For followers of Omaha’s music scene, The Waiting Room is big news, and for good reason. The One Percent guys will finally have a place of their own. Add to that the opening of Slowdown this summer, and you’ve got yourself a very crowded playing field for live music.

Column 112: The Wait Is Over
One Percent to open music venue.

For the guys at One Percent Productions, a long-held dream is about to become a reality.

That dream is called The Waiting Room, a new venue slated for an early March launch at 6212 Maple St., the location of the now-defunct Marnie’s Place. The impending opening is bound to send shockwaves throughout the Omaha music scene, sending askew the delicate balance that exists among a handful of clubs that also host indie rock shows.

Why all the hoo-ha? Because The Waiting Room is owned and operated by Jim Johnson and Marc Leibowitz, the dynamic duo behind what is arguably the city’s most important promotion company, One Percent Productions — the folks who, along with Saddle Creek Records, helped forge this city’s reputation as a national indie music Mecca.

Anyone who’s known Johnson and Leibowitz over the past decade knows that they’ve spent almost as much time looking for a suitable location to open their own club as they have booking shows. Now they’ve found it in the heart of Benson.

Though it’s been talked about in hushed voices for weeks, Johnson officially confirmed the rumor a few days ago after negotiations with the landlord were signed, sealed and delivered. Details are still sketchy since he and Leibowitz only received the keys on Monday, but here’s what Johnson knows for sure:

The estimated 250-capacity club will book a wide range of music in a variety of genres, not just the indie fare that One Percent is known for. Johnson said in addition to local and national indie bands, look for more adult-oriented music, including rockabilly, country, folk, reggae, blues, and yes, even cover bands. Plans call for live music five days a week, with Leibowitz doing the lion’s share of booking.

Facility-wise, look for the usual bar accoutrements, including pool tables, pinball machines, a good jukebox, even those stupid bar-top videogames. The establishment will have a full liquor license, but no food will be served, which means — you guessed it — smoking will be permitted.

That’s all fine and dandy, but what about parking? Johnson said there’s plenty of street parking and also some parking to the south of the building, behind the hardware store.

He said the venue’s premium sound system will set it apart from all the other clubs in Omaha. “We’re spending a lot of money on the sound system,” Johnson said. “Jason Churchill, who does sound for us at Sokol Underground, is designing the system, and it will be among the best.”

But Johnson said The Waiting Room’s edge over the other guys comes from the duo’s decade of experience successfully booking bands in rooms all over town. One Percent Productions’ rep is renowned among national agents who handle the highest quality touring bands. “We’ve shown what we can do at the clubs we’ve worked with over the years,” Johnson said. “That’s really our advantage.”

So what about that name, The Waiting Room? Johnson said it’s derived from the opening track off Fugazi’s classic 1989 album, 13 Songs. The throbbing post-punk anthem sports the line: “I won’t make the same mistakes / Because I know how much time that wastes / Function is the key / In the waiting room.” It’s kind of like how the promotion company’s name came from a Jane’s Addiction song, “1%,” which has the inspiring lyric, “I’m tired of living the bosses’ dream.” The duo was toying with the idea of renaming the club The Liftticket Lounge since it’s the site of the fabled venue that hosted, among others, Nirvana and Soundgarden.

“The room has a legacy,” Johnson said. “It’s kind of cool.” In the end, they preferred to leave that legacy as part of Benson’s history.

The other burning question is how the club will impact One Percent’s ongoing promotion operations. Over the past decade, One Percent has booked nearly 1,000 shows primarily at Sokol Underground and Sokol Auditorium, but also at O’Leaver’s, The Saddle Creek Bar, The 49’r and nearby Mick’s.

Johnson said their promotion efforts won’t be affected at all, and in fact “it should allow us to do more shows at other places in town,” he said. “By offering another room, we’ll hopefully be able to get bigger and better shows. We still need Sokol and Slowdown and The Mid America Center and The Orpheum and The Rococo in Lincoln.”

In fact, tucked away in the back of the new venue will be the first official offices of One Percent Productions. “It’s going to be nice for Marc and I to be able to sit in an office together,” Johnson said. “Maybe it’ll give me the opportunity to be more involved with the live booking than I’ve been in the past. We already discuss every show over the phone, but now we’ll be able to do it face to face.”

* * *

More info as the story develops, including an in-depth feature in the coming weeks. Stay tuned.

Tonight at O’Leaver’s, Omaha buzz band Dance Me Pregnant (They’re all I’ve been hearing about lately) is playing with Artsy Golfer (the supergroup consisting of Roger Lewis, Ryan Fox, Steph Drootin and Alan Tanner) and Bazooka Shootout. HUGE. 9:30 p.m., $5.

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We realized after the interview that we hadn’t talked much about the actual Lightspeed Champion record — the reason why Dev and Tom were in town. Tracking had already begun, but there was nothing for me to hear, and the songs on the Lightspeed Champion Myspace page weren’t recorded at ARC and won’t be on the new record. Something tells me that with Dev’s songwriting talent and the army of notable musicians who are contributing to the record, this debut will cause quite a stir when Domino releases it this fall… FYI, the version of this column that will appear in tomorrow’s issue of The Reader was dramatically abridged — by about half — due to space restraints.

Column 111: Englishmen in Omaha
Of Target, Chili’s and large knives

So I get this e-mail from UK label Domino Records telling me that one of their bands, Lightspeed Champion, was in Omaha recording with superstar producer Mike Mogis at ARC Studios — the new mansion studio that replaced Lincoln’s Presto! studios. Having seen the bands I’ve covered in the past, would I like to do an interview for Lazy-i?

Devonte Hynes, the mad genius behind Lightspeed, used to be the vocalist in Test Icicles, a band that only a couple years ago was on the verge of exploding across the London musical landscape, thanks to a rowdy style that combined noise with hardcore dance beats. After only a few club gigs around London in ’05, Test Icicles became the subject of a fierce label bidding war. Domino won, but a year after the release of their debut, For Screening Purposes Only, Test Icicles broke up. Here was a chance to find out why, while also getting a glance inside what I’ve been told is the sweetest recording studio in the region.

Domino set up the interview for last Monday. I was to meet Dev at the studio at 7 p.m. It was colder than hell the night I drove up to the large, ’60s-style house right on Dodge St. Sure didn’t look like a studio. I walked up to the door and knocked, certain that I had the wrong address. But no. Answering the door was Mike Mogis, spoon in hand. He was in the throes of making dinner for his family — a smiling wife appeared at the stairs, an adorable child skipped across the floor, and even Mike’s Brother, AJ, was there, standing next to the kitchen island by a large bowl of salad-looking food. I felt like an ass.

Dev? Oh, he’s over in the guest house. Mike pointed out his back window to another house across the compound. He kindly let me cut through his kitchen and out the back door. As I made my way across the frozen tundra, off to the right was the recording studio building, glowing in the night. That was the closest I got to it.

Instead, I made my way to the guesthouse where I was met by Tom Clarke, a cello player and part of Lightspeed. Inside, Dev sat behind a Powerbook near a kitchen table overflowing with sugary Halloween candies. Tiny empty boxes of Nerds littered the table. From upstairs came Ian Aeillo, an engineer who works with Mogis and is working on the Lightspeed project.

“They want to go to Target,” Ian said. “I’m sorry about all this.” There’s nothing like Target in London — at least not in the part of London where Dev and Tom are from — and the duo had become obsessed with it, having walked to Crossroads a number of times since arriving a week earlier to begin recording. So we all piled into my dirty Sidekick and headed to the mall.

So far, the English duo’s Omaha experience had been like Bowie’s in The Man Who Fell to Earth, aliens discovering mysteries in the most mundane things that we take for granted. Tom and Dev’s other memorable shopping experience: USA Baby, which they had mistakenly pronounced USA, Baby! and hence, expected a mod fashion boutique instead of a store filled with baby goods. “We have nothing like that in London,” Tom said. Nor do they have stores dedicated to cowboy gear, like Wolf Brothers next door — a store they were too intimidated to enter. “But we’re going back,” Tom said. “I want hats and spurs.”

“I could happily stay here for awhile,” Dev said, sipping his tea. “I’m quite content. I don’t need much.”

Omaha couldn’t be more different than the poverty-laden area where Dev lives, an East London borough called Hackney. “It’s one of the worst places in the UK,” he said. In fact, a few days before leaving for Omaha Dev was jumped by a gang brandishing guns and knives. He recounts the story nonchalantly. “The guy said, ‘You want your life to end right now?’ and I said, ‘I don’t fucking care.’ My friends had to pull me away, and pull me into my place so I didn’t get shot in the face.”

“We live there because our friends live there,” said Tom, who lives a few blocks from Dev in the nearby borough Towers Hamlets. “London isn’t like here. It’s so big. Here, it’s so small. Literally everyone is in this small place. It’s surprising, this Saddle Creek thing. There are a lot of bands in East London, but it’s not a connected scene, just a lot of people in bands. Here, it’s all local and integrated, it’s so awesome.”

Becoming part of that scene was the last thing on Dev’s mind when he made the demo that ended up with Mogis, who agreed to produce their debut album. “I was quite shocked,” Dev said. “He’s done some pretty awesome stuff, like Cursive’s The Ugly Organ.”

So far, Clark Baechle, Nate Wolcott and Mogis all have contributed to the Lightspeed recording. “The Tilly girls might do some percussion,” Dev said. “The music scene here is a bunch of friends. That doesn’t happen anywhere else. Ian and Mike don’t think twice about it. The other day they were talking about asking Tim to come over to watch football. I turned to Tom and said, ‘Is he talking about Cursive?’ It’s the way everyone wants their music scene to be.”

For the next hour over peppermint tea at Target, Dev and Tom talked about the recording and explained what happened to Test Icicles.

“We’d been saying we would split up for ages,” Dev said of his former band. “We didn’t like the music, we didn’t want the money, we didn’t want to be famous, why were we doing it? So we just split up. Everyone was saying, ‘Man, you could have played Brixton Academy.’ Well, wouldn’t you rather make music you like? People around London didn’t understand. Now they do.”

Dev said Lightspeed Champion gives him a chance to do what he wants. “The music shifts between country, folk and grunge, with a running story line,” he said. “And we’re doing this comic book with it. It’s all completely selfish. Being here now, recording it, it blows my mind.

“It’s going to be the best album in the world,” he added, half-joking. “Sometimes I’m recording and I hear a whisper in the distance, and that whisper is saying ‘Grammy, Grammy, Grammy…‘ I’m aiming for the shelves of Target, the ones with the picture above it.”

Certainly the indie scene could use a savior to lift it from its current doldrums. Dev and Tom seemed skeptical that a savior is coming from London or anywhere else any time soon.

“Nothing’s happened on a world-scale since The Strokes, and before that, Nirvana,” Dev said. What about Arcade Fire? Dev and Tom both lit up with the mention of the Canadian band, having loved Funeral, but said a lot is riding on the band’s follow-up, the forthcoming Neon Bible. “I like to think that no one cares about this sort of thing, but if Neon Bible doesn’t sell as much as Funeral, it’s instantly going to be deemed a failure. You see it all the time. People are now talking about the downfall of The Arctic Monkeys. How can that band fall from grace without even having released a second album or touring?

“Shit like that is why (Test Icicles) broke up,” Dev said. “Things got to a really weird point. I’m sure there are a million bands doing what Test Icicles was doing. It wasn’t groundbreaking.”

Still, songs like the brazen “Circle. Square. Triangle.” were pure dance-floor candy. “I was listening to Dance Macabre at the time that came out,” Dev said. “We were listening to Ex Models a lot, and the first Rapture stuff. When we wrote it, we said, ‘Wouldn’t it be cool if this gets played and the club reopened? — The song is an ode to the club we played in, kind of like a joke.”

Did Dev outgrow his former band’s clubby sound? “We didn’t grow out of it, we weren’t into it as much,” Dev said. “You kind of change between 17 and 20. At the time, we all were making new bands every week out of complete enjoyment. We’d play a gig and break up. We did it repeatedly, constantly.”

Dev said that after the Lightspeed Champion sessions end — probably in the next few weeks — he’s going to disappear. “Mike will mix the record. I guess it’ll come out in the fall — it’s not up to me. After this is done I’m just going to lock myself away for awhile. I’m going to stay inside and chill until it’s time to tour.”

Before heading to Chili’s to pick up a “to go” order, the four of us strolled through the half-dark, dying mall to Ala-Ka-Zam, a store that features giant, 60-pound Final Fantasy “Buster Swords” (a best-seller, according to the store’s proprietor who was happy just to have someone to talk to), along with a collection of bizarre decorative weaponry inspired by comic books and role-playing games — the kind of stuff you see sold on cable shopping channels at 3 a.m. by guys who sound like trailer-park hillbillies.

Of course Dev and Tom had never seen anything like Ala-Ka-Zam, and took the opportunity to snap pictures holding the gigantic cheaply made metal swords. In a few weeks, they’ll be back in London, thousands of miles away from Omaha and Target and our dying mall. Ah, but they’ll always have the memories.

Motion Commotion, self-titled EP, (Piermont Records) — What an incredibly strange juxtaposition of genre and sound. Though a combination of angular math and indie rock, these guys found a way to sneak some pop melodies into the mix, along with clarinet, violin, accordion and tape loops. Regrettably, some of the more intricate aspects of their musicianship are buried. And for some reason, the album concludes with a long, unintelligible story that really kind of freaked me out. Rating: No — Brendan Greene-Walsh

Tim sez: I will say these New Yorkers are ambitious, and talented, and not afraid to throw in some gorgeous instruments that add gravitas to what would be run-of-the-mill rock songs (“Sunshine,” “Make Love”). Still, there’s an overall wonkiness about the EP that makes it difficult. Too many ephemeral noises and proggy oddities get in the way of the delicate moments, like the piano / violin / clarinet instrumental “Motion” that sounds like it came off an indie film score. And Brendan’s right, the final song was a mistake. Rating: No.

I think it’s becoming evident that Eagle*Seagull may be the next indie band from Nebraska to “strike it big” on an (inter)national level. I say this based solely on their new sound and the fact that they’ve managed to build a sizable following in Omaha and elsewhere. I’ve been told that their debut album has sold multiple-thousand copies (some say 5,000, some say 20,000). And now they’re headed to Europe on a tour that is selling well. To top it off, there are various rumors as to who the band will be working with on their next CD. But the real key to me was the vibe at Friday night’s show — it had the essence of a Creek show, every table was filled and people were crowding the aisles. No, it wasn’t “sold out,” but it was impressive.

I missed opener Kite Pilot, but was told that their set was “daring” from a person who doesn’t make those statements lightly. Like E*S, KP has changed their sound, cutting away the proggie tendencies heard on their last record for a more stripped-down punk approach. From the feedback I’ve been hearing, the change is for the better. I did get there in time for Landing on the Moon — one of their last shows for a long time, as drummer/vocalist Oliver Morgan is poised to hit the road with Little Brazil in support of that band’s new album. LotM took the opportunity to roll out a handful of new songs (including, I’m told, a cover of an old Reset number) that were darker and denser than anything on their debut EP. Perhaps it reflects the shift that I’m hearing from so many other bands away from lighter, jangly indie music to stuff that borders on heavy rock or punk (more evidence of a wilting indie sound? Maybe…). To appease those looking for the old stuff, LotM closed with the crowd-favorite ballad, “She’s Moving Out,” from the EP.

Last up was E*S, and now is a good time as any to pass on a quick note about the house sound. The venue continues to tweak their set up, and every night is a different experience. Friday night the levels were high bordering on brash with tons of low-end. I blame the bands as much as the PA. Interestingly, on either side of the stage stood a stack of EV speakers that had yet to be hooked up. Owner Mike Coldewey said he didn’t want to mess with what they’d set up soundwise for the weekend. When hooked up, the new speakers will add “inside coverage,” he said, rounding out the bottom end and making the place even louder.

Eagle*Seagull was plenty loud as it was. I’ve said it before, but I’ll pile on here: They’re evolving into an indie dance-rock band. I read their interview in The City Weekly where they say their new sound is influenced by Eno, and I have to admit, I heard it in the new stuff, which had a similar rhythmic trance quality as Eno’s early work with Talking Heads (Fear of Music). That cyclical rhythmic style has been incorporated into everything, including songs from their first album. On the other end of the spectrum is that strut-rock rhythm that I’ve compared to Franz Ferdinand — a comparison that still kinda/sorta fits. Fact is, the most out-front aspect of the band is Eli Mardock’s quivering vocals — it’s something you either enjoy/tolerate or drives you away. I find it interesting… initially. Then it can get tiresome (especially on the record). The good news is the quiver is less pronounced on stage these days, certainly less than heard on the debut CD. Eli could smooth it out even more (like Conor seems to have done over the years), but would be losing something if he filtered the quiver out altogether (one assumes the vocal affectation is purposeful, and hence, could be eliminated if desired). The other standout is the violin, which is front-and-center in the new arrangements. One patron told me the combination of Eli’s vocals and the violin reminded him of Dexy’s Midnight Runners (1982’s “Come on Eileen”). I kind of see what he was saying, but I don’t buy it. Anyway… next stop Europe. God only knows what effect that’ll have on the band.

Big show tonight at Sokol Underground: Appleseed Cast is headlining, but it’s the openers that really pique my interest. Little Brazil likely will be running through tracks off their soon-to-be-released CD, Tighten the Noose. That alone is worth $8. But after LB is Asobi Seksu, which I wrote about last week (read the story here). You like your music shimmering and trancelike with a chanteuse cutting through the sonic haze? You’re in for a real treat. This is one of the hottest bands in the country right now. See them while they’re still opening shows instead of headlining them. Too bad I’m going to miss it as I’m under the weather today…

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Briefly, looks like Bright Eyes cut a deal with Polydor for distribution of his records to the world outside North America, according to this item in Punknews.org credited to Pitchfork (I include the Punknews link because it also includes some amusing reader feedback). Saddle Creek keeps North American rights. I have no idea what significance this has to the Creek operations. In the old days, Creek records were distributed in Europe by a variety of labels, including Wichita and Southern. Then Creek opened an office in the UK and a Saddle Creek Europe website, presumably to distribute Creek materials over there. Does this mean that Creek Europe won’t be handling the two new BE discs that are slated for release this spring? Conor’s publicist summed it up this way: “Bright Eyes have been on numerous labels outside of North America over their recording history and the move to Polydor is the newest endeavor to reach as many fans as possible.” You can only conclude from that statement that he wasn’t reaching the fans that he wanted to reach outside of our continent via Saddle Creek. Polydor is a major presence in Europe, handling acts like Scissor Sisters (huge over there, ignored over here), Eminem, Beck, 50 Cent, Snoop Dogg and the Nirvana catalogue. It might have something to do with their connections to Interscope, Geffen and A&M, among others. Polydor goes way back. According to their (crappy) website, their acts have included The Who, Jimi Hendrix, the Bee Gees, Cream, Eric Clapton, James Brown, Siouxsie and the Banshees, and now Bright Eyes. How big a deal is this, and what’s it really mean for Saddle Creek? Keep watching…

It should be a big week for the folks at The Saddle Creek Bar. Tonight, SCB hosts Eagle*Seagull w/Landing on the Moon and Kite Pilot. $5, 9 p.m. Also tonight, Now! Archimedes, Dance Me Pregnant and The Stay Awake at O’Leaver’s. $5, 9:30 p.m.

Tomorrow night it’s The Weary Boys and The Filter Kings at SCB for a whopping $10 — the highest priced ticket I’ve ever seen at SCB, which usually charges $5. Meanwhile, at O’Leaver’s, it’s Midwest Dilemma and Lost Americans, $5, 9:30 p.m.

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Column 110: Goodbye Someday Never
Promoter Joe Vavak calls it quits.

Rock band Ideal Cleaners summed it up from the stage: “This goes out to Joe. He’s helped us a lot over the years.”

There was one aspect of last Saturday night’s show at O’Leaver’s that didn’t quite fit the evening’s theme: The place was packed. That’s something that can’t be said about a typical Someday Never show. Leaning against the railing, I turned to Joe’s old comrade, Mike Perry, and said maybe tonight Joe will actually make some money. He just looked at me and we both smiled. No. Joe will give the door money to the bands. Two of them — Rent Money Big and Ideal Cleaners — made the trip from Lincoln on sloppy roads. It’s the least he can do.

Joe Vavak — a.k.a. Joe Someday of Someday Never Productions — never did it for the money, and that’s one of the reasons he was saying goodbye to the whole dirty business Saturday night at the last show he says he’ll ever book.

What’s he leaving behind? Long drives to the venue from his West Omaha home. Late nights dealing with belligerent sound guys, clueless door guys and the anxious bands with the endless problems. Worrying if the bands will show up at all. The choking cigarettes (Joe doesn’t smoke), the drunks (Joe doesn’t drink), the loud music (which wasn’t always good). The nights when no one showed up, leaving Joe to explain to the out-of-town band that there’s only 20 bucks from the door (and nothing at all for the locals). Twenty lousy bucks, a pauper’s sum for a bunch of musicians who will be packing up their gear and either looking for a floor to sleep on, or hitting the road to get a jump on Chicago or Kansas City or, god forbid, Denver.

No, when the plusses and minuses are totaled, Joe says he never made a dime from promoting shows. If there’s one thing you can say about him — good or bad, depending on your viewpoint — it’s that Joe is idealistic, maybe to a fault. He believes in his heart in supporting the local music scene for the scene’s sake. Or at least he used to.

Joe explained that Someday Never wasn’t always just him. It was also partners Mike Perry, Jimmy Winter and a handful of others who helped get the ball rolling almost a decade ago. It began in the summer of ’98 as a punk website (originally gotpunk.com). Over the years it evolved into a booking agency, beginning with a gig featuring punk bands Strike Anywhere, Boycaught and Putrescene at the old Farnam St. venue in 2002 — 110 shows ago. In its heyday, Someday Never even became a record label, releasing Rent Money Big’s debut, Proper Flesh Suit. There were always more records on the horizon, but they never materialized due to lack of funds.

“We had momentum at one point,” Joe said. “That momentum’s been lost. Someday Never used to be me and other people, then it became just me. And now it’s coming to an end. I need a break. I’m pretty burned out on the whole thing.”

Beyond fatigue, Joe’s disillusionment stems from a music scene that’s become “too much about the money.” When Someday Never began, Omaha music was just beginning to garner national attention. It quickly ballooned. Joe couldn’t compete with other local promoters (one in particular) who, quite frankly, had a better business sense than he did — and really were in it for the money. And what’s wrong with that?

Then there’s Joe’s burgeoning career as a fine art photographer. His work — quietly powerful static images of commercial buildings, homes and objects — has been exhibited at Hot Shops, the Public Library, and Corning, Iowa (You have to start somewhere). His plan is to build a name for his photographic style and develop commercial work to augment his paycheck from Sears.

“I have to make money somehow.”

After the last guitar chord of the evening, I left Joe talking to a beautiful young girl that had her arm around him, but who was “just a friend.” Same ol’ Joe. Why doesn’t the nice guy ever get the girl? He wants better. He deserves better. Maybe he’ll find it, in his photography, in something else. But 28 isn’t 18. I recall Saddle Creek Record’s Robb Nansel once telling me that if you stay involved in music until you’re 30, you’ll be involved in it the rest of your life. Joe missed it by a couple years.

I asked Joe if he just outgrew the whole thing, and he nodded. Yeah, maybe he has. The new stuff isn’t doing it for him anymore, and nothing looks promising on the horizon. Funny thing about getting old, sometimes you outgrow music.

Just placed online, an feature/interview with Yuki of Asobi Seksu (read it here). Yuki talks about the inevitable comparisons to shoegaze bands, as well as her Japanese heritage. Lots of the interview didn’t make it into the story (which was limited by The Reader to 600 words). Among the outtakes:

What do you do on stage during the performance of “Red Sea” while guitarist James Hanna is making droning noise for five minutes? “Hopefully I’m not just standing there,” Yuki said. “I don’t go back stage. I’ve got a keyboard that makes some cool noises, so I try to add to the guitar and bass squalls. What I’m doing isn’t as interesting as what James is doing. It’s his moment to shine. I give him cartes blanche.

About her Japanese lyrics: “My mom will call me and say there’s a grammatical mistake in your song. I said, ‘I know, I know.’ My Japanese is not perfect. I pretend to know what I’m doing. Still, other family members call me up, too, and correct me.”

I read that your music hasn’t been discovered in Japan. Is that surprising to you? “I don’t know if people in Japan know about us or not. Japanese bands that I like, like Guitar Wolf and Melt Banana, aren’t big in Japan but are huge in the U.S. We’re under the radar, but the CD will be released in Japan later this year (distributed by Disc Union), so we’ll see. It’s a dream of mine to go there and play. I haven’t been there in years.”

Asobi Seksu will be opening for Appleseed Cast. Little Brazil also is on the bill. It should be a helluva show even if it’s a Monday night.

It’s hour-zero — the last day to enter the Lazy-I Best of 2006 Comp CD giveaway. The disc includes tracks by Yo La Tengo, Simon Joyner and the Fallen Men, Scissor Sisters, Junior Boys, Cursive, Cat Power, Jenny Lewis and the Watson Twins, Royskopp, Ladyfinger, The Terminals and more (see the track listing here). All you have to do is e-mail me (tim@lazy-i.com) with your name and mailing address and you’ll be entered into the drawing. I will announce the winner online right here. Good luck!

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