CMJ 2008, Day 2: Subtlety and introspection

October 22, 2008, in NYC

By Liz Schroeter
Published: October 23rd, 2008 | 11:40am

The Fader Fort, no matter how branded with sponsors it may be, is awesome. It’s invite only, but pretty much everyone you know is invited, there’s free booze and free bands, and every year it’s in some random vacant store front on Manhattan’s lower east side, which they deck out in graffiti and pop art. I’d hoped to arrive in time to see The Muslims, a Velvet Underground-y throwback band from SoCal, but instead caught Crystal Stilts. Not to be confused with the two other “crystal” bands playing CMJ (Crystal Antlers and Crystal Castles), the Stilts play monotone, lo-fi indie rock even more deadpan than Joy Division. The fuzzy amps bring a nostalgic vibe, but ultimately it was boring. He Say, She Say followed and made no impression on me aside from female vocals and electronic beats. Blame it on the Fader Fort’s distracting open bar.

Next it was up to the Highline Ballroom in the meatpacking district to see a show that was far from a sausage fest. Tara Jane O’Neil had the audience entranced with her moody and hypnotic songs, her fragile voice lulling everyone along. Everyone on stage, including Ida’s Dan Littleton on guitar, shook bells as O’Neil gently wooed noise from her electric guitar, hiding behind her bangs all the while. When she finished her set, she whispered, “Thank you.”

Following Tara Jane O’Neil was Canadian trio No Kids. Not Black Kids, nor Cool Kids, but No Kids play stripped down keyboard pop. The singer’s voice skipped lightly over the melodies, but it amounted to little more than background music.

The headliner tonight was longtime K Records artist Mirah. It took her a while to get comfortable on stage, owing apparently to some sound issues, which caused her to abandon “Advisory Committee” halfway through the song. Mostly undeterred, Mirah soldiered on playing entirely acoustic just her, her guitar, and her lovely voice.

After a few songs, however, Mirah’s solo performance lacked the substance to hold my interest, and I headed downtown to the Red Bull Space to see Brooklyn band Takka Takka. Unfortunately my timing was off. Some coarsely crooning solo artist strumming a far too noisy guitar subjected me instead to his jarring performance. He was credited in the CMJ guide only as “TBA” and even the guys in Takka Takka couldn’t tell me who he was. I enjoyed a free beer (note: Red Bull Space = open bar) and the company of the bands I’d narrowly missed, then headed out for Cake Shop.

I was there to see the Alberta band Women, a group that in fact has no female members, and who is playing on average three times a day, every day of CMJ. Women even played the Red Bull Space just before Takka Takka, and still managed to beat me to the next venue. The basement of Cake Shop was awash with feedback and reverberating vocals as Women delivered their sixties style garage rock to the packed room. Slow and steady beats make the backbone of the band’s lo-fi rock songs, which for a reason I cannot put my finger on are way more enjoyable than Crystal Stilts — even though I would describe them in almost the same words. Funny how some bands take an old trick and just manage to lend something fresh to it.

One could say the same about Bear Hands, the band I caught next around the block at the Mercury Lounge. This Brooklyn band isn’t covering any new territory with their catchy indie rock songs, but they do it well and their melodies stick in your head. Fans of Wolf Parade and Les Savy Fav, take note.

Down the street, British actress Ebony Bones was playing the afro-punk showcase, but alas the venue was not letting in any more badge holders. I hailed a cab wondering if I was missing something unique. I’ll have four more times to catch her before the festival is over, including Thursday with Hercules and Love Affair and at a late-night Noisettes show, but for the time being it was home to bed.

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For Day 3 CMJ coverage, click here.