Field Club at O’Leaver’s, May 17, 2013.

by Tim McMahan, Lazy-i.com

Diversification is the key to survival when it comes to rock clubs or anything for that matter. The Waiting Room and Slowdown know this, which is why you see a variety of offerings in different genres and not just the indie meat-and-potatoes we might prefer.

The same can be said for O’Leaver’s. Friday night’s line-up was outside of the club’s usual leather-and-blood garage punk/indie that they’re known for. Instead, headliner Field Club is more of an alt band in the Lilith Fair vein, an easy stereotype considering the female vocalists and winsome folk rock a la 10,000 Maniacs. And as a result, the audience was a tad different than the usual O’Leaver’s crowd — cleaner, more collegiate, almost suburban, more like the folks you see out playing in the sand rather than on a post office Wanted poster.

I own In My Tribe, along with The Sundays’ debut and a couple early Indigo Girls albums, so I think I know what Field Club might have been going for on their new Best Friends EP. And for the most part, the sound is there. The live version, however, was a different animal. Vocally it was less restrained as frontwoman Andrea Purdy reached harder for an emotional sweet spot, helped by (presumably sister) Kara Purdy on harmonies. The extra effort at times pushed them over the edge. It’s a subtle thing and I can’t quite put my finger on it, but when female vocalists add too much flourish, too much accoutrement, their sound changes from college/indie to something reaching toward mainstream. Depending on your point of view, that can be either good or bad.

As a whole, the sound was uneven on the usually rock-sold O’Leaver’s stage. The tone of the lead guitar was piercing, while the bass was lost in the mix. Things were smoothed over by the end of the set, but it would be interesting to hear what this six-piece would sound like on a different stage.

* * *

Looks like a quiet week show-wise. The Slowdown is hosting an Omaha Gives event Wednesday night that includes a set by Gordon. It’s a free show, but they’ll be badgering you for a donation (along with every other non-profit in Omaha that day).

And then it’s back to O’Leaver’s Friday for So-So Sailors…

* * *

Read Tim McMahan’s blog daily at Lazy-i.com — an online music magazine that includes feature interviews, reviews and news. The focus is on the national indie music scene with a special emphasis on the best original bands in the Omaha area. Copyright © 2013 Tim McMahan. All rights reserved.

Dumb Beach at O’Leaver’s, May 11, 2013

by Tim McMahan, Lazy-i.com

I’m oh-for-two for being on the list for national shows. The first oh came at that Polica show a couple weeks ago. The publicist for opener Night Moves was supposed to handle it. Nothing. And then this past Friday the publicist for Black Pus left me high in dry. Mortifying. In both instances, I got in out of the goodness of the club.

VietNam at Slowdown Jr., May 10, 2013.

So needless to say, I don’t feel bad about missing Black Pus’ set, though I was told it sounded like Lightning Bolt, the band that BP’s Brian Chippendale drums in, and that would have been something to see and hear. Instead, I got to Slowdown just in time for VietNam. Described as singer/songwriter Michael Gerner’s project, the essence of their sound is a culmination of all seven band members. That’s right, seven — two guitars, fiddle, bass, Moog and two drummers.

Whenever I hear a band has two drummers, I prepare for either World Music or psychedelic. Friday night it was the latter, in spades. In fact VietNam is the purest form of drug music music I’ve heard in a long time. That fiddle provided a layer of scratchy, droning feedback that cast the proceedings in sonic tones, like a red handkerchief thrown over a lampshade. But this wasn’t some sort of slow-drone Floyd-ish psycho head game. More like the kind of music you imagine playing in the background while on the run after a deal gone bad just outside of Bakersfield on a summer day in 1972, a day that never ends viewed through the filter of over saturated 70 mm film stock. Chugging, hot, on-the-run rock music with no place to hide. This band would be fun to see on a big outdoor stage (just outside of Bethel, NY) sitting in a field surrounded by 100,000 people. Can Gerner bring this energy to VietNam’s upcoming recordings? Wait and see.

Laughing Falcon at O’Leaver’s May 11, 2013.

Saturday night was another O’Leaver’s night. Lots of folks there to see the reincarnation of Peace of Shit in the form of new band Dumb Beach. I got there just in time to hear the last five minutes of unbridled roar from Dim Light, a band that has reemerged with obvious new energy. I didn’t know much about the next band, Lincoln’s Laughing Falcon, and expected even less. Instead I was pleasantly surprised.

As one guy told me Saturday night, metal is metal, and Laughing Eagle is indeed metal, but of a more palatable strain than the dumbed-down goon rock heard at Rock Fest this past weekend. Laughing Falcon heralds back to the days of Judas Priest, Sabbath, all the way back to Deep Purple and as current as Early Man. But despite referential riffs, the four-piece brought something modern to this rather tattered fight club. It’s not so much angry as energetic, though afterward, you’ll feel like kicking someone’s head in.

The main event, of course, was Dumb Beach, the latest brainchild of frontman Austin Ulmer, and by far his best. Ulmer has surrounded himself with some of the best up-and-coming talent in town, including drummer Jeff Lambelet (Digital Leather), guitarist Ethan Jones (Baby Tears, ex-Ladyfinger), a second guitarist who I’ve seen in a couple other bands whose name I do not know, and secret weapon smiling Dave Hansen (Worried Mothers) on bass. The resulting roar is more straight-forward and “poppy” than Peace of Shit, with songs reminiscent of Digital Leather during that band’s three-piece punk years. They were at their best when playing the fast, heavy stuff vs. the slower songs (though you’ve got to have that contrast to give the highs their highs). Ulmer is at the center of it all with guitar and howl, bare boned, raw, he’s a working man’s frontman, a no-nonsense Midwestern garage punk with an obvious knack for riff and melody and violent noise.

* * *

Everyone thought that Adam Hawkins’ last project, It’s True, was going to break through and get signed, but it was not to be. Hawkins got married, had a kid and now lives somewhere other than Omaha, though he’s far from forgotten by the Benson crowd who once called him their own.

Now comes word that Hawkins’ new project with his wife, Katy Sleeveless, called Eros and Eschaton, has been signed by Bar/None Records. Bar/None has been around since way back in 1986. Among the bands that got their first break from Bar/None are Yo La Tengo, Freedy Johnston, They Might Be Giants, Poi Dog Pondering and even our very own Lullaby for the Working Class.

* * *

Believe it or not, tonight’s Thermals’ show at Slowdown Jr. has yet to sell out — surprising considering the band’s past history and the hype behind their Saddle Creek Records’ debut Desperate Ground. Opening is another hot band, Pleasure Adapter, who I’m told will have a new cassette available at tonight’s show. $12, 9 p.m.

By the way, I’m supposed to be on the list for this one. Let’s see what happens.

Also tonight… Jiha Lee was a member of Bright Eyes and at the center of Saddle Creek music scene when it was just emerging in the early 2000s . And then, she just seemed to disappear. Well, she’s back tonight at Pageturners, performing with another ’00s veteran Fizzle Like a Flood a.k.a. Doug Kabourek. Show starts at 9 and is absolutely free.

* * *

Read Tim McMahan’s blog daily at Lazy-i.com — an online music magazine that includes feature interviews, reviews and news. The focus is on the national indie music scene with a special emphasis on the best original bands in the Omaha area. Copyright © 2013 Tim McMahan. All rights reserved.

The Men at Slowdown Jr., April 27, 2013.

by Tim McMahan, Lazy-i.com

Here we are, a few days late. Don’t blame me, blame my work. Someone has to pay the bills, and it ain’t you.

Anyway… It’s been a few days since The Men played at Slowdown Jr., but my memory of the performance is still somewhat vivid. Just prior to their set I chatted with one of the venue’s bartenders who also happens to be an accomplished musician. He hadn’t heard the band before and asked me what I thought. I recapped my SXSW story (posted last Friday) and said I wasn’t sure what we were in for. That the new album had shades of Centro-matic about it. He nodded. He likes Centro-matic.

Well, just like in Austin, the band climbed on stage and proceeded to rip into three hard fast rock songs that were more garage or punk than anything with a twang. This even though one of the band members was now playing keyboards. “(The bartender) must think I’m nuts or an idiot or both,” I thought.

It took about a half hour, but eventually The Men began to slow it down and bring up that keyboard along with the twang in the form of dueling guitars that sounded like something off The Allman Brothers Band’s Eat a Peach album. Here was a band that could effortlessly switch between hyper-rock and something vaguely resembling alt-country while always maintaining their speed, power, grace. It was good stuff that in its own way had an epic flair similar to what Titus Andronicus brings, but with a more refined songwriting style.

Somewhere in the middle of the set, between songs, one of the guys said, “Being New Yorkers, we’re not a sentimental bunch, but this next one is a tribute to someone who died yesterday.” With that, the band tore into its own unique rendition of George Jones’ “White Lightning.” A fitting tribute indeed.

By the time the band got to the end of its set — more than an hour after it began — The Men’s sound had transformed again, this time into something resembling psych-rock, but again without losing their signature power and drive. It was an exhausting set that left (most of) the crowd of around 75 satisfied..

Baby Tears at Slowdown Jr., April 27, 2013.

If that set sounds long, Baby Tears made up for it with a short set of only four or five blistering, violent noise-rock tunes. The plan called for playing at least one more long number, but the set was marred by a broken kick-drum pedal which blew out after the first song, leaving all of us wanting more.

Gordon at Slowdown Jr., April 27, 2013.

Starting things off was a rather straight-forward set by Gordon, at least compared to the last time I saw them play at The Side Door this past January. I have no idea what drove that weird, wonderful performance, but compared to that chaos, the band was downright restrained Saturday night, resting entirely on their songs and musicianship. They are easily the best Omaha band you’ve never heard of, and I’m scratching my head wondering why no one has helped them put out a record. One young label owner asked me if their 5-song demo was online anywhere. It is. In fact, you can download the whole thing right here. Get it.

* * *

While I’ve been away (though I’ve been right here the whole time) the folks at the Maha Music Festival announced their big stage line-up for this year’s extravaganza, which takes place Saturday, Aug. 17 at Stinson Park in Aksarben Village.

The full schedule:

12:05 – OEA Winner
12:40 – Millions of Boys
1:20 – Hers w/Omaha Girls Rock!
1:55 – Sons of Fathers
2:45 – Rock Paper Dynamite
3:20 – Thao and the Get Down Stay Down
4:25 – The Millions
5:00 – The Thermals
6:05 – Criteria
6:45 – Bob Mould
7:55 – Digital Leather
8:55 – Matt & Kim
10:15 – The Flaming Lips
Midnight – Show Over

The reaction from most people I’ve talked to about this line-up has been, “Whoa, Flaming Lips.” Even “civilians” who never go to rock shows are impressed. The Lips’ reputation for putting on over-the-top multi-media parties with confetti cannons and giant balloons is well known even with the stay-home suburban set. Will this be a game-changer for Maha? We’ll have to wait and see.

But as excited as the armchair music fans are about the Lips, the hardcore indie fans are over the moon about Bob Mould.  Then again… I always assumed everyone knew who Mould is, until I ran into a label guy in his 20s this week who didn’t have the foggiest. I told him that Mould was in Sugar. Nothing. “How about Husker Du? Ever heard of them?” He had, but still wasn’t familiar with their music. Fact is, this guy was in diapers when Zen Arcade came out (if he was alive at all).

My young label geek did know who The Thermals are. I didn’t ask him if he’d heard of Matt & Kim (but he probably has, especially since they just played Slowdown last year). Thao and the Get Down Stay Down is a more obscure choice, and even I had never heard of Sons of Fathers until Maha. Based on their iTunes snippets (They don’t have much of an online presence) I’d classify them as alt country or “roots.” We’ll never know the real story about how Maha found these guys (and why the booked them).

So there you have it, the 2013 Maha Music Festival line-up. Will this one be a record-breaker for Maha, the one that finally pushes them out of Stinson Park and into a larger facility (with campgrounds, as is their dream)? And more importantly, who’s going to pick up all that confetti after the show is over?

* * *

Read Tim McMahan’s blog daily at Lazy-i.com — an online music magazine that includes feature interviews, reviews and news. The focus is on the national indie music scene with a special emphasis on the best original bands in the Omaha area. Copyright © 2013 Tim McMahan. All rights reserved.

Poliça at The Waiting Room, April 23, 2013.

by Tim McMahan, Lazy-i.com

Pixie-ish Channy Leaneagh looked like a young Mia Farrow (back when Farrow was married to Sinatra, circa Rosemary’s Baby) doing a jerky genie ballet, her tiny hands casting quirky spells on the mesmerized crowd, with a voice like a Twin Cities’ version of Bjork of Sinead. Behind her a band that consisted of two drummers and a bass player named Chris Bierden, who carried the burden of melody on his back.

As such, Poliça, who played at The Waiting Room Tuesday night to a medium-sized crowd (125?), relied more on rhythm than melody. Leaneagh also added her own sounds via a small electronics panel that housed synth samples and effects, but it was her voice at the center of it all, a cooing tone at times layered by technology. The set held a gorgeous, sexy vibe, like a deep-night strut laced with shot-gun echo, with Leaneagh leading the way through the pitch-black tunnel, holding your hand.

My only gripe — the delay in her vocals made it impossible to understand what she was singing, which likely wasn’t a problem for those already familiar with Poliça’s songs. I’m only now discovering them, so the set held a bit more mystery.

Night Moves at The Waiting Room, April 23, 2013.

Opening act Night Moves had a Beach House thing going on, especially from vocalist John Pelant, but musically it would be hard to confuse the two bands. Beach House’s music is more ethereal compared to Night Moves’ more rooted psych rock sound. The band was at its best when Pelant was given room to lean back on his guitar and open up late verses with floating solos. Laid-back indie at it’s finest.

* * *

Kevin Coffey has a feature in today’s Omaha World-Herald that partially outlines the financial structure of the Maha Music Festival. The only thing missing is the dollar signs, though Kev did get them to cough up that year one cost $250k. The money involved is, indeed, substantial. We’re lucky to have these four talented entrepreneurs willing to take the risk. Watch for the big stage announcement this Sunday night.

* * *

In this week’s column, with all the bad shit going down these days, should we just avoid the news? And who else gets bummed out by NPR? The story is in this week’s issue of The Reader or read it online right here.

* * *

Read Tim McMahan’s blog daily at Lazy-i.com — an online music magazine that includes feature interviews, reviews and news. The focus is on the national indie music scene with a special emphasis on the best original bands in the Omaha area. Copyright © 2013 Tim McMahan. All rights reserved.

Noah’s Ark Was a Spaceship at The Waiting Room, April 20, 2013.

by Tim McMahan, Lazy-i.com

Every band should play one cover song during their set because the song they choose opens a hidden door into what they’re about. At least that’s the conventional wisdom. In the case of Noah’s Ark Was a Spaceship, that wisdom does not necessarily apply.

Halfway through their well-attended (200?) album release show Saturday night at The Waiting Room, the band decided to play “the best song we didn’t write,” and tore into Neil Young’s “Hey, Hey, My My (Into the Black).” Fantastic rendition including blazing between-verse guitar solos by frontman Andrew Gustafson. Great song, but who would have guessed that this is the cover they’d pick? I would have guessed something by Sonic Youth or Dinosaur Jr. or even the Pixies, but an old Freedom Rock chestnut from Rust Never Sleeps? Surprising indeed, and somewhat amazing, as was the rest of their set.

Tell me if I’m wrong (my memory, it fades) but I remember Noah’s being an instrumental-only band when they first came on the scene all those many years ago. Now I can’t imagine them without vocals — lead guitarist/vocalist Gustafson has a fantastic voice — imagine J. Mascis without the croak-groan and you’re kinda getting there. He bends his notes in a similar appealing fashion that pulls everything together for this power trio. If you haven’t checked out You Need You you need to.

Back When at The Waiting Room, April 20, 2013.

I found out weeks ago that the opening slot for Noah’s would be Back When’s last-ever gig, but somehow it slipped my feeble mind. Why they’re hanging it up, I cannot say, though one (well-connected) person in the audience told me that the band felt they’d simply moved on to other things, other projects, other lives.

The irony for me is that Saturday night’s show was really the first time that I “got” what Back When was going for, and it came about three songs before the end, during an epic sonic punch-out where each member was locked into every break, every moment, as if channeling some dark, Gothic metal secret shared only by an elite circle of musicians who can hear the rhythmic language that floats beneath the surface of the chaos. Theirs was a pounding, pummeling sound, experimental on a number of levels as well as cinematic in sheer layered scope (pushed in that direction by recent videos). And of course, it could be very dark indeed. You would never mistake it for pop music.

* * *

The line outside of Homer’s yesterday prior to the 10 a.m. opening time. Photo by John Shartrand.

Mike Fratt, who runs Homer’s Records, said Saturday’s Record Store Day was one for the record books. “Historic sales for us as well as every other retailer around the country I’ve talked to,” he said. “Loads of fun and exhausting, too. Crowds/customers were awesome, and we are very thankful for their support.”

The nitty-gritty: Homer’s sold 273 of the 313 titles they got in — double-digits sales quantities on 32 titles. “We still have quantity left on about 80 RSD items, 1′s or 2′s,” Fratt said. “We ordered some items in heavy quantities hoping we would have 3 to 6 left so there would be stock through the year, but many of those totally sold out; Mumford, White Stripes, Notorious BIG, etc.”

I didn’t get to the store until Saturday afternoon, but still managed to find the two main things I was looking for: Pulp Vs. Soulwax 12-inch and  Big Star’s Nothing Can Hurt Me. Both releases are remarkable.

* * *

The Maha Music Festival announced its “local stage” last night, and it’s got something for everyone: Criteria will provide another in its series of amazing “occasional” performances, pop band Rock Paper Dynamite, a reunion of Lincoln indie band The Millions, the arresting chamber pop of Hers, and the winner of the OEA talent contest. And the band I guess could be considered the “local stage headliner”: Digital Leather. Yeah, the night could get weird (in a good way) if DL does its usual set closer “Studs in Love.” But something tells me there will be an Ed Sullivan-type dictum thrown out by the Maha organizers to prevent DL from playing their more racier material. Will Shawn Foree pull a Jim Morrison? We’ll have to wait and see.

* * *

Last week I was whining about the lack of touring indie shows. This week, we’re loaded, beginning with tonight’s Johnny Marr show at The Waiting Room. Lots of buzz about this one. Tickets are still available for $25. Opening is Alamar. Show starts at 8.

* * *

Read Tim McMahan’s blog daily at Lazy-i.com — an online music magazine that includes feature interviews, reviews and news. The focus is on the national indie music scene with a special emphasis on the best original bands in the Omaha area. Copyright © 2013 Tim McMahan. All rights reserved.

Fidlar at The Waiting Room, March 28, 2013.

by Tim McMahan, Lazy-i.com

I wondered if I’m just getting old or if the crowd really looked as young as they did last night at The Waiting Room. I was assured by a few folks that I am not experiencing accelerated aging and in fact the crowd was real young last night, as evidenced by how easy it was to get a beer despite the near capacity crowd.

It’s been quite a few weeks since I’ve been to TWR. Since then, they’ve taken out the booths that were located behind the bar in the “pinball room” to make space for merch sales. The area is actually kind of nice, and did anyone ever use those booths anyway? All the improvements in the club have come together and the room feels more “complete,” or more like a formal music venue.

Anyway, I got to the club early to catch Cheatahs, a London 4-piece whose indie rock sound felt formulaic and smoothed out for radio approval. Vocals were moody tones. And while it was mostly by-the-numbers indie, there were moments of surprise, like when they threw in an unexpected break or riff toward the end of a song that made you nod your head and think, ‘That’s cool. They should do more of that.”

Cheatahs’ mannered rock approach was an odd fit opening for chaotic LA skate-punkers Fidlar. Were these the guys who the kids came to see? Their adolescent gawkiness is a decade younger than Cheatahs or Wavves more pro style. You knew it was going to be one of those sets when one of the Fidler guys (who looked like a miniature version of Little Brazil’s Greg Edds) invited anyone on stage early in the set. Sure enough, one awkward youth with a homemade “Fidler” (no points for spelling) T-shirt came on stage only to be quickly escorted off stage by a beefy security guy. “Hey security guys, we want people to come on stage,” said mini-Edds-looking dude.

With that, a parade of kids came on stage one at a time to stage dive and crowd surf around a pseudo pit. (BTW, someone pointed out last night that, like everything else from the ’90s, moshing apparently is back, and that mosh pits broke out at just about every performance he attended at SXSW). Fidlar’s music, while nowhere near hardcore punk standards, made for good dance fodder. It’s well-written, well-played, hook-filled garage-style rock that’s too polished to call punk (even if all the songs are about drugs and partying). Their music’s energy lives somewhere in a territory bordered by License to Ill Beasties (though they don’t rap), Kerplunk!-era Green Day, blue-album Weezer and ’90s-era Oblivians, but with plenty of modern-day lost generation drug-fueled fuck-it-ness.

By the end of the set, 30 or 40 people were on stage with them, jumping around like they didn’t give a shit about anything, which has to be a goal for a band who’s name stands for “Fuck it dog, life’s a risk.” It was one of the best live sets I’ve seen in a long time.

Pleasure Adapter at Slowdown Jr., March 28, 2013.

Next up was Wavves, but I just saw Wavves a couple years ago when they opened for Best Coast (and blew Best Coast off the stage). Instead of seeing a replay, I headed downtown to Slowdown Jr. , where I arrived just in time to see Pleasure Adapter’s set.

This is quite a departure for Jeff Ankenbauer, who someone described last night as Omaha’s GG Allin — or I should say formerly Omaha’s GG Allin. Ankenbauer says that’s all in his past and that he’s on a better path than his Shanks days, when you never knew from one show to the next who was going to end up bloody and broken.

On bass and vocals, Ankenbauer is the centerpiece of a balanced four-piece where really every part is as important as the next. The synth/keyboard work of Annie Dilocker (ex-Digital Leather) provides the band’s central tonal New Wave style, both tuneful and sonically retro.  Ben Allen (Watching the Train Wreck, Peace of Shit) is fireworks on electric guitar, tearing away the edges with riffs and feedback. Drummer Joey Koneko is a fucking machine gun — technical, precise, bombastic, an amazing drummer. I was told last night that he’s leaving the band and moving back to New Jersey. Someone (who already has been chosen) has some big shoes to fill.

But it’s Ankenbauer who stands tall in the middle with a voice that’s more of a Johnny Lyndon/ PiL bark than any sort of rock croon. He spits and bends the words with controlled anger and angst. Dilocker pulls it back when she blends in counter-vocals/”harmonies” that push even further to New Wave territory. That said, their set was more punk than anything else I saw or heard last night. If the kids at TWR were looking for a place to mosh, they came to the wrong party.

* * *

Well, if you missed out on the last two nights of rock shows, you’re in for some slim pickens over the next few days. Only a couple shows are worth mentioning, and they’re both happening Saturday night.

Outlaw Con Bandana is hosting a night of music Saturday at the Sweatshop Gallery in Benson. It’s being sold as the “Outlaw Con Bandana Record Release BBQ,” though I don’t think his new record is done (or is it? The kickstarter just ended). Food starts at 5, when you can also see a ton of artwork (details here); music starts at 9 and it’s free, but a donation is suggested.

Also Saturday night, at fabulous O’Leaver’s, Dim Light returns to the stage after a lengthy baby hiatus. Joining them is Lawrence Kansas band Sona and our very own Goon Saloon. $5, 9:30 p.m.

* * *

Final note: Darren Keen of Touch People informs me that his new album, Brain Massage, is out today. You can check it out and buy it for the right price of $5 right here. You Lincolnites can celebrate the release tonight at The Bourbon.

* * *

Happy Holidays for those of you who care about such things…

* * *

Read Tim McMahan’s blog daily at Lazy-i.com — an online music magazine that includes feature interviews, reviews and news. The focus is on the national indie music scene with a special emphasis on the best original bands in the Omaha area. Copyright © 2013 Tim McMahan. All rights reserved.

Tim Kasher and band at O’Leaver’s, March 21, 2013.

by Tim McMahan, Lazy-i.com

That dim line that divides Tim Kasher’s music projects got a little dimmer last night when the ol’ boy played at O’Leaver’s in front of a packed house with yet another new backing band.

This time Kasher, who spent the night behind electric guitar and microphone (vs. last night’s sold-out acoustic gig at O’Leaver’s) was backed by Sara Bertuldo (Millions of Boys) on bass and backing vocals, drummer Dillon Ryan (who played with Cursive on their last tour) and keyboardist Patrick Newbery (Cursive). Or maybe I should say “multi-keyboardist” as Newbery was surrounded by a tiger cage of no less than four keyboards (Bertuldo provided a fifth keyboard for good measure). More than anyone, Newbery has become Kasher’s creative right-hand man and ever-present collaborator, not only on this music, but in Cursive, and why not? He adds a colorful layer to everything Kasher does, whether on keyboards or trumpet. The two looked like they shared a psychic bond when they played as a duo during last night’s set.

Playing in front of a lot of familiar faces Kasher took the opportunity to roll out a number of new songs, a few he said had only previously been played for an audience of house pets. New songs ranged from garage-flavored psych-pop to New Wave-y rock (powered by Newbery’s wonky, wonderful synths) to the usual slow sad stuff (“This next one’s new, and it’s a bummer.”) to a triumphant, set-ending anthem. The new stuff was fun and hooky, among the more poppy stuff I’ve heard him play (and most varied), right up there with the most-tuneful of Good Life material, and a sharp contrast to his debut solo stuff (which for me, was colored in shades of anxious blue, underscoring its theme). Despite that, there was no stretching toward an obvious pop moment, like on Help Wanted Nights. Some of that material resembled an artist searching for an infectious hook (“Heartbroke” comes to mind).

So here’s the thing: Kasher’s Monogamy material was as intimate and personal as you’d expect from a solo outing. The new solo material feels less so. Maybe I’d have a different opinion had I been there Wednesday night when he was solo acoustic. With the band, it sounded like a different incarnation of The Good Life. In fact, they even played a few Good Life songs to make matters more muddled. When Kasher played a Cursive song — a trippy, dissonant solo version of “Sierra” — there was no confusing it with the original. Kasher helped draw a distinction between bands when he called Good Life drummer Roger Lewis to the “stage” to play three or four Good Life songs with him. No doubt his new material would fit more comfortably within The Good Life canon than as Cursive songs, which are more abrasive, sardonic (and apocalyptic) in tone than anything else Kasher does.

Also like past Good Life sets, Kasher was in a chatty mood last night, filling the set with lots o’ funny moments (He barely talked between songs during the last Cursive tour). He said he’s off to the studio next week to record the new material, conceivably in Chicago this time, where he now lives, though we all know he’ll always call Omaha home.

Opening the show were some of his new Chicago pals, the band Brighton MA, which has a distinctively indie rock sound that recalls acts like Wheat, The Walkmen, Spoon, and at times, The Good Life. If you’re into any of that — or just good guitar-fueled indie rock — check out their new album Oh Lost on Fast Plastic Records.

* * *

OK, so what do we have going on tonight and the rest of this weekend? It’s going to be busy. Let’s hope the weather doesn’t muck it up.

Hot show for tonight is the Benefit for the Community Bike Shop at Slowdown Jr. Your $7 cover will go toward building a permenant outdoor repair stand outside the shop, which is located at 525 North 33rd Street. The bands performing: Simon Joyner and the Ghosts, M33n Str33t, No I’m the Pilot and UUVVWWZ. Is there a Joyner song you’ve always wanted to hear performed live? Tonight’s your chance, as Joyner will take requests ahead of time from anyone who contributes $20 or more through the shop’s Paypal link on their website. Details here. Show starts at 9.

Also tonight, Lincoln band Plains is headlining a show at fabulous O’Leaver’s with Small Houses and Howard. $5, 9:30 p.m.

Tomorrow night’s centerpiece show is at the Sweatshop Gallery, which is quickly earning a rep as a new destination for rock shows. The line-up: Filter Kings, Solid Goldberg and Pleasure Adapter. It’s also the closing reception for artist Joe Damon. $5, 21+ (not sure why since it’s a gallery but probably because they’ll be serving booze). More info here.

Also Saturday night, ’80s indie band Soul Asylum plays at The Waiting Room with local heroes Landing on the Moon. $20/$25 DOS, 9 p.m.

Sunday night, dance band STRFKR (you remember their cover of Lauper’s “Girls Just Want to Have Fun”) play at The Waiting Room with Blackbird Blackbird. $13/$15 DOS 9 p.m.

And finally, also Sunday night, Delicate Steve returns to Slowdown Jr. with Twinsmith and The Dad. $10/$12 DOS. 9 p.m.

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Read Tim McMahan’s blog daily at Lazy-i.com — an online music magazine that includes feature interviews, reviews and news. The focus is on the national indie music scene with a special emphasis on the best original bands in the Omaha area. Copyright © 2013 Tim McMahan. All rights reserved.

by Tim McMahan, Lazy-i.com

Nick Cave and the Bad Seeds, Push the Sky Away (Bad Seed Ltd.)

I was glancing at Chris Aponick’s activities at SXSW, and it looks like he was trying to hit all the shows I would have tried to hit last night: Iggy and The Stooges, Yeah Yeah Yeahs and most of all, Nick Cave and the Bad Seeds.

I came to Cave’s new album, Push the Sky Away, a few months after its January release. I listened to it right after it came out, but just wasn’t feeling it.

Which reminds me of something wizened Domestica frontman Jon Taylor told me way back when his band was called Mercy Rule. As we were driving in his van on the way to a gig in Des Moines (I was along writing a feature for The Note) Jon talked about how music reviews were inherently skewed based on whatever mood the reviewer was in at the time s/he listened to the record.

“If the guy’s in a crappy mood, he’s going to give the record a crappy review.” I’m paraphrasing here. It’s been almost 20 years. Still, truth never ages, and Jon’s comments were spot on. If you’re in a shitty mood, you’re less likely to give some as-yet-unheard music a fair shot. The same thing’s true if you’re distracted or simply not paying attention.

That’s kind of what happened with this new Nick Cave album. I first listened to it on Spotify while doing something else — maybe I was running or writing — whatever it was, I wasn’t able to really absorb the album.

And then last week I listened to it again while making dinner — specifically a chicken florentine dish that takes about an hour of mindless focus — when suddenly the album came to life as the best thing I’ve heard so far this year. I turned around an listened to it three more times on repeat, mesmerized.

As with most of his recordings, Cave is almost perversely dramatic in his singing/speaking, as if telling dark lies at midnight, which btw, is  the best time to listen to this record. The centerpiece is a track called “Jubilee Street,” that starts out with a quiet repeated guitar line and Cave’s storytelling, slowing building to a massive crescendo over six and a half minutes. Its style and sound is exactly like something written by the Kadane Brothers, the sparks behind classic bands Bedhead the The New Year. But instead of Matt Kadane’s droll vocal delivery you get Cave at his most urgent and most triumphant. Huge.

The rest of Push the Sky Away is just as cool. From the dark rumble of “We Real Cool” (with the classic line “Wikipedia is heaven when you don’t want to know anymore,” to the nearly 8-minute-long rock eulogy “Higgs Boson Blues” that calls out both Hannah Montana and her real counterpart: “Miley Cyrus floats in a swimming pool in Toluca Lake and you’re the best girl I ever had…”

There are moments when I’m reminded of Robbie Robertson’s forays into spoken word drama — his “Somewhere Down the Crazy River” comes to mind — but Cave is never nearly as corny and never less than sincere.

Let me join Aponick’s chorus in saying that a certain music festival (or promoter) could do much worse than getting Cave or Iggy onto an Omaha stage.

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In this week’s column, a look at the futility of boycotts featuring Facebook, Hy-Vee, Rush Limbaugh, CVS and The 49′r. You can read it in this week’s issue of The Reader or online right here.

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Read Tim McMahan’s blog daily at Lazy-i.com — an online music magazine that includes feature interviews, reviews and news. The focus is on the national indie music scene with a special emphasis on the best original bands in the Omaha area. Copyright © 2013 Tim McMahan. All rights reserved.

Pro-Magnum at O’Leaver’s, March 9, 2013.

by Tim McMahan, Lazy-i.com

The bulk of my evenings this weekend were spent at O’Leaver’s.

Friday night was Digital Leather and a crowd bigger than the one that showed at O’Leaver’s for Criteria the prior weekend, or so it seemed. A real crush-mob. I guess word is getting out about Todd Fink of The Faint joining the band. Or maybe folks are just beginning to “get” what Digital Leather is all about.

Needless to say, the crowd was too big to get close enough for a photo. No matter. You’ve seen these guys before, but you probably haven’t heard them quite like this. The weird, dark, sweaty nature of the evening helped it eclipse the new lineup’s debut a few weeks ago opening for Ty Segall at Sokol Underground. But then again, DL always plays better at O’Leaver’s, where they’re surrounded by friends and booze confessors.

While I have five or six DL albums and tapes, I’m not an expert on the band’s complete discography. That said, I’d never heard the second song played during their set, one in which Fink and frontman Shawn Foree traded vocals. I’m told that they’re writing new material, but I have no idea what role Fink is playing in it. As I’ve said before, Fink adds the synth element that’s been missing in Digital Leather for years, even stretching back to when Foree and others played keys on stage but were barely heard. There’s no missing Fink in the mix. Intense fun. As was the pseudo-encore of “Studs in Love” which is once again becoming a staple in the band’s set (as it should). If you missed it, DL’s next stop is opening for White Lung April 2 at The Slowdown.

Speaking of openers, I got to the club early enough Friday night to catch the last half of Plack Blague’s twisted, bass-heavy, goth-techno-bondage set. The bass was so loud it caused ripples in people’s voices when they spoke. Creepy weird.

So for the past two week’s I’ve gone to the new, improved O’Leaver’s where I saw bigger crowds than I’ve ever seen at this hole-in-the-wall music venue. I’m more used to seeing a casual 40 or 50 people leaning on the railing watching the show, and that’s exactly what I got Saturday night for the debut of Pro-Magnum (They spell their name with all caps, but I’m not doing it. Sorry guys. Just like I won’t add an exclamation point to a band’s name (Snake Island, Thunder Power, take note).http://lazy-i.com/wp-admin/post-new.php

Consisting of Pat Oakes, Paul Hansen and frontman/bassist Johnny Vredenburg, the power trio sounds like they’ve been spending their off hours listening to ’80s metal and prog rock. Heavy, heavy shit with strong riffs on anthems that are more punk than metal and are anything but run-of-the-mill. Halfway through the second song, Vredenburg broke into a super-intricate bass riff that was proggy and powerful and very cool. His vocals are mainly of the shriek/scream variety, but what else would you want from power/metal/rock? For a debut, pretty awesome; they definitely left the crowd wanting more.

As for the rest of Saturday night, touring band Buildings played the kind of driving, dark music you’d expect to hear while beating someone to death with a ball-peen hammer. Closing band, the charmingly named Flesh Eating Disease, played one- to two-minute noise explosions keyed with hyper-active yell vocals, the kind of thing you can imagine being played to break down Gitmo prisoners just before the water-boarding begins.

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Tonight at Slowdown Jr. it’s Seattle mutant garage band The Spits on what I’m told could be their last tour ever. Opening is Coaxed and The Dad. $12, 9 p.m.

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Read Tim McMahan’s blog daily at Lazy-i.com — an online music magazine that includes feature interviews, reviews and news. The focus is on the national indie music scene with a special emphasis on the best original bands in the Omaha area. Copyright © 2013 Tim McMahan. All rights reserved.

Criteria at O’Leaver’s March 2, 2013.

by Tim McMahan, Lazy-i.com

Let’s start with the tiki bar.

It’s amazing that O’Leaver’s could create this alternate reality in a club that used to be as well known for its smell as its music. Tucked away in the space just behind the main bar (take a left right after you go through the front door), the room used to house a punching machine and other assorted junk. Bands stored their gear back there between sets. It’s now been transformed into a dimly lit tropical paradise complete with cabana grass and a sunset mural. Classy, very classy.

Manning the tiki bar Saturday night was none other than Cursive guitarist/vocalist and Mayday/Lullaby for the Working Class frontman Ted Stevens. Dressed in a grass skirt w/coconuts Stevens took to his bartender role like he’d been slinging cocktails his entire life, and before you know it, I was holding my first O’Leaver’s umbrella drink — a Mai Tai — and it was damn good. Too good. Going-straight-to-my-head good. Dangerously good. I could get used to hanging out back there, but who knows what the hours will be for the tiki bar. I assume it’ll be manned on weekends and/or show nights. Time will tell.

As for the rest of O’Leaver’s, well the place isn’t that much different. You’ll notice the new baby-poop-brown paint job for the ceiling tile and that any holes in the walls of albums have been properly filled. And the smell is gone. There were other new touches throughout I’m sure, but after that Mai Tai, things became a blur.

Saturday night’s crowd was one of the largest I’ve seen shoe-horned in that place. Tables and chairs has been removed to make more room near the “stage,” and as a result, unless you were in the melee, you couldn’t see who was performing. I’m told that Noah’s Ark Was a Spaceship has become a power trio — they certainly sounded like one — lean, mean, in top fighting shape. This new, tight ensemble brings more focus on their Sonic Youth/Pixies-flavored indie songs.

They were followed by the all-powerful Criteria. A note about O’Leaver’s sound — normally it’s impossible to talk to the person standing next to you while the band is playing without shouting a hole in a person’s eardrum. Not Saturday night. The mass of humanity was part of the reason, acting as a natural sound buffer from my perch next to the (new) soundboard in the back of the room. Don’t get me wrong — it still sounded loud, just not painfully so. If Criteria was a test of the bar’s improved sound system, it passed with flying colors.

Criteria rolled out two or three new songs that showed a progression for a veteran band that rarely plays these days. The songs were riff-heavy in a good way; fierce and anthemic as anything they’ve done before. Of course the question is what will they do with this new material. Judging by the rather large contingent of Creekers in the house, could a new release be in the making?

For my ears, O’Leaver’s ranks just behind The Waiting Room and Slowdown in sound quality — it’s  a really balanced room considering it’s just a dive bar. The deficit (at least Saturday night) is the sightlines since the band is standing on the same floor as the crowd in front of it. With no head room to add a riser, the only solution is to get off your ass and join the crowd. Maybe it’s not such a bad problem to have after all.

Sharp-eyed fans noticed that the upcoming Tim Kasher dates at O’Leaver’s (March 20 and 21) are promoted by One Percent Productions. Giving the club the ability to pre-sale tickets is only part of the reason. Will One Percent view O’Leaver’s as a viable venue for smaller touring acts that are ill-suited for the much larger TWR and Slowdown? If so, we could see a new beginning for a club with a legendary past.

BTW, weekends at the club are booked through the balance of the month…

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Tonight at The Waiting Room it’s Utah Valley band Desert Noises with Omaha’s own John Klemmensen and The Party. $7, 9 p.m. Check out some Desert Noises below…

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Read Tim McMahan’s blog daily at Lazy-i.com — an online music magazine that includes feature interviews, reviews and news. The focus is on the national indie music scene with a special emphasis on the best original bands in the Omaha area. Copyright © 2013 Tim McMahan. All rights reserved.