Noise Pop 2010 Has a Glamorous Start with Yoko Ono at The Fox Theater

Deerhoof at The Fox

It's hard to believe that it's time for another Noise Pop Festival. Each year it seems to get bigger and bigger and increasingly removed from those early years (it began in 1993) of shows at Bottom of the Hill and photocopied all-access passes.

This year Noise Pop extends out over the course of a week and encompasses a range of venues (from the large, fancy Fox Theater in Oakland to the tiny and funky Artists Television Access in San Francisco) on both sides of the San Francisco Bay.

My Noise Pop adventure began this year with the Yoko Ono show at The Fox Theater on Tuesday night. I'd never been to the Fox before and was taken in by its gilded vintage decor. It was a seated show and the crowds filled both the floor and the large balcony sections. Deerhoof started the show with a rousing set of satisfying pop, with the lovely vocals of Tokyo native Satomi Matsuzaki.

Yoko Ono Peforms

Yoko Ono was up next, backed by The Plastic Ono Band. As the audience awaited her appearance on stage, we were treated to vintage Yoko Ono film footage, ranging from clips from home movies, news stories, performance pieces, and from some of her experimental films. For those not initiated before, this was a great introduction to the history of Yoko Ono as an artist and as a public figure.

As the clips drew to an end, Yoko Ono Plastic Ono Band came on stage. For this show, Yoko Ono was accompanied by her son Sean Lennon along with Cornelius, Yuka Honda, and Harper Simon. For the grand finale, Deerhoof, Pika from Japanese band Afrirampo as well as Petra Haden joined her on stage for an all-out all-star jam.

The entire show was riveting, and I was impressed that Yoko Ono continues to evolve as an artist. It was also exciting to see her embrace of younger Japanese artists and I enjoyed seeing how the sounds of all of the participating musicians meshed into one lovely hybrid of styles and sounds.

What a wonderful beginning to Noise Pop.

Also up on the schedule this week: tons of music, music-themed films, art, and the Industry Noise conference on Saturday.

Small Beast Showcase at The Delancey During CMJ: Theremin, David J, and David Lynch Covers

David J at The Delancey in NYC

My all-time favorite show during the CMJ Music Marathon this year was a showcase at The Delancey on Thursday, October 22, 2009. As part of the "Small Beast" series, this collection of acts played in the small bar area on the ground floor of the club. Downstairs one of the most happening shows of CMJ was taking place and a line of people stretched out the door. But I was happy to be inside at a less populated, more experimental, and (can you believe?) free show. Nestled in a velvety booth, I felt like I was transported to a crazy cabaret inhabited by characters from a Wim Wenders film, with Nick Cave and Leonard Cohen orchestrating the soundtrack.

This particular event was the 40th show in the "Small Beast" series, curated by Paul Wallfisch. He was the MC of the evening as well as a performer and even passed a tip jar to collect donations for the musicians between sets.

I was lured to the show by the promise of not only David J, but also musicians incorporating theremin and David Lynch covers into their sets. It seemed like the perfect confluence of performers and sounds for me.

Unfortunately things got going a little bit late (a pain at CMJ when every act is scheduled at precisely timed intervals so that attendees can pop from show to show), owing to a missing musician. As soon as the show began, though, I was entranced.

Pamelia Kurstin at The Delancey

First on the bill was Pete Drungle, featuring Pamelia Kurstin with some loungy, jazzy sounds on theremin. Pete played Wurlitzer piano and another fellow handled percussion using some intriguing box-like contraption that he was sitting on. Overall, it was magical, shimmery instrumental music.

Call me Kat at The Delancey

After that, Call me Kat from Denmark provided some lovely vocalizations over vintage synth. She tantalized with a sophisticated cover of the Britney Spears tune "Toxic."

Spottiswoode was a passionate, singer-songwriter guy with a guitar. His text-focused song about all the ladies he liked included phrases like "girls with glasses and ten dollar asses, that's what I like." I was instantly reminded of the retro Nails classic "88 Lines about 44 Women," although his take on things was way less saucy. Later he moved to piano and I became a lot more interested in the dirgier style that he transitioned into. I bantered a bit with the guy next to me (who turned out to be David J!) and he mentioned that parts of the set reminded him of Randy Newman. I could see that too, with a bit of Billy Bragg thrown in for good measure. For sure he was a storyteller and that was the commonality between all of the influences that I heard in his music.

Thomas Truax at The Delancey
(Spinster Sister to his left)

One of the most intriguing musicians of the night was Thomas Truax. Like a mad professor he came on stage with a collection of fascinating, Rube Goldberg-style contraptions that he used to make music. Crafted with bits and pieces of vintage materials, the Hornicator featured part of an old phonograph horn. The automatic drum kit dubbed Sister Spinster sat perched on a table in front, churning out demonic, heartbeat sounds as well.

Thomas looked a bit like a cross between David Byrne and Harry Dean Stanton and was just plain creepy cool. At one point he jumped up on the bar and crouched down playing his guitar while singing to each and every member of the crowd, weaving in and out of booths while he sang. He's done an album of songs from the films of David Lynch and included a few in the set at Delancey as well.

Paul Wallfisch and Little Annie

Our host for the evening, Botanica's Paul Wallfisch then hit the stage. I was fascinated by him in part because he bears an uncanny resemblance to a DJ at my station (appropriately named Mitch LeMay). Perhaps he's his doppelganger. Paul played piano and was quite the lounge lizard, making the old time, variety show vibe of the evening even more apparent.

I kept wondering what the 20-year-old CMJ hipsters must be thinking as they crossed through the room to get to the Antlers show downstairs. Did they run screaming thinking "oh my god, this is cheesy old people music" (like I used to think about Barry Manilow), or did they recognize the camp aspect of it all? Special guest Little Annie joined in and she was definitely the glamorous diva of the night. Dressed to the nines in head-to-toe black, she looked classic and classy, but her lyrics were biting and sassy.

David J with members of Botanica at The Delancey

Then, the star attraction for the night was Bauhaus and Love and Rockets luminary David J. Halloween songs were promised and he definitely delivered with some creepy-themed songs about murder and death. He performed a lot of covers, including songs by LCD Soundsystem and Tom Waits and premiered a new song of his called "Blood Sucker Blues" about a strung-out vampire.

I was a bit star-struck as it took me awhile to realize that I'd been sitting next to David J. for much of the evening. It was pretty cool to just chat about the music with a fellow music-lover who turned out to be one of the main reasons I was at the show in the first place.

I'm also 90% sure that I spotted another celebrity that evening. If you look closely at the pictures I took during the David J. set you might just spot a shadowy figure who I think is the hilarious actor/comedian Clark Duke (he plays the geeky cool Dale on the TV show Greek). If it wasn't him it was just some CMJ hipster who could have been his twin.

David J was spinning a DJ set at Small Beast later, but as it was nearing 2am, I had to split to get some sustenance (late night S'mores crepe, anyone?!) after a very long day of CMJing it.

If I'm back in New York, though, I'll definitely be checking out Small Beast again because if this show's lineup was any indication, the booking philosophy is simply inspired.

Thomas Truax with his Hornicator

Previous Posts about the 2009 CMJ Music Marathon:

CMJ 2009 Band Name Trends Revealed
Radio is Alive and Well at the CMJ Music Marathon (for Radio Survivor)
Radio's Presence at CMJ
CMJ 2009 Music Marathon Recap Part Two (10/20/09)
Social Networking, Metal Radio & Digital Music, and Miles Davis in 1959 (10/21/09)
CMJ 2009 College Day Part One- College Radio and Competition
CMJ 2009 College Day Part Two: Music Directors' Summit
CMJ 2009 College Day Part Three: Making Executive Decisions Panel
CMJ 2009 College Day Part Four: College Radio Awards

CMJ Music Marathon 2009 Recap Part Two: Subway Sounds, RXP's Listening Session, Margaret Cho, Care Bears on Fire, and Gothy Dark Sounds at Fontana's

"Radio in this country is pretty close to dying."
-overheard during CMJ

"Terrestrial radio...I think is still around, although I'm not sure."
-Jason Herskowitz

"College radio is so important. I had so many great years there."
-Matt Pinfield

Throughout my week at the CMJ Music Marathon in New York City, I kept my ears open for talk about radio and its future. I overheard both positive and negative proclamations about radio, saw some interesting sessions about radio in all of its forms, and reaffirmed my commitment to college radio during College Day. I've already discussed some of the stations who had a physical presence at CMJ and in the next few posts I will go into detail about the variety of panels and shows that I hit during the festival.

The opening day of panels was on Tuesday, October 20th. Most sessions were geared towards musicians, with topics ranging from "But How Will I Get Paid?" to "Music and Advertising." Others focused on the state of urban music, the lost art of the album cover, and New York's "Music under New York" program that brings music to the subways.

Music Under New York
The session about music in the subway system, "Music Under New York: Stories from an Underground Culture" was fascinating. A number of musicians spoke about their experiences playing for commuters and relayed some heartwarming tales about encounters with folks who were touched by the sounds. They pointed out how "magical" a place the subway system is and that passersby are "not obligated to listen to you... and they do." They also told stories about how beautiful it is to be playing music in a place where there are rats and pickpockets. As I heard them speak about their experiences I was reminded of radio, another place where people are often delighted by unexpected sounds.

CDs awaiting Critical Ears

RXP Music Listening Session
The first radio-oriented session that I attended was the RXP Music Listening Session, which featured a panel full of DJs from New York commercial rock radio station WRXP, as well as Matt Pollack from Monotone Records.

RXP DJ Matt Pinfield began the session talking about the unfortunate state of most commercial radio stations today, where one "lose[s] the element of passion [because] DJs are told not to get emotional about the music or show passion [because] radio companies think things have to be dumbed down."

Throughout the panel it became clear that RXP likes to set itself apart from that typical commercial radio model, as it allows DJs more freedom to program shows and express joy about the music they are presenting.

Everyone on the panel was asked what they look for in a new artist or a song when considering it for airplay. RXP's Music Director Brian Phillips features new material on the station's half hour "10 o'clock News" segment every weekday night. He said that he listens for songs that have a "wow factor," that he would want to listen to for a second and third time.

RXP's Program Director and morning show host Leslie Fram pointed out that, "you have to have trained radio ears" and she added that she listens for hooks and originality, saying, "It's about the things that will make people react."

Matt Pinfield also mentioned RXP's interest in local bands, saying that they felt a responsibility to "support local music." Leslie added that they listen to everything that is sent to them. In that spirit, the remainder of the session was devoted to listening to music from artists who dropped their CDs into a mail tub that was in the aisle.

Matt Pinfield, Matt Pollack, and Brian Phillips Listening to CDs from the Tub

The panelists pulled 10 different CDs from the tub and played bits of each CD for the audience. I was impressed that the radio and label folks were very supportive of the musicians in the room, offering both positive feedback and suggestions about labels that might be interested.

Comments about the music included: "accessible enough," "multi-format," "off-center," "Rocky Horror dynamic," "ambient trance thing," "balanced," "a little J. Mascis," to "great potential." The final two artists played during the session (Frontier Brothers and Overnight) actually got airplay later in the week on WRXP.

College Radio Mixer
My first scheduling bummer of CMJ happened on Tuesday night when I got to the College Radio Mixer too late and was turned away. It was set to begin at 5pm and apparently those not in line by that time were told that the event was over capacity. Uh oh.... Part of the problem was that one of the most buzzed about shows that night (a New Zealand showcase featuring Bang Bang Eche and Die! Die! Die!) was happening later in the same venue.

Media Meet-n-Greet
Luckily I had a media badge, so I headed over to the media mixer at the LimeWire space instead. I was treated to food, drinks (rosemary vodka!), and DJ sets by Jon Spencer and Margaret Cho. I got serious junior high school dance flash backs as Margaret Cho directed the spinning of classics like "Another One Bites the Dust," then slammed the crowd back into 2009 with selections from the likes of Lady Gaga. On a screen at the event there was a stream of photos from live shows from past CMJs. It was interesting to see images of some of the heavyweights who'd performed and some of bands who subsequently have made it big.

Care Bears on Fire at Bowery Ballroom, NYC
October 20, 2009

Care Bears on Fire
The next scheduling snafu of the day was missing pretty much the entire set by Care Bears on Fire at the Bowery Ballroom. I thought they went on at 8pm, but they promptly began closer to 7pm. When I arrived around 7:30, I got there just in time to see one song by these young ladies. I'm nostalgic for the whole 1990s riot grrrl scene, so was particularly looking forward to seeing these teen girl musicians. Oh well. The song I heard was fun and rocking, but I'd like to hear more. The next few bands at Bowery Ballroom didn't do much for me, so I hightailed it over to Fontana's for a change of pace.

Cruel Black Dove at Fontana's, NYC
October 20, 2009

Fontana's Show: Telltale, Cruel Black Dove, Dead Leaf Echo
As I descended into the cozy and dark basement space I instantly felt more comfortable than I had in the larger, emptier Bowery Ballroom. Telltale was mesmerizing with Joy Division-inspired sounds and an almost surf-style guitar. Cruel Black Dove featured 2 ladies in front and 2 dudes in back on synthesizer and drums. The Siouxsie-ish music was accentuated by one gal's dancer-like moves and the tone was also set by some running visuals in the background. Finally, I was treated to a set by Dead Leaf Echo. I was pleasantly reminded of Cocteau Twins, yet with both male and female vocals. It was beautifully hazy. All three bands worked to create an entrancing scene that hit the right dour notes for me. What a great way to begin CMJ!

Previous Posts about the 2009 CMJ Music Marathon:

Radio's Presence at CMJ
Radio is Alive and Well at the CMJ Music Marathon (for Radio Survivor)
CMJ 2009 Band Name Trends Revealed

Elvis Costello's Two Record Stores in One Day Tour

Elvis Costello Playing Amoeba in San Francisco
(and being fully documented on video, camera phones, etc.)

A few hours ago I caught a live performance by Elvis Costello at Amoeba Records in San Francisco. It's a huge record store (the building used to be a bowling alley) and it was jam-packed with fans who were eager to catch one of Elvis's two free Amoeba shows today. After the show and "meet and greet" (they handed out 81 numbers to people who wanted to have items signed and it was a free for all after that) he will be jetting down south to play at the Los Angeles Amoeba store at 8pm. Along with being able to see an amazing set by a music legend, fans were also able to pick up limited edition posters commemorating the Amoeba shows (free with purchase of the new album Secret, Profane & Sugarcane).

As my friends and I looked out at the sea of faces in the store today (at 12 noon on a Monday), we talked about the beauty of in-store performances. It was great publicity for Elvis Costello's new record and a fantastic way to get music fans into a record store and spending money on physical music.

Additionally, tonight's show is going to stream live at 8pm and both sets will end up being archived on the Amoeba website. So, even if you missed it, you can catch full documentation.

Noise Pop Begins with Sold Out Shows and Wine Pairings

Mountain Goats (solo) at Swedish American Hall, San Francisco
February 25, 2008

Noise Pop 2009 launched in San Francisco on Tuesday, with a crazy number of shows, films, and related events. Festivities began for me last night at the sold-out solo Mountain Goats show (aka John Darnielle) at the Swedish American Hall. It was such a civilized way to start off my 2009 Noise Pop experience as it was an early (7:30pm) seated show in an intimate venue.

John Darnielle's peformance last night was amazing. He's a charming and witty entertainer, singing intense songs and sharing both heart-breaking and hilarious tales from his childhood throughout the show. I've been a fan for years (and perhaps was even in the audience at the Thirsty Swede during the first San Francisco Mountain Goats show ever, which Darnielle referenced last night), and it finally struck me last night that what sets Mountain Goats apart from the singer-songwriter masses is Darnielle's biting lyrical content and his powerful vocal delivery, which at times verges on yelling. He's simply captivating and it was a treat to be in the audience last night and hear his lovely songs.

In addition to the music, at the show folks from Wente Vineyards were on hand in the bar area, sharing tales about their project "Discover the Wine, Discover the Music." Their winemaker is about to embark on travels around the country chatting up his indie rock/wine pairings, with trips to the Rock and Roll Hall of Fame and South by Southwest. Noise Pop was sort of their launch event. I'm still trying to wrap my head around the whole concept, but it's definitely an intriguing idea. After listening to Mountain Goats, winemaker Karl Wente chose 2 wines to pair with the music. A news blurb on the Noise Pop website says, "John Darnielle is like your favorite cashmere sweater-- the one that has a few holes, but you love & wear it no matter-- classic, yet 100% one-of-a-kind. Our Southern Hills Cabernet Sauvignon and Louis Mel Sauvignon Blanc are both classic varietals of the Bordeaux..."

Wow. Sipping wine at Noise Pop. What a change from the early Noise Pop days of beers and free afternoon BBQ at Bottom of the Hill! What do you think about pairing wine with music? Do you associate particular beverages with certain bands or songs? What would you drink while listening to Mountain Goats? A brooding Pinot Noir? A funky Cab blend? Or maybe a cheap beer and a shot of whiskey?

Tomorrow I'm heading to the full-day "Industry Noise" event to hear all about the role of indie rock and indie performers in the changing music industry. Recap to follow.

Radio Station Field Trip 6 - WNYU in New York City

Entrance to WNYU at New York University
October 24, 2008

It was an embarrassment of riches for me at the CMJ Music Marathon in New York City this year, as I was able to visit three different radio stations. I love seeing how different stations operate and it's always fun to chat with station staff and DJs, check out their record libraries and equipment (like the fabulous "Instant Replay" machine pictured below that plays station IDs and promos!), and hear station lore.

"Instant Replay" Machine at WNYU
October 24, 2008

On my final afternoon in NYC for CMJ I signed up for a special tour and live performance at New York University station WNYU. In conjunction with the CMJ conference, WNYU set up live performances and tours of their radio station every afternoon for a limited number of CMJ attendees. When I came to visit on Friday, October 24th, I was among a small group of 3 people who were interested in seeing the station and hearing a live set from Kurt Vile.

Program Director Jonathan Williger of WNYU

Thanks so much to Program Director Jonathan Williger for showing us around the station and for chatting about WNYU. He told me that the station had moved to new studios in August (out of a "tiny closet in Tisch"), so not everything was set up quite yet. He mentioned that much of their vinyl (thousands of records) is still in storage, that the on-air studio will be moving soon, and that they needed to put more posters on the walls to make the station feel more like home.


WNYU airs their programming online 24 hours a day, but splits their FM signal with another station (WFDU), so only airs their programming from 4pm until 1am terrestrially. Jonathan told me that some of their online-only shows serve as a training-ground for new DJs. Additionally, when there's no on-air DJ, WNYU uses a "jukebox" to shuffle through songs online.

WNYU "Jukebox"

WNYU has a lengthy history and turns 35 years old this year. They have programs that have been on the air for close to a decade, including Tim Sweeney's "Beats and Space" and a hip hop show called "The Halftime Show." Many of their shows are specialty programs, covering a variety of genres like punk, metal, dance music, reggae, electronic, and experimental.

DJs at the station are mostly students or former students at NYU.

A portion of the vinyl at WNYU

When I asked about vinyl, I was told that they do still get a lot of vinyl releases at the station, especially from labels like Siltbreeze. Jonathan said that during his show he'll typically play 3 to 5 vinyl tracks. He also told me that they also play cassettes, especially on the "Make the Product" show, which specializes in self-releases and hard-to-find limited production cassettes, CD-Rs, and vinyl recordings.

Kurt Vile Performing at WNYU
October 24, 2008

At the end of the visit, we were all treated to a live in-studio performance by Philadelphia-based musician Kurt Vile. Bright lights blazed into the space, creating an eerie glow as we watched from the soon-to-be on-air studio. Kurt Vile did a lovely set of Gothic-inspired folky acoustic music. His lyrics were fascinating and mesmerizing, with references to a yellow Schwinn bicycle, Bob Seger, and acid.

Kurt Vile at WNYU
October 24, 2008

He talked about an upcoming vinyl release of his (which thrilled me!) and it was particularly enchanting to hear that he was going to be playing that night in Brooklyn at a venue called the Meat Wallet. To hear Kurt Vile's set, you can listen to the archive of the "New Afternoon Show" from October 24th, 2008.

Thanks again to my hosts at WNYU for a fun visit.

Previous Spinning Indie Radio Station Field Trips:

Field Trip to WECB at Emerson College
College Radio Field Trip 2 - Cal Poly's KCPR
College Radio Field Trip 3 - Notre Dame's WVFI
Radio Station Field Trip #4 - WFMU in Jersey City
Radio Station Field Trip 5 - East Village Radio in NYC

Radio Station Field Trip 5 - East Village Radio in NYC

East Village Radio in New York City
October 24, 2008

When I was at the CMJ Music Marathon in New York City a few weeks ago, I learned about East Village Radio during one of the panel discussions that I attended. Co-founder/Creative Director of East Village Radio, Jorge doCouto piqued my interest when he talked about some of the interesting programming on the station and when he mentioned the recent festival that they put on in New York City. I was so intrigued, that I decided that it merited a field trip over to the East Village in order to check out the station.

So, on Friday, October 24, 2008 I finished up my day of panels at CMJ in order to spend the afternoon visiting radio stations.


East Village Radio is an Internet-only station in New York City's East Village. They occupy a tiny storefront, wedged between their pizzeria benefactor Lil' Frankie's and a tattoo shop. The space is so small that there's only room for the studio equipment and a tiny bit of storage. I was told by the on-air DJ that there's no record library and that DJs bring in their own music to play. Offices are located upstairs. They've been around since summer 2003 and are increasingly popular with listeners from all over the world who listen online and to the station's podcasts.

DJ Hallogallo at East Village Radio, NYC
October 24, 2008

Since the station is located right on the street, it has an interesting relationship with local residents. When I was there, a number of passersby of all walks of life stopped to watch the DJ and see what was happening at the station. According to their website, "The station's street level studio helps maintain its independent artistic sensibility. According to an MTA (Metropolitan Transit Authority) study of pedestrian traffic in New York City, almost 1,800 (1,000 during off-peak travel times) pedestrians pass by the sound booth per hour."

Passersby Watching the Happenings at East Village Radio

East Village Radio aspires to be both innovative and a resource to the community. Their website states, "It is first and foremost a station that exemplifies a communitarian spirit, nonconformity, and a dedication to providing a platform for innovative music. EVR provides a voice for local DJs and personalities who might otherwise have been drowned out by the deafening presence of rapid gentrification."

East Village Radio's Storefront Studio
October 24, 2008

When I stopped by on a Friday afternoon, DJ Hallogallo was playing underground sounds on his show "Infinite Eargasm," while waiting for the band Motel Motel to set up for a live in-studio performance. My timing couldn't have been better, as it was fascinating to see how they orchestrated setting up a band to play in such a tiny space. Band members were consulted about whether or not anyone was left-handed, so that they could figure out how to squeeze all of the people and instruments in most efficiently.

Motel Motel Preparing for their Performance on East Village Radio
October 24, 2008

After all four musicians got situated into the studio, I was able to watch the entire set by Brooklyn band Motel Motel. They did a beautiful set of acoustic, Americana music.

Motel Motel at East Village Radio
October 24, 2008

Since there was a bit of a crowd watching the performance, the DJ left the studio door open so that we could all see and hear. Adding to the whole urban experience, during the set, at least 4 rounds of ambulances and emergency vehicles drove by with sirens blaring, no doubt giving Internet listeners a true appreciation for the studio's NYC store-front digs.

Motel Motel at East Village Radio
October 24, 2008

Thanks so much to East Village Radio for allowing me to stop by and visit and thanks to Motel Motel for a great set of music! If you want to hear the Motel Motel set that I got the pleasure to experience in person, you can do so on the East Village Radio website.

College Day at CMJ Recap Part 1- Miss Li, Juliana Hatfield, and Event Planning Tips

Miss Li performing at CMJ "College Day"
October 23, 2008

The day that I was most looking forward to at last week's CMJ Music Marathon in New York City was "College Day" on Thursday, October 23rd. Unlike sessions the rest of the week, College Day began bright and early at 9am, with breakfast, photo opps with the creepy Chocolate Axe man, and live performances from the soulful Stockholm singer Miss Li and long-time indie darling Juliana Hatfield.

Juliana Hatfield at CMJ Music Marathon
October 23, 2008

I really enjoyed both artists, although was annoyed when people talked through Juliana Hatfield's quiet acoustic performance. She did two songs, then left the stage to get water during her third, never to return. It was kind of sad and uncomfortable. Definitely a bummer for the talented artist who during the height of her fame was on the cover of Sassy magazine and did a guest appearance on "My So-Called Life."

"Radio Hostesses with the Mostesses" Panel at CMJ
October 23, 2008

College Radio & Event Planning

Following the music, the first panel of the day was "Radio Hostesses with the Mostesses," a discussion focused on tips for event-planning. Jennifer Disse from WXJM (James Madison University, Harrisonburg, Virginia) talked about her station's role in organizing the annual 2-day MACRock (Mid-Atlantic College Radio Conference) festival. Although the event was initially put on solely by the station, it has now grown and it handled by a separate non-profit organization (with much help from the radio station).

Kelly Reid from WKNC (North Carolina State, Raleigh, North Carolina) gave an overview of the "Local Beer, Local Band" night that her station has been doing for nearly 2 years. She said that the event was slow to build, but that now they make about $250 a week from it.

Dylan DiLella from WNYU (NYU, New York City) said that at his station they co-present a lot of shows, which primarily means that they do publicity and ticket giveaways. It's a low-cost way to get some publicity for your station, while helping to promote bands that your listeners are interested in. WNYU is also working to do a concert on campus, which for their station, is cheaper than doing an outside event. However, other stations have found it easier to keep station events off-campus, since often there is less red tape.

The panelists gave a lot of tips about how to have a well-run event and Kelly reminded everyone, that "throwing an event [is]…an extension of being a DJ…about giving music to your listeners…it’s about the music….don’t ever let that get pushed aside."

The Q&A actually produced some of the more interesting tidbits. A college DJ from a small town asked for advice on how to get bands to play there. The panel suggested that radio stations just reach out and ask artists directly. They also recommended trying to work with local motels and businesses in order to get trade deals for lodging for visiting bands. Someone else asked about finding venues in towns with few live music options. The folks on the panel suggested that stations consider house shows and atypical venues like record stores, firehouses, tattoo parlors, and VFW halls.

Tara Jane O'Neil, No Kids and Mirah at CMJ

Mirah at Highline Ballroom, NYC
October 22, 2008

For my second night of shows at CMJ, I decided to check out a few artists who I'm already a fan of, but had never seen live. On the bill at the Highline Ballroom on Tuesday, October 22 were some of my favorites from the Pacific Northwest: Tara Jane O'Neil and Mirah. The standout moment for me was when Mirah performed an absolutely gorgeous version of "Cold Cold Water," with delicate guitar strumming. Seeing that song sung live reminded of why I'm just chilled by its pop perfection every time I hear it.

Tara Jane O'Neil at Highline Ballroom, NYC
October 22, 2008

Mirah collaborated with artists from both bands during her set, giving the audience a sense of the camaraderie felt among the bands on the bill. I wasn't as rivetted by the male-fronted Vancouver band No Kids, but perhaps I was just in the mood to hear from the ladies.

International Acts at CMJ and Japan Showcase

Australia CD compilations

A big trend this year at the CMJ Music Marathon was the presence (and marketing) of musicians from specific countries. The exhibitor hall had tables with information and music compilations from organizations promoting the music from different regions, including Ireland, Sweden, and Australia.

An ad in the CMJ Festival Guide also touted a list of all the French bands performing. In addition to that, there were a number of regional showcases throughout the festival, featuring bands from all over the world. Tuesday night there were events for bands hailing from New Zealand and Japan and on Wednesday night a number of European-themed showcases took place, including “Sounds of Spain,” “Bring on the Brits,” and “Canadian Blast.” Friday there was a daytime showcase of Australian bands at the club Arlene's Grocery. Additionally, there was a 6-hour "Swedish Music Seminar" on Thursday, October 23rd and a panel called "What's it Like Over There" on Thursday about music scenes in Brazil, Indonesia, Canada and Australia.

Being a fan of music from Japan, I ventured to the basement of the Knitting Factory (“Old Office”) on Tuesday night (Oct. 21) to check out the Japan showcase being sponsored by Hear Japan and Japan-based FabTone Records.

Local Sound Style at Knitting Factory Old Office
October 21, 2008

The line-up of three bands represented a range of musical styles. First up was Local Sound Style, a group of young guys doing Western-inspired pop rock sung in English. Their homage to American rock and roll was so good that you would have sworn that the lead singer was from the U.S. He had the singing accent down pat, which was all the more unsettling when you heard his heavily accented speaking voice. They had a blast on stage and ended their set with some fun (but safe) rock star dramatics that included a somersault and a thrown microphone stand.

Ovum at Knitting Factory Old Office
October 21, 2008

The second act, Ovum was my favorite. They played gorgeous instrumental music that was squarely in the Japanese instrumental psych category that I love. The music was both delicate and noisy, with nods to mesmerizers like My Bloody Valentine and Godspeed You Black Emperor. I even caught a hint of a metal guitar riff, but things never got super heavy.

Holidays of Seventeen at Knitting Factory Old Office
October 21, 2008

The final band was Holidays of Seventeen, who were the most theatrical group of the bunch. They played glam-rock inspired tunes with English lyrics. The David Bowie influence was super prominent on “Hey Scissorman." The lead singer was happy and enthusiastic and was obviously thrilled to be playing the U.S. for the first time. He smiled as he said to the crowd, “This is the most exciting moment,” before announcing, “We are doing a pop song now” and launching into a ballad.