Fall in New York City means many things – some of them questionable – to many people. But to music aficionados, it rings one harmonically perfect, super-loud bell: the CMJ (College Music Journal) Music Marathon (October 21st – 25th). As every year, the festival will span 5 days, 5 nights, 75 venues around the city, and over 1000 artists. Beginning last year, a convenient alliance between MEISA (Music and Entertainment Industry Student Association), NYU and CMJ ensures one of those 1200 spots to an NYU band, determined by virtue of a Battle of the Bands, which this year took place on October 9th in Kimmel’s Eisner & Lubin auditorium. Seven bands, each as eccentric as the next, brought their decibels through three grueling rounds of auditions onto that stage, and (after an extended sound-check which left an initially disgruntled audience waiting outside closed doors for a while) they collectively put up a battle worth hearing.

The night began with DJ-duo Stitch N Eye-V playing persistent house music to a steadily filling auditorium. After a few technical delays, they faded, allowing first act Natti Vogel to inaugurate the night’s battle. Vogel, with his theatrical expressions, searing lyrics, undeniably catchy riffs, and upright bass and violin accompaniments, kept the crowd fascinated through his set, though he proved too esoteric for some. “His lyrics were original, but I wasn’t too keen on the sound,” said Danielle Blanchard (NYU grad student) about his nearly intrusive vocal style, strongly reminiscent of Rasputina and the Dresden Dolls.

The next band on stage, Analogue Transit, was a three-piece ensemble that stood out for sheer versatility, and eventually walked away as 2nd runners up. They began their set with a subdued and understated song, but somehow finished up with a hip-hop/electronica/hard rock feel that had everyone on their feet, or at the very least thinking about it. MEM, who followed Analogue Transit, was energy embodied. All five members thoroughly occupied their spaces; jumping, yelling, dancing, and engaging the audience in a multitude of (often tambourine-assisted) ways. Their music, although tight and commendable, was overshadowed by their overwhelming stage presence. Bad News Babe, up next, fell into a stage setup oddly reminiscent of the Jonas Brothers (as much as we hate to say it). Their undeniable neatness, good-boy-harmonies and straight-edged mannerisms were very in sync with their generically appealing musical style, which ultimately won them 1st runners up.

The Brothers Frank, the night’s victors, was a simple two-man act: one bass guitarist, one guitarist, and one drum-loop. Chris and Hayden Frank captivated and enthralled everyone present with their new-age lullabies, somehow combining tribal beats with borderline-psychedelic vocal harmonies and high-fretted pungent bass-lines. Each shift in their progressions was orchestrated carefully to lull the listeners along on what can only be described as a reverie. While they sailed over the competition on musical talent alone, every heterosexual girl and homosexual guy in the room would agree that their dimples did not hurt their cause. At all.

The penultimate act of the night, Amadeus, snapped everyone out of their Frank-induced haze, launching the audience headfirst without warning into a clamoring of belligerent metal vocals, uncompromising drum patterns, complex guitar riffs and relentless bass-lines, which combined to form undeniable momentum. Every metal fan in the room breathed relief and the rest cringed, as Amadeus provided a two-song set that can be best described as loud. “It was fucking awesome,” said CAS freshman Jonathan Fang, “but this may have been the wrong borough for metal. I’d follow them to Brooklyn!” They were followed on stage by Kevin Haden, the final act of the night, who provided nearly comical juxtaposition to their 4-man-raucousness, replacing it with a solo acoustic set complete with sentimental lyrics and cute jokes. A few people waved their lit cell-phones in the air, others “awww”d quietly, and the rest simply acknowledged Haden as an appropriately soothing final act for a night whose volatility and versatility would leave most of us reeling for a while.