The Disco Biscuits Albums (7)
What The Critics Say
With Rocket 3, future-minded jam band the Disco Biscuits have two live releases in their catalog for 2006. Just like The Wind at Four to Fly, its slightly older brother, Rocket 3 is released by the Diamond Riggs label, so expect expertly mixed, excellent sound quality. However, the similarities stop there, because Rocket 3 is an easier introduction to the band since it's only one disc -- and even if three out of the four tracks here break the 18-minute mark, this set feels lean in comparison. The disc captures the entire third set of the Biscuits' 2004 New Year's Eve performance in New York City, plus that night's encore, "Hope" from the Señor Boombox album. The set has long been a fan favorite and a must for every fanatic's trade list, but none of the boots have sounded this good. The main reason for the set's lofty status is the whirling performance of "Magellan," which joyfully captures the freedom and mystery of travel and exploration. The Bisco dance party rolls on with the positive head-trip "Frog Legs" before a fierce segue brings the slinkier, sticky and funky "Crickets," which is just begging for a trip-hop remix. "Hope" is a fine if forgettable bonus, but it's not the album's biggest flaw. That would be the vocals, which make Jerry Garcia sound like Luciano Pavarotti and have been a problem since day one. Bisco fans have some kind of chip installed that allows them to stomach a whole lot of amateurish singing, and with all the exhilarating synth swoops and infectious beats found here, it's easier to understand their forgiveness than ever before. If you're a fan, this pivotal set has never had a better showcase. If you're just Bisco-curious, skip their less exciting studio albums and their cumbersome multi-disc sets, and try this one on for size. ~ David Jeffries, All Music Guide
'The Wind at Four to Fly'
Release Date 4/18/2006
Tracks 12
Label SCI Fidelity
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What The Critics Say
In weak or cynical moments, one might be forgiven for failing to see a meaningful difference between the "jam band" movement of today and the prog rock movement of the 1970s. Bands from both traditions are characterized by one predominant characteristic: a constitutional incapability to shut up. And in a live setting -- which is where both types of group really shine -- that tendency is only accentuated. But one thing that definitely sets the two genres apart is sense of humor, which jam bands tend to have and prog rockers almost never do. Disco Biscuits are a jam band with a few proggy tendencies but both a redeeming sense of humor and a generally lighthearted (rather than portentous) approach that makes their music sound less bloated than it often actually is. On this 12-track, two-disc live set, more than half of the songs clock in at over 11 minutes; one lasts just barely under half an hour. To those who don't come to the party nicely toasted, this will be (and probably should be) a daunting fact. And to be sure, there are some real throwaway moments here: "Sweating Bullets" (which, at eight minutes long, is relatively restrained) consists mainly of aimless noodling, and the 30-minute magnum opus "Basis for a Day" would have probably been twice as good if it were a third as long. But the funky and episodically arranged "Wet" works very nicely despite its length, as does the jazzy "Little Shimmy in a Conga Line." "Voices Insane" is lovely, but would again have benefited from a little judicious editing. On the other hand, this is a live album, and this is a jam band. Those whose tastes run in both of those directions will be sure to enjoy. ~ Rick Anderson, All Music Guide
What The Critics Say
The Disco Biscuits' fourth studio album, Señor Boombox, is an eclectic mix of jam band songwriting approaches, all realized with a sparkling (sometimes antiseptic) studio precision. The album is not without its charm. Guitarist Jon Gutwillig's two contributions, "Jigsaw Earth" and "Hope," are both soaringly beautiful. Sam Altman's "Sound One" is a cartoonishly complex miniature epic. The album is framed by a pair of excursions into the organic style of electronic music the band focused on across 2001's They Missed the Perfume, "Float Like a Butterfly" and an aimlessly ambient unlabeled bonus track. More confusing are the sound effects tracks that serve as preludes to a number of songs. At first, they would seem to act as segues between tracks, but they begin too abruptly to serve as transitions. The album is a joy through headphones, though sometimes the band's embellishments seem a little bit too much, such as the hideous gospel peak of "The Tunnel" and the over-the-top guitar wanking that caps "Floes." The band's forced attitude on the faux-Beastie Boys "Floodlights" (and to a lesser extent, "Triumph") is charming, but can wear quickly. ~ Jesse Jarnow, All Music Guide
'They Missed the Perfume'
Release Date 4/3/2001
Tracks 6
Label Megaforce
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What The Critics Say
Recorded entirely on a Macintosh G4, They Missed the Perfume began its life as a 40-minute-long experimental piece of music centering around the song "Mindless Dribble." Using entirely computerized beats programmed by drummer Sam Altman, the band created the disc in small chunks, manipulating and rearranging them on-screen. Though eventually split and articulated into several tracks ("Mindless Dribble," "Highwire," "Spacebirdmatingcall," and "I Remember When..."), the electro-dub jam at the center of "Mindless Dribble" still became the centerpiece of the album. Though sterile at times, the electronic beats mesh surprisingly well with the live guitar. Occasionally, the arrangements venture into trite post-hippie anthemia (such as on the ending of "Home Again" or the new age build of "Haleakala Crater"), though the bulk of the album is pleasantly restrained. Mixed with a good sense of sonic depth, the disc continues to yield surprises far beyond most studio releases of the genre. ~ Jesse Jarnow, All Music Guide
'The Uncivilized Area'
Release Date 5/19/1998
Tracks 8
Label Hydrophonics
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What The Critics Say
Fans of groups like Phish, the Dave Matthews Band, and Widespread Panic will no doubt also embrace the Disco Biscuits, whose sophomore effort reveals an affinity for the same kind of self-consciously quirky, good-time party jams inspired by -- but not improving on -- the loose psychedelia of the Grateful Dead. ~ Jason Ankeny, All Music Guide
'Encephalous Crime'
Release Date 1/1/1996
Tracks 11
Label self-released
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What The Critics Say
While decidedly amateurish and occasionally derivative, The Disco Biscuits' Encephalous Crime contains early signs of guitarist Jon Gutwillig's compositional prowess on songs such as The Devil's Waltz and Basis For A Day. Backing vocalists augment the band's young, thin voices and make the disc more listenable than it would be otherwise. Early versions of the album contain two live tracks from the summer of 1996 (including a respectable cover of Frank Zappa's Pygmy Twylyte). The second printing of the album, from 1999, features a live version of the staple Basis For A Day recorded in 1998 that showcases the electronic influence the band would take on. ~ Jesse Jarnow, All Music Guide
