Posts Tagged ‘CMJ 2008’

Dispatches from CMJ, Day Five: Drink Up, Buttercup, Little Jackie, Pattern Is Movement

Pattern is MovementThe first half of the last day of CMJ was something of a random draw, with there only being one band I was determined to see that day (Pattern Is Movement, seen on the left).

I ended up at Cake Shop for a repeat performance of Drink Up, Buttercup, the only band I saw more than once during the five days (though plenty of bands played plenty of times, surely this year broke a record for the number of bands doing a multi-set grind). While the double-dose was pure coincidence, the second set was perhaps even more entertaining than the first. If the first performance was energetic, then the second was manic. The band members seemed peeved at an only somewhat attentive audience, and Cake Shop’s rather meager sound and stage setup – or were maybe just enjoying too many of those cheap PBRs – and channeled all of that into song, flailing around more grandly, banging those trash cans harder, and shouting even louder, including at the audience to demand that they both pay attention and sing along. If being pissed off is what they need to put on this kind of show, then someone should harass these guys before every outing.

Speaking of attitude, the next stop was Little Jackie, the current project of Imani Coppola, known for the ‘97 hit, “Legend of a Cowgirl” (which was, incidentally, one of the first songs I downloaded from Napster). Coppola is back and she’s still sassy, a woman after my own heart. She’s doing the soul/girl-group thing, a la Amy Winehouse, and is also unafraid of flaunting her vices. Unlike the diva across the pond, however, Coppola has more than an ounce of pride and self-respect. (more…)

Dispatches From CMJ, Day Three: The Lovely Sparrows, Au, Goes Cube, Villa Vina

AuThe third day of CMJ began at Fontana’s, with Austin, TX folk duo the Lovely Sparrows. This is one of the shows I was looking forward to, as occasional contributor Clay Franks turned me onto them. Fans of current rising-stars the Fleet Foxes will find much to love in this pair, who also play melodic pop-folk, but more ruggedly and a little less obtuse. The music is punctuated with the kind of lyrics an English major would love, clever and wise: “Was I a dog you wished you’d always had? / Quiet when you’re sleeping / kisses when you’re bad,” they sing in “Year of the Dog.”

The Lovely Sparrows, “Year of the Dog” (download)

With my expectations more than met by the Lovely Sparrows, I continued happily into the night to check out another duo, Portland’s Au (seen above), who had already played CMJ a time or two in the past few days. They were a hot item of the evening, as photographers swarmed the stage, putting cameras in the way of every sight-line. Au is twinkling, beating psych, and like any good psych band, they like to wander around. But they got lost a little too often, in some ways, and were at their best when they knuckled down and decided where to go.

I ended the night at the Delancey, first with Goes Cube. I thought they were intense when I saw them back in April of last year, but in comparison to their show on Thursday, HOLYSHIT, that was nothing. They’re heavier, faster, louder, and crazier, in all the right ways. They didn’t literally smash any guitars this time around, but sonically, they were a wrecking ball. Fist-pumping and man-dancing abounded.

Goes Cube, “You Clench Your Jaw When You’re Angry” (download)

Next in line was Villa Vina, who are often thrust into the progressive genre. It’s not a completely unwarranted label but they have more direction, are less obviously drug-induced and not nearly as overly self-indulgent, which all seem like such staples of the genre that it’s hard to think of it without them. Prog for a modern age? You bet.

See more pictures from CMJ here.

Dispatches from CMJ, Day Four: Land of Talk, Broken Social Scene

Kevin DrewBy day four, this CMJ hound needed a bit of a rest – which, in CMJ terms, means I went to one show instead of five. Truthfully, the one show was likely better than any combination of five, as it featured everyone’s favorite obscenely huge Canadian collective, Broken Social Scene.

Broken Social Scene kept it Canadian when choosing an opener, Montreal’s Land of Talk. The tinny, girl-fronted garage-rock three piece gave a respectable performance, but it was clear the audience was itching for what badge holders arrived insanely early for, and what ticket payers coughed up big bucks for.

It was clear early on that Kevin Drew (seen above), the closest thing Broken Social Scene has to a frontman, was in an especially feisty (pun intended) mood. Before “Cause=Time” (which he forgot the words to) he quipped, “Here’s another one we’ve been playing in your city for the past four years of our lives.” A few songs later he was markedly more agitated, which naturally peaked at the early-career fan favorite, “Anthems For A Seventeen-Year-Old Girl,” before which he announced, “This is one of the last times we’re going to play this.” At one point he said, “The is one of our favorites,” then left the stage. As the night progressed, he changed from complaining about how many times they’d the songs to stating, after every song, that the show was over.

Broken Social Scene, “Cause=Time” (download)

Drew’s rants aside, no one might’ve thought the band was tired of the material. Brendan Canning alone is still a joy to watch, in part because he looks like someone’s cool hippie father, and in part because of his fondness for high karate kicks at the punchiest parts of songs. The brass section served as the cheerleaders for the evening, whooping and gesticulating to rile up the audience every time they took the stage. (more…)