NEW YORK — Another CMJ Music Marathon has exhaustedly stumbled to a close, and this year was absolutely brimming with wonderful acts and showcases. Here’s what stood out to us from the previous week:

Best Act: Boy & Bear

This Mumford & Sons-esque five-piece from Sydney, Australia opened for We Are Augustines at the Bowery Ballroom Wednesday night before playing their own headlining show Brooklyn’s Union Hall Friday. Huddled on the venue’s tiny stage, the band treated the sold-out crowd to an 80-minute set that felt more like a campfire gathering than a concert. Most of the songs on their debut full-length, Moonfire, which was released in August, blend a folk sensibility with aching harmonies, but lead single “Feeding Line” shows they aren’t afraid to rock out once in a while.

Honorable Mentions

We Are Augustines – Formed from the ashes of indie rock outfit Pela, We Are Augustines play Springsteen-esque rock that is nothing short of infectious. The Brooklyn-based trio played multiple shows at this year’s CMJ, and t’s a testament to the band’s excellence live that, though most of their sets relied on unreleased songs rather than material from their debut album, Rise Ye Sunken Ships,the crowds still ate it up. Frontman Billy McCarthy’s unbridled joy as he plays songs that deal even the most heart-wrenching subjects might have something to do with that.

’90s Nostalgia – Attendees well-removed from the “College” portion of the CMJ Marathon were spoiled for choice on Tuesday night. The opening night of this year’s Music Marathon and Film Festival featured (at the same time, unfortunately) a screening of Cameron Crowe’s excellent, definitive biographical film “Pearl Jam 20,” celebrating the grunge band’s 20^th anniversary, as well as a performance by Helium/Quasi/Sleater-Kinney descendants Wild Flag. Fresh off a blistering performance the previous Friday at Brooklyn’s Bell House, Wild Flag brought their raucous stage show to a packed Bowery Ballroom. The female foursome’s lineup comprises a Who’s Who of women in rock, including Mary Timony, Carrie Brownstein, Rebecca Cole and Janet Weiss. Anyone claiming rock is dead need only witness Brownstein’s ferocious windmilling on her Gibson to be proven wrong. The Crowe documentary, a bittersweet must-see for any Pearl Jam fan, is a loving tribute that is insightful, informative and touching. For those who missed the screening and the movie’s presentation as part of PBS’s “American Masters” series last Friday, not to worry — it was released on DVD today.

Adrienne Drake – The Brooklyn-based Adrienne Drake took to the stage at Arlene’s Grocery on Tuesday night as part of the No Pulp Music showcase and wowed the audience with a deeply melodic (though decidedly bizarre) techno-pop-explosion. The brainchild of lead singer and master mixer Paul Holmes, Adrienne Drake uses keyboards, computers, samples and obscured vocal projections to create a hypnotic arrangement suitable for an acid trip. Composed as an electronic opera, Adrienne Drake’s debut album Dullabies is available as a free download.

Brick + Mortar – This indie rock duo delivers in sound what their name indicates: solid, earthy music. Armed with only a bass, a drum kit and a handful of samples, front-man Brandon Asraf and drummer John Tacon commanded the stage at Arlene’s Grocery Tuesday night with a high-energy performance and audience engagement. A well-blended mix of rock and reggae, the band’s EP 7 Years In the Mystic Room is a worthy investment.

Gem Club – Somerville’s own Gem Club performed as part of the SubPop/Hardly Art showcase at the Mercury Lounge Thursday night, and might take the prize for the quietest act at CMJ — but certainly not the least captivating. The cello and piano duo of Christopher Barnes and Kristen Drymala, named by The Boston Phoenix as the Best New Act of 2011, record the type of music that is best listened to in a darkened room, alone. Performing at CMJ as a trio, the band’s soft, sad lullabies stunned a crowd that, remarkably, watched in hushed silence.

Zola Jesus – Anyone who can draw a sizable crowd to Manhattan’s Ace Hotel at 10am the week of CMJ is a force to be reckoned with, and Russian-American singer Zola Jesus (a.k.a. Nika Roza Danilova) is no exception. The 22-year-old performed a short set Wednesday morning as part of a live broadcast for Seattle’s KEXP Radio, before playing a full set that night at (Le) Poisson Rouge. The diminutive blond’s fixated staring, on a point only she could see, was as haunting as her operating singing. And, as the crowd learned, her gothic-industrial music, heavy on synths and percussion, goes just as well with coffee as with beer.

Papertwin - Papertwin did not disappoint on Thursday night at Lit Lounge. Though this quartet may not yet have solid footing within the New York City music scene, Papertwin has greatly honed their Radiohead-meets-New Wave sound over the last 12 months. But you don’t have to take our word for it — the band plays at Glasslands Gallery in Brooklyn on Nov. 13th.

The John Steel Singers – Another act that seemed to be all over the schedule at CMJ, the six-piece collective from Brisbane, Australia plays bouncy music featuring trumpets and trombones. Their discernable influences span everything from bluegrass to The Beatles. We were especially sold by their foot-stomping set at Pianos Friday afternoon as part of The Planetary Group’s day party. The group’s debut full-length, Tangalooma, was released last year.

jENNiNGS – For their CMJ debut, jENNiNGS delivered a typically masterful performance at Rockwood Music Hall Saturday. Having spent the last year searching for both a new drummer and lead guitarist, the result is the culmination of four extraordinary musicians talented enough to create a suitable sonic backdrop for frontwoman Mary Jennings’ powerful voice. As a solo act, Jennings is a captivating siren; as a full band, jENNiNGS is a wondrous singer-songwriter-indie-rock-pop-experience not to be missed. The band’s 2010 album, Collapse, Collide, is available online.

Full CMJ Gallery — Photos by Sarah Berman

NEW YORK — We’re officially in the home stretch! More than halfway through the 2011 CMJ Music Marathon, festival attendees only have two more nights to check must-sees off their lists.

Here are Blast’s picks for the marathon’s final 48 hours.

Said the Whale – Friday at Pianos, 3:20 p.m. (Planetary Group Showcase)

O Canada! This exuberant indie quintet from Vancouver is part of an all-afternoon party at Pianos in Manhattan. Think a less strange, more distorted version of The Decemberists.

We Are Augustines – Friday at Spike Hill, 8 p.m. / Saturday at Public Assembly, 1:25 p.m. (Brooklyn Vegan day party; not part of CMJ)

The Brooklyn trio is one of the most ubiquitous acts at this year’s festival, having rocked venues from the Bowery Ballroom to the lobby of the Ace Hotel. They’re finding time to squeeze in two more performances tonight and tomorrow afternoon. Not to be missed for fans of heartfelt, Bruce Springsteen-esque rock.

Dum Dum Girls – Friday at Mercury Lounge, 1 a.m. / Saturday at Bowery Ballroom, midnight

One of the bigger acts at this year’s festival, SubPop darlings Dum Dum Girls released their sophomore album, Only in Dreams, last month. The night owls who make it to these hot tickets will surely bounce along to the group’s 2010 hit, “Jail La La.”

Caveman – Saturday at Fontana’s, 5 p.m. (Reverb Day Party)

This New York-based five-piece plays melodic lo-fi, with reverb-tinged vocals and gut-punching hooks. Their debut album, CoCo Beware, isn’t out until November (though it’s available now digitally), and look for the buzz around these guys to reach a tipping point in early 2012.

An Horse – Saturday at Highline Ballroom, 7:35 p.m.

The co-ed Australian duo (Blast favorites) bring their hook-laden alt-rock to the Highline Ballroom as the opening act for singer/songwriter Kevin Devine.

En Vogue – Saturday at B.B. King’s, 9 p.m.

Yep, you read that right. ‘Nuff said.

Jacuzzi Boys – Saturday at Public Assembly, 10 p.m.

Any festival-goers who haven’t sufficiently damaged their eardrums will want to catch this silly, loud surf-rock trio from Miami. Singer Gabriel Alcala, who channels his inner Joey Ramone as he approaches performances like a kid in a candy store, looks like a cross between Wayne Campbell and The Strokes’ Julian Casablancas.

Pepper Rabbit – Friday at Music Hall of Williamsburg, 8 p.m.

The Los Angeles via New Orleans duo has toured with Ra Ra Riot, Passion Pit and Freelance Whales. Performing live as a trio, the group incorporates a smorgasbord of instruments into jovial, effects-laden pop.

jENNiNGS – Saturday at Rockwood Music Hall, 2 p.m.

Critically acclaimed siren jENNiNGS, will once again prove that the best gifts come in the smallest packages. With full band in tow, she performs a free show at this tiny space on the Lower East Side Saturday afternoon.

Be sure to check out Blast’s complete CMJ wrap-up on Monday!

NEW YORK — This year was definitely one of the strongest in recent memory for the CMJ Music Marathon. As any music fan knows, one of the great joys in being passionate about this art form is the knowledge that some great new discovery could be just around the bend. This week epitomized that. Here, some final thoughts on the festival:

Best Acts: The Jezabels, Fences, Hypernova, Alcoholic Faith Mission

Worst Act: Miles Benjamin Anthony Robinson

Most Overrated: Francis and the Lights

Act that Most Resembled a Blog: The Pack AD (Lesbians Who Look Like Justin Bieber)

Most Strange: Gobble Gobble

Most Memorable: Big Freedia

Loudest/Most Ironic: Quiet Loudly

Best Showcases: The Planetary Group, Brooklyn Vegan

We’ve included a high-res photo gallery. Please be patient and allow them to load! Please DO NOT post the photos anywhere else.

Photos by Sarah Be for Blast Magazine

Who were some of your favorite CMJ acts? Sound off below!

NEW YORK — We made it! Blast closed out the 2010 CMJ Music Marathon with a full day and night of music in Brooklyn and Manhattan on Saturday, and emerged scarred for life in the best way possible.

Brooklyn Vegan showcase: We started the afternoon at Public Assembly in Williamsburg, where a number of acts, including Ted Leo, Wild Nothing, Titus Andronicus and Marnie Stern, graced two stages. But the real story of the day was a jaw-dropping performance by Big Freedia.

Big Freedia, for the uninformed, is a transgendered rapper who is part of the New Orleans queer rap movement known as “Sissy Bounce.” Her songs (including the aptly-named “Azz Everywhere,” which feature chant-y call-and-response flows), are perfectly catchy on their own, but it’s the dancing that really puts the “bounce” into this genre. There’s no two ways about it — Big Freedia’s rump-shaking defies all knowledge of physics, gravity and, frankly, reality. Do NOT try this at home.

As the audience (who had been plied with free vodka, bourbon and Magic Hat all afternoon) looked on, entranced, horrified or something in between, Freedia and a small entourage of dancers booty-popped around the stage, at one point breaking into a version of “Empire State of Mind.” As she bent over and gyrated in between verses, Big Freedia’s metal studded belt caught the stage lighting and pulsed as quickly as a strobe light — and I wouldn’t be surprised if it caused some seizures, too. Clad in a plaid shirt, grey jeans and sporting a fabulously side-swiped hairstyle with a single blond streak, this “Queen Diva” provided the perfect entertainment to round out the week (pun intended). If sissy bounce is wrong, we don’t want to be right.

Thieving Irons: Later in the evening, while killing time between performances, Blast stumbled upon the pleasant surprise of  Thieving Irons (the solo project of former Pela guitarist Nate Martinez) at Rockwood Music Hall. Although the crowd unfortunately neglected to appreciate the subtleties of a venue like Rockwood Music Hall, Martinez and his Thieving Irons bandmates pushed through their set with grace and a great deal of visual interest. Martinez’ voice, reminiscent of Neil Young but with the raspy vocal turns of Bruce Springsteen, leads a collection of songs evocative of a mellower, trippier Band of Horses. Slide and electric guitars, a dulcimer, a trumpet and an EVI (electric valve instrument) all made for an aesthetically pleasing experience. The music stands out, but the vocal harmonies can be somewhat lacking — not of skill or technique, but rather of imagination and experimentation. While the EVI did an excellent job of compensating for this void, Martinez might better serve his unique vision by pushing the parameters of harmony and bringing the vocal component up to par with the rest of the band.

Alcoholic Faith Mission: Bringing CMJ 2010 to a close was Alcoholic Faith Mission at Fat Baby. On Blast’s list of must-sees, this six-piece band from Denmark did not disappoint the crowded club on Saturday night. From peaceful to raucous to explosive and back again, AFM employs a random collection of instruments – glockenspiel, trombone, and accordion – that help to create the undulation that is the band’s sound. Dark, melancholic and sometimes sarcastic lyrics cut through the ups and downs of the music with precise juxtaposition. “Nut in Your Eye,” for example, begins in a surprisingly mellow, melodious manner. Ultimately, though, what takes Alcoholic Faith Mission from a good band to a great band is the obvious camaraderie among its members – a noticeable reverence each player seems to have for the next, still apparent through the thick guise of sex, booze and (indie) rock ‘n’ roll.

Blast photographer Sarah Berman contributed to this article.

NEW YORK — On Friday, we decided to switch things up a little bit and attend some of the afternoon showcases CMJ had to offer. Pianos, in particular, had a great lineup as part of the Planetary Group/Future Sounds Day Party.

The Jezabels: We wandered in just in time to see The Jezabels, a stellar four-piece from Sydney, Australia. Singer Hayley Mary sounds like a hybrid of Kate Bush and Sara Quin (and bears a strong resemblance to the latter). The band’s percussive, piano-laden atmospheric music swelled to fill the tiny performance space, and Mary alternately displayed swagger, prancing around the stage in a black leather jacket, and vulnerability through her high-pitched intonations.

Fake Problems: This quartet from Naples, Florida plays straightforward rock with a blues bent, a la The Gaslight Anthem. But they aren’t afraid to throw in a hook or even stray into pop-punk territory every now and then. Singer Chris Farren, clad in a tight-fitting polo shirt, gives off a boy next door vibe, but that doesn’t overshadow the passion behind his songs.

Two Hours Traffic: Closing out the afternoon performances was this band from Prince Edward Island, Canada. The group plays mostly Weezer-esque rock (without the nerd aesthetic), but when singer Liam Corcoran picks up an acoustic guitar, a couple of the songs border on country. Either way, the music is toe-tapping and catchy, with plenty of oohs and aahs. And when the members harmonize, they’re quite reminiscent of another clean-cut, good-looking (fab) foursome.

Photos by Sarah Be for Blast Magazine

NEW YORK — Thursday night brought us over the mid-week hump at the CMJ Music Marathon, as we made the rounds from Brooklyn to Manhattan to catch some of our must-sees.

My Other Friend: We kicked things off with Brooklyn’s own My Other Friend, who played a short, tight set at Spike Hill. The trio’s sound is reminiscent of Wolf Parade, and the sparkly notes courtesy of keyboardist Holly MacGibbon are often dropped like unexpected treats into the already strong music. My Other Friend’s songs are unpredictable enough to keep listeners paying attention, without being so non-intuitive as to be distracting or frustrating.

Miles Benjamin Anthony Robinson: As we waited for First Aid Kit to take the stage in the stuffy, cramped downstairs section of The Delancey, young singer/songwriter Miles Benjamin Anthony Robinson “entertained” the crowd with what can only be described as stereotypically bad bar music with strained vocals. I don’t normally like knocking artists at CMJ — it’s a waste of time and energy when there’s so many great acts to be seen throughout the week — but here I’ll make an exception. Robinson spent much of his set explaining to the audience how much better the music would sound had he been able to play his keyboard in addition to the guitar (he lost the power cord earlier that day). This seems unlikely, unless the keyboard had some sort of magical power. Robinson threw back a shot immediately before launching into his first song, and I can only hope it was his sixth or seventh, because that’s the only way this performance could make any sense whatsoever.

First Aid Kit: This charming Swedish sister duo was the perfect antidote to the crowd’s restlessness after Robinson’s set, filling the packed room with harmonious melodies that could make the Indigo Girls weep. Their voices blend together so well, it’s inevitable that 20-year-old Johanna and 17-year-old Klara Soderberg share DNA. Klara’s voice is a transcendent blend of Feist and Judy Garland, and her sister’s wide range creates the perfect complementary backdrop for which to showcase it. Klara and Johanna took to the stage with a confidence and stride well beyond their years and crooned delicate but invigorating folk songs buoyed by guitars, drums and a dulcimer.

Hypernova: One of our standout acts at this year’s CMJ, Hypernova tore through an energetic midnight set at R Bar that gradually drew in a sizable crowd from the adjacent bar area. Hailing from Tehran but now based in New York, the band’s sound is in the vein of Editors or Interpol, with a live performance that’s absolutely mesmerizing. Drummer Kami attacks his kit with fierce abandon, guitarist Kodi looks like the love child of Russell Brand and Joey Ramone, and frontman Raam is mostly stoic throughout it all, in Buddy Holly glasses and a hoodie. Having toured with the likes of Sisters of Mercy, the band’s debut full-length album, “Through the Chaos,” was released earlier this year. Much has been made of the re-emergence of music and art in Iran, and it would be easy to fetishize Hypernova from a political angle (their first EP was called “Who Says You Can’t Rock in Iran?”). Larger contexts aside, the music is brilliant enough to speak for itself.

Photos by Sarah Be for Blast Magazine

NEW YORK — Think of Beauregard, the debut album from indie duo Pepper Rabbit, which will be released next week, as a musical scrapbook, truly global in its scope. Featuring Eastern musical influences and sampling the horn section of a Bayou funeral procession, the record was recorded in New Orleans in 2008 and 2009. Originally conceived as a solo project for frontman Xander Singh, Pepper Rabbit’s other half is Luc Laurent.

Leading up to CMJ, Singh jotted down thoughts about the band and his personal musical tastes.

BLAST: Describe your sound in 10 words or less.

XANDER SINGH: Funny orchestral, weird, experimental, good old-fashioned pop.

BLAST: Which three artists are your biggest influences?

XS: Salem Al Fakir, David Bowie, Jamie Lidell.

BLAST: What’s your favorite album of 2010 so far?

XS: Spoon, “Transference”

BLAST: If you were going to spend the rest of your life on a desert island, which three albums would you bring with you?

XS: Jamie Lidell’s “Compass,” Supertramp’s “The Very Best of … ,” David Bowie’s “Diamond Dogs”

BLAST: Name a song you wish you’d written.

XS: “Five Years,” David Bowie

BLAST: Name something non-musical that has inspired your songwriting.

XS: Golf and dogs.

BLAST: What was your first concert?

XS: Tina Turner with Lionel Richie opening

BLAST: What’s the number one thing you can’t live without on the road?

XS: A good selection of Patton Oswalt stand-up on the iPod.

BLAST: If you could ban one artist from ever making music again (or ever having made music), who would it be?

XS: I would just make sure Creed didn’t make a second album. The first one’s pretty decent.

BLAST: Which other acts are you hoping to see during CMJ Week?

XS: Candy Claws, Violens.

Pepper Rabbit plays at 8:30 p.m. Friday at Cake Shop, and at 1 p.m. Saturday at Cameo Gallery.

NEW YORK — Day Two of CMJ was a stellar one for music, one that will set a high bar for the rest of the week. With so many conflicting shows, we weren’t able to see everything we wanted to (My Jerusalem and Wild Nothing were among the acts that fell by the wayside), but the gigs we got to were more than satisfying.

Fences: With several performances scheduled for the week, Seattle’s Fences is one of the hot tickets this year. Blast was lucky enough to catch an early performance yesterday afternoon at the tiny Rockwood Music Hall, whose coffee shop atmosphere and excellent acoustics lent themselves to the band’s moody, intricate aesthetic. Fences, whose self-titled debut album was released at the end of September, is the brainchild of singer/songwriter Chris Mansfield. On stage, Mansfield gives off a slight Michael Stipe vibe — or at least, something akin to Stipe’s heavily tattooed, rebellious younger brother. His confessional lyrics are Elliott Smith-like in their sensitivity, but the guitar and piano-driven sound overall evokes the darker sensibility of bands like The National or The Middle East. Move this act high on your list for what to see for the remainder of the week.

Parallels: When we caught Parallels at Backstage Bar a little after 10 p.m., singer Holly Dodson described the show as merely a “soundcheck rehearsal” for a later show that night in Brooklyn. But you’d never know it. The Toronto duo, consisting of Dodson on keyboards and former Crystal Castles drummer Cameron Findlay, plowed through a polished set of danceable dark wave.  The group stands out for Findlay’s use of a live drumkit rather than an electronic one or pre-programmed beats. The cherubic Dodson is an unassuming stage presence, but her high-pitched voice is the perfect fit for Parallels’ shimmery synth-pop sound Think New Order fronted by Cyndi Lauper.

Empires: Rounding out the evening was the Gig Maven showcase at National Underground. We caught the tail end of Empires’ set, which hearkened back to the grunge boom of the 1990s. Singer Sean Van Vleet’s gravelly snarl bears more than a passing resemblance to Eddie Vedder. It’s refreshing to see a modern rock band that doesn’t rely on a shtick to enhance their music — and Empires doesn’t need to. Their straightforward rock was more than enough to entertain the crowd.

Photos by Sarah Be for Blast Magazine.

NEW YORK — Signed to Arts & Crafts, the record label that’s home to indie darlings like Broken Social Scene, Stars and Feist, Canadian singer-songwriter Dan Mangan plays Americana-inspired folk rock. After receiving critical acclaim in Canada, Mangan’s album, “Nice, Nice, Very Nice” was recently released in the States. The crooner’s recent discussion with Blast proved that title to be a fitting one.

BLAST: Describe your sound in 10 words or less.

DAN MANGAN: Talkative. Song. Squeaky. Strum. Gravel.

BLAST: Which three artists are your biggest influences?

DM: Currently? Radiohead, Bon Iver and M. Ward.

BLAST: What’s your favorite album of 2010 so far?

DM: Arcade Fire, “The Suburbs”

BLAST: If you were going to spend the rest of your life on a desert island, which three albums would you bring with you?

DM: Radiohead’s “OK Computer,” Wilco’s “Yankee Hotel Foxtrot,” The Beatles’ “Abbey Road”

BLAST: Name a song you wish you’d written.

DM: Beck, “Nobody’s Fault But My Own”

BLAST: Name something non-musical that has inspired your songwriting.

DM: Kurt Vonnegut’s “Slaughter House Five”

BLAST: What was your first concert?

DM: Charlotte Diamond. She’s a Canadian children’s singer. And she was kickass.

BLAST: What’s the number one thing you can’t live without on the road?

DM: Honesty. On the stage, in the van.

BLAST: If you could ban one artist from ever making music again (or ever having made music), who would it be?

DM: Sunshine isn’t as bright without a few cloudy days.

BLAST: Which other acts are you hoping to see during CMJ Week?

DM: I heard Devotchka is playing. That’d be cool. I’ve also heard good things about “Wolf! Wolf! Gay Wolf! Tiger!” Just kidding, that band doesn’t exist. At least not to my knowledge. But man, that would be sweet.

Dan Mangan performs Thursday at 7 p.m. at The Mercury Lounge Thursday at 7 p.m., Friday at 2 p.m. at Fontana’s, and Saturday at 2 p.m. at Piano’s.

NEW YORK — Borrowing a page from the ’90s grunge handbook, Empires plays passionate, straightforward rock free of any gimmicks and pretense. The DIY quartet take a no-nonsense approach to their music, having financed, recorded and distributed their debut record, “HOWL,” independently in 2008. Their latest effort, an EP titled Bang, earned the group a slot on this year’s CMJ roster, where they’re sure to make a mark. Here’s some basic info about Empires, courtesy of frontman Sean Van Vleet.

BLAST: Describe your sound in 10 words or less.

SEAN VAN VLEET: The Hulk at a dinner party. No napkin.

BLAST: Which three artists are your biggest influences?

SVV: Radiohead, any recorded blues out of the’ 30s (lately), Jimi Hendrix

BLAST: What’s your favorite album of 2010 so far?

SVV: Not sure about album, but “Comin Through” by The War on Drugs is the tune doing it for me lately. If their album is anything like that song, that’s it gonna be it.

BLAST: If you were going to spend the rest of your life on a desert island, which three albums would you bring with you?

SVV: “I Want You” by Marvin Gaye, Best of Robert Johnson (not sure it exists, but I’d make sure all 29 songs were together), “The Bends” by Radiohead

BLAST: Name a song you wish you’d written.

SVV: “Heroes,” David Bowie

BLAST: Name something non-musical that has inspired your songwriting.

SVV: “The War of Art” by Steven Pressfield. If you don’t read this book, you will never truly live.

BLAST: What was your first concert?

SVV: Lenny Kravitz and The Black Crowes. Not bad for an introduction, huh?

BLAST: What’s the number one thing you can’t live without on the road?

SVV: Mike Kodak, our tour manager. He’s a thing…trust me. One love, Mike!

BLAST: If you could ban one artist from ever making music again (or ever having made music), who would it be?

SVV: Eddie Murphy. Everything else about him rules.

BLAST: Which other acts are you hoping to see during CMJ Week?

SVV: Ghostface Killah, can’t wait!

NEW YORK — Coed electro-pop duo Parallels craft intricate ’80s-influenced synth rhythms reminiscent of upbeat Depeche Mode.

Consisting of former Crystal Castles’ drummer Cameron Findlay and frontwoman Holly Dodson, Parallels are riding a wave of hype on the heels of their debut album, “Visionaries.”

Dodson recently shared some of her personal music tastes with Blast.

BLAST: Describe your sound in 10 words or less.

HOLLY DODSON: Dreamy dance floor pop with electronic undertones.

BLAST: Which three artists are your biggest influences?

HD: Of all time it would be Kate Bush, David Bowie and Freddie Mercury.

BLAST: What’s your favorite album of 2010 so far?

HD: Besides “Visionaries” (ha!), Arcade Fire put out a real good album (“The Suburbs.”)

BLAST: If you were going to spend the rest of your life on a desert island, which three albums would you bring with you?

HD: “Rumours” by Fleetwood Mac, “Cosmo’s Factory” by Creedence Clearwater Revival and “Two Suns” by Bat for Lashes

BLAST: Name a song you wish you’d written.

HD: There are lots, but right now I’d choose “Pet Semetary” by The Ramones, so we covered it!

BLAST: Name something non-musical that has inspired your songwriting.

HD: I always read something from the Romantic era for inspiration whenever I need a fix.

BLAST: What was your first concert?

HD: I think it was Neil Diamond. One of my childhood friends was weirdly obsessed with him so her mom got some tickets and brought a bunch of 7-year-olds.

BLAST: What’s the number one thing you can’t live without on the road?

HD: Some good books.

BLAST: If you could ban one artist from ever making music again (or ever having made music), who would it be?

HD: Ke$ha. No offense …

BLAST: Which other acts are you hoping to see during CMJ Week?

HD: I’m excited for the High Rise/Pop Culture Showcase that we’ll be playing, with Natalia Kills and ArpLine, just to name two. Plus lots of other amazing artists!

Parallels plays Backstage Bar at 8:15 p.m. Wednesday and The Bell House at 11:30 p.m. Wednesday.

NEW YORK — Your intrepid team of Blast reporters took to the streets of Manhattan with enthusiasm last night, ready to kick off what’s sure to be a fast-paced week of consuming music. Predictably, venues seemed to be working out first night kinks; nearly everything we saw was running about an hour behind, which resulted in some happy accidents and new discoveries. After all, that’s what CMJ’s all about, right? What follows is a recap of some of our faves.

Francis and the Lights: Our first stop was the MTV party at the Studio at Webster Hall, where buzz band Francis and the Lights entertained a packed crowd. The group’s stage lineup rotates, but last night singer Francis Starlite  was supported by two backing musicians, who were cast into anonymity not just by their Ray Bans, but also by Starlite’s showmanship. Clad in a black Snuggie/cape-like clothing item for the first part of the set, he occasionally broke into spastic dancing and had brief, intense staring contests with members of the audience. The band’s recipe of subdued synthesizers blended with a dash of funk, soul and reggae is not entire dissimilar from fellow Wesleyan alums (and touring mates) MGMT. How long before Wesleyan-gaze becomes a genre?

A Million Years: A Million Years commanded the stage at Arlene’s Grocery with that typical Brooklyn guitar-driven, melodic indie rock we love so much. Singer Keith Madden’s voice is wide-ranging and whispers of Coldplay’s Chris Martin, while Nick Werber is extraordinary on lead guitar. Last night’s show featured a heavier, more rock version of Phoenix (with whom A Million Years has shared a stage in the past). Drum machines, synthesizers and electronic foot pedals add depth and interest to the band’s sound. A Million Years’ album “Mischievous Maker” was released in June and was produced by Shannon Ferguson of Longwave.

Freedom or Death: We ended the night at Fontana’s, which was playing host to an all-Canadian showcase. In their New York debut, Toronto’s Freedom or Death — which the Wall Street Journal named as a “must-see” act at the festival — played moody, melodic pop that was alternately reminiscent of Rusted Root and The Postal Service (seriously). Officially a duo, they performed as a quartet last night, and extra points for singer Sway’s passionate beating of a cowbell (!) during one song as he strutted across the tiny stage. Unfortunately, technical difficulties caused Freedom or Death’s brief-to-begin-with set to descend into awkwardness, culminating in a recruitment of audience members to come on stage and tell jokes to kill time. But songs like set-closer “This Crowded Room” clearly show that the act has promise.

Gobble Gobble: In terms of a weirdness factor, it’ll be hard to top Gobble Gobble, from Edmonton, Alberta, whose set bordered on performance art. A mix of house music, a psychedelic version of Stomp, and what can only be described as a demented children’s show, the group turned Fontana’s into a mini-rave for 30 minutes. The elaborate stage setup — which actually extended out from the stage into the crowd — featured a rotation of noisemakers, shovels, strings of lights and other props. It was like a musical acid trip, or Passion Pit on crack. It’s clear the band members, who bounded around the club with the sweaty exuberance (and masks) of Peter Pan’s Lost Boys, are having fun with what they’re doing. The audience appeared to share in their joy, although I’m sure everyone left wondering what exactly it was they just witnessed.

Photos by Sarah Be for Blast Magazine

NEW YORK — For Brooklyn trio My Other Friend, CMJ is the perfect launching pad to build buzz for their forthcoming debut album, “Burning Bright Tonight.” The band has perfected an emotional blend of orchestral indie and garage rock.

Singer/guitarist Andy Simmons recently shed some light on the group’s influences.

BLAST: Describe your sound in 10 words or less.

ANDY SIMMONS: If ELO wrote the soundtrack to “Blade Runner.” That’s us.

BLAST: Which three artists are your biggest influences?

AS: Carey Mercer from Frog Eyes, Roy Orbison and Bruce Springsteen.

BLAST: What’s your favorite album of 2010 so far?

AS: It’s a tie between (Beach House’s) “Teen Dream” and (Arcade Fire’s) “The Suburbs.”

BLAST: If you were going to spend the rest of your life on a desert island, which three albums would you bring with you?

AS: Yikes, tough question. I’m going to go with (Bruce Springsteen’s) “Born to Run,” (Radiohead’s) “OK Computer” and (Stevie Wonder’s) “Songs in the Key of Life.”

BLAST: Name a song you wish you’d written.

AS: “Common People” by Pulp. I effing love that song.

BLAST: Name something non-musical that has inspired your songwriting.

AS: The Tennessee Williams play “Orpheus Descending.” It’s beautiful.

BLAST: What was your first concert?

AS: Billy Joel and Elton John. I must have been 8 or 9. My dad took me.

BLAST: What’s the number one thing you can’t live without on the road?

AS: The ultimate road soda: the juice of one lime, two cans of Tecate, four dashes of Tabasco. Serve in a Big Gulp cup over ice, and enjoy!

BLAST: If you could ban one artist from ever making music again (or ever having made music), who would it be?

AS: Easy! The Eagles

BLAST: Which other acts are you hoping to see during CMJ Week?

AS: Bear Hands, Frankie Rose, The Yes Way

My Other Friend plays Wednesday at 1 a.m. (technically Thursday) at Webster Hall, and Thursday at 8:15 p.m. at Spike Hill.

NEW YORK — The first artist we caught up with at the 2010 CMJ Music Marathon was Brooklyn’s own ArpLine, who will be appearing at the High Rise/PopJustice showcase Wednesday night. The group’s energetic electro-rock seems like the perfect recipe for the first half of what’s sure to be a hectic week.

Lead singer Sam Tyndall took a break from CMJ prep to respond to Blast’s artist Q&A.

BLAST: Describe your sound in 10 words or less.

SAM TYNDALL: Psychedelic industrial.

BLAST: Which three artists are your biggest influences?

ST: David Bowie, Harmonia, & Wire

BLAST: What’s your favorite album of 2010 so far?

ST: Light Asylum’s In Tension

BLAST: If you were going to spend the rest of your life on a desert island, which three albums would you bring with you?

ST: David Bowie, “Scary Monsters”; Nine Inch Nails, “The Downward Spiral”; and the “Bladerunner” soundtrack.

BLAST: Name a song you wish you’d written.

ST: New Order’s “Your Silent Face”

BLAST: Name something non-musical that has inspired your songwriting.

ST: Carl Sagan’s “Cosmos”

BLAST: What was your first concert?

ST: New Kids On The Block

BLAST: What’s the number one thing you can’t live without on the road?

ST: Friendship! And drugs.

BLAST: If you could ban one artist from ever making music again (or ever having made music), who would it be?

ST: Wavves

BLAST: Which other acts are you hoping to see at CMJ?

ST: The Golden Filter, Tamaryn and Light Asylum

Attention indie music fans: Blast will once again be running all over New York City for the CMJ Music Marathon this week, bringing you concert reviews, artist interviews and photos from the hottest, hippest shows this annual festival has to offer.

This year’s lineup features some great artists, including Phoenix, Eisley and Das Racist. But here at Blast, we’re all about discovering new artists during this hectic week, so we’ll be focusing on more under-the-radar bands. After all, the best thing about the Music Marathon, which is celebrating its 30th anniversary, is the potential to see the Next Big Thing in indie music and not even know it.

Be sure to check back here often for daily recaps and featured artists, and follow us on Twitter (@blastmagazine) for highlights from the panel discussions during the day, plus live updates every night.

NEW YORK — It is generally frowned upon to not know if you’re coming or going. But in the case of “The Big Island,” the sophomore offering from Brooklyn-based Americana-indie band Motel Motel, it’s a super power. The band has somehow mastered the ability to make listeners feel nostalgic for home and for the sense of familiarity, yet ready and yearning to embark on a great voyage of things and places unfamiliar.

Motel Motel’s songs contain strong vocals and heartfelt orchestral chords, and just about every song on “The Big Island” has a joyous and powerful energy. Classifying the quintet as a “rock band” doesn’t fully describe them, but they are also not what one thinks of when they hear the words “indie Brooklyn band.” Even though when you get off the subway to see one of their shows, one of their audience members may glare at you for being in your work suit or not having stylish bed bug bites, Motel Motel is anything but another stale hipster band. They are completely original, and any influences one may hear in their music probably comes from the band’s similar experiences or level of talent as other great musicians.

Motel Motel is a modern rock band that ties in an indie edge with the sprawling sounds of the great west. The album makes listeners feel as though they can live in this dream time of comfort when they felt “home,” even just for a few moments. Their vocal harmonies are so soul shaking that they seem to unite the listener with some higher human emotion. If nostalgia were an instrument, one of the five musicians that make up Motel Motel would be a master at playing it.

Yet the band’s western twang and sudden key changes make the listener feel as if they are exploring uncharted territory. Their songs are like some kind of untamed ocean, where the water under your boat starts out with one motion and takes sudden unknown turns. Whether the waters are quieting down, or ripples begin to turn into a tempestuous tirade, the one thing that is certain is that you don’t know what nature has in store for you and your journey. No one song on “The Big Island” ends with the same sound, tone or emotion it began with, making the music as mysterious yet natural as the aforementioned sea. And like the ocean, no matter what direction the “waves” are moving, the music seems to seamlessly flow.

This nomadic quality may have something to do with the Motel Motel’s members seemingly making up some sort of mini Rock ‘n’ Roll House of Representatives. They each hail from a different state and represent almost every time zone the country has to offer.

“I think because we’re all from all over the place, I think we all kind of speak to different experiences and have sort of a sentimental sense of the road and traveling and that kind of thing,” said Mickey Theis, one of the band’s guitarist and vocalists. “All of us I think have that. We all came to New York because we were unsatisfied I guess with where we were living and I think this band has taken us different places.”

Motel Motel’s first album “New Denver” sounds more chaotic and a bit edgier than the band’s second feat. “New Denver” sounds like the result of scooping up the island of New York City and suddenly dropping it in a big square state out west. “The Big Island” has an easier and more joyful yet longingly sound. The latest album definitely depicts different perspectives, ones that are sometimes working together and sometimes working in discordance. This element is one reason “The Big Island” is so unique.

“We’ve known each other for so long we kind of discovered a way to work with each other. Its not as beautiful as it may appear, we argue a lot, we fight a lot, just yesterday we got into some pretty intense arguments,” said Eric Engel, guitarist and lead vocalist. “It’s a lot of intense moments we have that make decisions. But when it does work out and it does come together, it’s beautiful,” Eric said.

It is hard to miss the influence of Hawaiian sounds on the album. It is not to say that “The Big Island” is going to be part of your Sublime/Jack Johnson/311 “Surfs Up!” play list next summer, but it does have elements of what most would consider a “beachy” vibe. It incorporates Hawaiian themes in a very grand way, perhaps in the way that you would describe an epic wave would crash into the shore in Hawaii vs that experience in New Jersey. This sound melts into the album seamlessly thanks to an instrument called the Pedal steel, a string instrument with a reputation for being extremely difficult to play. Many of the band members expressed how impressed they are with keyboardist Erik Gundel’s ability to effortlessly play such a complicated instrument.

“The Big Island’s” Hawaiian influences have no doubt to do with guitarist/bassist Timothy “Timo” Sullivan’s growing up in the Aloha State. The band said that on this album, the duty of creating lyrics naturally fell more so in the hands of Timothy and Eric Engel.

“My dad is a fisherman,” Sullivan said, “and he fishes at night, so my idea of Hawaii is like dark oceans and scary waves and very epic. So it wasn’t conscience at first, it became conscience, that we were trying to make an album that really swelled and was epic. Where the Hawaiian most came into play was (in the song) ‘Kaimanu,’ because that’s the name of my dads boat. … So we pictured it like (the sounds and lyrics of the song) would be him sailing into the ocean. But we never named that song ‘Kaimanu’ until the end, we always pictured it would be a song about the ocean, but it all fell together.”

The Hawaiian theme doesn’t stop there. Many of the songs have the Island’s mythology, imagery or culture entwined with its notes. Another song on the album, “Keauhou,” references a harbor, and urban legends about a Hawaiian King, King Kamehameha, who was said to carry a giant rock 40 miles just to prove he could be king. This is a story that well known to Hawaiians according to Timothy, and storytelling such as this is what this album does so well.

This is a prime example of the familial feel many of the songs have, and perhaps it is because we can sense it is familiar to someone somewhere. To those non-Hawaiians, it seems like an exciting story from a far away land, but to someone else, it’s a story from home. One constant theme on “The Big Island” is its push-pull feeling of reminiscence and the exploration of lands and emotions unknown. The album has something identifiable and familiar for everyone, and something mysterious and exciting for everyone else.

“(“Keauhou”) is about leaving from a harbor, that harbor always struck me as a really desolate sad harbor to leave. As you dock all you can see are rocks, but as you turn around and jetty the corner, the ocean just opens up,” Sullivan said, reflecting on his trips to and from the Keauhou harbor.

The one criticism that must be bestowed upon Motel Motel is that it is probably easier to spot King Kamehameha carrying that rock than it is to catch the band performing live. But the band has a number of upcoming shows in New York. Seeing the band play live is an experience that no one should miss. Motel Motel’s bodies and instruments simply explode with gleeful movements and noises respectively, and the feeling fills the entire room to the brim. No matter what the venue, Motel Motel’s live performances completely transforms any space, making the audience forget how they almost got shanked passing the scary Brooklyn truck yard by a vacant lot to get to the venue, and brings them to some sun filled, sweet and lovely beach or mountainside.

This band and this sound is exactly what New York City needs — a safe haven from the hustle and sometimes harsh atmosphere of our “Not quite as big” island. Motel Motel brings the ocean to our parched ears, and serves as an oasis in our urban desert.

Upcoming Motel Motel shows:

• October 21, 10 p.m., Bowery Hotel Arcade 44 Party (CMJ)
• October 21, 11 p.m., Spike Hill in Williamsburg (CMJ)
• November 13, 9 p.m., Bruar Falls with Tuning
• November 20, 9 p.m., Pianos-Start Magazine Presents Roadside Graves with Motel Motel and Dinosaur Feathers
• December 15, 10 p.m., Grasslands with Depreciation Guild

NEW YORK — Here are our best photographic memories from CMJ 2009.

NEW YORK — Nasty weather didn’t deter attendees on the penultimate night of the 2009 CMJ Music Marathon, as hundreds of fans braved the cold and rain to bring venues in Manhattan and Brooklyn to their capacity.

At the Music Hall of Williamsburg, The xx cemented their reputation as one of the festival’s most anticipated bands, drawing enough of a crowd that the club began turning badge holders away at 10 p.m. Despite having played several sets already this week, with more scheduled, the London quartet showed no sign of weariness. It’s possible they were feeding off the energy of the audience, which turned the group’s dreamy, ethereal songs into feverish singalongs. Co-ed vocalists Oliver Sim and Romy Madley Croft complemented each other well, with Croft’s voice in particular floating from the speakers like smooth velvet.

Around the corner at Spike Hill, Siri Walberg (a.k.a. Sissy Wish) took the stage clad in skinny jeans, yellow sneakers and a homemade vest laden with cassette tapes. The quirky Norwegian’s herky-jerky dance moves and broken English was awkward yet endearing, and the enthusiastic crowd lapped it up.

The waifish Norwegian, not an outsize presence physically, allowed her music to take up most of the space on stage. Her touring bandmate, Bjare Hundvin, armed with a laptop and keyboards, created a swirling soundscape of synthesizers and floor-rattling drumbeats. Some of the darker, more industrial-sounding tunes, particularly “About a Machine,” resemble what Depeche Mode would probably sound like if Dave Gahan had a sex change.

As the marathon draws to a close tomorrow, check back with Blast for coverage of Saturday’s best performances, including Michael Jackson and Metallica tribute bands, as well as a roundup of the festival as a whole.

Blast correspondent Sarah Be contributed to this report and provided photography.

NEW YORK — Well, we’re past the halfway point of the 2009 CMJ Music Marathon, and Thursday night was marked by good and bad surprises.

Kicking things off was Via Tania, who channeled Bjork, Feist and PJ Harvey for her set at Le Poisson Rouge. The native Australian began her set armed with a ukulele, and later switched to an electric guitar to showcase heavier material “" while simultaneously manning a keyboard and, at one point, a tape recorder around her neck. Her breathy vocals were supplanted by Charles Rumback’s delicate drumming, and together the pair breezed through a quick set of dreamy lo-fi, with just the right amount of shoe gaze thrown in for good measure. Check back with Blast on Friday for an interview with Tania!

We then moved on to the ASCAP Showcase at the Canal Room, where Casxio BLEW OUR MINDS (!!!) with a cover of Q. Lazzarus’ “Goodbye Horses” “" a.k.a. the creepy song that acts as the backdrop for Buffalo Bill’s psycho-lipstick-drag hot mess of a dance in “Silence of the Lambs.” That alone would have earned the L.A. quartet high regards, but the rest of their synth-funk set was pure energy, with singer/bassist Lucas Guerin, who bears a passing resemblance to Eddie Vedder, breaking into occasional falsetto yelps. Think MGMT without the pretension.

NEW YORK — The‚ Tuesday night Bowery Ballroom crowd‚ that witnessed a sweaty, high-energy performance by Lights Resolve probably had no idea that the band had just driven 19 hours to make it to New York from a tour stop in the Midwest to conduct an interview with Matt Pinfield on WRXP.

Lights Resolve (Sarah Be for Blast)

Despite a lack of sleep, and a tough act to follow in Brooklyn’s Care Bears on Fire, the New York City alt‚ trio jumped at the opportunity to be a last-minute addition to the opening night of the 2009 CMJ Music Marathon.

“We’re often running on empty but that’s when we tend to do our best,” said singer Matt Reich, during a chat with Blast after his band’s set. “The more we get beaten down, the more we rise to the occasion.”

Reich and drummer Neal Saini met as high school students in Long‚ Island and have been playing music together for 11 years, they explained. Bassist Luke Daniels, who had been trying to elbow his way into Lights Resolve for years,‚ was added after their original bassist left to join Australian sister act The Veronicas — in spite of a less than stellar audition that Reich still laughs about to this day.

Drawing upon influences including U2, Sigur Ros‚ and The Who, Lights Resolve has toured with the likes of Shiny Toy Guns, Dashboard Confessional and Panic! At the Disco.

Lights Resolve play Saturday at 11 p.m. at the Bowery Poetry Club.

Liz Raftery of the Blast staff contributed to this report.

NEW YORK — The 2009 CMJ Music Marathon got off to a predictably hectic start Tuesday, with hundreds of bands and the patrons who came out to see them scrambling around Manhattan’s Lower East Side and parts of Brooklyn in an attempt to take in as much music as possible in a few hours.

Blast started our coverage off at the Bowery Ballroom for hometown alternative act Lights Resolve. Check back here tomorrow for our interview with them!

Next up was The Bloodsugars at Piano’s. The NYC-based quartet pounded through a short, tight set of indie rock, with a dash of funk thrown in courtesy of bassist Brendan O’Grady and keyboardist Matt Katz, who single-handedly manned a trifecta of instruments. Frontman Jason Rabinowitz gamely worked through an amplifier malfunction, and the near-capacity crowd didn’t seem at all fazed by the technical difficulties.

Afterwards, we moseyed down to the CMJ Official Showcase at the Delancey, where local outfit The Cringe had just begun to work the sizable crowd into a frenzy. The band’s exuberance elevated their straightforward, catchy rock tunes, and guitarist James Rotondi’s blistering solos made the tiny space feel like an arena “" or at least his bandmates’ Guitar Hero-esque fantasy of one. The act began losing steam after a while though, and we decided to move on midway through a number that sounded like David Bowie trying to appeal to the Heartland.

We ended Day One at Crash Mansion with Margaret Cho’s entourage, who were gearing up for their Wednesday showcase as Denise Barbarita and the Morning Papers played a sassy, blues- and punk-derived set before a thinning crowd.

Check back with Blast daily for all the CMJ happenings, including artist spotlights and photo galleries to come. Tomorrow’s lineup includes British buzz band The XX (if we can elbow our way into the sold-out show) and literary-minded electro/hip-hop artist Hesta Prynn.

Blast correspondent Sarah Be contributed to this report.

NEW YORK — Blast is at the 2009 CMJ Music Marathon

All this week, we will be reporting from New York City, where hundreds of underground bands will descend on Brooklyn and Manhattan to try and make a name for themselves, and industry professionals will gather to try and hammer out the issues currently facing the music business.

We’ll be running around trying to take in as much music as possible, so check back here for daily coverage!

For more details and the full lineup, visit www.cmj.com/marathon.

Is there a CMJ band or artist you think Blast should be covering? Sound off below!

Kate Cooper and Damon Cox of An Horse perform at the 28th annual CMJ Music Marathon

NEW YORK — I had a bit more success Wednesday night at the CMJ Music Marathon than Tuesday, and was able to catch entire or partial sets from seven artists.

Scheduling mishaps actually worked in my favor on the second night of the festival, and allowed me the chance to catch a bit of slam poetry courtesy of Andrea Gibson, at the Faux Pas Productions showcase at Rockwood Music Hall. Normally, I’m not into slam, but Gibson’s politically charged rants were articulate, thought-provoking and often humorous.

The highlight of the evening for me was a no-frills performance from Australian duo An Horse in the bar 205 Chrystie. This band has been my obsession for about six months now, and I was excited to learn that they recently signed to Mom & Pop Records and will be releasing their first full-length album in early 2009. For a group consisting of just drums and a single guitar, they manage to pack quite the powerful punch. Jessica Lea Mayfield’s folk-country opening set wasn’t half bad either.

After An Horse, I headed back up to the tiny, jam-packed Rockwood Music Hall to catch part of Chris Pureka’s set. To say the setting was intimate would be an understatement, but it was perfectly suited to the Massachusetts folk singer’s low-key acoustic songs.

Closing out my night was an underwhelming 30-minute performance from the much-ballyhooed Williamsburg band Chairlift. Those who don’t know them by name would probably recognize their song “Bruises” from recent iPod Nano commercials. The trio is interesting and innovative enough to get away with pretension (i.e. singer Caroline Polachek wearing a cape onstage and in promo photos), but to me it felt like the capacity crowd at Pianos was less into the music and more into being able to brag to their friends that they saw Chairlift at CMJ 2008. Preceding Chairlift was a set from The King Left, which left me feeling completely neutral.

Thursday, unfortunately, will be my final day reporting from the festival, as I’m headed to Los Angeles for non-work-related travel. But I’m hoping to go out with a bang and catch performances by one man band Totally Michael, British upstarts Scouting for Girls, and An Horse compatriots The Satellite Nation. Check back here for updates!

NEW YORK “" Tuesday marks the start of the 28th annual CMJ Music Marathon & Film Festival, a four-day showcase of concerts, film screenings and panel discussions. Music fans in particular will find themselves spoiled for choice as more than 1,100 acts descend on New York City, including noteworthy acts like indie favorites Broken Social Scene, producer/deejay Mark Ronson, and Swedish chanteuse Lykke Li.

Here at Blast, we’ll be bringing you daily updates from the music portion of the festival, with reviews of performances and information about the artists we’re most excited to see, including Shiny Toy Guns, Chairlift, The Whip, Chris Pureka, Land of Talk and An Horse.

The daunting responsibility of sorting through the thousands of bands who apply to be a part of CMJ Week and picking the cream of the crop falls on the shoulders of Matt McDonald, the 31-year-old Vice President of Artists and Events for CMJ Network.

“We really try to pay a lot of attention to sort of the up-and-coming bands and artists, the bands that are obviously getting play on college radio and not commercial radio, since that’s sort of part of our heritage,” McDonald said. “The idea is that six months, a year from now, they’ll be that much bigger because of their CMJ performance.”

That’s proven true for several past CMJ Marathon performers, the list of which includes Death Cab for Cutie, Weezer and Arcade Fire.

“CMJ Music Marathon is really a chance to see the best of what’s up and coming … what you’re going to be hearing about in sort of bigger mediums before it actually hits,” McDonald said. “And a chance to really experiment with some totally unknown music, as well as some that you probably already know, and see the best of what New York City has to offer as well.”

About 75 venues in Brooklyn and lower Manhattan, ranging in capacity from 30 to 3,000, will play hosts to the artists. The festival is designed in such a way “" tiny venues, coupled with the fact that multiple acts will be playing simultaneously around the city “" to ensure that each act will draw a crowd.

“There’s enough people around that each band can get attention without sort of getting lost in the shuffle,” McDonald explained. “If people can’t get into the show that everybody wants to get into, there’s going to be an equally deserving band at the venue next door.”

Throughout the year, McDonald said, he travels to music festivals around the world and keeps up with which bands are gaining buzz in Europe, the UK, and the U.S. “" a process that even he describes as “overwhelming.” In the end, the goal is to offer a lineup that fans of every musical genre can enjoy.

“It’s not just about indie rock, it’s about hip hop and songwriters and electronic music and metal,” McDonald said. “Truly kind of trying to get a balance where there’s really something for everyone, and the quality is high across the board. … I try and keep my personal tastes out of it.”

When it’s all said and done, though, McDonald rarely gets to enjoy the fruits of his labor.

“I try to get to a couple shows,” he said. “It’s hard to get into the enjoyment mode when you’re thinking, I have to go make sure everything’s okay at the club across the street.”

For more information, visit www.cmj.com/marathon, and check back with Blast Magazine for updates throughout the week.