Show Review

The holiday season is a time to reflect, refresh and reconcile from the year past. It’s a time to gather with close friends and family-people you hold dear to your heart, to reminisce and gaze into the future that lay ahead. For many, it is also a time for music, celebrations and exuberance after the often unavoidable stress of Christmas and the holiday season in general. New Year’s Eve becomes the time to kick back, let loose and celebrate. This time around, the celebration began with a nonstop flight from Buffalo’s frozen tundra to the bustling, post-Olympic metropolis of Atlanta, HotLanta I should say.

With the chills and ills of winter in western New York put aside for a few days, it was on to bigger and warmer things as I, along with a couple thousand folks from all corners of the country assembled in the downtown Atlanta for a two-night party with Sound Tribe Sector 9 and friends. Along with Tortoise, SUB-id, Richard Devine, Collective Efforts, Psyche Origami, Genetic, Telephon TelAviv, and fire dancing from Phoenix Rising, STS9 made a triumphant return to where it all began.

Set for February 8, the highly anticipated upcoming release of Artifact-the band’s first studio album in five years-laid the foundation for two nights of stellar Sector 9. Over the course of the run, the band would debut four new songs off Artifact, as well as several tunes reworked for the album, a few rare gems and a slew of DJ assisted improvisational pieces. This would seemingly be the turning point in the evolution of a band that’s transformed from jazz-funk jamband to elevated electronica, to now a highly innovative, futuristic blend of smooth jazz meets down-tempo electronic, prog-rock meets old-school funk gumbo.

Outside the Tabernacle Theatre the scene was that of eager anticipation. Signs were speckled throughout the entranceways informing the would-be attendees that the show was to be videotaped for what may result in the band’s first DVD release-that remains to be seen. The Tabernacle is truly a spectacle, from its glowing façade to its vibrant interior. This three-story iconic theatre boasts some of the best acoustics around, not to mention a vastly colorful and decorative interior appeal. Hand-painted walls comprised of an array of colors capture the eye immediately upon entering. Taking in all the exotic art, oriental rugs and elegant antiquities inside amounts to a sensory overload before the music even begins.

As the house lights faded, the five hometown instrumentalists graced the stage. Before long the opening piano melodies of “Music, Us,” the first of nine songs to be played off the upcoming album, Artifact could be heard. Smooth, precise drum beats from drummer Zach Velmer coupled with gorgeous piano textural patterns from David Phipps and pre-recorded vocal harmonies from San Francisco diva, Audio Angel. “Music, Us” portrayed a band moving away from labels. Instead, this is a band that’s both electronic and rock, a band that defies categorization; a band that’s truly coming into their own. Crowd favorite, “Glogli” arose as guitarist Hunter Brown and bassist David Murphy faced off on Apple G4 lap tops while percussionist Jeffree Lerner filled the sonic gaps. Velmer’s drumming electrified the crowd as dueling tribal drums met pre-recorded lap top samples. The production aspect of live STS9 became very apparent, as the sound exploded and Saxton Waller’s radiant lighting produced a gloriously vibrant sheen around the band and John Henry’s shimmering crystal arrangements. A reworked “Equinox” delivered one of the most powerful moments of the set, leaving the Tabernacle roaring as DJ Richard Devine made his initial appearance onstage for an electrifying down-tempo improvisational piece. “Somesing,” another Artifact debut erupted the theatre as hip hop flavored beats melted into keyboard and G4 laced samples Resulting was a multi-textured barrage of futuristic sound where Audio Angel vocal samples and funked-out keyboard licks drove the theatre into a sweat-soaked, dance happy frenzy.

Sector 9 returned where they left off for the second set with another Richard Devine assisted improvisation, entitled the “303 Jam.” Devine’s hand-crafted live beats and cuts paired nicely with robotic rhythms from Velmer and Lerner’s mind-bending percussive rolls and Hand Sonic additions. This was truly a delightful match, as Devine, along with STS9 delved deep into the pocket, head bobbing like the beat junkies they are. As Devine departed, “F Word” commenced with sped up drum loops and the progressive integration of bass, keys and guitar. Like “Equinox,” “F Word” was also reworked, with the end section providing for Murphy to move to his G4 for a mélange of chest pumping bass riffs as Brown offered up some choice, funk-filled guitar licks. Phipps’ silver-tongued sound again soothed the theatre and gave everyone a chance to breathe in during “And Some are Angels” and observe fire dancing from Phoenix Rising and Anthony Ward’s breathtaking floral arrangements.

That is until “Ramone and Emiglio” made their homecoming. From the groove oriented opening bass and guitar duet, to the drum and bass middle section, to the funk-filled meltdown to finish, “R &E” was a showstopper, forever proclaiming, “Here we are, here and now.” After, the resonance of Murphy’s thick, chunky bass intro began a short but sweet “Evasive Maneuvers.” Its wah wah tinged guitar and conga companion segued harmoniously into a jaw-dropping “Kamuy” that had Lerner on a percussive frenzy. This is one of those live moments you dream about-the intense keyboard build up followed by the induced explosion is a true testament to the power and emotion of live STS9.

After two long sets, Richard Devine returned to the stage for an encore that would include an exhilarating 20-minute improvisational adventure into the outer realms of dark electronica. As Devine departed, the opening samples of “Once Told” proceeded to a boisterous and ever-ready swarm. Waller’s crystal lighting elucidated a swaying audience as red and blue hues illuminated the massive quartz crystals that line the center-front of the stage. Fittingly, “Once Told” concluded with the echo of, “Somebody once told me to love.”

After the first night’s show with two Artifact debuts, three thrilling improvisational voyages and one of the best all around performances I’d seen the band perform all year, it would be very difficult to top that effort. There’s always an abundance of anticipation leading up to New Year’s show, and this night would be no different. Tortoise opened the show with a solid, hour and a half set of their trademark, post-modern rock. I caught the latter half and the Chicago quintet had me captivated the entire way. Moving effortlessly from instrument to instrument with an uncanny style, I, along with I’m sure many in attendance, felt just how special it was to have this Chicago quintet opening these shows.

To commence the New Year with Sound Tribe Sector 9, the opening keyboard swish of Bob James’ “Nautilus” got things started. Swiftly, Brown and Murphy united with Velmer’s beat-perfect drumming for an inspired take on this jazzy, break-beat classic. Phipps took the lead as heads began to jostle up and down like a horde of bobble head dolls. “Re-Emergence,” another debut off the forthcoming Artifact was a further glimpse into new-school Sector 9. Chunky bass lines joined crafty guitar work from Brown, delivering an atmospheric product that had Phipps really asserting himself in the flow of the sound.

Colorful piano and guitar interplay filled the theatre with warming, heartfelt grooves, leaving a calming residue until the arrival of the wall-pumping blowout, “Open E.” Since debuting during a late-night thunderstorm in Kansas last summer, it’s taken on an epic appeal. It’s high octane start to finish with some of the most powerful guitar lines and bass chords in the STS9 arsenal; it sounds straight out of a thriller, ala Nightmare on Elm Street. Velmer pounded away at cymbals and snares while Brown offered distortion-laced guitar work to Lerner’s impressive hand drumming. “Open E” rose like the tides and released forcefully as it hit the rocky shores. Now incorporating a mysterious middle section of extraneous Hand Sonic sounds colliding with deep piano melodies, this proved to be the highlight of the first set. An always welcome “Crystal Instrument” was followed by the down-tempo, drum and bass drumming of Velmer in old-school favorite, “Move My Peeps.” To close the first set, “What Is Love” brought the crowd to their dancing feet, sending the Tabernacle into a fiery, five-minute frenzy to celebrate the New Year.

After Josh from Telephon TelAviv kept the party going with choice cuts from O.D.B., Notorious B.I.G. and the like at set break, the band along with Devine returned just before the New Year. Opening with a drum heavy “Tribal Jam,” the collaboration soon segued into the Devine led New Year’s Countdown and a piece aptly titled, “Alien Funk.” As Devine counted down, champagne bottles were cracked, hugs were exchanged and the New Year was rung in. The futuristic “Alien Funk” firmly held the fervent crowd, seeing the band and fans mutually feeding off the energy buzzing throughout the room.

“Peoples,” possibly the most electronic feeling song off of Artifact, showcased stripped down STS9, with Murphy, Phipps and Brown on Apple G4’s while Audio Angel’s angelic voice added some nice vocal presence. Lerner’s astounding conga and tabla rolls drove the band through “Peoples” and into the debut performance of “Possibilities.” This song will be a Sector 9 staple for years to come, showing a more mature, well-rounded band. Audio Angel’s voice again returned, proclaiming, “I wonder why they never try to tell me, I wonder why they never try to show me, I’ve been struggling,” further complimenting Phipps’ gorgeous touches on the boards. After the brief breather, Murphy’s bass solo began a 15-minute “Tap In” that brought the energy almost through the roof, all the way to its “Kashmir” climax. Velmer’s arms almost flew off as the build up of energy finally came crashing into a chaotic sonic storm. A nicely reworked “Native End” followed, then on to a smooth and jazzy “Grow.” “Tokyo,” the first single off Artifact closed the last of four sets, leaving the theatre screaming for more Sector 9.

Once again, Devine blessed the stage for an encore commencing venture into electronic ambience. Before this run, it was unapparent exactly what his role would be, considering he was relatively unheard of. After these shows, I’m sure most who attended would agree the collaboration was outstanding. Each improvisation was tight, and each jam was driven, intense and well received. After Devine’s final appearance, Collective Efforts entered for a hip hop flavored “Havona Ascent,” and in truly appropriate fashion, the band delivered an emotional and sincere “Breathe In” to conclude the fabulous evening. I couldn’t think of a better choice on a better night.

New Year’s Day brought with it a lot of promise, and yet again, a sense of eager anticipation for the year to come for Sound Tribe Sector 9. 2004 proved to be a breakthrough year, and with the release of Artifact and the ensuing national tour just around the bend, they are poised to turn heads and open ears from coast to coast. The music world better get ready, STS9’s been waiting at the doorstep for some time, and now they’re ready to come on in.

Photos by Ian Kalway