December 29, 2017

The show begins with standard versions of Hope and Kitchen Mitts. Not ideal. The first Memphis jam is pretty straightforward, and more “rocky” than electronic. The second jam has a subdued electronic sound that feels a lot like it could be a Little Lai jam. Magner has some great textural stuff here that works really well, and Barber plays off him very nicely. This develops into a very solid dance jam with a retro feel. The Gangster jam is nonexistent, and they just drop straight into 42. 42 jam is okay, but the switch to the Spraypaint-y jam is obvious and a little awkward to my ears.

The Crickets first jam has some absolutely phenomenal work from Magner. Barber crafts a repetitive, minimal riff that feels hypnotizing without being the focal point of the jam. The delay-heavy riff that Magner plays throughout a good chunk of this jam is really neat. The second jam here doesn’t do a whole lot for me, nor does the jam out of Papercut. Story has a pretty typical upbeat funk jam that just does nothing for me at all. Barber has some cool phrasing at various parts, but not much is being said here. The Spacebird jam has some cool Blissco-y parts, but it never feels like they fully commit. As they get closer to the Tricycle transition, they get into a half-time rock jam. This is fine if you’re into this sort of thing, though I am not. The Tricycle has a somewhat corny major key jam out of it, but I actually think they pull it off decently. This is not mindblowing by any means, but I mostly enjoyed it. Fiddler includes a short but ultimately forgettable jam.

Highlights: Memphis (2*), Crickets (1*), Spacebird