November 9, 2000
Terrace Club, Princeton University · Princeton, NJ
11 songs3 segues2 sets
Set 2Jam★* > Chemical Warfare Brigade★, Widow in the Rain, Spaga
Footnotes
Jigsaw Earth - The pre-chase jam is as good as they come, with haunting interplay between Barber and Magner. Strong theme for so short an improvisation.
The first jam (after the chase section) begins with Barber, and soon Magner, locked into the theme that defines the entire jam. Magner begins to incorporate Gates of Hell lines (the defining feature of the jam) and Sammy’s feather light percussion soon gives way to a distinctive breakbeat pattern. The jam builds and layers on atmosphere, in one of the most patient explorations of a theme. Barber adds a little distortion to his distinctive riff, and shortly after he begins to shift to a gorgeously psychedelic effect. The next 90 seconds of this theme are utter perfection. After a few minutes, Barber begins to shift back to a more traditional guitar sound and reprises the theme from earlier. The jam builds to a magnificent crescendo, reaching a peak that almost collapses in on itself.
Magner latches onto an interesting theme, but Barber takes a little time to find an interesting complement. The tone of the jam changes dramatically as Barber takes the lead forcefully, playing a percussive riff that Sammy immediately picks up on, allowing Barber to build the theme up to what may be the greatest uncomposed peak riff the Biscuits have ever played
A triumphant exploration of the dub section. While every band member deserves some credit, this is a Barber-led exploration the whole way through. There are two distinct themes: the first based around a descending riff, and the second around a catchy ascending riff beginning about a minute later. Every second of this jam sounds deliberate and flawless. The jam builds up to another phenomenal uncomposed peak that drops flawlessly into the ending of Jigsaw Earth.
Jam - The nearly 30 minute jam that opens set two is probably the most inscrutable piece of music the band has ever performed. It is the culmination of every dnb influence the band has had up to this point. It begins with a distinctive Brownstein bass line, which informs the structure of the first nine minutes (and makes periodic reappearances throughout the jam). Sammy soon launches into a breakbeat rhythm, and Barber creeps in with the distinctive muted distortion. Magner uses a variety of synths, every one of them atonal. Barber finds a simple theme, and around the 5 minute mark begins to increase the distortion. Shortly after, Magner introduces a glitchy synth effect that carries through the background of the jam. Sammy breaks down and rebuilds the breakbeat rhythm a couple times, with Brownstein’s distinctive bass line giving some continuity, as the jam ebbs and flows. It breaks down more fully around the 10 minute mark; Magner plays around with some digital synths and Barber gradually returns to the muted distortion effect. Just shy of 11 minutes, Barber fades to the background, Magner introduces some more ambient effects, and the tempo picks up dramatically. After a bizarre and chaotic passage around 13-15 minutes in, the jam begins to settle into a more melodic passage. It builds to a sort of crescendo before breaking down into more of a steady groove around 18:30. After a few more breakdowns, the jam once again enters into a dnb passage. It builds and breaks down again, and at the 23 minute mark Magner debuts a new, iconic synth effect, reminiscent of a digital symphony. The new synth gives a distinct character to the final theme of the jam, which comes to a head around the 24-25 minute mark and begins to break down shortly thereafter, dissolving into ambience and finally dropping into Chemical Warfare Brigade.
Setlist data from the Biscuits Internet Project (discobiscuits.net).