Set List Database



This is about 99% unfinished... most of the info is correct... but some links might be wrong, and a few of the answers are just me being a smart ass while I attempt to come up with the actual, "official", answer.

Almost all of the ?'s at this point came from Cory Ferber... Thanks Cory! If you Have something you would like added to the FAQ please Contact me.
At the bottom of the page you will find the 1st interview I did with STS9 in early 2000.

Q: What is Sound Tribe Sector Nine?
A: [From the 1st Crystal Day Report posted on the bands website, long ago.]
"Sound Tribe Sector 9 is a family of musicians, artists, designers, engineers, and visionaries. We hold a collective attitude of cooperation and service. Cooperation amongst each other, service to Mother Earth. We believe that a new understanding of vibration could usher in the next evolutionary step for this planet. New forms of science, technology, medicine, architecture and design, and a higher collective consciousness may all be realized through vibration and music."

Q: Who is in STS9 and what instruments do they play?
A: The band is...

Hunter Brown
(guitar/laptop/midi keyboard)

Jeffree Lerner

Alana Rocklin
(bass guitar)

David Phipps

Zack Velmer


This guy was in the band in the past
(bass/laptop/midi keyboard)

| Band Biography |

STS9 thrives on friction. This may be surprising coming from five musicians who think of themselves as a collective as much as a band. But consider the title of the California-based outfit's long-awaited fourth album: Peaceblaster. The two words rub against each other to create an image that is simultaneously utopian and violent, fraught with the very contradiction that permeates America circa now.

"America is this beautiful, incredible place, but it has a dark underbelly," bassist David Murphy says. "And even on Peaceblaster's most ethereal songs, there's a darkness that reflects what's going on in society-it ain't all bad, but it ain't all good."

"Music measures the temperature of the people," adds guitarist Hunter Brown. "Consumerism and the corporate media have taken us all down the path of cynicism, apathy, and nihilism. If the message on the new record is anything, it's to blast that shit."

Armed with a batch of song ideas and fueled by the tension of the times, the band (which in addition to Brown and Murphy, features percussionist Jeffree Lerner, keyboardist David Phipps, and Zach Velmer on drums) took a break from their masochistic touring schedule and holed up in their recording studio, determined to make the strongest album of their career. "The last few records, it felt like we were learning on the job," says Murphy. "But the new record is the job."

The result is a tour-de-force of gut-punching rhythms and textured, shimmering tones. The songs don't seem to have been written so much as plucked from the sky. It's as if the beats and melodies have always existed, just waiting for STS9 to channel them. That isn't to say the recording process was easy. When this much passion and idealism is driving an album, arguments are inevitable. "Sure, we had little disagreements," Brown says. "Bringing new ideas into the light of day is difficult-for musicians, politicians, everybody."

"We're five people with different tastes and styles," says Murphy. "But ultimately we let the songs tell us what to do."

The songs may have been talking, but according to Murphy, Hunter Brown is the guy who made sure the band was listening. "He's always challenging us to take things further, make things better," Murphy says. "We knew we wanted to put out a great one, and Peaceblaster is beyond anything we've ever done."

Brown says simply, "The pot has been boiling for a long time. Now we've got a really good stew."

STS9 already has a tremendous fan base, but the new album is perhaps more accessible than the band's previous efforts. Peaceblaster is, of course, dense with the Eno-esque layering of live and electronic instruments that STS9 is known for-the chords and samples swirling atop the pulsing bass and drums. But between the beats there is a distinctly human element absent from past records. Brown, Murphy, and Lerner even sing occasionally, adding voices to the sonic stew for the first time. Still the band understands that their sound is somewhat esoteric. "Our feeling is that this record could be for everybody," Murphy says. "But then again, probably not."

With Peaceblaster they've honed their studio chops, but STS9 made their bones on the live stage. Consistently ranking in Pollstar's Top 50 American touring acts, they've played all the major festivals-from Lollapalooza and Bonnaroo to Fuji Rock and Coachella-and they've headlined amphitheatre shows before tens of thousands. Along the way they've shared the stage with James Brown, Jurassic 5, Tortoise, RJD2, Digable Planets, De La Soul, Perry Farrell, Prefuse 73, Saul Williams, and hundreds more.

The torrid roadwork continues with an itinerary that takes the band from legendary venues like Red Rocks and Berkeley's Greek Theatre to stops on the festival circuit, where they'll join acts as diverse as Snoop Dogg and The Flaming Lips. This diversity works to shatter the boundaries of genre and scene. Touring has taught STS9 that distinctions between musical styles are mostly artificial anyway.

For Brown, meeting fellow musicians and sharing audiences is a reminder that "There is incredible music coming out these days. People feel alive. They feel that their lives matter, that their choices matter. This leads to great art."

Art exists to show us the world in a new way. It's a fiction that shines light on the truth. And because tension is an impetus for creativity, the best art is often produced in the most trying times. As Brown says, "From Bob Marley to Bob Dylan, the music we like has always spoken to the struggle."

"The music of the sixties and seventies reflected the politics of the era," Murphy says. "America's back in that place right now."

STS9 aims to capitalize on the current climate by pushing toward innovation-musically and socially. Their live shows are fun, surely. But the band works to create an environment where folks can stop and think about how all of our lives might be made better. "When people get together and share ideas," Brown says, "they come up with something bigger than themselves as individuals."

To build on this community, STS9 has developed, an informational website where fans will find copies of the Bill of Rights, speeches by Dwight Eisenhower and Martin Luther King, and links to alternative media outlets. As with the live show, the site encourages independent thought. It's a space where people are free to stand up for the right to their own opinions, whatever they may be. The only agenda here is education. "Our role as artists isn't to preach," Murphy says, "but to present information for people to engage."

Sometimes engagement means putting money in the hands that can make a difference. Through benefit concerts, per ticket charity fees, and other special events, STS9 has donated generously to over a dozen organizations, including Rock Against Cancer, the Yellow Ribbon Fund, Global Education Fund, and the Make It Right Foundation in New Orleans. They've also supported such independent media sources as Democracy Now!and the Haiti Information Project.

Ultimately, STS9 knows that they are just a band, playing songs. No more, no less. But they also understand music's power as a cultural force. They know that friction can be a catalyst for change. And even though they can't literally blast peace into our consciousness, they can carve out a musical space where new ideas might take hold. "We're just trying to get inspired and to get people inspired," Brown says. "That's what music is: a never-ending conversation between strangers. We need this conversation to help us understand the world and our place in it."

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Q: Why has the band billed some shows under the band name "Tzolkin"?
A: On several occasions, STS9 has billed themselves under the name Tzolkin. A promotional flyer put out by the band advertising the 2001 performance reads: "A New Sound Expression" from Sound Tribe Sector 9. Tzolkin is all 5 members of STS9. These very experimental concerts have been used to debut brand new material in a live setting without having the audience expectation of hearing existing STS9 material. The term Tzolkin means sequence of days and refers to a 260-day harmonic module calendar cycle.

Tzolkin performed live on:

July 3, 2001 - The Justice League, San Francisco, CA
October 12, 2002 - Earthdance Festival, Golden Gate Park, San Francisco, CA
June 10, 2004 - Tasty World, Athens, GA

Q: Does the band player "Cover Songs"?
A: STS9 has been heard covering all of the following:

Also Sprach Zarathustra - Richard Strauss

Bag Lady - Erykah Badu

Big Ego's - Dr. Dre

Come As You Are - Nirvana (Club West, Eureka - setlist not up on st.o but 100% verified!)

Da Art of Storytellin' Pt.1 - OutKast

Dirt Off Your Shoulder - Jay-Z

Electric Avenue - Eddy Grant

Enjoy The Silence - Depeche Mode

Exodus - Bob Marley

Eye of the Tiger - Survivor

Flock of Seagulls - Herbie Hancock (AKA Bring Down the Birds)

GLOgli - Good Looking Org. - Marcel (although they dont really "cover" this track as much as playing an arrangement of the song utilizing the raw tracks given to them by GLO to play with as a starting point and recreating it into something of their own.)

I Can - Nas

Ida Lupino - Paul Bley Trio

It's the End of the World as We Know It (And I Feel Fine) - R.E.M.

King Pharoah's Tomb - King Tubby (AKA King Pharoah's Dub)

Medicine - Collective Efforts (Not sure if its a cover as members of sts9 perform on the orginal CE release)

Nautilus - Bob James

No Woman No Cry - Bob Marley

Outta Control - 50 Cent

Paid In Full - Eric B & Rakim

Roy G Biv - Boards of Canada (feat. samples of Joynut and some children that appear on "Live At Home", tracks "01 - "Intro and "23 - Slight Shift (firetrucks outro)")

Things In My Life - Collective Efforts (Not sure if its a cover as members of sts9 perform on the orginal CE release)

What is Love? Dee-Lite (B-Side of What Is LOve Single)

Q: Have there been any official video releases?
A: Yes, but not that many thus far.

  • º Live as Time Changes - STS9's first live concert DVD was filmed live over a three-night stand on December 29, 30, and 31, 2006 at the Tabernacle in Atlanta and can be purchased Here.

  • º One was done to the tokyo radio edit by the now infamous Wyatt Dexter and given out for free on with the purchase of ARTiFACT.

  • º There are 3 Promo Vids. by the Department of Homeland Entertainment on Google video:

  • º Also checkout the article on sts9 on the abelton live website...and the video.

  • º And finally there is also a GrooveTV episode recorded live on 12/5/02 at The Catalyst - Santa Cruz, California for free download @

Q: The band can't do all this work alone, who else is in the organization?
A: Lots of really cool people are involved in continuing the momentum that these 5 guys have created... and there is not enough thanks in the world to give them the props they truly deserve!


Q: Where can I find setlists?
A: | Right Here | And Here |

Q: What fan-based archives are available and where are they?
A: This will be coming in the Links section (soon I hope!), But for now there is this site
and Empowering you to get involved with your community

Q: How can I find out about tour dates?
A: |'s Tourdates |

Q: How can I contact the band?
A: Say hello when you get the chance.

Q: How can I contact the band's management?
A: Management: Eric Pirritt Crawford Byers

Q: Where can I find more info on the band's record label?
A: Label: 1320 RECORDS - Santa Cruz, CA
EMail 1320 Records

Q: Who do I contact in order to book the band?
A: Booking: Aaron Pinkus

Booking: Brian Cohen

Q: Who do I contact regarding promotion of the band?
A: Publicity: Carrie Lombardi Claire Tonelson

Q: What is the Lowdown Forum?
A: This was the official message board(s) for the STS9 commUNITY. It has since been replaced with The Lowdown

Q: How can I join it?
A: Via This Link

Q: How do I post to the list?
A: With a computer.

Q: What can I post to the list?
A: Nice things. No Hate Please.


Q: Does STS9 tape their shows themselves?
A: Yes. Most nights are archived by both multi tracking to pro-tools for mix down in post, as well as sending a stero signal to hard drive. STS9 sells selected shows via from these sources.

Q: Will STS9 allow me to tape their live shows?
A: Yes, unless otherwise stated. Thus far "Live PA" gigs have been No Taping, and unless otherwise posted will continue to be.
If you are thinking about taping STS9 make sure you check The official STS9 taping policy before anything else!

Q: Can I set my mic stand up where ever I want?
A: This depends from venue to venue, but the bands main concern is you are not in the way. The final decision is allways up to Ryan (sts9's soundman), so please try not to forget that in the heat of the moment.

Q: What is band's position on CD-R's?
A: They are round?

Q: What is band's position on video taping?
A: NO VIDEO, without prior arrangements with management.

Q: What about mp3 files?
A: They work well on our ipods... but aac is gapless!

Q: What is the band's position on photography?
A: It is best to ask before you show up. With the info on this page you should be able to contact the right person to ask...

Q: How can someone without any live tapes get some?
A: As stated above, Soundboard and Multi-Track recordings are sold by the band by download only @ :

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And there and many many shows hosted for free download by :
| Live Music Archive |

If you do not have the ability to download shows, you would then just need ask via the lowdown.

Q: What are .flacs?
A: (Taken from
FLAC stands for Free Lossless Audio Codec. Grossly oversimplified, FLAC is similar to MP3, but lossless, meaning that audio is compressed in FLAC without any loss in quality. FLAC is not as widely supported as MP3, so we recommend it only for those already familiar with the format and software to use it. More information can be found at:

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Q: Where can I learn more about the 13 moon calender(aka "Tzolkin")?

This was Bob's 1st interview with the band, Published by Surrender To The Flow magazine. Bob was the Assistant Editor in charge of Music for the publication during this period. It was done after a show on Feb 26, 2000 in the parking lot of Santa Monica's 14 Below. Enjoy!

Dave Phipps | Zach Velmer | Jeffrey Lerner

Bob Wiely: Where did the name come from?

Jeffrey: From what I understand Sector 9 comes from Mayan cosmology mostly I Guess. During the 9th bactoon of the Mayan culture, they were flourishing and supposedly, this is when they ascended. So the way they see it the Sector 9 is the space of ascension, in that respect.

Bob Wiely: Its hard not to notice the Mayan influence that seems to surround the band- how did this come about?

Dave: Its something we all pretty much came to on our own, but then as a group we expanded on it.

Jeffrey: It was found separately but really molded and came together with the group. We all discovered bits and pieces on our own, but when we came together it grew. It seemed to get stronger as we shared it with each other.

Bob Wiely: It figures prominently on your web site, am I correct in assuming this is your way of trying to share the message?

Jeffrey: Mostly share the 13 moon calendar is the focus. Trying to get back to a ratio of time that's within the fractal of nature and the respect of the cycles that are around our earth. We have a twelve-month calendar- that doesn't really make too much sense. Just think on fundamental level peoples consciousness being away from that fractal of time is maybe a reason why there are so many problems in our culture. Just as a common point of coming together about true time is what we are trying to get across.

Bob Wiely: Who are some of your musical influences?

Dave: Anyone who is hot... and I have to say Herbie Hancock.

Zach: A lot of Indian music, just in the way it makes me feel.

Bob Wiely: Wow, how were you introduced to that?

Zach: Just on my own and from different people hearing it. It really touched me, and has taken me there. Itís totally a different thing then we do y'know. Pretty much just the spiritual side of it and like the inspiration from that. Indian music is defiantly a high influence. I listen to so much music it ridiculous. I'm pretty open, were all pretty open. There is nothing I wont listen too. I listen to a lot of electronic music, and a lot of jungle and drum and bass.

Bob Wiely: And are there any other bands in the "jambands genre" you look to for inspiration, or who really seem to influence the band?

Zach: We love Viperhouse. They are our friends, our companions. Lake Trout... they're really good friends of ours. We have shared some good moments with the Biscuits.

Bob Wiely: How do you feel about the term "Organic Techno" being used to describe your music?

Zach: I don't think anything should really be labeled. I think it's a good term in the fact that its not what we set out to do... but its kinda what has cosmically happened just through playing music and listening to the connection of it. I guess kinda organic techno, but I don't know if I would use techno.

Jeffrey: It's not bad, it doesn't hurt me. It's so much more then that... that's just an element of it.

Bob Wiely: What would you label it?

Jeffrey: That's hard, it's different every night. Its true fusion I guess, without too many tags. It's just whatever comes.

Zach: I have a hard time describing it. How would you describe it? It's almost like classical music in the fact that we have songs that are 35 minutes long, like a lot of other "jam bands" and the fact that they are not so much jams but movements, understand? For example tonight we opened up with the second part of the last song. Everything is really interchangeable, like our song frequency. Labeling just turns me off. We read articles and people say just that "fusion, techno, blah blah blah¶" and we've not yet come up with what it is and can be instead of using other genres not that we are creating our own it's like you have to go see it instead of just reading about it. We're still working on our label I guess.

Bob Wiely: And how do you feel about the way people seem to react to your music as opposed to other bands out there?

Jeffrey: I think that having no lyrics offers the person listening their own trip, or adventure in their mind. They are not limited by someone's words or ideas or frameworks. We are after true interaction, and we really feel through experiences that the crowd is manifesting the music. Were just trying to be open to channel whatever, we have songs y'know... but we don't play the songs the same. It could be 20 minutes one night and 3 minutes the next night. That's not planned it just happens, it's a lot of improv within a framework.

Bob Wiely: So your music is not through composed, it's straight up improv?

Jeffrey: There are frameworks, with a lot of improv involved.

Bob Wiely: Would you consider that due to jazz roots?

Jeffrey: I think, maybe on just on another level, people really feeling comfortable with their instruments. Just being open, and not having so much intention really to do a certain thing. Being open to the day and what the vibration of the day has to say through us via our instruments.

Bob Wiely: Congratulations on hitting over a hundred members on your electronic mailing list, it seems to be blowing up fast! How do you feel about the web being used for promotion like that? And do you think it has helped you?

Dave: I think it has helped us in helping the spreading of tapes and getting our name out there.

Jeffrey: Thanks and yes I do. I think that it's going to change a lot of things. As far as communication of course, having the information available. But also as far as what we want to do on our web site in the future is have an interactive drum and bass station, so we each make our own little samples. You could pick out all these different samples and put your own song together. I think the Internet is really going to hurt record labels.

Bob Wiely: Along those lines how do you feel about the various digital mediums that the music is being spread on such as mp3 and .shn for example?

Dave: We think it's really good that the music can get out there for people to hear.

Bob Wiely: Do you plan on doing releases this way in the future?

Jeffrey: Yeah, I think we planned on pretty much just veering away from record labels and just sharing the music. Maybe to the point of putting out live music every tour.

Bob Wiely: You guys are headed in the direction of multi-tracking every show. Is this the reason for the recent loss of soundboard access?

Jeffrey: That's a little ways down the road. About the board, what we're finding out with all the experimenting we are doing and how good the board tapes sound... it's dangerous for us. We want people have our music and they are welcome to bring microphones. A lot of the music is experimental, and a lot of the music being played right now is going to be released on a CD that we are still working on in the studio. If people are dedicated enough to have their own mics then they're gonna be the ones to get them.

Dave: There is no longer any board patches, and that seems to be due to a lot of our band politics. I am not saying if no one has mics and you catch us in a good mood we won't give you a patch, but don't plan on it.

Bob Wiely: So you are definitely planning to continue with the live releases periodically throughout the year?

Jeffrey: Yeah.

Bob Wiely: You guys did some post Phish shows during the first part of their fall tour, did that work out well for you and do you plan on doing it again?

Dave: Those went really great for us, but it won't happen again. It was just kind of the right place at the right time so lets go for it.

Zach: Yes it did, and no we don't. That was just something that our booking agents decided to capitalize on. I just don't think it will probably happen again in the fact that we have structured tours now, and its really stepping up. We're really blessed to have the people behind us who are behind us. Right then it was just a few shows we could do during some off time, but now I know what I am doing till December, y'know. We have been touring for two and a half years Tuesday through Saturday, having maybe Sunday Monday off, being gone for that long, and maybe going on a three-week tour and coming home then doing the southeast where we are from. So our goals- we all have girlfriends, we all have friends and family - and we like to spend time with those family and friends and lovers. So the band's goal was to set up tours that gave us time off for tour and then for time off for recording and doing our own projects and doing our own thing. Traveling, I went to Costa Rica, Dave went to Japan.

Bob Wiely: Now that you are headlining, are there bands you plan on attempting to help out by having them open for you and what not?

Zach: There are a couple of bands in Atlanta, Tria de Luna for one. We like DJs too, we like how they set the vibe. In a sense a lot of the touring, like tonight, don't feel like the different genres begin to be a show. Sure, it was a show where people got to see all kinds of different music, but it didn't flow. With DJ's it really flows, and the music doesn't stop for 3 hours. We are getting to where sector 9 can actually do that it's self. That's the goal, that the music never stops. There is no set break; we just keep going.