Landing on Planet Anthem

© Brantley Gutierrez

The Biscuits have finally landed their Planet Anthem.

Finally, The Disco Biscuits drop their long-awaited LP, Planet Anthem, a work that’s been three years in the making. Introducing a handful of tracks that have never been played live, along with studio versions of favorites from the 2009 tour, the Biscuits prove that pushing the progression of sound is what keeps the listeners talking.

The band provides a well-rounded scope of talent in order to make an album that blurs the genre lines. Aron Magner shines with the versatility of a classic pianist and electro synth hound. It’s John Gutwilig aka Barber’s gifted riffs that dip from the pool of soul to the heights of mania. Expect a well-balanced dose of bass from Marc Brownstein aka Brownie, who drops the craved vibration right where it needs to be. And, even though it’s Allen Aucoin’s live show that always stuns the fans, this redheaded oontz master provides a mix of electric drumming and creative syncopation. Each artist plays his part, fitting like a piece of the jigsaw puzzle that achieves the unearthly Planet Anthem’s stellar harmony.

But it's the presence of eerie, downtempo tracks that demands the most attention. Noticeably influenced by the Biscuits’ side project, Younger Brother, tracks like “Loose Change,” “Widgets” and Vacation” are deep as they are long. Meanwhile, Philadelphia-based singer RYAT, who sounds like a hybrid of Bjork and Sia (of Zero 7 fame), adds dark beauty to “Rain Song” and “Quad D.”

The strong presence of electro-pop-dance on Planet Anthem adds a nice flavor to predictable old school Biscuits and jam. “On Time,” is complete with computer geek lyrics, vocoders, dirty synths and clean dance beats, while “Uber Glue” is a more sensual midtempo instrumental with impressive layering from Magner and an early ‘90s electro backbeat compliments of Allen.

The unity the quartet has worked so hard to achieve, following months of debate over Planet Anthem, is evident throughout. But, the heat from their fire isn't felt from the start. While “You and I,” a track that’s been worked to the bone, is the fourth track on the album, it's the first time all four Biscuits bring their energy full force. (If you like this track, check out the Juan Maclean Remix on the Widgets EP).

“Fish Out of Water,” a true Weezeresque crooner, makes way for a few sing-alongs with catchy choruses, i.e.: “Just like a fish out of water / Who’s your pretty daughter / She’s gonna make a rebel out of me.” It’s “The City” that displays Brownie’s true craft. There’s nostalgia to his story telling, complete with an audience-cued call and response of “woahs” and “ohs.” 

Still, Barber proves that limits are no friend to his artistry. His work on booty-bass-dropper “Sweat Box” as a guest rapper, contrasted by his blues guitar work on “Big Wrecking Ball” prove there are no bounds for the Biscuits.

A heap of newly released material doesn't always sit well with pronounced Bisco heads, but this driven, uniquely packaged catalogue will have message boards abuzz and volumes fully amplified… Not to mention a few more live bangers headed for the big stage from an entirely different dimension.