Friday, October 24 saw the
Croms Musical Journey portion of the conveniently similarly initialed
CMJ music fest commence in the early afternoon at
NYU's Kimmel Center and the
8th Floor Shorin Studio.
Popping in to their
Room 802 Theater, I settled in to catch the
Steve Kandell moderated conversations with
Merge Records and
Superchunk founders
Mac McCaughan and
Laura Ballance.
Like most of these kind of panels, the presentation of information is frequently anecdote driven and nearly always informative. Click on the "live" links associated with the various names above to delve deeper into their world.
What followed that was something I had targeted as a "must attend" as soon as I became aware of it.
Created to be something of a definitive statement about the genre of music most-often referred to "shoegaze" (though I prefer the tag "dreampop" over it), The film covers most of the great bands who helped revolutionize that style of music from the late 1980's through it's primary decade of the 1990's, arcing in the early 2000's.
Predominantly interview driven (with some essential performances), it was for the most part extremely faithful to the musical legacy depicted.
With the lion's share centered around three bands (
My Bloody Valentine,
Jesus and Mary Chain and
Cocteau Twins) my viewing experience became enhanced to near surreal proportions, having
My Bloody Valentine bassist
Debbie Googe in the audience watching as well!
The interview segments with
Jim Reid were particularly enlightening.
His on screen moments were candid and honest. Having followed his career since I became aware in the late 1980's, I always come away with one more tidbit of info or revealing emotional feeling each time I hear him talk about his band.
Original JAMC drummer and
Primal Scream creator
Bobby Gillespie provided additional insight on that bands beginnings.
Then of course there is
Creation Records creator, original (and now current again) JAMC manager
Alan McGee weighing in with his own take of what went on. It is at this point in the film that you become aware that it is not all a "love fest" with regards to this genre's history. The fact that My Bloody Valentine leader Kevin Shields and the above-mentioned Alan McGee still express ill-will towards each other is a sobering reveal of the friction that often walks hand-in-hand with such "beautiful noise."
* * * * *
Having committed earlier in the week to an in-person interview, I had to bolt out of Shorin 802's theater and head on down to The Artists Lounge at The Rivington Hotel.
Viewed from street level a few blocks away, you can spot the penthouse Artists Lounge at the structures uppermost point.
Inside and at that level just observed from the street, the views of New York City are truly breathtaking.
An architectural dreamworld up against a softly clouded blue sky.
I had a fun chat and interview with Brian and Lily from the band
PARLOUR TRICKS.
That full review can be found
here on Dingus.
Additionally, a feature I wrote about their single "Lovesongs" can be found
here on The Deli
* * * * *
After spending a leisurely hour or so in the Artists Lounge quaffing down complimentary Vita Coco Cafe Latte's, I made my way back to street level and headed over to The Studio at Webster Hall.
Arriving in time for the Bird Dog Promo showcase, the first band on was a three piece combo (with really amazing lights)
Las Rosas
They had an appealing sound and their lighting created magical effects that you usually don't get on stages of this size.
What brought me to this particular location and time, however was to catch a set from the band
Beverly.
Their overall visual presentation
also benefited from the above-mentioned lighting rig.
However the real appeal of Beverly are the high quality songs and magnetic presence of creative force
Drew Citron.
It's hard not to get swept up into the combination of these sweet sights and sounds.
Without stating the obvious, Drew Citron's overall presence combined with her obvious talent for a song hook and rich vocal structures appeals on all the right levels.
Drew now fronts the band which includes
Jamie Ingalls on Drums,
Scott Rosenthal on bass, and
Caitlin Frame on guitar, synth and the distinctive harmony vocals.
The music Beverly makes stands out from the pack due to the meticulously crafted vocal harmonies.
That combined with dreamy atmospherics and moody lyrical hooks places them firmly in the dreamgaze camp.
The song and video for “
Yale’s Life” is something that could only be accomplished in studios (both the sound and image making variety), displaying a true artists creative vision at work.
Drew played the bass for one song too.
There is much to like here.
My recent
blog and
Full Interview with Beverly can be found via those highlighted links over on
The Deli Magazine.
* * * * *
Scurrying out of Webster Hall Studio after their set, I headed back downtown for The Deli Magazine showcase at Pianos.
Arriving at the no-way-was-I-going-to-miss-this scheduled time, I eagerly took in a set from the always mesmerizing
Vandana Jain.
I've covered more than a few live shows of Vandana now.
Vandana and her band never fail to dazzle with wonderful electronics and passionate vocals.
A rare capture of the sultry one smiling.
A voice that still dominates an electronic mix.
Making music with intelligence, creativity and style.
* * * * *
Up next was the moody, impressionistic pop of Bowmont
While this band also relies heavily on electronic keyboards, the traditional rock instruments of guitars (both electric and acoustic), bass and drums all contribute to their nuances sound design.
An interview I conducted with frontman, singer, lyricist and multi-instrumentalist
Emil Bovbjerg can be found
here on DaveCromwellWrites , (which also links out to it's original posting on
Dingus).
As well as this post-show acknowledgement (and video presentation)
here on The Deli Mag site.
Setlists and pedal array make for interesting photos
* * * * *
Hanging out at the various venues throughout New York City during CMJ can provide many wonderful opportunities to meet the creative people currently working in the music scene.
As I sat upstairs in Pianos (hugging the wall as it were, charging my essential communication device - the mobile internet and voice unit - more commonly known as the 'smart phone') - I had the pleasure of a random hangout and chat with one
Andy Savours.
Having the chance opportunity to verbally engage with such a credentialed individual in our music scene (just click on his link there for all the details) was one of those "happy accidents" that occur at an event like this.
* * * * *
Sufficiently recharged (both electrically and intellectually) I made my way down the stairs and back into the main room to catch a set from local rockers
Baby Alpaca
Fronted by lead vocalist
Chris Kittrell, the bands overall sound has evolved quite a bit since I first became aware of them.
One of the earliest pieces I wrote for The Deli Magazine (way back in June 2010) was on their first single “
Vodka Lemonade,” (which can be read via that link right there) as well as two other early tracks.
In addition to his obvious talent and great voice, Chris is a super nice person too!
* * * * *
What followed was something I had been anticipating for a while now.
Much hype has been swirling around the Japanese (though London based) band
Bo Ningen
A certain mutual friend in our scene has developed a feverish appreciation for this band, and has been singing their praises to anyone within earshot (which includes yours truly).
I have to confess that their show IS quite spectacular.
A traditional two guitars, bass and drums outfit, their sound is a frantic psych-rock that occasionally steps over into prog-rock territory.
Two members appear to have cultivated an androgynous
kabuki style for themselves, with their extremely long flowing hair and floor-length skirt-like garments.
The songs are epic in presentation, following a classic pattern of frantic-to-subdued-to-frantic-once more structures.
Like many modern drummers these days, a combination of acoustic trap kit and electronic trigger pads were employed.
The "star" of the band is clearly bassist/lead vocalist
Taigen. A compelling, magnetic and almost cartoonish figure, at times he'd scrunch up his face until his eyes became those little "x" shapes you see in actual Japanese anime.
The whole band were exceedingly proficient on their instruments, flamboyant showmanship aside.
Guitars are shaken and swung about with reckless abandon.
Taigen ventures out into the audience, much to the delight of those in attendance.
Ninja bassist gives praise to the God of Thunder
Prepare to enter the hall of
Tengu
"I waive my magical ha-uchiwa at you all"
Conducting the shoulder-bass symphony.
This magic gun that never misses a shot.
* * * * *
Following up the over-the-top anime-like histrionics of the previous band could be a tough act to follow, but if anyone can do it,
the Bean can.
Having a youthful,
casually cool fashion model-like presence as a key pillar of the band is certainly an asset. Being able to sing and play bass at an arguably cut-above simply good-enough-for-rock-and-roll level also helps the cause.
The equally dreamy tandem of male counterparts
guitar-flash and
drum-stache keeps the Sunflower rising at an almost miracle grow rate.
A noticeable evolution in stage presence and confident demeanor was observed.
A solid trio that appear quite comfortable playing with each other.
Apparently guitar frets are better seen with painted fingernails.
Not to be outdone by anyone else, the requisite amount of head-forward hair shaking was employed.
The look of intuitive communication between a well-rehearsed band.
Thumpin' the bass all over the place!
Contemplating one's next move. It would appear all systems are grow.
* * * * *
Saturday,
October 25 emerged (as initially hoped) as the culminating night of the entire festival.
Legendary dreamgaze pioneers
Slowdive announced their first tour since they broke up in
1994 earlier this year, and Terminal 5 would be the location for their
New York appearance.
Having a CMJ badge granted me access to this glorious event, and there was no way I was going to miss it.
I wasn't sure what to expect going in. Did they still "have it?" Would I be disappointed that the live show couldn't live up to these magical records I had been listening to for over 20 years?
My fears were quickly put aside as the show they put on was an absolutely amazing concert experience.
The general consensus among nearly everyone I know here in the New York music scene is that Terminal 5 is "the worst venue in all of New York." I have been one to say it many times myself. I've avoided many shows there for years based on my initial experience with the place. Simply put, the staff that work there are cement-headed power-trippers. I'm talking about the individuals (though it appears to be a collective conscious) assigned to simple access checkpoints. Not the ticket takers (scanners mostly now) or bartenders (who I will admit, I have very little interaction with). However, a box is a box and a room is a room. My second overall experience at this place was a really good one when I had full media access for
Kate Nash last year.
However, on this night (once again) a brief encounter with the cement-heads reminded me of my peers (and my own) well-founded trepidations - and so I opted to work my way into the general population audience and took a prime position front/left of the stage.
As for the performance - simply put, this reunion show was a perfectly brilliant experience.
Everything was wonderful. The lights, sound, visual projections behind them - and all those songs that hold such an emotional connection with their audience.
Their set included all the classic dreampop songs (many of them presented in the above-reviewed movie "Beautiful Noise"from the previous days recap) that have made them the sonic legends they are today.
Check out this video I shot from the show:
A truly hypnotic performance.
A remarkable, dazzling lightshow.
Fans on the balconies, as viewed from the main floor.
Every space filled for this packed, sold out show.
What a true concert experience should be.
All the wonderful songs played
* * * * *
There was no way anything else happening could top this experience, and so the wise decision to conclude
CMJ 2014 at this point was made.
On to next year!
