Prior to that wrecking force of nature, a recap of CMJ shows attended were being chronicled. They continue here now.
Friday night October 19, 2012 had The Deli Magazine presenting it's Mostly Psych Stage at Pianos on Manhattan's famed Lower East Side.
Arriving in time to catch Deli Mag CMJ Issue front cover artists Foxygen beginning their set, the packed lower (main) stage floor made getting closer a most difficult task.
With a little effort some forward progress was made - allowing for a closer perspective on their live performance. While the band appeared to be enjoying themselves, their presentation was a bit chaotic and lacking in the tight cohesion one might expect from such a prime timeslot (and in front of such a large crowd). Still, their recorded works exhibit a creativity that has garnered them the accolades and attention they've gotten so far.
You can read an in-depth feature on this band in Fall Deli Mag - Print Issue #32 Volume #2, found here:
Escaping the crowded downstairs room, it was a quick jaunt up the staircase to catch a set by the wonderful dreampop band Field Mouse
Having attended a number of their shows over the last year, I've come to expect a high quality presentation, and this show served to reinforce that.
The music they write, record and play live is lush and gorgeous. It's everything I love about pop music that skewers towards the romantic, without ever crossing over into maudlin.
Rachel Browne is the perfect dreamy-girl frontperson. Pretty, great voice, plays well and writes from the heart. What more could you ask for?
Andrew Futral embraces his role as guitar maestro and studio wizard with a visible confidence that comes from knowing you've got all that down. The fact that he plays lefthanded points towards an early and unwavering commitment to his craft.
The band has been featured by yours truly a number of times, both in The Deli Mag and this blog.
Read what I wrote about them on this occasion:
As well as a full interview here:
With a fuller expanded feature on that interview right here:
Find out more here:
Fortunately the next band on the need-to-see-and-hear itinerary immediately followed in the same location.
Ex Cops had been one of those bands on the 'must check out' list for a while now. Having them perform here as part of this showcase provided the perfect opportunity.
Along with the pop sensibility and songwriting of Brian Harding, the band features vocals and keyboards from Amalie Bruun, who also performs her own material as a solo act.
Listen to this evenings performance of their song "Broken Chinese Chairs(z)"
First writing about this band earlier this year (which can be found on The Deli Mag here:
and in this very blog here:
The above posted “Broken Chinese Chairs” takes their cleverly self-described devotional tropical goth and points it towards a more classic new wave ethic of the late 80’s. Carefully layered chunky guitar chords, single note melody lines, brass and flutey synths all support punky-sweet female vocals. The mysteriously titled “S&HSXX” clacks with a percussive force reminiscent of Brian Eno ’s “In Dark Trees,” while “The Millionaire” evokes the kind of dreamy make out groove that a band like “Washed Out” is known for.
Having the good fortune to catch them perform again a mere four days later at Glasslands afforded the opportunity to capture this live performance of the above-mentioned song "The Millionaire"
Find out more here: http://excopsband.com/
*****Shuffling down the stars again, I made it into the big room just in time to catch a set by the recently buzz-heavy Mac DeMarco (who apparently was playing absolutely every CMJ showcase he possibly could).
The room was once again jammed to the rafters.
It was easy to see why as DeMarco puts on a most entertaining show.
Aided by some well placed promo earlier in the year, Mac has in recent times revealed his truer self.
That being a guitar weilding, humorously crooning, flannel shirt wearing Canadian slacker boy.
Check out this night's performance of "Baby's Wearing Blue Jeans"
Next up were a rather interesting percussion and synth ensemble called Hundred Waters
the band played lengthy improvisational
pieces that incorporated electronic elements with rapid percussion. Gainesville,
A dual tandem of female vocalists (who contributed on various keyboards and percussive instruments as well) presented their songs via a cascading and overlapping style.
Overall the band sound evolved across a spectrum between ambient, open ended jazz and a more familiar electronic rock.
As is often the case during these long festivals, projected starting times for bands tend to get pushed further back as the night goes on. It turned out to be closer to 2:30 in the a.m by the time featured artists of the night - Young Magic hit the stage.
It was well worth hanging in there, however - as their music and visual presentation was magnificent.
Once again leaning on drone electronics, heavy percussion and adding bright guitar to the mix, Young Magic's sound draws from a considerably different global resource than the artists before them.
The lovely Australian/Indonesian-born Metali Malay provides all the vocals and guitars.
See and here how they presented themselves on this evening:
Focusing on electronic washes and soundscapes (when not also thundering in with percussive mallets) was fellow Australian (and founding member)
An in-depth feature on this band (written by yours truly) can also be found in the latest Print Issue of The Deli Magazine (linked above).