March 22, 2008

highlights: the whole enchilada including the massive farts expressed as you walked out of the hall...and the 80's jam out of Basis into Crix :) ...its so funny its great and it's so great it's funny. go finger.

in case you need to dig a little bit more....2008 is the shite.

Fantastic, beautiful spot to see shows. I saw Phish there at the end of their '97 winter Euro run. The Pump House is legendary. I find this show beautifully psychedelic with so many chances taken by everyone seeming to all lead into perfect streams! (OK, 98%) This one (and the previous night) get played a lot.

{{good strain for this trippy, controlled funk is...: 'Tahoe Kush'' or ''Gorilla Glue''}}

love will see you through ~>~>~>~>~>~

Basis > Crickets is a powerhouse pairing, and the jams should reflect that. Unfortunately, in this case the Basis intro was meandering and the jam out and into Crickets is lackluster. The jam out of Crickets is mostly forgettable, until they hit on a major key theme for the transfer to Voices. This becomes absolutely sublime Blissco. This is legitimately wonderful, and I wish they played this for 20+ minutes. Glorious. The jam out of Voices is mostly solid. There are some cool textural riffs from Barber and Magner littered throughout this jam. However, this really takes off when Brownstein hits the bassline from Rainbow Song. This is essentially a type 1 jam at this point, but I’ll give it a highlight as the theme they hit is sublime, and still doesn’t really feel connected to Rainbow Song, even though Marc is playing the exact progression.

There’s a 7+ minute jam to begin the second set. This is fairly obviously Dribble from the start, and I wasn’t blown away by really any of this. I am not normally a fan of Dribble jams as they typically sound like the same jam most of the time. This one has its own unique quality, and has some great textural play from Magner, with some cool call-and-response stuff from Barber and Magner. I really enjoyed this. Magner’s use of the Rhodes patch adds a great quality to this, and this has an almost calm groove to it that’s difficult to describe. Lovely, regardless. The second Dribble jam develops into an uptempo dance jam. Barber has an array of minimalist guitar riffs littered throughout this jam, and while this never really gets outside of the box at all, this was enjoyable regardless. During the peak, Barber has some really beautiful, triumphant-ish lines before going into the darkness of the Waves peak riff. Very cool. After the Waves peak, the band extends the next section with a short jam that gets a little dubby. This is nothing all that interesting, but a neat thought nonetheless. The jam out of Waves begins with a marvelous set of themes from Magner, but they eventually ditch the fast-paced trance for a half-time jam. I really like Brownstein’s bassline here, even if it’s a little simple. He eventually develops this four-bar chord progression that Magner and Barber dance around. Magner again is on the Rhodes-y patch and this again has just a great overall vibe to it. This develops into a great peak as the band heads toward Helicopters. Very good stuff.

Highlights: Crickets**, Voices, Dribble (1*, 2), Waves*