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The Disco Biscuits When The Disco Biscuits formed in Philadelphia in 1995, they introduced a pioneering blend of electronic and jam band elements. Since then, they've steadily cultivated a rabid fan base and have spawned an entire movement. Today the Biscuits are able to sell over a quarter of a million tickets in a year and have founded uber-successful summer music festival, Camp Bisco. But rather than remaining within their comfort zone, the band has forged ahead and introduced new ingredients to the beloved Bisco sound.

This Fall, the Biscuits gave a sneak peak of the highly eclectic new material with two EP's, On Time and Widgets. On February 2, 2010 their latest chapter is fully realized in the form of their new album, Planet Anthem, on Diamond Riggs Records. Planet Anthem is the product of three fruitful years of labor, during which The Disco Biscuits absorbed everything from hip hop to pop to indie rock into their sound. The band collaborated for the first time with multiple producers, songwriters, and outside musicians, including Don Cheegro and Dirty Harry (Ludacris, Chris Brown, Beanie Sigel).

While the album still bears the signature Bisco sound, it also broadens the group's palette and contains a mountain of meaty hooks. "You and I" is a pogo-inducing rocker with slightly sinister guitar riffs and a monster, arena-ready chorus. "On Time" is a breezy, electro-flavored anthem that is poised to slip into clubs across the country.

The Disco Biscuits have always attracted a diverse audience and their broad taste is reflected by the lineup of their Camp Bisco music festival each year. The past eight years have included performances by LCD Soundsystem's James Murphy, and fellow DFA artists Holy Ghost!, Snoop Dogg, Dr. Dog, Kid Cudi, MSTRKRFT, Chromeo, and many more.

View the video for "You and I" here:

The mp3 for "On Time" is available here.

Disco Biscuits tour dates are available here.

Can't make it to any shows this week? Check out live music on the tube...

Late Show with David Letterman

Tue, December 8 - Blackroc
Wed, December 9 - Rob Thomas
Thu, December 10 - Tori Amos
Fri, December 11 - Joe Perry Project

Jay Leno Show

Mon, December 7 - Andrea Bocelli
Thu, December 10 - Barry Manilow

The Tonight Show with Conan O'Brien

Mon, December 7 - Michael McDonald
Wed, December 9 - Snoop Dogg
Thu, December 10 - 30 Seconds To Mars
Fri, December 11 - Tony Bennett

Jimmy Kimmel Live

Mon, December 7 - Honor Society (Repeat)
Tue, December 8 - Passion Pit
Fri, December 11 - The Mighty Mighty Bosstones

Late Late Show with Craig Ferguson

Tue, December 8 - Rosanne Cash
Wed, December 9 - Overtone
Fri, December 11 - They Might Be Giants

Late Night with Jimmy Fallon

Mon, December 7 - 50 Cent
Tue, December 8 - Jawbox
Wed, December 9 - Bon Jovi
Thu, December 10 - Blackroc
Fri, December 11 - Snoop Dogg

Last Call With Carson Daly

Tue, December 8 - Pete Yorn
Wed, December 9 - Paolo Nutini
Thu, December 10 - The XX
Fri, December 11 - Anya Marina

Other Shows of Interest

Sat, December 12 - Saturday Night Live w/ musical guest Bon Jovi

Vic Chesnutt :: 11.30.09 :: Great American Music Hall :: San Francisco, CA

Vic Chesnutt :: 11.30 :: San Francisco If there's one thing people know about Vic Chesnutt, it's probably that he's a paraplegic. Losing the use of his legs to a car accident when he was 18-years-old was an experience that has shaped Chesnutt's life and the music he has come to make. While this drastic loss could inhibit some musicians, Chesnutt has used the ordeal as somewhat of a launching pad for his eclectic brand of Southern gothic folk rock. Chesnutt really knows how it feels to be dealt a shit hand and his music is evidence of that. Rolling through life and performing onstage in a wheel chair almost seems to give the guy's music added credibility and resignation.

But, his music rarely panders for sympathy or pity. Despite the simple instrumentation of most Chesnutt songs, his laconic style of singer-songwriter tunes are humble yet striking and wholly engulfing. Chesnutt's woeful music is depressing, at times, but not without humor and always offers fans an unfiltered view into the his life.

During Chesnutt's recent performance at the Great American Music Hall, the Athens, Georgia-based musician was joined by a backing band to provide accompaniments to his solitary music. The band, featuring Guy Picciotto of Fugazi and members of Godspeed You! Black Emperor and Silver Mt. Zion, was able to latch onto a sound that successfully complimented Chesnutt's haunting tunes.

Despite being confined to a wheelchair, Chesnutt ran the show with an impressive stage presence as he strummed his nylon stringed acoustic guitar and crooned into a mic. Although there were six other musicians onstage, Chesnutt was able to capture the crowd's admiration easily with his distinctive vocals and simple guitar playing. Occasionally employing a blues style distortion pedal, Chesnutt's guitar tone was well suited for his gruff vocal inflections and dark lyrics.

Vic Chesnutt :: 11.30 :: San Francisco While Chesnutt was keen to overindulge himself with his powerful voice, the other musicians rarely seemed to slip out and partake in any extended instrumental forays. The drumming was predicable and little more than subtle rhythmic timing that went along with the dreary music. Picciotto's guitar work, though, was commanding and his playing helped round out the overall sound being created.

As the band played on, it was clear that the music was having a resounding effect on the audience. Despite the social atmosphere that was created for the evening's performance, with tables and chairs set up on the floor, no one in the crowd seemed to be partaking in any congenial talking. The woebegone music kept the audiences' eyes fixed on the stage - forcing the crowd to stew on Chesnutt's words instead of interacting with others at the venue.

With the melancholy tone that permeated the performance, it was only fitting that the doleful music was made by someone who has had to deal with a difficult life that's almost unfathomable to the average person. The accident that befell Chesnutt during his early years has undoubtedly given the musician weathered character and a disconcerting outlook on life. But as Chesnutt performed, his crippled stature seemed to work to his advantage and bolster his abilities. His visceral lyrics about the downtrodden were extremely heartfelt and appeared self-confessional. It's almost as if Chesnutt uses his music as a form of therapy, and in turn, those lucky enough to connect are healed as well.

Continue reading for more pics of Vic Chesnutt in San Francisco...

JamBase | Bay Area
Go See Live Music!

Sweet Apple Sweet Apple - Dinosaur Jr.'s J. Mascis (drums/guitar/vocals); Cobra Verde's Tim Parnin (guitar); John Petkovic (vocals/guitar), and Witch's Dave Sweetapple (bass/vocals) - will release their debut album Love and Desperation March 30, 2010 on New York's Tee Pee Records. The first single, "Do You Remember," debuted on Pitchfork and can be heard here.

Days after the passing of his mother, singer-guitarist John Petkovic got in his car heading eastward - to smoke cigarettes, listen to music, and clear his head. He didn't even know where he was going or where he'd end up. Petkovic ended up in New England, the home of long-time friends Dave Sweetapple and J. Mascis, who told John to start writing some songs so they could start a band. Within weeks, and after recruiting Cobra Verde guitarist Tim Parnin, they started working on an album.

The result is Love and Desperation, the 12-song disc that casts a wide net, reflecting the disparate sounds of all their bands: catchy power-pop, crushing rock, and wounded ballads. "I hadn't even played the guitar for months," says Petkovic. "And then, out of the blue, there were all these songs just coming out."

Recorded in Cleveland and Massachusetts, Love and Desperation was mixed by John Agnello (Dinosaur Jr., Sonic Youth, The Hold Steady) and Don Depew (Cobra Verde, Guided By Voices).

"I tell people that I saved John's life by starting this band," says Mascis. "But they don't believe me."

Sweet Apple is currently working on a video for the opening track, "Do You Remember," a driving, rock anthem. The band plans to tour and perform at next year's South by Southwest.

HSMF 2009 by Krolick High Sierra Music today announced tickets are now on sale for the 20th Annual High Sierra Music Festival running July 1 through July 4, 2010 at the Plumas-Sierra County Fairgrounds in Quincy, CA. Celebrating the 20th Annual in 2010, the High Sierra Music Festival has built a very strong sense of community and created annual traditions among festival-goers and music lovers. The picturesque location, the wide variety of artists, the unique musical settings, and the affordable prices all combine to make High Sierra the ultimate, intimate festival experience and premiere four-day camping and music event in North America. The artist line-up will be announced in early 2010.

In the spirit of feeding the hungry this holiday season, the High Sierra Foundation will donate $10 for each four-day pass sold now through January 1 to Conscious Alliance, a non-profit organization dedicated to donating food and resources to community food banks across the country, including Indian reservations.

Nestled in the quaint town of Quincy, CA (3,500 ft), the High Sierra Music Festival offers a variety of outdoor activities, personal wellness programs and arts and educational events. The scenic beauty of the majestic Sierra foothills is a great place to take in swimming, hiking and biking while also enjoying a full palette of music offered on multiple daytime stages and multiple nighttime venues. The Festival features intimate artist "playshops," an interactive KidZone, daily parades with oversized puppets, fabulous food with no waiting lines, Yoga, Pilates, and dance classes, along with the opportunity to just relax and camp with good friends in gorgeous weather along with an adjacent Olympic-sized swimming pool. All of this combines to make the High Sierra Music Festival an anticipated yearly event and an experience for people of all ages.

For detailed information and to purchase tickets visit High Sierra's site here. Early bird four-day passes are $140.00 (through February 1) with a layaway option available. Four-day kids passes ages 5-12 are $50.00; ages 4 and under are free. On-site vehicle passes are $85.00 and on-site RV passes are $185.00.

Festival VIP Packages available are available, and range from $675.00 - $1,550.00.

For more on HSMF, check out our 2009 review here.

You can keep up with all things Phish, including live Tweets and setlists, at jambase.com/phish.

The Velvet Underground seems to be experiencing a bit of a resurgence these days, with indie bands returning to their brutal/pretty template and big rock acts covering their tunes (sadly, no good video of "Oh! Sweet Nuthin'" or "Rock And Roll" readily available). They are one of the foundational acts to emerge from 1960s, and as with many great ideas, their power to inform and influence continues to be strong today.

Here's a lil' background on the Velvets.

Just how does one dance to this noise?

Rehearsal footage put to a marvelous tune.

Lou Reed offers up a pretty sweet reading of Velvet's classic "Sunday Morning."

This was filmed on 16mm at the Annual Dinner of the New York Society for Clinical Psychiatry in 1966. Trippy, n'est pas?

The reunion a number of years back was actually pretty satisfying, even if it wasn't really vintage Velvets. Nostalgia with more polish than the original is more like it, but you got killers like this out of the deal.

Lastly, a fan produced video for one of the seemingly sweet numbers full of razor sharp thoughts. Ah, now that's a Velvet Underground song!

Phish :: 12.04.09 :: Madison Square Garden :: New York, NY

Phish :: 12.03 :: MSG by Perrucci The final night of Phish's return to MSG fell on Friday night, and saw the crowd a little more rambunctious than the previous two evenings. For the first time, there seemed to be a market for tickets, as many outside begged and pleaded to get themselves through the doors. For those that did make it in, MSG3 offered some bust outs, firsts and some classic, rocking Phish.

"Heavy Things" offered a light-hearted start, as many fans still scrambled to get situated, as the lines to get in were far worse than the previous two shows. "Possum," "Wilson" - the first song Phish ever played at the Garden in '94 - and "Kill Devil Falls" was a sequence of straightforward, soaring guitar rock, which set the tone for a powerhouse Friday night in NYC.

The first, real treat was the return of "Glide," a song not performed since the infamous debacle of Coventry. This version saw Trey nail the guitar parts, as Fishman tackled the knick-knack of the drums. From the plastered smiles on the crowd, it appeared that few cared how they played this one; they were just happy to be seeing it again.

A smoking "46 Days" was patient, yet fierce in its rocking and frolicking, while "Bouncing Around the Room" and "Reba" offered a blissful mid-set portion. "Reba" showcased lighting director Kuroda at his best, using the patented "bubbles" to illuminate the floor before ascending to the rafters along with the song's jam. "Dinner and a Movie," another real treat, saw the juxtaposition of tempos with a breakneck barreling down a highway vibe pushed against the song's lazy, lullaby chorus.

Trey :: 12.02 :: MSG by Perrucci The stage was set for the sixth and final set of the MSG run with "Maze" and "First Tube." Trey has often remarked that a Phish show for him is all about the energy. If so, he must have exploded during "First Tube." The place was simply going bonkers in the way only an MSG crowd can. It's hard to explain, but in this building everyone just becomes affected a little bit differently. Trey was jumping around, slashing his guitar with a huge Cheshire cat grin on his face. Overall, a well played, wide ranging 12 song first set with a steady incline of energy, like the ascent of a roller coaster that started its freefall during "First Tube" before the wild loop-de-loops to come in set two.

"Scents and Subtle Sounds," another song not performed since '04, was a completely unexpected surprise. A song that defined '03 and '04, many couldn't help but think back to this tune's debut over six years ago in Phoenix, as well as Phish performing this track about 20 blocks away on top of the Letterman marquee on what appeared to be their farewell tour. This song featured some great textures, and as I looked around I saw the masses grow enraptured by the weaving strands of the composition. In the past, it could have been five or 35 minutes. This one came in on the shorter end, but it was all that was needed. A blissful second set opener that brought back memories of Phish 2.0.

Not ones to mess around, Phish got back to the rocking shortly thereafter with The Velvet Underground's "Rock and Roll." Another tune that the crowd was primed for, when Page belted out the lines, "Then one fine mornin' she puts on a New York station/ You know, she couldn't believe what she heard at all/ She started dancin' to that fine fine music/ You know her life was saved by rock 'n' roll," the place exploded. "Rock and Roll" eventually wound down and found its way to "Seven Below," with the infectious hook by Trey leading the way and some synth action by McConnell. Again, this tune, and the following "Twist," featured some great textures like the opening "Scents." "Twist" saw the place do just that, complete with accompanying calls of "Whoo!" during the chorus.

Everything came to a head with the song of the night: "Mike's Song." An absolutely blistering, razor sharp rendition, the energy in the building was at the highest of the run, with Phish fucking nailing it. The transitions were perfect and the band was hell-bent on offering an earth-shattering version. It landed in old counterpart, the beautiful "I Am Hydrogen," before the slap bass breakdown and dance party of "Weekapaug Groove." Clocking in at just over 15 minutes, the "Mike's Groove" was short, sweet and certainly to the point, with "Mike's Song" doing the heavy lifting.

Phish :: 12.03 :: MSG by Perrucci "The Horse" > "Silent in the Morning" is hardly a bathroom break, but offered a slight respite before the cherry on the sundae, set closer "You Enjoy Myself." Another outstanding version, "YEM" capped off the main portion of a truly special three-night return to MSG. It was so funky and hot that it was like a broken steam pipe, offering a scorching blast of Phish right down your insides. All in all, a perfect way to end the run.

Not one to forget how they got here or what they've been doing lately, the encore was the second ever reading of "Shine a Light" from the Halloween album, Exile on Main Street. No, Sharon Jones didn't show up, but all we needed was the phab phour. Isn't that all we ever needed? As this extremely poignant tune suggests, "Make every song you sing your favorite tune."

Whether you're a cynic, a critic, a fluffer, or somewhere in between, there is simply no denying the message that Phish 3.0 is sending: We have gas left in the tank, so let's continue to enjoy this ride together - in the moment. MSG has seen some serious Phishtory over the years, and '09 did nothing but add to that tale.

Phish :: 12.04.09 :: Madison Square Garden :: New York, NY
Set I: Heavy Things, Possum, Wilson, Kill Devil Falls, Glide, 46 Days, Bouncing Around The Room, Reba, Dinner and a Movie, Guyute, Maze, First Tube
Set II: Scents And Subtle Sounds, Rock & Roll > Seven Below > Twist, Mike's Song > I Am Hydrogen > Weekapaug Groove, The Horse > Silent in the Morning, You Enjoy Myself
E: Shine A Light

Order the show for Download on LivePhish.com.

Phish conclude their current tour tonight (12/05) at John Paul Jones Arena in Charlottesville, VA; complete tour dates available here.

You can keep up with all things Phish, including live Tweets and setlists, at jambase.com/phish.

JamBase | Gardening
Go See Live Music!

You can keep up with all things Phish, including live Tweets and setlists, at jambase.com/phish.