@nichobert said:

I don't understand the connection between Phish 2.0 and the Disco Biscuits. Whereas 2.0 Phish often meanders and then fizzles (in the best way possible, i'm infinitely more impressed with this period than i used to be. feels way more post-rock and less 'generic jamband'), the Biscuits almost have a compulsive need to keep the forward momentum going. During 2.0 it seemed like Phish was trying to escape their old conventions of jamming whereas the Biscuits approach is so methodical that they sometimes seem to be clinging to their rules.

I'd guess it's three things:

* duration (very long jams all over the place, unmotivated)

* sameness (so, so, so many '2.0' jams sound alike)

* reversal of jam/song polarity (jamming was the point, not the songs)

All of which adds up to fan enjoyment of danceable flow - it all felt like one kind of long jam, at times. Hazy uptempo 4/4 jams, heavy on the effects. Whatever its merits, 'Phish 2.0' was unquestionably the least interesting, least challenging, most danceably groovy music the band had played in their career.

Near as I can tell, the Disco Biscuits' music, while pleasant in the background, is essentially dancefloor electronica played live onstage. I've never once heard them play music I'd call exploratory or 'original.' It's just not their thing. Phish 2.0 wasn't really about exploration either; it was about that gliding, hazy, fluid feeling their long jams so often produce. Trouble was, that was pretty much all it was about (after February).

Plus the Biscuits' *songs* are terrible, their vocals truly abysmal; much in common with '2.0' right there too...