The Delancey is about as close to Brooklyn as you can get before you make it back across the Williamsburg Bridge. It also contains two entirely different venues within its three floors and roof deck. On the main floor, a popped collar dance party occupied by amorous lovers of house music. In the basement, it was Deli Magazine’s Avant-Indie stage. Despite some timing setbacks, this may have been one of the most fun ways to finish my marathon.

First, it was The Denzels. Of all the bands playing CMJ, this group has arguably the shortest commute to the stage. The Bushwick-based quartet sing surf rock songs on existential subjects, but seeing them live makes me just think about how much fun everyone is having. A highlight was first single ‘Slow Death.’ Despite the morbid lyrics, the execution live was light and joyful. No wonder the band’s on everyone’s playlists these days.

Around 10:30, Ambassadors brought a heavy groove to rest in the Delancey’s basement. A man possessed by the spirit, frontman Sam Harris held the audience in his net with firm commands to both band and crowd told loudly over flying percussion gestures. In between Harris’ richly crooned verses, keyboardist Casey Harris enveloped the songs in rich pads with his Nord lead/stage 2 combo, and along with the dueling percussion by drummer Adam Levin and Harris alike, the hands started really flying through the air. This tapestry filled the room whether things were piercingly loud or downbeat and funky.

Next up, The Mast was an intense two piece with a beautiful lead singer crooning heavily distorted blues over rattlesnake percussion. Trading a kit for bongos, metal plates and kick drum alone, the lack of bass and keys only added to the group’s tension, like things could break down at any moment. Only the screws kept turning more tightly, as singer Haale’s haunting soprano left a thick residue to settle in the basement. This is a sound that sticks inside your ears for some time, swirling a fine residue of dreamlike passages even after a good night’s sleep.

See coverage of Sea of Bees‘ set here.

Following Sea of Bees, I’m note sure why, but I found the Yellow Ostrich young man less cute in person than I had thought he might be. Sure, the boyish haircut is bound to get him attention, but he’s not afraid to put his axe to good use at the right moment either. This is a welcome transition from the once solo artist now comfortable fronting a fairly hard-hitting group. There are a lot of lyrics about who he is sprinkled throughout his set. Is singer Alex Schaaf a hot air balloon? Maybe a marathon runner? Whatever he is, he held the crowd firmly in his hand with the group’s intimate warmth and noisy guitar gymnastics. This band’s shows keep getting bigger and bigger, but Alex’s warmth and depth keep the sound intimate even when at it’s largest.

After Yellow Ostrich, Monogold quickly brought the dance party back to the floor. Sounding not unlike Tanlines but without a synth to be found, the three piece re-purposed instruments usually reserved for punk vibes as the only backing needed to lift singer Keith Kelly’s falsetto high above the shifting tribal energy. The beards were amazing too, especially the braid found in bassist Mike Falotico’s hair. My friend Sarah was responsible for that trick, and I seriously think it helped take the grooves to the next level.

Last band of the night for me was Not Blood Paint. I don’t know why, but the group’s members were all wearing turkey feathers (these guys always wear wicked costumes on stage). I also don’t know how Seth Miller is able to play drums in a sweater, but I’ve stopped questioning such things when seeing NBP a long time ago. Few bands could pull off turkey feathers with this much panache, but this might as well be the look of 2012, as much as it becomes the band. Playing several new songs from their upcoming debut full-length, NBP made everyone forget it was already well past three in the morning while we joined their cult and danced away any traces of exhaustion.

And then it was finally time for bed. It was a great evening to an insanely great week, and I can’t wait to do it all over again next year. – Mike Levine (@goldnuggets)

I stumbled upon  Seth Glier‘s performance at Rockwood on CMJ Friday. Starting with a soulful tune involving only a shaker and footstomps, his outstanding falsetto carried every note to the rafters. I was most impressed with his honesty, especially in his tune ‘Walk Katie Home,’ an adoring memoir of lost love. Not only is Glier’s music soulful, but he’s giving all proceeds from his tour to charity Feeding America. Right on… – Mike Levine

Yesterday found me back in the lower east side. It was time to check out what was happening in the acoustic realm.

First I saw Avi Wisnia light up Rockwood Music Hall’s outstanding sound system with his smooth baritone and tight quartet. The Philadelphia artist put so many quotes into his breezy bossa nova tunes, from Stevie Wonder to Cee Lo, it was almost impossible to keep count. But his gifted songwriting made the riffs all his own.

Next was the folk gospel of Massachusetts’ Seth Glier. Starting with a soulful tune involving only a shaker and footstomps, his outstanding falsetto carried every note to the rafters. I was most impressed with his honesty, especially in his tune ‘Walk Katie Home,’ an adoring memoir of lost love. Not only is Glier’s music soulful, but he’s giving all proceeds from his tour to charity Feeding America. Right on…

After that it was time to hit up The Living Room. But first I took a quick stop at Deli’s Stomp Box Exhibit at Ludlow Guitars. It had been a couple years since I’d last been here, and I’d forgotten how many rare guitars they have in this shop. You could take your pick from vintage Fender mustangs to Les Pauls and plug into a large array of effects pedals for as long as you wanted. It was a lot more fun (judging by how much time I ended up spending there) than I had thought and was a great way to add some important items to my ever-growing Christmas list.

After finally making it over to The Living Room’s upstairs stage, I saw a set from Now Now. A band that features two petite young ladies playing two large guitars. The Minneapolis duo traded vocals back and forth along their drummer Bradley Hale, pulling double duty on kit and keys. Even without a bass, this group brought a very full sound together with most of the crowd sitting on the floor and soaking it all in.

Back downstairs, Austin’s Look Mexico was one of the loudest bands I’ve seen yet at this year’s festival. The four-piece would quiet down only to allow singer Matt Agrella time to sing a couple quick lines, then it was right back to thrash. The band just released a new record, and I can’t wait to check it out later. I should also mention that bassist Tyson Kuhlhoff sported an impressively full beard, the kind that’s been eating now for awhile. So all you Brooklynites have got some work to do on this front.

Mike Levine (@goldnuggets)

At CMJ, Austin’s Look Mexico was one of the loudest bands I’ve seen yet at this year’s festival. The four-piece would quiet down only to allow singer Matt Agrella time to sing a couple quick lines, then it was right back to thrash. The band just released a new record, and I can’t wait to check it out later. I should also mention that bassist Tyson Kuhlhoff sported an impressively full beard, the kind that’s been eating now for awhile. So all Brooklynites have got some work to do on this front. – Mike Levine (@goldnuggets)

Annapolis, MD based hard-rock band the Cheaters unleashed a new single this week called "Hey Hey Rock’n’Roll" which you can check out below. This is their first single since 2009, and plans to produce a full LP have been announced and should be out by Spring 2012.

From Montauk Music: "’Hey Hey Rock N’ Roll’ really depicts who we are,” states Jason Morton (vox/guitar). “We all pay our dues and this song is about what we live for; it’s a statement that we’re committed to the rock n’ roll lifestyle. There is no alternative for us, and it’s not about fame or attention. There’s many twists, turns and trials in this life – if you really want all of it, rock n’ roll is what you have to love. ‘Hey Hey Rock N’ Roll’ is real to our lives”

Catch the Cheaters next at Nabb’s Creek in Glen Burnie, MD on Nov. 5.

The Cheaters-Hey Hey Rock’n’Roll

DC based alt punk band the Technicians were recently tied front runners on our Band of the Month poll, with tons of fans showing up for support. So we got a hold of Navid Marvi (vocals/guitar), Nick Glover (guitar/vocals), Ryan Hobbs (bass/vocals) and Steve Smith (drums) to find out more about the awesomeness that got them to the top of our poll. Here they fill us in on their biggest influences, what their band’s name almost was, and  the return of post-punk dominance in DC.  On to the interview...

Check out some tracks from their S/T EP below, and catch them live at Jaxx Nightclub in VA on November 5.

First stop was NYU’s Kimmel Center for the College Radio Summit, where I understand they had a full day of industry discussions hosted by some fairly big names. I however stayed there long enough just to grab a free lunch and check out the music.

First up was one of Australia’s finer indie imports, Clubfeet. As smooth as Air and harmonious like Hall and Oates, I can understand why they’ve gotten so much ink recently. Kimmel Center’s large 10th Floor Pavilion was the perfect space to host their dreamscape synth pop, but after hearing a couple tunes, it was time to head across the pond to Brooklyn where I could hear some good old-fashioned American bands.

Catching Brooklyn’s Spirit Animal‘s set at Spike Hill was a perfect way to jump back into the race. The funk-ready four-piece gave us lyrics on topics ranging from counting dance steps, to bizarre parenting advice, to frontman Chef Cooper’s (yes, he is a gourmet chef) fear of ants, and all placed strategically on top of massive shakedown grooves. Not as many people are ready to get down this early as I was hoping, but for those making the effort, it was well worth the sweat.

A quick trip down North 6 Street landed me next at Public Assembly’s front room for some more groups and an interesting roast beef concoction called ‘The Smoked Beat.’ Here I saw Montreal based Tops. A four piece rooted firmly in the endless summer, lead singer Jane Penny carries the spirit of The Shirelles and Karen Carpenter together in her cozy vocals and Roland key steadiness. Not afraid to throw in a strong instrumental when the moment called for it, this band cooled things down tremendously from the dance party I’d just left.

Ready to heat things back up, I headed down again to Spike Hill, where Kansas City-based Capybara played their first ever NYC show!
Lead singer Mark Harrison, who sounded somewhat like Wolf Parade singer Spencer Krug, harmonized with his band through driving jams sprinkled with enough delay to make The Edge break out in sweats, and peppered the group’s anthem-ready tunes with keys primed to lift things off the ground. The Beat sandwich from Public Assembly was pretty good, but this group was definitely the main course. Once again at Public Assembly (ok… one more sandwich then I’m done), I once again strolled through the long entrance to the back room, and thought I was listening to a sizable band covering New Order. Miracle Fortress in fact contained only two members, unless of course you count the zillions of roller rink lights transforming the venue to a disco. Essentially a solo project with a drummer added for the festival, Fortress is a testament to the sustaining energy of dance punk; reminding me of The Rapture at times, he let the music control the focus of the event and shoegazed his lyrics through all the right emotions for this micro-genre: the dangers of romance, the power of dance.

Next up was classical guitarist/crooner Christopher Paul Stelling (again at Spike Hill), who finger picked his way through intimate confessionals most of us wouldn’t talk about outside of our bedrooms and Facebook pages. Running solo today, Christopher was the only band he needed. Painful and hopeful at once, Jonathan held the audience enrapt with his stories from the road and stories of the afterlife. He also seemed like he was pretty happy to be performing again in his new hometown of Brooklyn.

Christopher didn’t have to travel here nearly as far as Soft Reeds, who came over from Chicago and gave us some new tunes off their forthcoming record out later this fall. Lead singer Ben Grimes looks somewhat like Joel McHale with a hipster haircut. The three piece resurrected the spirit of Echo and the Bunnymen with high energy wails and uneffected guitars, building a wall of fuzz from Grimes’ nasal vocals and the well-cued string samples from their one absent member stuck home dealing with a legal settlement. He missed a great show!

After Soft Reeds, I figured I might as well round out the day with one more Chicago band. Originally a five piece, not everyone from Unicycle Loves You was able to make it up from the band’s hometown. In fact, this wasn’t the only of the band’s issues. From their kick drum’s wobbly frame, (successfully held up by their first CD) to bassist Nicole Vitale’s cold, these musicians were troopers who still sounded great despite these handicaps. Every song they played today will be released on Valentines Day next year, on a full-length called of all things ironic, "Failure."

So there you have it. Overall, as much as I love NYU and Australia, I was a happy camper seeing music back again in Brooklyn. Thank you to all the bands traveling all this way to make it such a fun day!

Day number two finds me in the Caribbean-themed frat bar Wicked Willy’s. I’m not entirely sure how I ended up here, but I had heard a bunch of artists were playing stripped down sets without their bands, and this wasn’t something you get to see a lot of at CMJ.

First up was Christina LaRocca. A Brooklyn staple with powerhouse pipes. Backed only by partner Satchel Jones, she projects a warm R&B flavor either when singing in French, or when covering classics like ‘Ring of Fire.’

Next to the tiny stage was the funky scientist Netherfriends. Essentially a one-man show, music-nerd Shawn Rosenblatt became the audience and artist at once. He has no problem looping harmonies, beatbox and pads together while still having plenty of time left over to bolt off the stage and throw his weight around on the dancefloor throughout the half hour set. One minute Jamie Lidell, the next Buddy Holly, his band-in-a-box style is unconventional, but won the crowd over with how enthusiastically the Chicago native brought it all together.

After all these solo acts, Lisa Bianco finally brought the first band out of the night. Bianco sings music from the heartland, but her riot spirit comes alive in every runaway train jam. Once upon a time people referred to the NY artist as anti-folk. This spirit comes through at the quieter moments, but for the most part she delivers overdrive to make Neil Young turn his head, stopping any of the usual Sheryl Crow comparisons at the door.

After wishing My new friend Paul congratulations for winning the biggest beer pong trophy I’d ever seen, I was ready for the last band of the night, Automatic Children. Here’s a band where almost every member is a frontman, bouncing lines back and forth from singer to singer and trading riffs from country stomp to sentimental note picking. These guys are long- time favorites of the Deli, and new faves of my own.

After that it was time to find my bed again… Reminded after two days that I actually have a girlfriend I should probably see. Who knew?

Deathrow Tull was supposed to take the stage by midnight. Obviously they were on MCT (that’s emcee time). At about half past 12, the three rappers of Deathrow joined their band onstage and the party began in earnest. Names may have changed, as brokeMC is now Stephen Rawking and Dyalekt is going by W.M.D. DuBois, but the atmosphere remains the same. Wordplay flies over your head like projectiles, songs you know are mashed into hooks you couldn’t imagine, and the live instrumentation keeps everything fresh and undeniably real. (Roll call: Endo Kalrissian on guitar, Every Part of the Buffalo on drums, The Keymaster on, you guess it, keyboards, and Mr. Dough providing the funky bass.) Temple Grindin, if I may say so, busts apart the boys’ club that is the rest of her band. Like Ginger Rogers, she does everything Stephen and W.M.D. do, but backward (like singing hooks) and in heels (she was actually in heels). Towering above her accomplices, Grindin switches from a sweet mo-town croon to spitting harsh rhymes. The floor was shaking with bouncing bodies, and though it was technically Wednesday morning, it felt, like their song, like a "Friday Night." Speaking of Friday nights, catch Deathrow Tull at Sullivan Hall on Friday, October 21, 2011. They go on at midnight. Or sometime around there. -allison levin