and synthesizers provide the signature sound that landed Bisco with the "Trancejam" moniker, and of course some spacey, airy, lighthearted vocals to narrate the sonic journey the listener embarks on upon pressing play. And its a hell of journey, to be sure.
The sound of the band is hard to define as it is so dynamic throughout the duration of this album, but then again it sounds exactly like you'd expect a band with a name like "Disco Biscuits" to sound like. It usually sticks to an extremely mellow, mid-paced rock/jam band sound that happens to be laced with a lot of electronics, and possibly some MDMA. All in all, being in a calm mood is essential to fully appreciating the album. There is plenty of classy noodling and wankery here, but its all in the name of fun, not the incessant and annoying wankery that jam and prog is usually plagued with. Yes, i'm looking at you, Grateful Dead.
The performance is divided into two discs, the former focusing on shorter, heavier hitting pieces and the latter showcasing the band's inherent talent to just forget the world and jam. Cuts from Disc 1 like "World Is Spinning" feature little noodling and wankery, taking a more straightforward approach with the whole band cutting loose. Infectious basslines, trippy electronics, and numerous fills from both the guitars and drums make for an extremely pleasurable listening experience, throw in some catchy as all hell lyrics and the package is complete, but that's only track one, and it clocks in at a minuscule four minutes
"Voices Insane" and "Caterpillar" are two of the longer cuts on Disc 1, clocking it at over ten minutes apiece. "Voices Insane" toys with vocal effects, vocal layering, and building walls of ambiance in between the faster paced movements, giving a taste of what is to come on Disc 2. "Caterpillar" is a largely synthesizer driven track that meanders about without vocals for the majority of the track. The crowning jewel of Disc 1 would have to be the catchier-than-AIDS "Morph Dusseldorf." The track is a fitting way to bridge the gap between discs and shows off the ability of the members individually with solos, fills, and synth-breaks galore.
Disc 2 is really where the fun lies on The Wind At Four To Fly. "Story Of The World" is as sugary sweet as Bisco gets, with lofty and floaty synth lines underlying more plodding guitar that slowly builds to a climax of all-out psychedelic jamming featuring the whole band. The same relative things can be said for every track on this album (loosely), but the half hour long epic "Basis For A Day" capitalizes on the entire band's abilities to craft an amazing piece of musical art. A simple drumbeat gives way to a silky smooth synthesizer that weaves in and out of the sound while bass and guitar are subtly added to the mix. The guitar takes the forefront with subdued and elegant tremolo picking that builds the wall of sound gradually, giving way to a bass solo that grooves, pops, jumps, and eventually leads into some more tasteful soloing from the guitarist. They continue trading off the spotlight while the synths get thicker and fuller. Eventually the whole thing climaxes and explodes into a cloud of happiness and kittens that yet again shows that each member of the band is more than proficient at the respective instruments.
Overall, this is an album everyone needs to hear at least a few times to fully appreciate it. Its extremely long, multilayered, and that may turn off some people, but at the very least check out some of the shorter tunes to get a taste of the biscuits.
Reccommended Tracks:
Short- World Is Spinning, Pat And Dex, Wet
Loooong- Basis For A Day, Morph Dusseldorph, Voices Insane
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dub sean (4)
The Disco Biscuits are one of the few bands who can play for over two and half hours and the audienc...
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Dunno about this one. Such an epic album though.
Help to improve this review would be greatly appreciated.
And yes, rolling makes this about a million times better.
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Lol at the ghost neg. Damn does no one really give a shit about Bisco?? :/
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Ghost neg? Um okay deary... let's see here:
There are only few artists who even have the capability to jam for 150+ minutes. There are fewer who can do it with an inkling of talent. There are even fewer still who can make it as completely and totally sublime as The Disco Biscuits' The Wind At Four To Fly.
Irrelevant. Choppy. You get the deal, don't you?
As of this recording, The Disco Biscuits consisted of:
Jon Gutwillig – Guitar, Vocals
Marc Brownstein – Bass, Vocals
Aron Magner – Keyboards, Vocals
Sam Altman – Drum
No one cares, if someone's getting named in the review introduce them then. This interrupts the flow beyond compare.
This album is a live compilation that consists of songs played in December of 2004, and is the second album with the original Bisco lineup.
Laughing at the poor attempt at a portmanteau.
All two hours and thirty minutes of music here is fresh and inventive, and throughout the album the listener is treated to everything Bisco does well; there are dozens of poppy and bouncy guitar riffs to drive the sound, ridiculously groovy bass lines that underlie the entire sound, the drummer never misses a beat and provides an extremely solid backbone, the keyboards and synthesizers provide the signature sound that landed Bisco with the "Trancejam" moniker, and of course some spacey, airy, lighthearted vocals to narrate the sonic journey the listener embarks on upon pressing play.
Yeah so I like how so far this sentence is longer than the two and a half irrelevant paragraphs that come before it. Good job, it's not awkward at all. And that semicolon shouldn't be a period because this sentence isn't a disjointed and faux-epic pile of shit at all.
And its a hell of journey, to be sure.
It's* deary fundamental grammar is cool you know because otherwise every sentence and i mean every sentence even if you write it or say it no matter what would sound like this.
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The sound of the band is hard to define as it is so dynamic throughout the duration of this album, but then again it sounds exactly like you'd expect a band with a name like "Disco Biscuits" to sound like.
Haven't heard this; I expect it to sound like Lindstrom and Christabelle or something, am I right in my normal perception?
It usually sticks to an extremely mellow, mid-paced rock/jam band sound that happens to be laced with a lot of electronics, and possibly some MDMA.
Nope.
classy noodling
Liek Betwn da Bayreed n Meh, rite? Makes no sense; at least explain. I bet you will, right?
There is plenty of classy noodling and wankery here, but its all in the name of fun, not the incessant and annoying wankery that jam and prog is usually plagued with. Yes, i'm looking at you, Grateful Dead.
No, you contrasted it with a more apt adjective without explanation; you also said "its" again, when it's so obviously "it's"
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Oh and you said "i'm" which is unforgivable.
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The performance is divided into two discs, the former focusing on shorter, heavier hitting pieces and the latter showcasing the band's inherent talent to just forget the world and jam.
When you're reviewing a "jam" album you should make everything cohesive because otherwise people won't think you know what incoherence is, especially in a genre so delicate as our focal point, ya dig?
Connect this sentence with the paragraph before it.
Also, say "first" as there was no mention of "disc one"
Infectious basslines, trippy electronics, and numerous fills from both the guitars and drums make for an extremely pleasurable listening experience, throw in some catchy as all hell lyrics and the package is complete, but that's only track one, and it clocks in at a minuscule four minutes
before "throw" replace the comma with a semicolon, and put a period at the end of the sentence.
Voices Insane" toys with vocal effects, vocal layering, and building walls of ambiance in between the faster paced movements, giving a taste of what is to come on Disc 2.
Holy awkward and monotonous Batman! And it's ambience
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with lofty and floaty
omit one.
Overall, this is an album everyone needs to hear at least a few times to fully appreciate it. Its extremely long, multilayered, and that may turn off some people, but at the very least check out some of the shorter tunes to get a taste of the biscuits.
The Disco Biscuits. It's not a long name.
Reccommended Tracks:
Short- World Is Spinning, Pat And Dex, Wet
Loooong- Basis For A Day, Morph Dusseldorph, Voices Insane
Unneeded, but if you must use this, put songs in quotes (in the whole review),
and
it
is
"recommended"
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Holy shit this is your 35th review.
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Holy shit, that was your 35th comment on this review
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hahah wow. so because i said some shit you didnt agree with. fair enough, a neg isnt gonna hurt my feelings.
| | | Album Rating: 3.0 | Sound Off
Pretty sure that just "Bitch" is a more accurate name for this guy... album rules.
| | | Album Rating: 3.0 | Sound Off
also, nearly every single point you picked is pretty lulzy, furthering your status as Bitch.
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Its also just random opinions of mine doesnt agree with. So yeah... you should go to the mods and get your name changed.
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His review jumps from point to point and is seemingly rushed. No way in hell I'm going to pos' this; Comatorium. stop trying to say I disagreed with you as I haven't heard the album.
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All two hours and thirty minutes of music here is fresh and inventive, and throughout the album the listener is treated to everything Bisco does well; there are dozens of poppy and bouncy guitar riffs to drive the sound, ridiculously groovy bass lines that underlie the entire sound, the drummer never misses a beat and provides an extremely solid backbone, the keyboards and synthesizers provide the signature sound that landed Bisco with the "Trancejam" moniker, and of course some spacey, airy, lighthearted vocals to narrate the sonic journey the listener embarks on upon pressing play.
yeah i don't think anyone agrees that that's a good sentence.
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pretty sure that you just nitpitcked at things ya dont like. i.e. being a whiny little bitch
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Some of his critiques weren't needed while some were correct
pretty sure that you just nitpitcked at things ya dont like. i.e. being a whiny little bitch
Explain the other neg then
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i love disco biscuits
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Dev- dont care really, that used to bother me, but i do know that bitchfork here is being a, well, a bitch. after i pos'd his AA! review too. hmph.
And yeah... theyre good.
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You also had reason to ie. you said it was good. I spilled out reasons why I didn't like the review, so I negged. You said you didn't like the crab stuff, but the rest was fine. I said none of this was fine. Big difference. Don't pull that shit.
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