By: David Schultz

One of the forerunners of the electronica influence within the jamband world, The Disco Biscuits have grown from a niche East coast band to join moe. and Umphrey's McGee as enduring veterans of the scene. Since emerging from the Philadelphia college scene in the 90s, The Biscuits have accrued a mighty following solely on the strength of their live performances and the scene surrounding them. Marc Brownstein (bass), Aron Magner (keys) and John Gutwillig (guitar) have formed the core of the band since its early days. Original and longtime drummer Sam Altman left the band in 2005 in favor of medical school. His replacement Allen Aucoin has afforded the Biscuits the opportunity to move seamlessly forward while adding a slightly heavier beat.

Bisco, as their fans affectionately call them, brought their trance fusion dance party to New York City's Highline Ballroom for a pair of pre-Memorial Day sold-out shows. In addition to a pair of Biscuits shows, the Highline hosted on of their first after-hours shows featuring Conspirator, Brownstein and Magner's side project, which also featured an appearance by friend and oftentime collaborator Joe Russo. Friday night's show consisted of two nearly seamless sets heavy on the instrumental jams on which the Biscuits have built their reputation. The soloing, most notably by Magner and Gutwillig, was kept to a relative minimum. Rather than opt for virtuosic individual performances, the Biscuits spent the entire evening keeping the Highline crowd moving with an interesting variety of upbeat grooves.

The Disco Biscuits provide more of a treat for those who are intimately familiar with their catalog. Not only do their keep their set lists fresh, changing them each night, attentive fans can take delight in their penchant for frequently altering how they deliver the songs. Just to keep things interesting, the Biscuits will often invert their songs: sometimes moving the middle section to the lead; other times simply playing the song backwards (the verses and instrumental passages, that is. They don't do it note for note).

For the unfamiliar, the only recognizable tune would have been Magner's melancholic tease of Radiohead's "Karma Police" before a set closing "Spaga." And, if you are new to the Biscuits, don't be misled by the name: it doesn't tell you anything relevant about the band. The Disco Biscuits are not retreading Seventies-era dance licks. If you do go see them, while you might not see anything earth shattering, you will find a band playing an impressive and progressive array of electronica based jams and a welcoming scene in which to enjoy them.

Labels: Live Reviews, The Disco Biscuits