New Digital Leather music (sort of); Car Seat Headrest, Mystery Lights tonight…

Category: Blog — Tags: , , , — @ 12:54 pm November 2, 2016
Car Seat Headrest gave my favorite performance of the festival. The band plays at The Waiting Room tonight.

Car Seat Headrest gave my favorite performance of the festival. The band plays at The Waiting Room tonight.

by Tim McMahan, Lazy-i.com

File this under “Get it while you can”… Ian Aeillo (under the moniker Flight School) just posted his interpretation of seven classic Digital Leather songs, of course without the band’s permission. We’re talking soothing, Autumnal renditions of brutal synth-punk songs like “Studs in Love,” “Styrofoam” and my all-time favorite Digital Leather song, “Modern Castles.” Aeillo played all the instruments (mostly synths). Check it out while you can, below…

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Maha 2016 performer Car Seat Headrest returns to Omaha tonight, this time at The Waiting Room. Based on the set list from Monday night’s show in Boulder (online here) expect to hear a lot of songs off their latest, Teens of Denial (2016, Matador), an album that is on my short list of favorites this year. Opening is Seattle trio Naked Giants (Miscreant Records). $15, 9 p.m.

Also tonight, New York City band The Mystery Lights (Wick/Daptone) headlines at Reverb Lounge with Sean Pratt & The Sweats & David Nance. $8, 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 © 2016 Tim McMahan. All rights reserved.

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TBT: Eagle*Seagull is back (for one night only)…

Category: Blog,Interviews — Tags: , , , — @ 12:54 pm August 6, 2015

by Tim McMahan, Lazy-i.com

You’ve probably heard by now: Eagle*Seagull is getting back together, at least for one night.

Sayeth Ian Aeillo yesterday via FB: “Eli and I are getting back together to perform as Eagle Seagull again; October 9th at the club (which is fabulous O’Leaver’s, of course). Ten year anniversary of our album. So So Sailors headlining.” Little Brazil also is on the bill.

Aeillo said the lineup for Eagle*Seagull would be him, Eli and his brother Luther Mardock, Eli’s wife Carrie Mardock and Eric Nyffeler.

So just one show? “One show only,” Aeillo said. “And no plans for any new record because Eli and I might kill each other if we were to make another ES album.” Fair enough.

In recognition of this announcement and for Throwback Thursday, here’s an interview with Eagle*Seagull from nearly 10 years ago, written in conjunction with the release of that debut album.

Eagle*Seagull circa 2005.

Eagle*Seagull circa 2005.

Eagle*Seagull: Flippin’ the Bird

Lazy-i, Nov. 17, 2005

Indie band Eagle*Seagull doesn’t take kindly to being called “Lincoln’s version of The Arcade Fire,” even if it’s meant as a compliment.

“Comparisons like that make you sound less original, like you’re trying to catch a wave or something,” said the band’s guitarist Austin Skiles while two brethren band members — frontman Eli Mardock and drummer Britt Hayes — sipped tasty beverages next to him at Caffeine Dreams.

Skiles is right, of course. No band wants to be compared to another band, especially if that band is the hottest thing currently happening in the indie world. It’s sort of like being called “This year’s Interpol,” another band, incidentally, that Eagle*Seagull also resembles, along with classic acts Talking Heads and David Bowie.

Originally called The Good Looks when first formed in October 2004, the band changed its name to Eagle*Seagull in January while recording their debut CD at producer Ian Aeillo’s bedroom studio. “Ian made these noises that sounded like an evil seagull,” Mardock said. Too much alcohol transformed that description into Eagle*Seagull (The asterisk, apparently, is meaningless).

“We’ve been told that eagles and seagulls also are natural enemies,” Mardock added for irony’s sake or to give the name a little more weight than merely being a drunken misunderstanding.

Before the band completed its nine months (off and on) in Aeillo’s bedroom, they already found a label — Nashville’s Paper Garden Records. Never heard of it? Probably because Eagle*Seagull’s debut is catalog number 001. Upon seeing the band perform in Lincoln, former Nebraskan Bryan Vaughan made up his mind to launch the label with their debut. Vaughan, a former intern at both Sub Pop and Saddle Creek Records, now lives in Nashville where he attends Belmont University.

He made a smart choice. Eagle*Seagull’s debut, released Oct. 11, is one of the year’s best locally produced CDs, capturing the band’s sweeping, urgent, yet jittery energy. The ensemble is rounded out by Eli’s brother, Luther Mardock, on guitar and vocals, J.J. Idt on guitar and banjo, Mike Overfield on bass, and newcomer Carrie Butler on violin and keyboards.

So far, Skiles said, the CD has received good notices. “It’s done well for an album recorded for as little money as possible,” he said. “We’ve had a pretty good reception for a bunch of dorks writing songs.” — Lazy-i, Nov. 17, 20015.

 

By the way, Aeillo confirmed that Mike Overfield, J.J. Idt and Austin Skiles won’t be participating in this reunion.

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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 © 2015 Tim McMahan. All rights reserved.

Lazy-i

Live Review: Hear Nebraska’s Take Cover Omaha…

Category: Blog,Reviews — Tags: , , , — @ 1:42 pm January 20, 2014
Ian Aello at Hear Nebraska's Take Cover at The Waiting Room, Jan. 18, 2014.

Ian Aeillo at Hear Nebraska’s Take Cover at The Waiting Room, Jan. 18, 2014.

by Tim McMahan, Lazy-i.com

I dropped in on the Hear Nebraska’s “Take Cover Omaha” benefit Saturday night at The Waiting Room and caught a full hour of covers and originals from a handful of Omaha’s finest songwriters.

The rules were the same as last time they did this — the artist comes on stage, usually alone but sometimes with one other person (no bands allowed, as it would take too much time to switch out between performances), where they play one cover and one original.

Performers get to pick their own covers, which makes sense since they’re donating their time — the last thing any musician wants to do is play a cover they don’t like. So as a result, performers tend to pick obscure songs by their friend’s bands, which means there’s a good chance audience members are listening to someone who they don’t know cover a song they’ve never heard before.

And thus was the case when Rachel Tomlinson Dick took the stage. If Rachel announced what she was playing, I missed it. She launched right into her cover followed by one of her songs. Both were lovely and unfamiliar.

Matt Whipkey followed suit, playing a song by his pal, Mike Friedman (The Lupines, Little Brazil), a song very few if any have heard before. That was followed by a song off Whipkey’s Penny Park album. Whip was joined by Korey Anderson on both.

Simon Joyner got help from Megan Siebe of Anniversaire. His cover was a song by Noah Sterba (Yuppies), followed by a Joyner original I didn’t recognize.

Dan McCarthy (of McCarthy Trenching, of course) sat behind a keyboard and played a cover, followed by one of his own.

Landon Hedges at The Waiting Room, Jan. 18, 2014.

Landon Hedges at The Waiting Room, Jan. 18, 2014.

My yearning to hear something familiar was finally quenched by Landon Hedges of Little Brazil. With an electric guitar slung across his massive shoulders, Hedges barreled into a tune I assume was his own (turns out it was a Mousetrap cover), but was followed by a fractured take on Bright Eyes’ “Lua” — complete with mid-song apologies that provided a level of vulnerability oddly fitting for a song about someone struggling to get by. Landon stumbled through both songs, accusing himself of “ruining them,” not realizing he was providing one of the most colorful moments of the evening.

I had time for two more performances before we had to head out. Sara Bertuldo of Millions of Boys and See Through Dresses ripped through a Criteria cover on her blazing electric guitar, followed by a song off the recently released STD album. And Ian Aeillo, who plays in Eli Mardock’s band, crushed a cover of Bright Eyes’ “The Calendar Hung Itself” powered by a cool-weird-funky guitar riff played with white-knuckle intensity. It was followed by a song he said he’d written only a few days prior to the show. Aeillo, who I’ve never heard sing before (at least not as a frontman) had a groovy Frank-Black-ian bark on a bitter love song that was nothing less than anthemic. It was a great way to end the evening.

All in all a good night for Hear Nebraska. The Lincoln version of Take Cover is slated for this coming Saturday at Vega, with performances by Eli Mardock, Liz Hitt (The Terminals), Jon Taylor & Heidi Ore (Domestica), Aaron Parker (Gordon), Jon Dell (Universe Contest) and a tons more.

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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 © 2014 Tim McMahan. All rights reserved.

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