NYS Music 20​17

Category: Reviews

  • Hearing Aide: Jorian Holka ‘EP1’

    At times it seems like the world of popular music is caught in a cycle of poppy repetitive chord patterns and excessive autotuned tracks. Diversity among genres is something that is beginning to thin more and more as specific niches become more established. With his new release, EP1, Buffalo-local Jorian Holka aims to break away from the mold, and weave the world back to the days when hard rock and alternative-influenced music reigned supreme with a diverse new collection of songs.

    Jorian Holka EP1The EP begins with a statement, both musically and lyrically, with the hard-rock anthem “Rock’s Not Dead.” The up-tempo rocker starts off relatively quietly with an energizing guitar riff before quickly exploding into a full rampage, which sounds like a combination of Black Sabbath and the Foo Fighters. The sentiment of “Rock’s Not Dead” is very apparent, as the feeling that our society is losing sight of what true high energy rock music is defined as slaps the listener in the face. As the album continues, it is very clear that Holka yearns to bring back the days of lightning-fast guitar licks, heavy bass lines, and catastrophic drum solos. Elements of alternative, pop, screamo and hard-rock can be found throughout the album, as Holka does a virtuous job at keeping his influences close while establishing a sound of his own.

    Influences of Green Day, Billy Talent, Royal Blood, Nickelback, and Avenged Sevenfold, among others, can be heard echoed throughout this debut EP. While most of the EP can be defined as raw, edgy hard rock, there are often glimpses of a more lighthearted musician throughout, as seen in the intro of “Ordinary.” Holka spills his soul into the EP as the sole writer, instrumentalist, and producer, and it clearly pays off. The EP may come as a relief to many with the way popular music has drifted in the past twenty years. For as long as there are still musicians who demand loud, screaming guitar solos and the desire to play until their eyes are burning with sweat, Holka is correct in saying “Rock’s Not Dead.”

    Key Tracks: Rocks’ Not Dead, Terrible Paradise, Party Lines

    https://www.youtube.com/watch?v=WYdE_YE_qic

  • Listen to the new Teddy Midnight Lineup

    On Saturday November 4, Teddy Midnight returned to the Knitting Factory in Brooklyn with a new lineup for their first hometown gig in months. The genre bending duo In Flux and party-starting DJ Tucci kicked off the night. Teddy Midnight, now consisting of bassist Sean Silva, drummer Adam Magnan, and new member Danny Caridi formerly of Chromatropic on keys, debuted brand new material including originals and covers. 

    teddy midnight lineupThe trio kicked off the set with a cover of The Chemical Brothers “Go,” setting the tone for the night. Next up was the new original “Menudo Phalanges” that is a high energy disco romp in the vein of LCD Soundsystem’s relentless grooves. After a cover of EDM classic “We Are Your Friends” by Justice and Simian, the trio invited former Chromatropic guitarist Andrew Carton to the stage. Carton ripped through the first old Teddy song of the set, “Velvet Mist,” and continued through another new tune, the funky deep house influenced “French Press” and then a jam filled cover of the New Deal‘s “Back to the Middle.” The trio then threw down a cover of Deadmau5’s “Some Chords” that lead into the third new song of the night “Moon Funk” and a raucous cover of Prodigy’s big beat hit “Smack My B****Up,” an ode to cranking up the volume on a DJ mixer, a fitting end to a high energy set.

    The band’s exciting new direction is sure to turn heads and get crowds dancing from start to finish. Upcoming shows include The Hollow Bar and Kitchen in Albany Dec. 8 and Pacific Standard Tavern in New Haven on Dec. 9, both with Consider the Source, followed by a return to New York City on Dec. 28 to play a Phish Pre Party at American Beauty. Listen to the set below!

    Setlist: Go, Menudo Phalanges, We Are Your Friends, Velvet Mist >French Press, J > Back to the Middle, Some Chords, Moon Funk, Smack My B**** Up

  • Hearing Aide: Collin Jones ‘Specimen’

    If you’ve ever experienced live music in Western/Central New York, the chances are you’ve heard Collin Jones. Whether he is out playing with Haewa, Ocular Panther, Stereo Nest, or collaborating with other local artists, the man exhales music. His new EP Specimen is a beautiful assortment of innovative folk-inspired melodies, and a raw reflection of the true essence of human existence.

    Collin Jones SpecimenThe first notes of Specimen transport the listener to a different dimension. The intricately woven acoustic rhythms and spacey loops featured throughout create an aura that is somewhere in between the past and future, but certainly not in the now. If you close your eyes and dig deeper into the EP you may suddenly get the feeling that you are alone, lost on a farm in Medieval times. However, you cannot be sure you have gone too far into the past as spaceships and the glowing effects of technological advancements cautiously linger above. The combination of folk-influenced songwriting with psychedelic loops throughout create a futuristic Americana sound that can delicately be defined as an Emersonian audio experience.

    It would not be fair to single out any particular track when discussing this EP, as each individual song molds together to create a magnificent sum. Had Jones decided to record the songs as a string of instrumental tracks it would be worth your listen, but thankfully he chose to layer it with soothing vocals and thought-provoking samples. The theme of the album can be heard scattered throughout, and demands that you truly examine the human condition. He asks substantial questions like why are we here, and what’s it all for? However, he dares not provide answers, but rather guides the listener to an optimistic acceptance of the world we live in. As you reach the end of the final track, ‘Chapel Perilous,’ you are a caught in an anxious daydream of wanting more with the feeling of being lost in a snowstorm and glad to have nothing left to do but keep wandering. It would not be inappropriate to queue up “Throw Hands” again, and spend a little more time in the angelic world of Collin Jones.

    Key Tracks: Throw Hands, Specimen, Cube

  • Jeremy Wallace Trio Debuts New Songs at Intimate Kirkland Art Center

    The Jeremy Wallace Trio (Wallace – guitar and vocals, Matt Gruenberg – bass and Tom Costagliola – drums) calls New Jersey home but their songs tell stories that can be applied anyplace. Wallace has a voice that, at times, resembles a young Bruce Springsteen and at others, Tom Waits at his surliest. His music is American roots music, blending gritty blues, country, and folk. On this night, Wallace also broke out an acoustic guitar to test out some new songs on the audience.

    An unassuming man sporting a fedora and a National Resonator guitar took to the Kirkland Art Center stage sipping on a local brew, armed with self-deprecating humor and a notebook full of stories to tell an intimate crowd on Saturday, October 28.

    The two-set show, presented by the Mohawk Valley Blues Society, included songs from the trio’s three albums and a couple of new songs Wallace has been working on. Several covers dotted the show as well, including “St. James Infirmary” and Willie Dixon’s “Back Door Man.”

    Wallace was tutored by the “Mayor of MacDougal Street,” Dave Van Ronk, as a young musician and the influence the folk legend had on him is strong. Van Ronk was influenced by Leadbelly, Scott Joplin, Jellyroll Morton and Duke Ellington and rolled all of these influences into a unique folk style that Wallace has carried with him into the 21st century.

    The intimate setting of the Kirkland Art Center, a converted church in the heart of Downtown Clinton, is ideal for a performer such as Wallace. The 100 or so people in attendance hung on every word spoken between songs and the sound, aside from a little buzz from Wallace’s amp that interrupted “St. James Infirmary,” was clear throughout the room. Wallace engaged in some back-and-forth between audience members, who treated him like a close family friend.

    The Jeremy Wallace Trio opened with a subdued “Sporting Life Blues,” a song widely credited as a Brownie McGhee original. Van Ronk learned this one as a young man and taught it to Wallace.  The song immediately drew the crowd in as Wallace and crew set the tone.

    The original song “Missing You This Morning” evoked a country charm, leading into the bluesy “Lickin’ My Lips,” an audience favorite and one that was referenced more than a few times throughout the night.

    One of the highlights of the night was Wallace’s original, “Johnny.” It tells the story of lost love in a way only Wallace can tell it. The story within his lyrics can evoke tears in the most stoic of listeners. The song recounts the tale of a woman leaving her lover for her first love, writing him a “Dear John” letter as he sleeps. The picture Wallace paints with this stanza is heart-wrenching:

    She writes a letter to her lover
    still asleep beneath the covers
    and a leaf outside a window
    in the wind just kind of hovered
    for a moment, then it started blowing,
    and like that leaf, she was set on going.

    And while Wallace can paint a sad picture, the man isn’t above self-deprecating humor either. Following “Johnny” and rousing applause from the audience, Wallace introduced his song “House Painting in America.” He mentioned the house painting business he has at home. He’s just doing the music thing until that takes off, he said. He lamented that he would love to be able to be one of those people who works from home, but the brushes aren’t long enough. A rim shot from drummer Costagliola punctuated the story.

    Wallace’s setlist vacillated between blues stomps and heartfelt country-style ballads over the course of the two sets. It was obvious that the trio has a fan base in Central New York and one that was eager to hear new material.

    Wallace began the second set seated with an acoustic guitar. He introduced the first of several new songs, “Full Irish Breakfast,” that spoke more of the woman in the song than an actual meal. Following a quick open of four acoustic songs, Wallace broke out the fan favorites that included “Death Letter Blues,” “Gotta Get Back” and “”Stephanie’s Kitchen.”

    Another heartbreaker followed in “Cold October.” He closed the set with a “song he wrote for a girl named Monique” called “Virginia.” This song, from his most recent album, Suicide Suitcase, is perhaps Wallace’s best-known song and one that his fans had been calling for throughout the night. Fans sang along and gave a standing ovation as the song finished.

    After being “coaxed” back onstage for an encore, the trio busted out the swampy blues rocker “Goin’ Down” from the album She Used to Call Me Honey.  This song brought several in the audience to their feet to boogie down to the beat laid down by Constagliola and Gruenberg.

    Following the show, the Jeremy Wallace Trio freely interacted with audience members to catch up on one another’s lives since the last time the trio performed in the area. Humble and gracious in the congratulations being passed around, this trio is one that takes it’s relationships with its fans seriously.

    The Kirkland Art Center regularly hosts acoustic musicians. Local product Darryl Rahn will perform next on Nov. 25 followed by the popular newgrass band Floodwood on Dec. 8 and 9. General admission tickets for all three shows are available through Eventbrite.

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  • “Playing Songs for Strangers in Towns That Aren’t Ours”: Anna Tivel & Jeffrey Martin at Good Luck

    On a Monday night, nestled in Rochester’s Neighborhood of the Arts, art was being created live within the walls of the restaurant Good Luck. For their last show in 2017, Honest Folk brought an artist back for the first time in it’s two year history. Portlanders Anna Tivel and Jeffrey Martin had performed in the same space earlier this year, and it was so well-received they invited them again. Or as Martin supposed, they screwed up so badly they were given another shot. The couple, who are not normally a duo, both returned with brand new albums, and new songs, to play.

    They opened with “Saturday Night” off of Tivel’s new release Small Believer. They drew a Saturday crowd out on a Monday, the Monday after Daylight Saving no less, so it was an appropriate song to start the show. To call what they played ‘songs,’ however, wouldn’t be doing them full justice. They were stories and revelations told in poetic verse, that just so happened to be sung in beautiful voices and accompanied by sparse but rhythmic guitars. The audience hung on every word, absorbing the insights, receiving the sparks of inspiration.

    The pair found their stories through people. All sorts of people; some who they were close to, some they randomly crossed paths with, some they’d only read about, and some who were famous. Gillian Welch once said, folk music is music made for folks to listen to. Martin and Tivel might add, folk music is music made about folks.

    Anna Tivel They sang about the man who sat on a bench in Portland, rain or shine, to watch as a Marriot was built on the riverside. There was a song inspired by the soul of her just passed 99 year old grandmother. Another about young people finding true love, or maybe not, in small town America. The hard-working border agent she heard about on the news, the drunk woman who told her her life story from a bar stool and the stories she read on the Occupy website. There were songs about fathers, sons, uncles, mothers and daughters, and one about womanhood which included a shoutout to local and national hero Susan B. Anthony. There was the one about William S. Burroughs, how he stupidly and accidentally shot his wife dead. “Just Like You” included verses about Hitler and Jesus and includes what may be the most hilarious opening line of any folk song: “Joseph Stalin came from someone’s vagina.” Most songs were deep and dark, but Tivel answered later in the show with her own humorous tune, about a smattering of whacky characters she met while dating on Craigslist, in which the conclusion was, “We’re all crazy all the time.”

    As Tivel sang, her eyes closed and her shoeless feet twitched and flexed. Martin also sang eyes shut, his accentuated facial contortions partially hidden beneath his burly beard. They were completely absorbed in the words they sang, giving each character the attention they deserved.

    In two hour-long sets, the couple shared each other’s songs and also took the stage solo off and on. They did manage to squeeze in a pair of other people’s songs, covering Bob Dylan’s “Buckets of Rain” which Martin called the greatest love song ever written, and John Prine’s “In Spite of Ourselves.” Some folk royalty there. Though the highlights were easily their own, like Martin’s “Coal Fire” with Tivel’s haunting fiddle accompaniment, and Tivel’s “Dark Chandelier” which was a bit of a heart stopper.

    Some of the best stories were told in between the songs, and one of the best lines was too. Putting a positive spin on the tough times the world is living through now, Martin remarked, “When times are good, bands like Nickelback pop up.”

    Honest Folk is taking a break until after the new year, but keep your eyes peeled for their next show announcement soon after. Doubtful it will be Nickelback.

  • Leaning into the Darkness: Cowboy Junkies Soothed Albany Audience with Soulful Folk Jazz

    The Cowboy Junkies brought their smooth, dark chocolatey sound to a sold out Swyer Theatre at The Egg on November 4, 2017. The stage was set for an intimate evening of bluesy folk music, complete with oriental carpets and roses by the microphone. When the band members took the stage a bit later than expected, any annoyance felt by the audience was quickly soothed away as they opened to “Late Night Radio.”

    cowboy junkiesBy the second song, “Cheap,” the audience was swaying in a sweet, dream like state normally reserved for sharing a bottle of merlot with old friends. With her hands in her pockets, Margo Timmins presented like someone you knew from college who was swaying and crooning to make you relax and smile. Real, human, and still incredibly talented, Margo’s haunting voice shared story after story from newer albums during the first set. “Mountain Streams” and “Missing Children” highlighted the mandolin as she whispered dreams of abandonment, disillusionment, and loneliness. Her style of pulling her mouth away from the microphone while still crooning along with the instruments added an intense harmony of layered instruments to the complex music.

    Song after song of free associating story telling, even over the saddest plot lines, offered calm reassurance about the human condition. “Sun Comes Up” and “My Little Basquiat” regulated the mood; melancholy but sweet, the richness of the sound rebounded the mood of the concert until “Reckoning,” the final song of the first set. Heavier in bass, and highlighting the musicianship of both the percussionist’s ability to coax his instruments with professional timpanist ability and the bassists’ rhythmic thick sound, “Reckoning” brought the first set to a close on the sad message that lovers often ask for more than they can give.

    Timmins was drinking tea and taking breaks away to the back of the stage to blow her nose, but those were the only cues she was sick.  Her velvety voice opened the second set as strong as the first. Moving between songs of longing like “Dreaming” and “Hunted” to the more trance like piece “State Trooper,” the Cowboy Junkies demonstrated that they weren’t only prolific in producing albums (they are currently producing their 51st album since 1985), but also able to maintain a mellow vibe through heavier rock, alternative country, folk jazz, and the occasional trance song.

    A three-song acoustic set nicely broke up the second half of the concert, complete with Timmins sharing stories about parenting her son that again brought her humanity directly into focus. The group moved into more familiar territory, including “Sweet Jane” after a satisfying bass and percussion riff led the music back into heavier lands. Ending with “Misguided Angel,” the Cowboy Junkies left the stage with their audience begging for more. They returned to do two more pieces, but the climax of the evening was already passed.

    The Cowboy Junkies is a Canadian band that was founded by guitarist/songwriter Michael Timmins and bassist Alan Anton. Joined by drummer Peter Timmins and singer Margo Timmins, they were well known in the late 1980s for the album The Trinity Session.  While Anton never cracked a smile, and had the flattest affect possible throughout the soulful songs, his intense bass playing is a cornerstone of this mellow group. Adding the talented Jeff Bird on mandolin and harmonica was a beautiful, seamless fit; his sound magically pulled much of the night together with sounds that transformed the Egg to a smoky jazz bar.

    The Cowboy Junkies celebrate what it means to be human: the pain, the longing, and also the connection. Here’s to wishing for at least 50 more albums from this band.

  • Everyone Orchestra “Incites Love” in Saratoga Springs

    Everyone Orchestra brought a jam packed line up to the Putnam Den in Saratoga Springs this past Saturday, November 4. This version of the improvisational group consisted of Al Schnier (moe.), Jim Loughlin (moe.), Vinnie Amico (moe.), Ryan Montbleau, Hayley Jane, Mike Maher (Snarky Puppy), and Eric Gould (Pink Talking Fish). The group spent the two previous nights at the Westcott Theater in Syracuse, NY and Buffalo Iron Works in Buffalo, NY.

    everyone orchestra saratoga springsYes Darling, a duo featuring Hayley Jane and Ryan Montbleau opened the show playing for about an hour. This version of Everyone Orchestra played a number of improvisational jams “inciting love” throughout the crowd. The show filled the venue to almost its full capacity. The Putnam Den recently went through renovations updating the interior of the venue. With the soundboard now being located in the back, there was more room for people to dance and have a good time.

    Everyone Orchestra continues its fun with dates at Electric Haze in Worcester, MA November 9, Brooklyn Bowl in Brooklyn, NY November 10 and Gypsy Sally’s in Washington D.C. on November 11.

  • Halloween Horror Camp 3

    The 2017 Halloween season got off to a frighteningly good start last weekend courtesy of a small and intimate party in The Berkshires that featured some of the region’s burgeoning musical acts.  Bands from Upstate NY and Western MA, along with an intimate collection of 200 some-odd live music lovers, assembled at the rustic H.A. Moses Scout Reservation in Russell, MA for a brief, yet utterly enjoyable, festival of nostalgic music and musical costumes and the third rendition of its Halloween Horror Camp. With each band playing a predesignated set of covers from other artists, the opportunities to “dress up” both in costume and musically ran rampant this cool October evening.

    Halloween Horror CampNormally used for Boy Scout camping purposes, the main lodge was transformed into a dance hall of sorts and nearby cabins were available for additional purchase as well for those that preferred bunk beds instead of roughing it outdoors. In fact, in a really unique twist, “campers” weren’t even informed of the event’s location until about 48 hours beforehand when an e-mail was sent to ticket holders.  All that was known was that it would be somewhere in the 413 area code of MA. Those that were willing to put their faith in a party with no address were rewarded with a night of music that spanned multiple eras and genres.

    One of the earlier acts of the day of Halloween Horror Camp 3 was Creamery Station who performed a “Watkins Glen” themed set of Dead and Allman Brothers tunes.  With band members feeding into the holiday spirit and adorned in full body cow costumes, classic tunes like “Deal” and “Statesboro Blues” greeted still arriving guests and those still setting up tents and camps.  A cover of The Band’s signature hit “The Weight” was also included in this engaging early set of music.

    Shifting courses a bit, a set of Daft Punk covers followed, delivered by Northampton’s own Mammal Dap with assistance from Mary Corson on vocals.  Together, they did justice to Daft Punk’s seminal album Discovery in a performance that covered nearly the entire recording.  Songs like “One More Time,” “Voyager” and “Too Long” seemed to get the dance floor moving a little steadier and served as a great precursor for things to come.

    Albany’s own Formula 5 then delivered one of the more anticipated sets of the evening with a blistering set of Phish covers.  Beginning with a well jammed “AC/DC Bag” that fed directly into “Story of the Ghost,” the Upstate NY jam outfit did not disappoint with its cover set of one of their inspirations.   A crisp “2001” kept the rave vibe alive and well in the main lodge but one of the true gems of the set was “Reba” and a corresponding jam that was melodious and powerful all at once. The same could be said for the rousing rendition of “Harry Hood” that followed later in the set before a customary “Cavern” set closer.

    Cosmic Dust Bunnies then turned back the clock and took everyone on a musical romp through the 80s with a long set of covers from the era of hair spray and cassette tapes.  Songs like “Superfreak” and “Word Up” gave the start of their set a retro dance vibe before the New Haven rockers settled into more pop hits like “Everybody Wants To Rule the World” and the ever present Rick Astley classic “Never Gonna Give You Up.”  The Bunnies continued to impress and up the ante with standout takes of “Dirty Diana,” “Love Is a Battlefield” and “Panama.”  The selection and variety of artists that were covered in this set was really impressive and a fun take of Lionel Richie’s “All Night Long” helped bring a close to it.

    Strange Machines, a Boston-based rock fusion act, then threw it back even further with a standout set of songs by The Doors.  A full throttle version of “L.A. Woman” kicked things off and a fun “Love Me Two Times” > “Higher Ground” > “Love Me Two Times” sequence showcased the band’s ability to stylistically bob and weave.  The “Riders on the Storm” and “Strange Days” that came towards the end of the set offered a true psychedelic tone to the evening that proved not all the music tonight had to be upbeat and poppy in order to be enjoyed.

    The party kept going well into the hours of Sunday morning courtesy of a Bassnectar themed DJ set from Uncle Bob and a stellar set from lespecial chock full of Primus covers, a sound the band has really honed of late. The final set from Roots of Creation featured Grateful Dead and Rage Against the Machine songs intertwined and throwing the crowd into a final frenzy of the night, while Kerry Quirk gave the fans what everyone wants late at night, a healthy dose of Madonna.  Those that stayed and camped overnight were welcomed with a community breakfast in the morning to help recharge before leaving the wilderness and returning to civilization.  Halloween Horror Camp has all the feel of a remote festival with a powerhouse music lineup combined with a backwoods campfire among friends.

  • Fusion Lives with John Mclaughlin and Jimmy Herring at The Egg

    “FUSION LIVES!” This was the mantra repeated by an enthused patron during breaks between songs at The Egg on Thursday, November 2nd. Few would disagree with her this evening, one that included the legendary and inspired sounds of Mahavishnu Orchestra great John McLaughlin and the 4th Dimension, with Jimmy Herring and the Invisible Whip opening the night on the Meeting of the Spirits Tour.

    Herring’s new group includes former Aquarium Rescue Unit bandmate Jeff Sipe on drums, Matt Slocum on B3 organ and clavinet, Kevin Scott on bass and Jason Crosby on keyboards and violin – and they were just the opening act. Groovy funk lines from Scott laid the foundation for flowing instrumentals, with hints of the Flecktones heard in spots throughout the set. Crosby and Slocum blended together perfectly, and Sipe sat masterfully behind the kit. “Les Brers in A Minor” was a delight to all, nodding to Herring’s time with Allman Brothers Band and respect to the late Gregg Allman.

    As John McLaughlin took the stage with the 4th Dimension, the audience was ecstatic, with chirps of excitement coming out of the crowd in a raucous ovation. This being McLaughlin’s final tour, he played little new material, “El Hombre Que Sabia” in tribute to Paco Lucia, and made the music of Mahavishnu Orchestra come alive once again.

    There were instances where the foursome onstage – Mclaughlin, Gary Husband (drums/vocals), Etienne Mbappe (bass) and Ranjit Barot (percussion) – sounded like they were recreating Frank Zappa songs, but with fewer personnel needed to build compositions to a frenzied state before returning to earth. Mbappe’s tone on bass was like an Altoid – curious strong, for he was wearing gloves the entire night. Jazz musicians gonna jazz I guess.  Husband’s vocal effects on the kit and his superb double team with Barot (and later, with Sipe) drove the set towards a triumphant close.

    The Invisible Whip joined the 4th Dimension for Mahavishnu Orchestra compositions, and altogether with nine musicians on stage, Jimmy’s jazz rock and John’s jazz fusion took alternating turns leading the way, with McLaughlin stepping to the side at times to let Jimmy and the rest do their thing. When McLaughlin broke out the two-necked guitar, the audience was captivated. When he wailed on the whammy bar of his Paul Reed Smith ‘PRS,’ it created a most unique and melodic tone, not a wank on a note for show. Combined together, these two legendary guitarists, John Mclaughlin and Jimmy Herring, along with two powerhouse drummers, brought to mind influences that could be found among the music of Col. Bruce Hampton and Aquarium Rescue Unit, Phish, Frank Zappa, and all the rest who take a ride on the spacious musical journey that is improvisation.

    John Mclaughlin and Jimmy Herring

  • Disco Biscuits Perform Phenomenal 2-Night Run at the Worcester Palladium

    Philadelphia trance-fusion pioneers, The Disco Biscuits, brought their unique sound to a two-night run at the Palladium in Worcester, Massachusetts for Halloween. With Lespecial for support on their first night, and Jaw Gems on the second, The Disco Biscuits delivered two jaw-dropping shows to the crowd at the recently renovated Palladium.

    Opening with the flowery and optimistic “Grass is Green,” things quickly took a dark turn when they dropped into “Minions,” returning to “Grass is Green” to complete the sandwich. They followed this immediately afterwards with their newly reworked version of the song “Loose Change” for only the third time since it’s reintroduction into rotation. Before 2017, the song had not been played since 2010, in its old format. They concluded their set with a yet another sandwich, this time featuring fan-favorite “Confrontation” (complete with “Funkytown” teases as well as a myriad of Biscuits teases) as the bread and the dark instrumental “Gangster” as the meat. The final chorus of “Confrontation” had the entire crowd chanting in unison before a well-deserved setbreak.

    The Biscuits weren’t pulling any punches when they opened set 2 with the high-energy introduction to “Munchkin Invasion” which segue-wayed into the rare “Voices Insane,” which featured bass-slapper Marc Brownstein on the vocoder for the chorus and a creepy robotic vocal jam. This transitioned seamlessly into a soaring version of “Astronaut” that nearly ripped the roof right off the theater. “Astronaut” featured an “Owner of a Lonely Heart (Yes)” tease. This onslaught of music was concluded with the peak and ultimate conclusion of “Munchkin Invasion” before the Biscuits wrapped the second set up with a standalone version of their tune, “Reactor.”

    After two blissful sets, full of teases and intense peaks, the Biscuits were clearly still hungry, and delivered a lengthy, three-song encore including an improv-heavy version of “Once the Fiddler Paid,” a smoking version of their flagship song, “M.E.M.P.H.I.S.” and finally, an extended “Spacebirdmatingcall.”

    If Thursday night was the night of blissful peaks and scorching improvisation, Friday night was the night for dark, creepy ambience. The Halloween spirit was certainly present, as the Biscuits delivered a night of tricks, fake-outs, and long, dark, spooky and meandering jams.
    Thursday’s show began with a four-song set, showcasing the Biscuits’ impeccable ability to improvise and keep their audience both kinetic and confused, as they struggle to identify the next tune. The whimsical “Crystal Ball” opener gave way to the high-intensity peak of “Mulberry’s Dream”, which was inverted, one of the Disco Biscuits’ trademark moves in setlist writing. “Mulberry’s” gave way to the ending of “Crystal Ball,” followed by an extraordinarily lengthy version of the heartfelt “Therapy,” penned by Marc Brownstein about his father and family life that teased damn near every song in the Bisco catalog.

    Set 2 opened with “Triumph,” which flowed into “Save the Robots” before seguing into the atmospheric and Halloween-appropriate theme song from the Netflix original “Stranger Things,” which was expertly executed and infused with teases from the Biscuits original “Portal to an Empty Head.” This segue-wayed back into “Save the Robots” before the Biscuits took their only pause of the second set. The eager crowd turned rabid when the band began playing the opening notes of fan-favorite “Spraypaint.” “Spraypaint” bled into a capable cover of Donna Summer’s “I Feel Love” before shredding into the instrumental “Tempest” and then back into “Spraypaint” to conclude the second set. The second set featured a fake-out of classic Biscuit song “Little Betty Boop” as well as “Orch Theme,” which was performed a few days later at Hulaween. Teases of “Funkytown” by Lipps Inc. and “Electric Avenue” by Eddy Grant were present throughout the night, as well as strong teases of “And The Ladies Were The Rest of the Night” during “Therapy.” The Biscuits concluded the run with a standalone version of “Ladies” as the encore.

    The Disco Biscuits truly delivered in Worcester for Halloween weekend, with a full-on sonic assault that showcased their ability to play rock, funk, electronica, and of course, blistering improvisation.