by Erica Boynton

"Quite frankly, I couldn't think of a better IATWTC album title than The Tight Connection-these two innovators are separate, but equal and allied in an electro-pop punk revolution whose credo is 'Dance until the lights come on.'"

Charismatic. Quirky. Fun. Not necessarily the first traits that come to mind when you hear the name "I Am The World Trade Center." Amy Dykes and Dan Gellar met in 1995, began dating two years later, and commenced their musical journey two years after that. The couple met in Georgia and moved to New York in 2000, where Dykes worked for the youth-friendly clothes catalog Delia's, and Gellar continued to run Kindercore Records. Dykes and Gellar create an electronic, low-fi wonderland, characterized by quirky melodies, masterful use of loops and samples, and intelligent lyrics. The beauty of their music is that it is complex in its simplicities and always tongue-in-cheek. I Am The World Trade Center has also managed to conquer the daunting tasks of remixing other artists (such as Olivia Tremor Control and Ladybug Transistor) and mastering the ever-popular cover (including "Metro" by Berlin, "Shoot You Down" by The Stone Roses, and Blondie's "Call Me").

"We chose our name because it represented two equal but independent parts standing together...and we saw the towers every time we walked out of our apartment in New York- it was so beautiful to us," says Dykes. The duo faced controversy last year (and were even, alarmingly, mentioned on MTV News, without mention of the caliber of their music), but they decided to keep their name.

Dykes elaborates, "We couldn't pretend it didn't happen-it felt right. We thought it would be more offensive NOT to keep it."

There's none of that ubiquitous indie-scene pretentiousness, either. Dan is a scientist with a sweet tooth and a mania for techno-items (Dykes jokes, "Don't get him near a Best Buy!"), while Amy is a textile designer with a flair for feng shui and interesting bags. But their chemistry is apparent onstage, making their shows intimate and entertaining.

"We never really knew there was a scene for our kind of music," says Gellar.

Their sophomore release, The Tight Connection, is more inspired by '80s synth-core. "When we started out, we were really influenced by The Stone Roses, Blur, The Charlatans, St. Etienne..." clarifies Gellar. "Now we listen to Blondie, Berlin, Madonna, New Order, Daft Punk. This album is SO '80s, but we had no intention of it turning out that way at all."

The influence of '80s synth-core has certainly affected the duo's performance onstage. The first time I saw IATWTC, they were sweet and endearing. The second time, they ROCKED. Amy and Dan share an incredible chemistry onstage, dance with each other gleefully and playing off each other like a well-matured comedy duo. One of the most delightful characteristics about Gellar and Dykes is that they are so real. Dykes possesses an undeniable allure onstage, as her sweet, lilting vocals complement Gellar's whirling keyboards. (Audiences will get a taste of their magic at Sobe's Revolver on October 18.)

Each successive album displays a new maturity and mastery of the electro-funk genre. Quite frankly, I couldn't think of a better IATWTC album title than The Tight Connection-these two innovators are separate, but equal and allied in an electro-pop punk revolution whose credo is "Dance until the lights come on."

But they're not just I Am The World Trade Center. Gellar started The Agenda as an electro-punk side project; it has quickly evolved into a more traditional punk band-and a far departure from the engaging, melodic indie-pop found on the Kindercore label. Kindercore Records was started in 1997 by Gellar and friend Ryan Kincaid, who also plays guitar in The Agenda. The label is home to a motley crew of artists, primarily native to the Athens, GA area.

"We [Kincaid and Gellar] always looked at Kindercore as a punk label," says Geller. "It literally translates to 'children's hardcore.' Unfortunately, it started to pigeonhole us. The joke was on us, though. We've taken it upon ourselves to make Kindercore more of a rock label, and not necessarily an indie label." Although Kindercore may be seen by critics as a purveyor of all things twee and bubbly, the label continues to serve rock aficionados, venturing into previously unknown territory.

The Internet has helped Kindercore establish a national presence and has been a powerful source of new listeners. "We've had so many people approach us at shows and say, 'I'm here because I heard you on the internet.' We have gained a lot of support that way. It's a genius marketing tool." Indeed, Kindercore's website (www.kindercore.com, designed by fellow top-notch indie purveyor Peter Green of Double Agent Records), IATWTC's individual site (www.iamtheworldtradecenter.com), and the site of Kindercore artists Of Montreal are all prime examples of design fused with user-friendly features; they stand out in the veritable sea of music-related websites.

Of Montreal: Theater of the absurd?

Kevin Barnes is the lead singer and founder of indie-pop wonder Of Montreal. Named after a splintered romance with a girl hailing from Canada, Of Montreal is also on the Kindercore label. Barnes is as enigmatic as his music. At first approach, Of Montreal's tunes are seeping magical psychedelia. But most songs on Of Montreal's earlier albums express the sorrows of unrequited love and develop into shining examples of theatricality, surrealism, and absurdism. Barnes's playful take on indie-pop is tinged with a childlike whimsy; it calls upon influences as varied as avant-garde Kraut-rock to jazz and bubbly '60s pop.

Of Montreal's long and winding road started in Athens, GA, where Barnes hails from. After moving to South Florida, Barnes became unsatisfied with the still embryonic local music scene. "I wasn't able to get around to making the music I wanted," Barnes says. After living in Cleveland and Minneapolis in search of like-minded musicians, Barnes ended up back in in Athens, where he worked with the famed Elephant 6 collective, which features indie mainstays like Beulah, Apples in Stereo, Elf Power, and fellow Kindercore label-mates Dressy Bessy and Essex Green. Joining with drummer Jamey Huggins, bassist Derek Almstead, keyboardist Dottie Alexander, and the band's newest addition Andy Gonzales, Barnes has continued to develop his unique style of songwriting and delivery.

Barnes is a veritable poster child for the indie movement. Working out of a makeshift studio in his bedroom, he creates swirling lo-fi sonic landscapes with low-tech gear and approaches. He explains, "I recorded my first album on a four track tape machine. Now, we try to buy something new before each album." After releasing numerous albums on different labels (from their debut Cherry Peel, released on Bar None Records in 1997 to Coquelicot Asleep in the Poppies: A Variety of Whimsical Verse, released on Kindercore in 2001), Of Montreal has matured without losing the intricate delicacy of its music. The group's latest, Adhils Arboretum, is, as Barnes so succinctly describes it, "much more rocking" than previous albums. Adhils is more pared down, with less reliance on voice-overs and "absurd moments." The band's live performances will also have a more minimalist feel, as Barnes's brother, who usually takes on the role of designer and stage manager, will be missing from this tour.