Tabi Bonney performs at Fat Baby last night in New York City.

The thing about CMJ is, not all of it’s CMJ. There are the unoffocial day parties—free, sometimes invite-only events sponsored by record labels, PR firms, and media. There are the more exclusive parties at night. And there are the shows that, although not nominally part of the five-day conference and music festival, go on anyway, right in the middle of it all.

Take Casper Bangs‘ show last night at Pianos, which was sponsored by the weekly concert series Cross-Polination and was not part of the official CMJ roster. Nevertheless, the band—the project of Rob Pierangeli, who used to play in the Hard Tomorrows—played to a nearly full room.

Pierangeli paid $45 when he applied to play at this year’s CMJ, but his band was turned down. “Sorry to be frank, but I don’t see if the music has that much to do with who gets in,” he told me today. “So if you want to play, you have to know someone. Everyone knows that though. That’s not new information.”

The problem, he said, is that bands have to apply to CMJ through a service called Sonicbids, which was conceived as a digital middle man between bands and show promoters. The CMJ application comes with a fee but is free for Sonicbids members, who pay around $70 a year.

Pierangeli doesn’t like that arrangement, and he’s not the only one (here’s Sonicbids’ response to the controversy over its submissions method and pricing). ”Maybe a lot of artists are out there getting gigs and finding Sonicbids is a strong tool to advance their careers,” Pierangeli said. “But not me. I’m just one experience, but it seems kind of like bullshit to me.”

He said he doesn’t want blow money an event whose impact seems to have diminished. Because of how technology and the economy have changed the recording industry, ”perhaps there’s less incentive for the industry to really to come in [for CMJ],” Pierangeli said. “West Coast people don’t come out. They’re probably like, ‘we’ll wait for South by Southwest or something. We’ll go to that instead.’ So what the fuck are we doing coming up here? People just play it so they can say that they played it.”

Still, he does see advantages to the festival. “I think the value is just connecting with new people and connecting with old people. In terms of maybe what CMJ what it once was, and bands getting signed and discovered, it’s not like that anymore.”

Which is why, following the release of a 7-inch and an EP next month (you can hear the latter here), Casper Bangs will begin releasing singles frequently and for free. Pierangeli said he hopes to begin that project in December. Not that he doesn’t love albums or lacks enough material to fill one. But, he said, “people just want songs right now. They don’t want to commit.”

–

Some shots of other District artists who performed last night during CMJ:

Deleted Scenes at Cameo Gallery:

True Womanhood (full disclosure: I’m friends with the band) at Cameo Gallery:

Tabi Bonney at Fat Baby. Niki Jean, from Bonney’s pop group the Crybabies, joined him for a song:

Surf City, from New Zealand, at Cake Shop:

So after taking the better part of a year just to get the music part right, it’s understandable that True Womanhood might want to forgo the pains of creating a physical product. Especially when there are quicker, more efficient ways to get the music out there. The moody D.C.-based band leaked two new studio tracks around the internet yesterday–posting a yousendit link on facebook and passing the songs around to interested parties via e-mail.

The two songs–”Magic Child” and “Dignitas”–were recorded by the band in three studios over the course of seven months. “Most of it was recorded [in Brooklyn] at Death By Audio, some of it was recorded in D.C. at our houses, and the vocals were recorded in Baltimore, with J Robbins,” explains guitarist/vocalist Thomas Redmond. “The last time we recorded [for a demo CD, sold at shows throughout '08] we did it in my living room. We used really shitty equipment. We bought the cheapest–literally the cheapest– mics we could get on Musician’s Friend, set them up haphazardly, and made due. So this time it took a while to figure out what was the right sound.”

Download link after the jump:

Download the single here

At any rate, this year should be even clumsier, weirder, and better (relatively speaking) than the last, at least if the line-up below is any indication.

DNA Test Fest II @ Velvet Lounge
$10/1-Day Pass $15/2-Day Pass
915 U Street NW, Washington, DC

Friday: True Womanhood, Screen Vinyl Image, Rosemary Krust, Lampshades, Pygmy Shrews, Pfisters, Armida & Her Imaginary Band.

Saturday: Pink Reason, Kurt Vile, Drunk Driver, The New Flesh, Twin Stumps, Unholy Two, Eightyfive.