With very few exceptions, guitar based indie rock is not very "hot" at the moment – synths, samplers and sequencers have been having a little revenge in the last decade over the 6 and 4 strings rock’n’nroll royalty. But when you see bands like Appomattox rip it live with maximum flair (like they did at The Deli’s CMJ show at Spike Hill) you realize that well executed, politically charged rock’n’roll can only be supported "properly" by a tight and punchy power trio line-up. But it’s not like they are just rude shredders – no… these guys develop Fugazi’s inventive and aggressive post-punk, minus the guttural screaming, in a tad more melodic direction. You MUST see them live asap, they’ll play Pianos on 11.10 and Glasslands on 11.16.

My last day of CMJ was spent in LES. And what a great day to listen to great music! The weather was perfect, which made it easy for hopping around from bar to bar to check out local bands, and the day was young, which meant drink specials and a long night ahead. I first hit up the Delancey day party to hear Brookyn-based folk darling, Anni Rossi. I wrote about Ms. Rossi recently and was really looking forward to see her in action. I’m happy I did – she’s talented and uses her musical gifts to her advantage. Ms. Rossi’s a string queen, and puts on quite the brilliant performance.

I then caught the second half of ArpLine’s set. I have written about these Brooklyn guys too – (thank you Delancey for hooking me up!) and was really digging their music live – the synth sounded really nice in the cozy confines of this grungy space. They seemed like cool dudes and got me pumped up with their upbeat, funky pop sounds. The music whizzes and the guitar gets things really moving amidst the electronic influences. I then saw Savoir Adore play and still loved it the second time around! Check out my Thursday recap for deets on this adorably fun group.

Next up was the Brooklyn quartet, Miracles of Modern Science. These boys definitely know how to handle their instruments: there’s a cello, a violin, a mandolin, and bass. There’s folky, funky movement to their music, emphasis on the strings of course, with a mix of classical, jazz and pop. Overall, what makes them good is how unique they are. Next up was the Living Room to see BK-based North Highlands.

This quintet make free flowing tunes with pretty, folk vocals, nice harmonies and smooth instrumentals that, at certain moments, build into beating crescendos. They sounded great. Later on in the night, I hit up Pianos to see LA-based Young the Giant – see my review on the LA Deli site here.

I then hit up Cake Shop to see the four man group, Woodsman. Their sound is definitely creative, and super psychedelic – a sound that is becoming increasingly attractive to Brooklyn-based DIY kind of bands. Their music is dark and very ambient, shifting between a focus on naturalistic synth and loose guitar. Very innovative. – Alex Vann

I met the Young the Giant dudes at a show during CMJ and was happy I did because it got me into listening to their poppy, catchy, Cali-cool jams. I accepted their invitation to see their show at Pianos on Friday. These guys were awesome to see live – the energy in the space was hopping. The instrumentals are ethnic-infused, subtle and smooth, but the most notable of the group is the singer, who belts the songs in a very gushing, romantic, and extremely sexy way. – Alex Vann

Prince Rama played Death By Audio on Friday and they killed it. I was up front and people were irritated with me and my giant bag full of shit and at one point the entire thing spills over the ground. Just before the band started Nimai handed me her camera and asked me to take pictures. “Get on stage, get behind us, whatever,” she says. This excites me to no end of course. The show starts: the percussion is weird and lucid and the beats are droning and the synths are atmospheric and the vocals are otherworldly and the whole thing comes off like this crazy dance party, sort of like that really weird scene that didn’t make sense from The Matrix Reloaded where there is that underground rave – it’s tribal and percussive and futuristic and infinite and full of love. The crowd loves the three part harmonies and the heavy synth bass and the beats and everyone is dancing and cheering and they look enthralled from where I am now – on the back of the stage. Dale W. Eisinger.

I saw True Womanhood at NYC’s Cake Shop during CMJ and they were absolutely phenomenal. The sheer fact that they exist is incredible to me. I think of Chuck Klosterman’s review of Chinese Democracy but this actually matters because that album would have gotten made if Axl Rose had been sealed in Wax. They play dark, post-punk, Yeah Yeah Yeahs a little bit, a little bit Fugazi, a little bit Joy Division. But it is straight DIY – that’s the rub. These guys are playing some of the most progressive music I have heard in a long time and they are doing it out of the most culturally repressive cities in the world. They tell me later that they play shows in DC that get shut down reliably by 10:30 p.m. because the police cruise the interwebs and are fastidious about time ordinance. There will be a lot more to hear about them soon, I hope. To me, they have a winning combination: nerdy and enthusiastic frontman, cute and talented female bassist, obviously brainy dude behind the kit. – Dale W. Eisinger

At the Cake Shop Paw Tracks/Carpark CMJ showcase on Thursday I stumbled upon the set of this one girl band called Drawlings – really interesting! Loops and vocals that are just really atmospheric and cool. Very cool. I’m pretty into this music but I’m not really into watching this. She’s got an sp-404 I think and a tiny little synth and a digitech that looks like the line6 looper but with a volume pedal. Her samples are different. Pulsing. Reaffirming my notions of the possibilities of music. Reverse drum beats at a hugely slow tempo. Its stunning. Big reverse cymbal swells and looped vocals. She’s manipulating them live I realize. That’s awesome. This is gorgeous and freaky, an underground crystal cavern. Alien and majestic. The place is really filling up. Crowded, everyone calmoring to see this babe. She is stunning sounding – this is just so charged it’s amazing! She’s got this 12 tone glock it sounds like loop going on top of this loop of a church bell and some other atmospherics and always her voice. And the weird thing is it’s actually groovy! I’ve never heard something so infectuous and scary. She might be the stephen king of indie music. Salem sucks compared to this. Sorry. But they do. Avey (Tare from Animal Collective) is enjoying this quite a bit. She goes into this lighter, more straightforward number and shows off her voice a little bit outside of the cloud, it’s stunning. – Dale W. Eisinger

I headed over to Brooklyn for the second day in a row to check out an eclectic lineup at Brooklyn Bowl. First on the bill was Jersey-based Andrew Cedermark, a guitar-focused singer/songwriter. The music was slow – quite the change of pace for someone who used to play the guitar for Titus Andronicus. Cedermark has shifterd from the oober-rock sound, concentrating on music that is fuller and deeper and more reflective. Following Cedermark were more boys from Jersey, a.k.a Big Troubles.

This four-piece group is loud in a lo-fi, shoe-gazy kind of way – if that makes any sense. They were instrument heavy, emphasizing stretched and smeared guitar sounds, fuzzy vocals and a showing off that made-in-the-basement vibe. Next up was Cali-based Baths. Made up of the young and talented Will Wiesenfeld, the sound is all about texture – and within that texture, range. Wiesenfeld mixes counterpoint beats with punched-up synth and echoing, mechanical harmonies. Baths is very technical and detail-focused, with on emphasis on magical and beat-thick tracks.

I then saw Brooklyn-based Tanlines, a nice warm up on a chilly October evening. The duo played some tropical, upbeat, and pop-heavy tunes. Overall, really fun to listen to live.

Later on, I celebrated CMJ at Glasslands with awesome music. This is probably my favorite venue in NYC – it’s intimate, cozy and completely built on art. NYC-based duo Cults have been quite the underground sensation since the release of their wonderfully sweet indie pop single “Go Outside” – and the buzz is definitely deserved. Their Myspace is sparse (and unofficial, and made by the fans) and both the details of their whereabouts and who they are is pretty under the radar. But that’s what also makes them charming. So it was quite the treat to see these guys in action. There’s a perfect airiness to their music – it’s romantic, glowing, subtle and absorbing. The vocals evoke Swedish pop and memories of dreamy childhoods. Cults are modern, creative and introspective. And I’m looking forward to seeing them again. – Alex Vann

Getting a late start in the city again tonight, might try and go back to Brooklyn in a bit. May as well try and do what I did last night, but maybe not so obsessively. Get out at the B’way Lafayette station and walk up Houston. Really hoofing it to the living room to try and catch Buke and Gass. Riposte is a gem of weird. Hopefully Paolo is there and will buy me a drink. I emailed him twice today with no response. A gaggle of hot people outside Landmark Sunshine. Kanye West’s new film is premiering I think and there are tons of good looking black people out there. Paolo is talking about the schedule and points out the next performer: Kendra Morris.

She’s this jewey looking broad in a leopard print onesy and huge hair. I call her over. She got the onesie at the Hells Kitchen flea market. She’s ravishing, shadows under cheekbones, petite and lithe, black cowboy boots and glovelets. An amazing voice. Building into these huge cascades of voices. She is almost unbearably sexy to look at, and she’s a gifted perfomer, not gratuitous but suggestive. She’s this Long Island Aretha Franklin. A respectable, working class winehouse. It’s a soul band full of whiteys, not sure how I feel about that and wonder again about things fall apart. She loves the camera and all the stares and God damn everyone loves her. Because she’s somehow on our level. There’s a lot of empathy, and it’s not just because I’m a nerdy white guy like every single person in her band. Or maybe it’s her leonine form stalking the stage in that basically shrink-wrapped leopard. The horns take a reprieve for this ballad that takes up the topic of: empathy. "Don’t cry for me" she says. Fine. But I’m also going to leave because this is way too straight for me. Looking around though, people are honestly feeling this – people with eyes closed, swaying with knowing little nods. And the drummer is leading this dynamic charge and we build up to let her vocals take the spotlight. She thanks the Deli and people clap. The drummer kicks off with a beat that’s classic Winstons. The drummer is making love to those drums. There isn’t tension on stage between band members – she has to be sleeping with one of them, right? It’s probably because she just exudes SEX and it’s ridiculous! People are loving this. Every show I’ve ever seen at the Living Room has sounded fucking awesome by the way.

Cakeshop next door. Paw Tracks/Carpark showcase. Surprisingly not hard to get in. Avey Tare is right there djing by the door right when I come in. Odd Eastern pop – a little Bali. I hear Deakin was good and then there’s Taraka Larson from Prince Rama and I’m so sorry, I tell her, I’m so sorry that we got her sister’s name wrong in this article I just wrote about them. The Animal Collective boys helped record and mix their new record. Really wish I had some money, really really want a beer. Consider stealing a drink this guy sets down and realize how fucked that is and then regret that I started typing it. This pair of well-but-overdressed guys show up whom I recognize from this Memory Tapes show at Tribeca Grand sometime last winter. Avey is playing some awesome shit and Cloud Nothings I think are warming up. I text Nick who reps Prince Rama: ARE YOU AT CAKESHOP? The band is actually called Light Pollution (from Chicago) and Cloud Nothings is after them. Trying to decide whether or not I should stay all the way through for Prince Rama because Jess tells me about a secret show at Death by Audio and I have literally $0 and she says she might be taking a car. It’s fucking hot in here and I don’t see anyone I know. So thirsty. I decide to go hang out by Avey. It sounds like he’s doing some interesting stuff. So then it kinda hits you how important that man’s music is as Light Pollution warms up. The reverb sounds awesome in this hallway. Usually don’t like the sound here but something is on tonight! I ask the bartender to try running my card for the minimum and it’s declined but I knew it would be. Seriously need to get paid.

Light Pollution is playing this weirdy weird kinda pop with atmospherics, it’s good! (Read the live review on the Deli’s Chicago site here.)

I’ll watch Cloud Nothings, fuck it. Nick hasn’t responded but I know he has a double ear infection and it just befell him when he got to NYC Light Pollution is doing some seriously awesome shit up there! I can’t decide what to do with my night. Walk over and Avey makes eyes at me and he introduces himself as Dave. I’ve seen AC all over the States, I tell him, a number of times. He’s spinning some absolutely wonderful hand drums with jangly melodies and wafting vocals. Well – did you expect crunk rap? I’m so fucking tired, wish I had just one dollar to go buy dumplings down the street. I feel like I recognize everybody. Jess is there writing in a notebook and she tells me I’m only human when I mention I might head home at least for a minute. But I’m a reporting machine I tell her. Cloud Nothings are sound checking and I’m already irritated by the vocals – but what do you expect from a Carpark band? Of course that new album is great and I think they are from like buttfuck nowhere. The place is filling up. And the soundcheck is sounding cooler. I don’t think this is Cloud Nothings don’t they play like some kind of rock or pop or something? This is a girl singing but it’s fucking cool, loops and vocals that are just really atmospheric and cool – called Drawlings from Los Angeles. Very cool. I’m pretty into this music, read the review on The Deli LA site here. Dude just walks up to Avey, who is standing up on this bench to get a better look, and asks how far into the set she is. It’s absolutley majestic and sounds gigantic in the hallway of Cakeshop. Dude didn’t recognize Avey I don’t think. Deakin walks in and he’s wearing those keep shoes, maybe the ones he just designed. And the place is really filling up. Crowded, everyone calmoring to see this babe. With all due respect she is stunning sounding. I realize there is no way I’m going to hold out till Prince Rama. I just want to be here for this whole set, but I will fall asleep.

So I’m going to just say fuck this in the next few minutes. I’m cold and hungry and jonesing and that guy at the bar looks familiar and we all know what’s going on. Too cold vig bar then six train then home. Then to Judy’s then wherever… Sleep. Whatever. Who cares. I need to go. Woah. Good looking girl making eyes at me as she unlocks her bike. And then I’m looking at this other guy and the energies are getting crossed. A fire truck rolls by and all the firemen stare at us. I leave. Walk to the six. I hear a group of people talking about how everyone wants to go home and I’m like "yeah fuck this." Promoters give me free food in the street and I eat it. At the six station, guitar Ron Gibbs is shredding some blues. On the l train platform there is a flute player jamming with a keyboard player with a stunning voice and its cool. – Dale W. Eisinger

Cakeshop, NYC. Paw Tracks/Carpark CMJ showcase. Surprisingly not hard to get in. Light Pollution is playing this weirdy weird kinda pop with atmospherics, it’s good! Kinda twangy, a little spacey, a little punk in the drums. And I imagine none of this would be possible without Woodsist Records. And then they go into this constructed noisy thrash and it’s awesome with the guy’s voice on top of it. And this band kicks a shit ton of ass I just decided. They have a sense of affect that’s quite convincing – party kids who read Derrida when they wake up, or something. Really enjoying the abstract textures and the drummer’s ability to be so multifaceted. This song Drunk Kids starts off like that awesome Zola Jesus song and then harunges the rhythm gently into a cool mellow dance thing. The drummer gets caught in the gold streamers behind him as the dude playing the bubbly synth picks up his guitar again and then they are just this pulsing bright rock band that just makes me want to listen to Ducktails or Sun Araw, but that’s cool, and I’m enjoying Light Pollution for their dispirate qualities anyway. Back on the synth for some more abstract stuff and a rattling tamborine that moves into this awesome upbeat two-step that absolutely fucking rules! "She won’t talk to me!" He bemoans. It’s great. And this deep saw synth comes in and he manipulates it pretty expertly and the drummer does intricate rhythmic stuff and they build it up inconspicuously and then let it break pretty haphazardly with the synth leading the fade out. Awesome, innovative drumming and cool SYNTH BREAKS. I know that sounds anomalous, but there it is. They end on bleeps and bloops. – Read Dale W. Eisinger full CMJ report here.

As Deli runners, we are supposed to allot a day in Brooklyn during the CMJ Marathon. Yesterday was my BK day – and what a perfect day to go Williamsburg! I was ready to get my game on early, so I headed over to the Neon Gold showcase at Public Assembly. Overall, I saw a shit ton of wonderful acts. The standouts to me though were the first three of the afternoon: Savoir Adore, Body Language and Alex Winston, and then Ava Luna in the evening. All four are local, talented and extremely enthusiastic performers, in their own unique ways. Ultimately, these musicians are just happy to be up on stage, doing what they love – and as an audience member, that’s always incredible to experience.

Savoir Adore are a four-piece band but it’s the two lead singers, a girl and a guy, whom are a real delight to listen to. The girl, Deidre, has a very charmingly feminine voice: a nice addition to the upbeat, catchy instrumentals; however, for me, it was the guy, Paul, who made quite the impression. He has a gorgeous, versatile voice live – whether he’s working, flying solo, etc, he sounds great. I am really feeling this band. And I can’t get their single, “Bodies,” out of my freaking head!

Body Language was next – another 4-piece gem! BL sounds different live, better I think, than their recorded stuff. Live, the band has a very visceral presence – they really live up to their name – focusing on soulful instrumentals with lots of clapping and banging and even more soulful and funkalicious vocals, (damn those white boys got swagger!). The lead singer, Angelica, has a beautiful voice – it’s full, rich and extremely warm.  Such a stellar band.

Next up was Alex Winston, another young woman with some great pipes. She’s poppy with traces of Motown and American, with vocals kind of reminiscent of Cocorosie. Her show at Public Assembly was one of the first she has done live (which was evident in her jitteriness and cute banter with the audience). Seeing her perform for first time was refreshing; it’s clear she’s working her ass off to get heard.

Later on I saw the wondrous Ava Luna.  With comparisons to TV On the Radio, this group is pretty off the chain quirky, creative and super funky.  There’s lots of texture to their music, and very tangible range. They belt out harmonies, pump up the synth, and create some very modern, eccentric, buzzing sounds. Overall, the showcase was kickass and I saw a lot of great bands (Emil & Friends and Oberhofer as well). Woo! Later on in the night, I hit up an awesome show at an old Firehouse in LES. The headliners of the night were LA indie darlings, the Local Natives (I heart you), and Jersey-based Titus Andronicus opened up with a great set.

These indie rockers have garnered some major buzz recently, including praise from even the pickiest and snobbiest contenders (read: Pitchfork). But the praise is deserved, because these guys are very talented, emotionally intense and noise-heavy. I’ve never seen them live and am glad that I caught them for CMJ. By the time I saw them, things were hazy, but I do remember them being loud, in a good way, and some major rocking out. – Alex Vann

Day two down. My musical journey started at Santos Party house with California based Evan Voytas and Tamaryn  – read the report on our West Coast branch here. I then decided to change gears and check out Worcester natives, DOM – check out my review on The Deli’s New England site here.

I decided to head over to the PureVolume House – CMJ’s artists’ lounge behind the old CBGB’s – to catch the second half of NYC-based Matthew Dear’s set. Dear has been around for quite some time, but I have never really listened to his electro-dance heavy music before – I figured this was the right place to give it a try. While at first his music sounded like a cheesy spin off of Depeche Mode, it’s actually deeper, and cooler than that. There are textures to his music, lots of melting movement and energetic transitions – there’s that Brian Eno sense of mechanical prescence. You can tell Dear’s been doing this for awhile, trying new things, testing the waters. After Dear finished his set, the San Diego-based surf rock punks Wavves made a surprise appearance – read the review on our LA site here.