Headstash

Photo Credit: Kevin Bradbury

The hype machine was in overdrive in the days leading up to STS9’s first installment of the “Great Cycle Spectacles” this past weekend in Denver, Colorado. These performances, held in correlation with the current phase of the Mayan Calendar, had been heavily promoted as a celebration of music, art, expression, widespread communication, connectivity and understanding. Both nights at the Fillmore Auditorium sold out in advance, making expectations all the greater.

The energy in the room was palpable as the house lights dimmed and blanketed the audience in a faint purple glow from the chandeliers above. A cryptic galactic greeting welcomed attendees. After our cosmic flight attendant finished her spiel, an LED pyramid appeared, artfully adorned with ancient Technicolor glyphs. Mere words do not do justice to the revamped light show, created by STS9’s visual alchemist, Saxton Waller.

Photo Credit: Kevin Bradbury

The first song of the night was “20-12,” a new track that bassist David Murphy noted was the reincarnated “T.W.E.L.V.E.,” an old favorite that has been retired. Sticking to newer material, “Vapors,” which made its debut during the five-night New Year’s Eve run in Atlanta, was up next.

This track has great potential for growth. Marked by vibrant instrumentation, no laptops or midis and lots of room for improvisation, this tune was welcomed by both longtime and new fans.

[FIND news, downloads and tour dates on STS9's official website.]

“Looking Back on Earth,” a rarely played cut off the 2010 album, “Ad Explorata,” was the third song of the night. During this song, the listener feels as if they are in binary orbit, suspended in a motionless, yet incredibly charged state. This version seemed heavier than ones of shows past and drummer Zach Velmer was exceptional, pounding the skins with vigor.

Photo Credit: Kevin Bradbury

In high contrast to the powerfully pulsating “LBOE” was an airy and joyful “Breathe In.” Sound Tribe knows just how to take the listener to their mental and physical edge only to place them down ever so gently, and this two-song segment was a prime example. As usual, pianist David Phipps shined, especially so during the section where he takes center stage, both literally and figuratively, for a beautiful and melodic piano solo.

“Circus,” a crowd-pleaser known for producing the typical side effects of hugs, laughter and uncontrollable happiness, was the next welcome addition. Well played, albeit typical versions of “The Rabble,” “Simulator” and “Arigato” followed, before the band broke into the most inventive and exciting portion of the evening to close out the first set.

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An inspired and jazzy “Kamuy,” got things started. Midway through the song, Murph, Phipps and guitarist Hunter Brown walked off stage leaving only Velmer and percussionist Jeffree Lerner to continue the groove.

When the rest of the band returned, Murph and HB had exchanged their usual guitars for acoustics and began a soothing rendition of the seldom played “Peaceblaster” track, “The Fog,” which, after a massive build-up, segued masterfully back into an acoustic “Kamuy” to end the first set.

With the new visual rig and a good flow to the first setlist, the Spectacles were off to a great start. The second set, however, could not eclipse the magic of the first.

Photo Credit: Kevin Bradbury

Highlights were a spooky “Abcees” and a rare and aptly chosen “The Spectacle,” which made its second appearance in as many shows after being dusted off during the New Year’s run. Much like so many of STS9’s songs, “The Spectacle,” is enjoyable to see when translated from the minimalist album version, to a much more dynamic and powerful live song.

The set closer was “Economic Hit Man”, better known by the heavy-hitting acronym, and equally heavy-hitting bass line that defines “EHM.”

After a short break, the band appeared one final time and began the encore with “F. Word,” before finishing with a well-played but typical version of “Aimlessly.”

As the first Spectacle drew to a close, I was filled with cautious anticipation of what was to come on the final evening with STS9. The evening had its moments, especially the flashes of inspired variation towards the end of the first set, but the weekend was far from over.

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01.13.2012 – Fillmore Auditorium – Denver, CO

Set I: Intro > 20-12, Vapors, Looking Back On Earth, Breathe In, Circus, The Rabble, Simulator, Arigato, Kamuy > Drums > The Fog¹ > Kamuy¹
Set II: Scheme > Rent, Abcees, The Spectacle, Grizzly, Moonsocket, March, EHM
Encore: F. Word, Aimlessly
¹acoustic

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Photo Credit: Kevin Bradbury

After an opening night where a dazzling new visual experience took center stage, a lot hinged on the second evening’s installment of the “Great Cycle Spectacles.” On night two, STS9 stood and delivered one of the most cohesive, well-played sets that I’ve seen to date.

A similar galactic greeting welcomed guests once again before the band appeared and began with “Hidden Hand, Hidden Fist,” another song that was in regular rotation during fall tour. “Be Nice” was up next and was a particularly bouncy and inspired version. After playing the opening sample to “Twilight,” which elicited a brief round of raucous applause from many in the audience, the eerie sample subsided into “Shock Doctrine.”

Photo Credit: Kevin Bradbury

The night appeared to be headed in a direction very similar to the night before, however, that all changed when the opening notes to “Grow” rang throughout the auditorium. This old-school gem has the potential to transform a show from a misguided, aimless voyage to a clear, intentioned journey, and was exactly the transitional tune that the doctor ordered. Hunter’s clean, cutting tone plays wonderfully over the consistent, riding bass notes that emanate from Murph’s bass.

The groove would not be stopped as the boys segued masterfully into a super funky version of “Vibyl.” After a fun and upbeat “Golden Gate,” that had the entire crowd clapping along with Murph, came the gem of the night, a powerful and uplifting, “From Now On.” The long, drawn out build-up coupled with the slow, single note playing by HB during this song combines to create an experience that can only be described as spiritually surreal. Lighting designer Saxton Waller was on point during this track, utilizing just the right mix of glowing shadows and illuminated beams to engulf the band.

[FIND complete lineups, ticketing information and analysis in our 2012 Festival Guide.]

The set closer was a special treat for the fans who decided to stick around rather than head for a $9.00 beer, as pianist David Phipps sat alone at his piano and played a beautiful couple minutes as a glowing Mayan pyramid pulsated in the background.

During set break, an image resembling what one would see through the front windshield of a spacecraft filled the screen, as soothing bleeps and hums carried us into the beginning of the next set. This was clearly the calm before the storm.

Photo Credit: Kevin Bradbury

“GLOgli,” continued the highly charged evening with the band taking their time, allowing ample room to jam. After “Squares and Cubes,” an old-school tune that has fortunately been back in regular rotation as of late, the highlight of the weekend began. As Murph plucked the telltale notes to one of STS9’s most popular songs,“Kaya,” anxious excitement filled the room.

On this evening, compared to more recent shows, the boys had all the time they needed and didn’t rush through songs that need a good 10 minutes to really reach their full potential. As Saxton painted a beautiful canvas with his signature ROYGBIV colored lights, the song reached its triumphant peak as Hunter’s guitar soared and Zach pounded the kit with sound-barrier defying speed. Sweet release!

A reworked “Atlas” was up next with some cool Technicolor cloud-like visuals panning across the screen before the stage fell into a cool blue-green glow. A short, plucked sequence of soulful, jazzy bass notes signaled the beginning of “Equinox,” and the Fillmore absolutely erupted.

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The band played with such passion and precision during this version of an old favorite with lots of improvisation from each member, particularly some thumping bass.

Photo Credit: Kevin Bradbury

The band returned for the encore and thanked their devoted fans for packing out “one of their favorite venues in one of their favorite cities to play in,” before the lights dimmed for one final time.

The vocal sample from 80s group Dee-Lite asked the all-too-poignant question, “What is love?” and away they went, producing an excellent version of this 80's cover. The final song of the night was a reworked, half-time version of “Scheme.” Although the original version was dropped the night before, it still closed the evening nicely.

In the end, it is fair to say that the first installment of this celebration of new beginnings, and of endings as well, may signify something other than the obvious links to the Mayan calendar, and the cycle of natural time we are currently experiencing. If there is one constant in life, it is change, and we were all reminded that during the first Great Cycle Spectacles weekend in Denver.

As time changes, so do each one of us, and so too does the soundtrack to our collective journey. And while LED screens, laptops, and midis are most certainly in our future, so are live instrumentation, improvisation, and most importantly, ever-evolving imagination.

2012 is going to be quite the spectacle.

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01.14.2011 – Fillmore Auditorium – Denver, CO

Set I: Intro > Hidden Hand, Hidden Fist, Be Nice, Twilight, Shock Doctrine, Grow > Vibyl, Golden Gate, From Now On, Interlude > Instantly, When The Dust Settles > Keys
Set II: The Unquestionable Supremacy of Nature > Peaceblaster '08 > The Unquestionable Supremacy of Nature, GLOgli, Squares and Cubes, Kaya, Interlude, Atlas, Equinox, MOD, Inspire Strikes Back
Encore: What is Love?, Scheme Reprise

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STS9's next scheduled "Great Cycle Spectacle" is at the Congress Theater in Chicago, IL on January 20 and 21. For complete list of tour dates and more information, visit their official website.