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#Slacker images series#
It is instead a series of beginnings, repeated and added to over and over, continually redefining and reinterpreting itself. Like the city it depicts, Richard Linklater's Slacker sees no need for a traditional beginning, middle, and ending. She arrived swathed in white fabric, then revealed her face to show she had masking-tape X's over her eyes, and she had new slinky, giddy moves for each song.Ĭatchy, musically ambitious and proudly theatrical, the Brazilian Girls were irresistible, part of a happily glutted CMJ Music Marathon.The "Madonna Pap Smear" scene by Karen Skloss (Photo by John Anderson) Sabina Sciubba sang in English, French, Spanish and Portuguese, with glimmers of Bjork and Gwen Stefani, but she had her own showy, seductive spirit.
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But it never took a style as fixed, scrambling genres instead. Mixing electronics with a live rhythm section, it hopped from carnival rhythms to four-on-the-floor club beats to ska. Then there were the Brazilian Girls, a New York band with its ears everywhere. The Dears, from Montreal, poured on sincerity in love songs that Murray Lightburn delivered with touches of the Smiths and soul singing. The songs whipsawed so quickly that nothing had time to become shtick. So its riffs kept veering toward a circuslike oom-pah or blippy electro, putting some comedy behind the shrieked, unintelligible vocals of Ed Geida as he contorted across the stage. Instead of guitar, An Albatross has two keyboards in the foreground. The speed, screaming vocals, jolting transitions and brief songs of hard-core were just starters for An Albatross, from Philadelphia, which put out an eight-minute, 11-song EP earlier this year. Iwamasa was singing about the end of the world, and the guitars were bearing down on glissandi that heaved like tsunamis. In one song, a guitarist played the arpeggios of Beethoven's "Moonlight" Sonata soon afterward, Ms. Its songs jumped from folky melodies, with Valerie Iwamasa singing over intricately fingerpicked guitars, to bottom-scraping, distorted grunge with screamed vocals, to punky three-guitar frenzies. Pidgeon, from San Francisco, was a patchwork of introspection and demolition. The better bands were hyperactive and musically overstuffed, packing their brief appearances with ideas, noise and showmanship.īut Kid Dakota came on as a duo with electric guitar and drums, blaring the songs with stark power chords and tolling drones while the drummer made hilarious faces. In the era of hip-hop and the Internet, there's no such thing as a non sequitur. My sampling pointed toward one conclusion: indie rock's old slacker image is vanishing. Five bands - Kid Dakota, Pidgeon, An Albatross, the Dears and Brazilian Girls - were first-rate finds. As it turned out, there was plenty of good new music around. On the first two nights of the marathon, I decided to stick to bands I'd never heard and rule out any band describing itself as a genre.
#Slacker images how to#
For a critic, it's also a challenge: how to deal with the onslaught? One method is to make purely arbitrary rules. It continues through tonight with simultaneous shows at 41 clubs in Manhattan, Brooklyn and Hoboken, each with bills of up to 13 bands playing brief sets.Īt a time when the recording business warns that its decreased profits are lessening the incentive for people to write music, the flood of bands is a reminder that musicians haven't stopped trying. The annual convention is devoted to music aimed at college radio and, from there, the world. Nothing short of teleportation and time travel would make it possible to hear more than a tiny percentage of the 978 bands booked for this year's CMJ Music Marathon.