Maybe it's because all the streets in downtown Omaha are torn up these days or the fact that I haven't been there in over a year, but Sokol Underground seems like a million miles away anymore. I guess I'm spoiled by the proximity of the Benson clubs and Slowdown (which is really just a straight shot down Cuming St. for me). Going to Sokol last night for the Joe "Madder" Kenny benefit seemed like a trek -- a trek that I'm not sorry that I rarely make anymore. Sokol Underground hasn't changed a bit, except for the quality of the show posters next to the staircase. Gone are the artistic screen-print posters used for One Percent shows, replaced with cheap Xerox fliers in a rainbow of colors.

There was probably 60 people at the show when I arrived at around 10:30. The Filthy Few were on stage ripping through a set of shirtless tattoo punk. The Filter Kings were up after that, but for some reason, I just wasn't in the mood for any of it, maybe because of the reason we were there. I barely knew Joe Kenny. We'd corresponded a few times via e-mail. We'd only talked face-to-face twice, but I remember often seeing him at shows at O'Leaver's. When you go to shows by yourself (as I almost always do) the first thing you do when you walk through the door is to look for a familiar face. Joe was one of those faces, and I still subconsciously find myself looking for Madder when I go to O'Leaver's, before realizing that I'm never going to see him there again.

* * *

So what's going on this weekend?

Well, tonight two bands on Kansas City's Anodyne label are playing at Slowdown, Jr. -- The Bellrays and The Architects. $8, 9 p.m.

Tomorrow night's main attraction is Midwest Dilemma on Slowdown's big stage. The band is celebrating the release of their long-player Timelines & Tragedies. I'm still trying to get my mind wrapped around the disc. Its folk orchestra approach featuring more than a dozen musicians is unquestionably impressive. Opening is McCarthy Trenching, Thunder Power!!! and Black Squirrels. 9 p.m., $8.

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Across the city, web-connected musicians, bored office deadbeats and the hard-wired unemployed are moaning collectively over the apparent temporary capsizing of Omaha music social hub SLAM Omaha, which has been down since early last night. The site says that it's suffering from "database problems." But what does that really mean? Those of you suffering from SLAM withdrawals who are desperate for a place to vent your spleen (about a music-related topic) feel free to post away on the Lazy-i webboard. It's little solace, I know, but something tells me that SLAM will be back shortly, and better than ever.

Of course tonight's big show is the Joe "Madder" Kenny tribute concert down at Sokol Underground. As I mentioned yesterday, the showcase features some of the city's finest punk acts, including The Deformities, The Upsets, The Shanks, Filthy Few, The Filter Kings and Brimstone Howl. Cost is $7, with all money going to the Kenny family. Doors open at 7, bands are at 8. Get down there and rock for a good cause.

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Monday's announcement that The Faint are leaving Saddle Creek ends a two-year saga that, for me, began with this column. I never heard from my trusty "deep throat" source again after that story ran, maybe because things got a little hot (a number of people were asking (nay demanding) to know who s/he was. I, of course, never gave up my source). Today, that old column seems rather harmless, though its aftermath has had a long-term negative impact on my ability to write about a certain band…

Column 173 -- Fasciinatiion Street
The Faint finally leave Saddle Creek.

Yesterday afternoon (which as I write this, was Monday) Billboard.com posted a story on its website announcing that The Faint -- the band that taught Omaha how to dance -- was splitting with its long-time label, Omaha’s own Saddle Creek Records.

The news, which arrived by way of my Google news search tool, caused me to audibly gasp. We all knew it was coming. We had known it for years. Yet, here it was, right in front of my eyes, finally.

The Faint (the article said) is launching its own imprint called "blank.wav," and its first release will be the band’s fifth album, Fasciinatiion (and no, that isn’t a typo), due out Aug. 5. The story went on to quote sales stats from the band’s past two albums – 2004's Wet From Birth, 117,000 copies; and 2001’s Danse Macabre, 143,000 units, perhaps implying that the downturn in sales had something to do with the band's decision to go out on its own.

The Faint’s defection comes only a few weeks after Saddle Creek's first-born son, Conor Oberst, announced that he was releasing a non-Bright Eyes solo album, but that it also would not be on Saddle Creek. Instead, the record is coming out on leading indie label Merge Records, the home to such acts as The Arcade Fire, Spoon and Oberst's buddy M. Ward. That news seemed like a body blow to Creek, even though Bright Eyes still seems to be comfortably held in the label's nurturing arms.

Oberst's news was a surprise. The Faint's, well, not so much. It was two years ago last March when the idea of The Faint leaving Saddle Creek was first openly discussed by label chief Robb Nansel in this very column. Back then, the rumor was that The Faint was headed to American Recordings to work with über producer Rick Rubin. Nansel confirmed that Rubin had indeed expressed interest in working with The Faint, but said that no deal had been made with anyone.

"The possibility of a band leaving has always been there," Nansel said back then. "The bands will ultimately make a well-informed decision about what is in their best interest. We will support their decision regardless of what it is, and hope that all parties are satisfied at the end of the day. Certainly (we) would not be pissed.”

Fellow label executive Jason Kulbel said those comments still apply two years later, as the rumored split becomes a reality. "This announcement does not come as a surprise, and we wish the band continued success," Kulbel said, confirming that Saddle Creek will have no involvement in the release of Fasciinatiion. "They are still friends and we support their decision to do what they, as a band, feel is best for them."

Kulbel said the label has been aware of The Faint's intentions since the release of Wet From Birth. Asked what kind of an impact The Faint leaving would have on Saddle Creek, Kulbel said they "don't see any immediate impact since we have been aware of the likelihood for years."

Despite the loss of The Faint and Oberst sniffing around other labels, the future of Saddle Creek as a business entity seems less in question than it did two years ago when the Faint rumor first surfaced. Since then, Saddle Creek has signed a number of acts including Georgie James, Eric Bachmann, Neva Dinova, Art in Manila and most impressive of all, Tokyo Police Club, whose new album, Elephant Shell, has the potential of being the label’s all-time biggest seller.

Two years ago construction hadn't even begun on Saddle Creek's Slowdown complex. Now after being open for nearly a year, Slowdown is recognized as Omaha's premier music venue, recently honored by Esquire Magazine as the “club of the year” (though I’m not sure how that translates to revenue). And in the past few months, the last remaining empty commercial stall in the Slowdown properties -- originally earmarked for a restaurant -- has been taken by edgy underwear store American Apparel.

The fact is that it's been four years since The Faint released an album. If Saddle Creek hasn't become used to not having them around by now, then they never will.

A more interesting question is how the move will impact The Faint. The band never did record an album with Rubin, instead spending the last few years creating their own Enamel studios, where they recorded the 10 tracks that will make up Fasciinatiion. And they've never really quit touring, thanks to the strength of their rather limited catalog of music. The Faint could probably continue selling-out large venues for the next few years without releasing anything new, thanks to their reputation for putting on events rather than mere concerts.

And then there's blank.wav. Time will tell what exactly this "imprint" will be. What's its distribution model? Will it be an Internet-only venture. And will The Faint be the only band on the blank.wav roster? Maybe it'll follow the same model as Oberst's Team Love label, providing an outlet for local artists such as McCarthy Trenching, Flowers Forever, Tilly and the Wall and Simon Joyner to get their music heard by a larger audience. If so, Saddle Creek's loss will be the Omaha music scene's gain.

Someone asked what was meant by the word "imprint" rather than "label." The word "imprint" has been used to identify boutique labels that are connected to major labels. For example, Rilo Kiley's Brute/Beaute was an imprint under the Warner Bros. umbrella. In the publishing industry, an imprint is a brand name under which a work is published. One single publishing company may have multiple imprints; the different imprints are used by the publisher to market the work to different demographic consumer segments. The Faint's use of the term "imprint" would imply that blank.wav is part of something larger, maybe the organization that will house The Faint, Enamel studio, blank.wav and other Faint-related business endeavors. Who knows? Maybe the band's publicist simply is misusing the term.

I was told yesterday that blank.wav will, in fact, be its own independent label and not a so-called "imprint" or subsidiary of a larger label. We'll see as August rolls around…

* * *

This is an early heads-up about the Joe "Madder" Kenny memorial rock show being held tomorrow night at Sokol Underground. This tribute to one of Omaha's biggest rock fans and local music supporters showcases the city's finest punk acts including The Deformities, The Upsets, The Shanks, Filthy Few, The Filter Kings and Brimstone Howl.

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As per usual on a Tuesday, not a lot of time for an update. My take on The Faint leaving Saddle Creek will be online tomorrow as this week's column. You can catch up on the story here.

The Faint aren't the only ones announcing their first new album in four years. Son Ambulance today announced that Someone Else's Deja Vu, the followup to 2004's Key, will be released on Saddle Creek July 8. The 13-track album will be available digitally, on CD or as a super-sweet double-vinyl collection. CMJ has all the highlights here. Looks like the official album release show will be at Slowdown July 11.

Speaking of deja vu, Brad Hoshaw is repeating last week's triumphant full-ensemble performance tonight at O'Leaver's. Also on the bill are Cedarwell and JP05. Show starts at 9:30, and will cost you $5. Do not miss this.

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Allergies kept me out of the clubs this weekend. If you saw something that was particularly hot and want to expound upon it, let your feelings be known on the webboard.

* * *

Girl Drink Drunk -- The Waiting Room's answer to Lincoln's Shithook Karaoke -- is tonight. If you've been dying to stand up and belt out one of your favorite songs alongside one of the city's best rock bands, well this is your chance. And it may be your last chance for awhile, as GDD will be going on a short hiatus.

* * *

Chatting online last week with a Slowdown staffer, I was told that a total of nine youths have had their parents sign and submit a notarized authorization that allows them to get into all-ages shows at Slowdown. Not exactly a land rush of consent forms, especially after all the hoo-ha surrounding it, but I have no doubt that the numbers will grow as we get closer to Rilo Kiley and Tokyo Police Club, and after the next serious under-age-drawing band gets announced (Tilly and the Wall, perhaps?). I've also been told that a third venue -- The Saddle Creek Bar -- has submitted paperwork to host all-ages shows. Any other clubs out there getting into the all-ages fray?

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Welcome to another weekend, and another list of shows worth pondering, starting tonight:

-- Top of the list (for me, anyway) is at Benson Grind where Brian Poloncic's Tomato a Day is celebrating the release of a disc three years in the making -- The Moon Is Green, released on local art-noise label, Public Eyesore, recorded by Alex McManus at Fried From Sound studio, featuring musicians Dave Nordin, David Downing and Allen Hug. As I said in yesterday's review, there's something lost and lonely about Poloncic's acoustic folk confessions, which plow the same stark territory as, say, Husker Du's Candy Apple Grey or sad Replacements or Todd Grant's yearning solo album. Also on the bill are Dave Nordin (doing a solo set), A. Boardman and Psychic Campfire. The show is free and starts at 8 p.m.

-- Also tonight, down at Slowdown Jr., it's the return of Spring Gun with Hyannis and Honeybee. $5, 9 p.m.

-- At old favorite O'Leaver's, it's garage-rock wonders Brimstone Howl with The Monocles. $5, 9:30 p.m.

-- And over at The Waiting Room, it's night one of two nights of U2 tribute band Me2. $10, 9 p.m.

On top of the marquee Saturday night is The Whipkey Three CD EP release show at Mick's. Joining Whipkey and Co. are Corey and Chris Weber. $5, 9 p.m.

-- Over at The 49'r, Reagan and the Rayguns perform with Bazooka Shootout and Michael Wunder. $3-$5, 9:30 p.m.

-- And finally, down at Slowdown V2 recording artist Josh Ritter plays with Dawn Landes. $12, 9 p.m.

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Before we get to a recap of last night's festivities, here's this week's column wherein I tell you what I've been listening to lately...

* * *

Despite everything, American Music Club sounded terrific last night at The Waiting Room. Too bad only 50 or so people were there to see it. The band played a short set, maybe 35 or 40 minutes. Frontman Mark Eitzel said thanks and goodnight before starting into their last song. After its climax, they left the stage without comment, leaving the crowd wondering if they were coming back for an encore. The mystery lasted about 20 seconds before the house music came up and people started heading for the door. The usually chatty Eitzel only graced the audience with one story, about how the band formed as the result of members being fired from Celine Dion's Las Vegas act because they refused to sleep with her (Eitzel said he slept with Celine's husband). Someone asked me afterward if Eitzel was kidding when he said he wrote a Celine song used on the Titanic soundtrack. I said as far as I knew, he was. It was that kind of evening.

The highlight (for me) was the openers. The Third Men did their usual rollicking set of originals with a few covers sprinkled in. Their high-energy rock seemed like a strange lead-in to AMC's usually dour, introspective music. Brad Hoshaw, on the other hand, fit right in, and for the first time, a crowd got to see how Hoshaw's acoustic numbers would sound backed by a full band, put together specially for this gig. The result left me wondering why Hoshaw doesn't work with a band all the time. Though as many as seven people were on stage, the arrangements were kept simple, never getting in the way of the songs' core elements. A tune like "Powdernose," which is powerful enough as a solo acoustic piece, was transformed into a dark rock anthem, while simple songs like "Blue Bicycle" were only slightly accented by additional players. Hoshaw said he recorded the performance, which I'd love to hear. Maybe we all will someday (His remarkable Mick's acoustic set from this past January is now available on CD). Someone came up to me afterward and said, "This guy is New West / Lost Highway material." Yeah, he is. Actually, his approachable style of songwriting is broader than what those two labels could offer, but you have to start somewhere.  Hoshaw is in the very top tier of Omaha singer/songwriters and deserves to be heard by a national audience. Someone needs to make this happen.

* * *

Tonight at The Waiting Room, it's the return of the electro-dance-rock stylings of VHS or Beta, along with Tigercity and Omaha's own masked crusaders Talkin' Mountain. $10, 9 p.m.

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American Music Club is tonight at The Waiting Room. It's a show that people should be excited about, but if it's like last time they came through town, back in Nov. 15, 2004, the turnout will again be light despite the fact that AMC is a legacy indie band that records on indie super-label Merge (who released The Golden Age this past February). For the record, let's step back in time and see what I said about that 2004 show:

I remember that show as if it were yesterday. If Eitzel could struggle through all the technical problems that night at Sokol and still manage to entertain the crowd, just imagine how he'll sound on TWR's premium stage. It will be different, though, as everyone who played that night is gone except for Eitzel and Vudi the mad vulcan.

Opening the show is the always entertaining Third Men, and Brad Hoshaw, backed by an entire band. Usually the only one on stage with Hoshaw is his guitar, and it's more than enough. Tonight he'll be joined by Adam Hawkins (It's True), Craig Balderston (The 9s, Acoustic Groove), Jason Ferguson (Sarah Benck & the Robbers), John Klemmensen (Landing on the Moon, Satchel Grande), Karl Houfek (Sleep Said the Monster, Coyote Bones), Liz Webb (Midwest Dilemma), Matt Whipkey (Anonymous American, The Whipkey Three) and Scott Gaeta (Music Factory Productions). Hoshaw says they're playing first, so get there early. $10, 9 p.m.

Also tonight at Slowdown Jr. it's Syracuse, New York band Ra-Ra-Riot with The Little Ones and The Fourth of July. $10, 9 p.m.

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I have only the briefest of moments to tell you to go see Dios Malos tonight at The Waiting Room. No, they're not the headliner (Vagrant band Murder by Death is), but they should be. Last time they were here, way back in October 2005 at O'Leaver's, they blew the place away. Here's the review from way back then:

Other than an iTunes-only 5-song EP, I don't think Dios has released anything since that O'Leaver's show. No matter. If they merely repeated that show, it would be worth the $10. Also opening is Gasoline Heart. Show starts at 9.

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The Shanks. A punk band. A spectacle. A throw-back to an era of anger as theater. A form of entertainment that makes you rethink your definition of what entertainment is. To the uninitiated, The Shanks are nothing more than a bunch of drunk guys with their amps turned up too loud screaming at each other and the crowd. To the rest of it, each show is an example of entropy and schism and human frailty.

There were a few shows at O'Leaver's over the past month where I thought The Shanks were beginning to, well, mellow. Sure, their music was just as abrasive and shrill, but they appeared almost professional on stage. That wasn't the case Friday night at The Saddle Creek Bar, a venue whose own strange DIY sound system makes it almost tailor-made for The Shanks. I caught only the last couple songs by The Terminals, their lack of a bass player (usually no prob as Dave handles it well on the keyboards) was accented by SCB's odd midrange-heavy acoustics. You could not escape the midrange.

Then along came the Shanks in a cloud of painful, whistling feedback that never went away. Their set began in a blaze of white noise/heat, and before long, off came their shirts -- as good an excuse as any for a couple of the guys in the band to make out with each other on stage. I'm told this is not new to their act, though I've never noticed it before. If this were, say, Pansy Division, the effect would be different, and the crowd would likely be even more shocked. Instead, everyone wrote it off as typical punk hi-jinx.

The show began to devolve halfway through, as the band argued with the crowd and itself, starting and stopping songs, stepping into chaos, and then just as quick, they got their shit together and began playing in earnest, like a phoenix from the ashes. It's best not to over-think The Shanks. Just watch and listen. It turned out being one of the best Shanks shows I've seen, albeit without blood. Then, a few moments after the set ended, while I was chatting with a fellow music writer, a fight ensued between the drummer and the guitarist, people holding each of them back as threats of "The end of the Shanks" were being yelled across clinched forearms. Blame the booze. Blame the violent music. As far as I know, The Shanks are alive and well…

I spent Saturday night down at Slowdown Jr. As I warned, the show sold out and no one was getting in without a ticket. I asked the door guy why they didn't just open the big room. He said you could have a half-empty big room or a capacity small room. The vibe, he said, would be better with a serious crowd, and he was right. At capacity, with the tables pushed out of the way, Slowdown really does seem like a rock club instead of candle-lit lounge. I got there in time to see The Cops rip through their set of angsty punk, harder than I remember it. Then at around a quarter to 12, Criteria took the stage, looking and sounding exactly like they looked and sounded two years ago. It was as if time had stood still. I and everyone there had missed the band and its music, and it was a trip to get to see and hear it again. The new songs sounded as epic and regal as the old songs. It seems the band hasn't skipped a beat in spite of its hiatus. Frontman Stephen Pedersen announced that Criteria will be opening for Tokyo Police Club at Slowdown at the end of the month, so if you missed them Saturday night, you'll get another chance to see them in a few short weeks.

* * *

Two noteworthy shows going on tonight: At The Waiting Room it's the dance stylings of Australian trio Cut Copy. You like pretty dance pop? You'll love these guys. Opening is the band that has been designated as "the next big thing," Jacksonville's Black Kids. See them before they explode. Also opening is Mobius Band. $15, 9 p.m.

Meanwhile, down at The Barley St., local celebrity and all-around man-about-town Marq Manner is celebrating his birthday with an evening of music by singer-songwriters Kyle Harvey, Scott Severin, Matt Whipkey, Brad Hoshaw, Adam Hawkins, Justin Lamoureaux, and more. The show is free and begins at 8. Drop by and buy Marq a celebratory cup of coffee.

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I tried to interview Destroyer. I sent the request in a month ago with the publicist. After a few weeks of back and forth, she said she just couldn't work it out with Destroyer main guy Dan Bejar, but that he would be willing to do an e-mail interview. I hate e-mail interviews because there's no chance for follow-up or clarification of answers, and you never know who really is answering the questions (On the internet, nobody knows you’re a dog, etc.). But I figured an e-mail interview was better than nothing, so I wrote a list of questions and sent them off. Time passed. I nudged the publicist. She nudged Bejar. He remained unresponsive. A day after the deadline I was told Dan didn't have time to do an e-mail interview after all. It happens, it happens...

I love the new Destroyer album, Trouble in Dreams, on mighty Merge Records. The music is a combination of Bowie, Jarvis Cocker, and Bejar's other project, New Pornographers. Repeated listenings reap glorious psychedelic benefits. And so, I have to wonder how he's going to make it sound on The Waiting Room stage tonight, where he performs along with Andre Ethier and Mal Madrigal.

And speaking of Mal Madrigal, I got an e-mail from MM's Steve Bartolomei saying that both of his simultaneously released vinyl-only recordings -- The Road Is Glue and Life Among the Animals -- are back in stock and available at The Antiquarium, the Saddle Creek online record store and (one assumes) at tonight's show. They are worth your hard-earned rubles. Steve also mentioned that Mal is beginning to record the follow-up, and you might get a sneak-peek at those songs tonight. $12, 9 p.m.

Also tonight, the return of The Monroes and Domestica to Slowdown, this time on the small stage with Lincoln band The Sleepover Show. Will there be Hot Wheels races at this one, too? Is it possible for Jon Taylor to make his guitar sound louder than it did last time? Find out at 9 p.m., $6.

And finally, over at the notorious Saddle Creek Bar it's a night of garage punk madness featuring The Terminals, The Shanks and Mosquito Bandito. I'm trying to imagine what The Shanks -- a squall-punk maelstrom-noise nightmare when they play at O'Leaver's, will sound like on SCB's hole-in-the-wall (literally) stage powered by 4,000 pounds of assorted antiquated PA amps. Earplugs are a necessity. Put a "Nice Price" sticker on this one -- Free. Starts at 9.

And, don't forget O'Leaver's. Booker/soundman/intern Brendan Walsh's favorite touring band -- The Voodoo Organist -- is playing along with scatter-punk phenoms Bazooka Shootout. 9:30, $5.

What's going on Saturday?

The marquee event is, of course, at Slowdown Jr. (they still haven't moved it to the big stage) featuring The Cops, Little Brazil and Race for Titles, with special guest, Criteria. Even without Criteria this would have been sweet on the "big stage." As it is, I suspect it will sell out sometime tomorrow. Get your $8 ticket today before it's too late. The rock starts at 9 sharp.

And now, the show that's flying beneath everyone's radar: The Night Marchers at The Waiting Room. Who are the Night Marchers? It’s a new punk band featuring John Reis a.k.a. Speedo a.k.a. The Swami -- a seminal member of Rocket from the Crypt, Drive Like Jehu and Hot Snakes fame. I'm told if you liked any of Reis' old bands you're gonna love this one. Opening is Muslims and Omaha's own Bombardment Society. $12, 9 p.m.

Also Saturday night, over at The 49'r it's Greg Loftis' rock odyssey Malpais, with Beat Seekers. Probably $5, probably around 10. Over at O'Leaver's it's Cheap Hookers (the band, not the, uh, hookers) and Radio Moscow. $5, 9:30 p.m.

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Ever have one of those days when your internal clock was set one day ahead? That was me yesterday. For some reason I kept thinking it was Thursday instead of Wednesday. As a result, I got a couple shows wrong on da ol' blog. Indian Jewelry is tonight at The Slowdown Jr., not last night. So if you're bummed because you thought you missed it, well, here's your second chance (and if you went down there thinking it was last night, well, all's I can do is apologize). More details after the column.

During my interview with Mike Jaworski, he off-handedly mentioned that Criteria is the "special guest" playing at The Cops show Saturday at Slowdown Jr. with Little Brazil and Race for Titles. But, Jaws added, the info was to be kept on the down low as Criteria frontman Stephen Pederesen wanted it to stay a secret for reasons even Jaws didn't know. So I contacted Pedersen and asked if I could mention Criteria in the column, and he said he'd been strong-armed by the fine folks at Slowdown to make the information public on Thursday, and that, yes indeed, it would be fine to mention it in the column. Well, by Wednesday, everyone I talked to already knew that Criteria was playing, and the data had been posted on a couple local webboards. It'll be the first time Criteria has played in Omaha in a couple years, so I suspect this show will quickly sell out Slowdown Jr. Get your tickets today... Maybe we'll get lucky and the Slowdown folks will move the show to the "big room."

So, like I said yesterday, tonight at Slowdown Jr., it's Houston drone-masters Indian Jewelry. According to Wikipedia, the band "is known for its droning vision music and seizure-inducing stage show." The few tracks I've heard were indeed dark, throbbing and psychedelic, yet… strangely catchy. Opening is Lymbyc Systym and Dim Light. $7, 9 p.m. Meanwhile, over at The Waiting Room, bluesy folk master William Elliott Whitmore plays with Triggertown and Lincoln Dickison (The Monroes, Bombardment Society, Techlepathy). $8, 9 p.m. Really. I mean it this time.

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Every table was filled in the "performance room" of the Barley St. Tavern last night, filled with people there to welcome back Reagan Roeder to the world of live rock and roll music. And Reagan did not disappoint.

To inaugurate the return, the Rayguns made some line-up changes, the most dramatic of which was the shift of Mike Friedman from keyboards to electric guitar. The keyboards always seemed out of place to me, anyway, and Friedman is one of the best axe men in town. He showed it last night, torturing his guitar to submission on a set of songs that made me think that The Rayguns could become Omaha's own version of Crazy Horse. New drummer Landon Hedges did his usual arm-swinging Animal-from-the-Muppets good job, while bassist Kyle Harvey tried to kill us all with low-end feedback. As one patron said afterward, "They sound like a rock band." That they do, my son. The Rayguns is a bar-owner's wet dream. Their thick, growling turbulence coaxes listeners to want to drink and drink more. They're a drinkers' band, a bar band, the last band you'll want to hear as the fog of alcohol sweeps over your consciousness, and the last thing you'll remember upon waking in a pool of your own sweat, piss and vomit, squinting in pain, blocking out the cursed sunlight with the back of your hand.

Reagan, by the way, sounded as good as he possibly could over what arguably is one of the worst vocal PA's I've ever heard. I've been to a number of Barley St. shows and the PA usually was adequate. Not last night. Reagan's vocals sounded like they were being sung into a $10 condenser microphone, and then blasted over a pair of $20 Radioshack 6x9 car speakers. I suspect he'll sound somewhat better when the band plays at The 49'r on May 10.

* * *

May 10 also is the date for The Whipkey Three's EP release show at Mick's. I've already received my copy of the EP, and can say without reservation that it's the best recording that Whipkey has ever produced with any band. As one person put it who hasn't cared for any of Whipkey's past projects: "I guess persistence pays off. I actually like this." I like it, too. The EP is about as DIY as you're going to get -- Whipkey burned the CDRs and hand rubber-stamped the discs and sleeves. I'm not sure where you can find a copy, but I know they'll be available at Mick's on the tenth.

* * *

The OWH has a story today on the "live music" ordinance (here), reiterating Slowdown's and The Waiting Room's open house events (TWR's is later today). Kids, get your paperwork together. The article doesn't mention if any other venues have applied for an all-ages permit. Will there be only two?

* * *

Tonight at Slowdown Jr., it's Houston drone-masters Indian Jewelry. According to Wikipedia, the band "is known for its droning vision music and seizure-inducing stage show." The few tracks I've heard were indeed dark, throbbing and psychedelic, yet… strangely catchy. Opening is Lymbyc Systym and Dim Light. $7, 9 p.m.

Meanwhile, over at The Waiting Room, bluesy folk master William Elliott Whitmore plays with Triggertown and Lincoln Dickison (The Monroes, Bombardment Society, Techlepathy). $8, 9 p.m.; while over at Mick's, Brad Hoshaw is playing with Cami Rawlings and Boston to Austin. $5, 9 p.m.

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Singer/songwriter Kyle Harvey writes to say that a last-minute show is going down tonight featuring the Reagan Roeder's return to the stage after recovering from a debilitating car accident a couple months ago. The show is taking place at The Barley St. Tavern and features a whole new line-up for Reagan and The Rayguns: Harvey on bass, Mike Friedman on guitar, Landon Hedges (Little Brazil) on drums, and Roeder out front with guitar. Let's give Reagan a hero's welcome back.

* * *

Like Slowdown, The Waiting Room is hosting an open house inviting parents to drop by, check out the place and get their childrens' permission slip notarized and on file. As mentioned yesterday, the new "music venue" ordinance goes into effect this week that requires all those 17 and younger to have a notarized permission slip on file with the club befoer allowing admittance into all-ages shows. The open house is tomorrow evening, April 30, from 6:30 to 10 p.m.

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It was a weekend of contrasts at O'Leaver's. Friday night the bar hosted Sarah Benck and the Robbers and Landing on the Moon featuring new guitarist Matt Carroll, who replaced Shawn Cox last month. Cox, who was at Friday's show, said musical and personal commitments were piling up and something had to give, adding that Carroll's guitar skills were going to blow people away. Carroll, who looks like he just turned 21, was impressive, though for whatever reason, his guitar sounded secondary (volume-wise) in the mix. Maybe it was because the band was playing louder -- and looser -- than usual. Because of their songs' arrangements and style, LotM can sound somewhat tight on stage -- that wasn't the case Friday night at the jam-packed show. They seemed determined to let it all hang out -- and did, to grand effect. The band currently is recording new material with Carroll. More to come…

Call it The O'Leaver's Effect, but Sarah Benck and her posse also sounded more relaxed than I've ever heard them, ripping through a set of their bluesy tunes with laid-back panache. O'Leaver's usual crowd of drunk, unshaven neighborhood regulars, musicians and vagrants was replaced by a covey of well-dressed female Benck followers including a few choice cougars with their cubs in tow. Purrrrrr….

By Saturday night, the usual O'Leaver's crowd was back for a night of heavy-hard noise rock/punk. Much to my chagrin I missed the World Premiere of Techlepathy, who I thought was playing later in the evening. Instead, they were first. The buzz afterward: Techlepathy plays epic Midwestern punk rock and are "awesome." Guess I'll have to wait to see for myself. I caught the last couple death-hammer songs by Sirhan Sirhan -- way too loud for little ol' O'Leaver's. Prize Country, on the other hand, was just right -- aggressive punk rock by way of Helmet or Bad Religion or Fugazi -- super clean, super good, probably the best touring band I've heard at O'Leaver's so far this year. Last up was Omaha's own Fromanhole, playing injured. Bassist Doug Kiser had accidentally drilled a hole in his index finger prior to the gig. He filled the divot with Krazy Glue to numb the pain, and had to stop halfway through the set to apply a second coating. Despite the disability, it was the usual mathy/angular/chaotic set from the trio, who had spent the day recording new material for an upcoming release.

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Val Nelson from Slowdown e-mailed to say that the new "music venue" ordinance that allows those under 21 to be admitted to shows at Slowdown (and other licensed music venues) goes into effect April 30. The biggest change is that those under 18 must have a notarized permission slip from their parent or legal guardian. Slowdown doesn't have a notary on staff, but will have an open house with a notary present this Saturday, May 3, from 2 to 5 p.m. They're encouraging parents with children 17 and under to come down, check out the club and get that permission slip filed.

The consent form can be downloaded online here.

All right, so where the hell else are you supposed to find a notary (and what the hell makes one qualified to be a notary in the first place?)? Well, most First National Bank branch offices have a notary on staff, and if you've got an account there, it's free (or at least it used to be). Check with your bank before you head out.

The new protocol for entry at Slowdown calls for those 18-20 years old to present a valid driver's license, state ID or passport to get in. For anyone under 21, admission will not be granted until one hour before show time, and they must leave immediately after the performance (and buying some merch). Find out more details at The Slowdown website.

Marc Leibowitz at The Waiting Room said the same permission requirements will apply to his club starting April 30.

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Speaking of Slowdown, there's an interesting show in the front room tonight featuring Little Rock five-piece American Princes. Their new album, Other People (on Yep Roc), is a quantum step forward from their last album. At times (like on opening track "Auditorium") the band sounds Paul McCartney fronting Spoon. Local acts Manna and Icares open. 9 p.m., $7.

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I thought it was a nice-sized crowd last night at The Waiting Room for Neva Dinova (I'm guessing 150?), but there were still a few people complaining that the gate seemed a little light. The band didn't do itself any favors by playing a show just a couple weeks ago at Slowdown Jr. (I'm told it was supposed to be a "secret show," though there wasn't anything secret about it.). On top of that, Jake Bellows plays solo acoustic/electric quite often, and even though those sets are different than Neva sets, it's still Jake up there. If Neva wants to sell out TWR, they have to play less frequently around here (say once every six months?) and make the show an event.

While the Neva set at Slowdown two weeks ago was good, last night's set was arena-rock quality. The band never sounded bigger or better as they ripped through songs off the new CD. Neva has evolved from being a fun-lovin' bar band whose performances more resembled band practices than concerts, to a highly honed, highly professional rock act that belongs on any stage. There's really nothing holding these guys back except luck or lack of it. They just need to get that one break that'll push them over the hump into the next level. Maybe their move to Saddle Creek will be that extra push. I suspect I'll be seeing them perform on the Kimmel/Daly/Letterman/Conan/Leno circuit sometime in the near future…

If you missed the show last night, you've got a chance to catch the rerun tonight in Lincoln when Neva Dinova plays at Box Awesome with tourmate Ladyhawk and local heroes Outlaw Con Bandana. $8, 9 p.m.

Meanwhile, back here in the Big Oh, Sarah Benck and the Robbers are slummin' it at everyone's (well, at least my) favorite stinkhole, O'Leaver's, with Landing on the Moon (tonight featuring a new guitarist). $5, 9:30 p.m.

Down at Slowdown it's the YWCA Benefit Concert featuring The Wholes, Goodbye Sunday and Eustace. $10 or $7 with student ID. 9 p.m.

Tomorrow night's marquee attraction is Back When at Slowdown (on the big stage) with Lincoln's Ideal Cleaners, Noah's Ark Was a Spaceship and The Show Is the Rainbow. I haven't seen Back When since, well, way back when a couple years ago. Guess it's about time. $7, 9 p.m.

Also Saturday night, Sokol Underground is hosting a good show (a rarity since One Percent quit booking the room) with Thunder Power!!!, Dan McCarthy and AM Revival. $7, 9 p.m.

Finally, O'Leaver's wraps up the weekend with an evening of beautiful noise featuring art math metal maniacs Fromanhole, Oregon's Prize Country, California's Sirhan Sirhan (featuring former members of KC's Molly McGuire) and the world debut of Techlepathy, featuring members of Sound of Rails, Putrescine and The Monroes. $5, 9:30 p.m.

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This week's column is an extension of the portion of Monday's blog entry concerning Saddle Creek Bar's Mike Coldewey, recently made notorious by his role in the all-ages/music venue controversy that led to last week's historic City Council stripper discussion.

Column 170: Public Enemy
Hate for the right reasons.

Last Saturday night, I high-tailed it over to what is widely believed to be a den of pure evil -- The Saddle Creek Bar. There, I consorted with The Dark Lord accused of high crimes and misdemeanors to the Omaha music scene, and retrieved my winnings. As I mentioned in last week's column, I had a bet riding on the outcome of last Tuesday's City Council meeting, a bet I won. I played Randolph Duke to Mike Coldewey's Mortimer Duke, and he paid up: one dollar.

It was then that I realized that these days, people are hating Coldewey for all the wrong reasons.

If there's a back story to the City Council vote that allows minors into bars for all-ages rock shows, it's the demonization of Coldewey. But the fact is, before this whole thing got stirred up, few people who I know in the indie music scene liked the owner/operator of The Saddle Creek Bar or his brash, straight-forward approach.

Musicians already were avoiding SCB either because of its sound system, the lack of free booze for performers or Coldewey's abrasive tell-it-like-it-is personality that refuses to suffer fools lightly. That he pushed the all-ages issue to the forefront by asking Omaha's Finest what he can and can't do all-ages-wise at his bar only made him more of a pariah to people who never went to his bar in the first place.

The story goes back to October of last year when Coldewey e-mailed me a copy of Omaha Municipal Code 15-41. Actually, it goes back even further than that, to the opening of The Slowdown almost a year ago. It was in a cover story I wrote for The Reader in June 2007 where the issue of all-ages shows was first discussed. There, Slowdown owner/operator Robb Nansel said his new club would allow clearly identified minors into shows. "Being all-ages is an important part of our business plan," Nansel said in the story. "People under 21 go to shows. I was under 21 once and I went to shows, and I was really frustrated when I couldn't get in because of my age." I concluded by saying that conceivably, you could see 12 year olds walking around Slowdown on show nights.

This statement, like much of The Reader (unfortunately) must have gone unread by our city's law enforcement personnel who clearly know that minors aren't allowed in bars when alcohol is being served. We must assume that they didn't read it, because the alternative is that they did read it and ignored it or decided to turn their eyes away from an obvious violation of city code.