February 19, 1999

The jam quickly emerges into a trance vehicle. Barber plays very minimalistically while Magner lays down a staccato trance riff that develops into the almost symphonic main theme. He pushes the jam into bliss territory and Barber takes over as the jam approaches Basis.

A fiery Basis peak caps off this energetic opening segment.

An absolutely thrilling Dribble. The beginning of the jam is patient to an even greater degree than typical. Magner's ambient, droning synths add a haunting atmosphere, and Barber works with extreme patience to craft the perfect riffs (check out his work beginning around the nine minute mark). He builds the jam to a fiery but still thematic conclusion.

The first M.E.M.P.H.I.S. after 2/10/99, this version features a similarly drawn-out and thematic first jam. It's shorter and more deliberate than 2/10, but it features the same style of playing that made that version great: Magner and Barber trading duties and building a lumbering electronic rock jam to a powerful conclusion. It is the second jam of this M.E.M.P.H.I.S. that truly shines, however. After some treading water, the band settles into an excellent groove. Barber hits this great playful bliss theme around 13:30, accentuated by Magner’s plunking 1998 style synths. Barber takes a step back and allows Magner to play around with some experimental effects. Around 17 minutes Magner layers in the flute patch on top of the more experimental psychedelic synths, and cultivates what isone of the greatest bliss themes the Biscuits have ever done. The interplay between him and Barber is phenomenal, and the riffs Barber hit on at 20:20 are so simple and triumphant. This theme continues until the end of the jam, which transitions into the end of Trooper.

The ending to a rare split-up Trooper serves as the landing pad to one of the greatest segments of Biscuits bliss improv.