[Column] Sound Tribe Sector 9 (STS9) - The trajectory of a 21st century live band where improvisation and electronic music intersect

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23 Nov 2025

[Column] Sound Tribe Sector 9 (STS9) - The trajectory of a 21st century live band where improvisation and electronic music intersect

The avant-garde of 21st century live music where improvisation and electronic music intersect

Text: mmr｜Theme: History of STS9 from its formation to the present, musical characteristics, live philosophy, representative works, and cultural and social influence

Sound Tribe Sector 9 (STS9) is known as a representative of “livetronica”, which has undergone a unique evolution in the American live scene from the late 1990s to the present. Their music is a fusion of the improvisational nature of a jam band, the structure and texture of electronic music, and the groove of club culture, making them different from just a rock band or an electronic music unit.

Their stance has always been that ““music = an experience in a live space,’’ and they have placed emphasis on autonomous community formation, from production to tour management, stage direction, and social activities.

1. History before formation (~1997): “Neither a band nor a DJ” style born around Atlanta

The origins of STS9 can be traced back to the mid-1990s, when musicians active in the Atlanta area formed “Is it possible to create the atmosphere that a DJ creates in a club with live music?” It is said that it started with this question.

The members had a wide range of backgrounds, including rock, jazz, funk, electronic music, and even world music. In particular, the “groove-first ensemble” emphasized by the drum/percussion team became an important core that has continued from the beginning to the present.

Around 1997, a rare Electronica x Live Ensemble This direction was formed and the name Sound Tribe Sector 9 was started.

2. 1998–2002: Early works and adaptation to touring culture

2-1. Debut Era ― Interplanetary Escape Vehicle (1998)

Their debut album, Interplanetary Escape Vehicle, released in 1998, had a stronger live performance feel compared to the current STS9, with a mix of post-rock-like guitar expanses, Afrobeat-like rhythms, and jazz-like ensembles.

At the time, “livetronica” bands that mixed electronic music and improvisation, such as The Disco Biscuits and The New Deal, were beginning to emerge in the United States, and STS9 was positioned as part of this trend.

2-2. Resonance with festival culture

During this period, STS9 actively performed at local festivals. “Clubs/Fests/Live Bands Intersect Equally” We have established a unique position.

long improvisations
DJ-like loop feel
Lighting and video production with a worldview

These were rare in the rock scene at the time, and were described by the audience as a ““DJ set that played.’’

3. 2003–2008: Full-fledged approach to electronic music and golden age

3-1. Artifact (2005) - STS9’s iconic work

2005”s “Artifact” is considered to be STS9”s masterpiece.

The multi-layered structure of synth layers, programmed beats, and thick percussion completely moved them away from the jam band framework and into a more electronic musical direction.

Representative song:

“Atlas”
“Something”
“Arigato” -“Tokyo” -“Peoples”

These are frequently played in the current setlist and best symbolize STS9’s musical image.

“Artifact” is a work that showcases STS9’s sound and creativity to the fullest, and has earned high praise in the electronic music and jam band scene for its unique sound and innovative approach.

Their sound combines elements from a variety of genres, including ambient, electronica, jazz, funk, and dubstep.

A2”s “Tokyo” is known as STS9”s signature song and is often played in live performances.

“Artifact” is an important album in STS9’s career, and is a must-have for fans of the band.

Tracklist

A1. Possibilities
A2. Tokyo
A3. Vibyl

B1. Peoples
B2. Somesing
B3. Better Day

Purchase on Mercari

Youtube

3-2. Evolution of live arrangement

The live structure of the same period was

breakbeats
Downtempo
IDM-like pattern
long improvisations The audience transitioned to a floor/festival-type experience with the premise of ““dancing.’’

What’s important here is that STS9 pursued a technique for reproducing the “texture of electronic music” with guitar and bass. Many parts passed through the effects chain, creating a characteristic in which the editorial thinking in the DAW was directly reflected in the live performance.

4-1. Management of independent label 1320 Records

STS9 launched their own label 1320 Records, In addition to their own work, they supported artists with similar musical aspirations.

It is unique in that it is not just a place for album production, but also plays a role close to that of a community.

Since the beginning of STS9

Educational support
Environmental protection
Local activities He has actively participated in charity activities such as:

There are also many performances that donate a portion of the live ticket proceeds, and many songs that have social issues as their theme. In particular, “Peaceblaster” (2008) is positioned as a conceptual work with political and environmental themes as its background.

5. 2015–Present: Member change and new phase

5-1. Transition to new system

In 2014, the long-time guitarist left the group, and a new system was established with Hunter Brown at the center. This change also had an impact on the music, with clearer and more minimalist structures becoming more common.

5-2. The Universe Inside (2016)

This 2016 album has an even greater emphasis on synths, and the number of songs focused on dance music has also increased. In the live arrangements, there were many attempts to reconstruct past songs in an EDM style.

5-3. Current STS9

In the 2020s, STS9 has maintained a firm position as a festival headliner, while also holding their own event “WAVE SPELL” and strengthening their community-like activities.

6. Musical features of STS9

6-1. Rhythm structure: percussion-driven groove

The biggest feature of STS9 is its ensemble structure, with drums and percussion at the center. In electronic music, live music plays the role of a drum machine, with bass, guitar, synths, and samples layered on top.

Afrobeat
breakbeats
Latin percussion
IDM subdivision are combined, and the method of ““creating a world view with rhythm’’ is thoroughly implemented.

6-2. Extensive use of sound processing and effects

In order to reproduce the feel of electronica with live performance,

delay
Looper
filter
Granular processing Each instrument actively uses these.

This ensures acoustic thickness even during live performances, creating a three-dimensional feel similar to that of a DJ set.

7. STS9’s Live Philosophy: Set Structure, Lighting, Community

7-1. Structuring the set list

STS9 changes their set list every time they tour,

Opener (worldview presentation)
Midfield build-up
floor peak
Deep downtempo part
encore and designs live performances with a structure that is similar to a DJ set.

7-2. Lighting/Video: Integration of sound and light

Lighting is extremely important at STS9 live performances. A particular feature is that the movement of light is linked to changes in the song. During the festival”s night performance, the lighting itself functions as a gigantic “stage set,” heightening the audience”s sense of immersion.

7-3. Community culture

STS9 fans are highly community-oriented, which is typical of the jam band scene. There are also many “traveling fans” who follow the tour.

8. Work explanation (main albums)

Interplanetary Escape Vehicle (1998)

It has a strong color of early live music. Strong influence of world music.

Offerings (1999)

A mixture of improvisational structure and electronica.

Peaceblaster (2008)

A concept work based on political and environmental themes.

The Universe Inside (2016)

This work is more dance-oriented and symbolizes the new system.

9. Chronology (Mermaid)

timeline title STS9 年表 1997 : 結成 1998 : Debut「Interplanetary Escape Vehicle」 2005 : 「Artifact」リリース（代表作） 2008 : 「Peaceblaster」 2014 : メンバー脱退、新体制へ 2016 : 「The Universe Inside」 2019 : WAVE SPELL フェス開催 2020 : パンデミック下でも配信公演継続 2023 : ツアー再始動

10. STS9 Sound Technical Structure (Mermaid: Signal Flow Diagram)

flowchart LR A[drums/percussion] --> B[rhythm foundation] B --> C[bass groove] C --> D[guitar/synth layers] D --> E[Effect processing] E --> F[whole mix] F --> G[Lighting / Synchronization with VJ]

11. Cultural influence and positioning

11-1. Establishing LiveTronica

STS9, along with The Disco Biscuits and The New Deal, have become representative of “livetronica”, They have established a new genre that bridges electronic music and jam bands.

11-2. Strong ties with festival culture

STS9’s live shows go well with festivals.

Bonnaroo
Electric Forest
Suwannee Hulaween Their ““late night sets” at major festivals such as ““Late Night” have become legendary.

11-3. Pioneer examples of community artists

Independent label management, charity activities, holding original festivals, etc. It is also important because it shows how artists should be in the 21st century and beyond.

12. Conclusion: 21st century “bands that evolve through live performance”

Sound Tribe Sector 9 is An attempt to transfer the structure of electronic music to live performance while maintaining the band format He is a rare person who has continued to pursue this for over 20 years.

The music is never complete only with recorded works, It is constantly updated with the “here and now” experience of a live performance.

their steps are ** “How close can a live band get to electronic music?” “To what extent can electronic music capture the dynamism of live music?”** It is an ongoing experiment in answering this question, and can be said to be one of the symbols of 21st century musical culture itself.