Thanks to the rain, the weekend was a giant bust. I went to no shows at all, but I did pick up three CDs at Homer’s — new ones by Wilco, Grizzly Bear and Dirty Projectors — all are among the most-hyped indie albums so far in ’09. I’ll let you know what I think, but so far, the Wilco album is making the cut, the Grizz album started out strong but seems to meander and meander and meander. I haven’t had a chance to listen to the DP album.

I also did a couple interviews — Matt Whipkey, which you’ll see online Thursday, and a member of the MAHA Festival committee reacting to last week’s Lazy-i column, which will be online Wednesday. Very interesting indeed.

What else…

According to the Washington Post (here) Conor Oberst opened the Woodstock reunion concert this past Saturday “reprising Jimi Hendrix’s electric guitar version of ‘The Star Spangled Banner’ that became legendary after he performed it at Woodstock.” Conor is a strange choice for such an honor. He’s about as well known for his guitar playing as Hendrix was known as a singer/songwriter.

Anyway…

O’Leaver’s is kicking off a busier than normal music week tonight with Anaheim garage band Thee Makeout Party (who just got off the road with Nobunny), along with The Contrails and The Prairies. $5, 9:30 p.m.

–Got comments? Post ’em here.—

Wasilla Alaska indie band Portugal. The Man is playing tonight at The Waiting Room with Landing on the Moon. Portugal’s new album, The Satanic Satanist, kind of reminds me of low-end MGMT with some groovy rock touches and plenty of falsetto. If you’re wondering about the name, Wikipedia says they were going for a “bigger than life” vibe. Says guitarist John Gourley, “The band’s name is ‘Portugal’. The period is stating that, and ‘The Man’ states that it’s just one person,” though there’s more than one person in the band (more like five). They just played at Lollapalooza and did Bonnaroo earlier this year, so their star seems to be on the rise. Catch them for a mere $12. Show starts at 9 p.m.

* * *

A few newsy bits to pass along:

— Capgun Coup announced yesterday that its sophomore effort, Maudlin, will be released Nov. 3 on Team Love Records. According to the publicist: “The new album is often a satiric commentary on the state of contemporary life, from the futility of sadness, self-pity, and ennui to economic and social inequities to the anesthetizing effects of technology. With dishwater-colored and cracked glasses, Capgun Coup are almost modern, Midwestern Holden Caulfields – howling with restless dissatisfaction in anguished, dissonant vocals and armed with guitars.” Yeah, but does it have a beat you can dance to?

— Speed! Nebraska announced that Techlepathy’s debut CD is “at the plant” with more release info to follow. Techlepathy frontman Lincoln Dickison will be playing at noon this Saturday at famous Omaha craft store Mangelsen’s along with The Wagon Blasters and Outlaw Con Bandana. It’s free; bring the kids.

— I just noticed that the Meat Puppets are slated to play at The Waiting Room Nov. 7. I’ve never thought much of these guys live, but caught them at SXSW and was indeed impressed with their over-the-top arena-rock sound.

* * *

This week’s column is a slight retooling of Monday’s blog entry, so if you read Lazy-i regularly, you’ve already seen this. I include it here for completist’s sake. I’m told that Little Brazil and Noah’s Ark Was a Spaceship won the talent contest and will be playing the Brashear LLC Local Stage, or as one clever reader suggested, perhaps they should rename it The Sarpy County Stage (see this OWH story for the punch line).

Column 233: Homeless in MAHA
Creek signs NYC singer/songwriter, MAHA hosts another talent contest.

Some bits and pieces from last week, culled from the blog…

Altsounds.com reported Sunday that Saddle Creek Records signed singer/songwriter Miles Benjamin Anthony Robinson and will be releasing his new album, Summer of Fear, Oct. 20. MBAR has worked with a couple guys in Grizzly Bear and TV on the Radio.

I’ve never heard of MBAR. Looks like there was a rather large swell of press surrounding him last summer, including an item in SPIN and a Q&A in New York blog Gothamist that included this quote about his stint as a homeless person in NYC:

“Q: Are there any nights you remember distinctly from that time in your life? A: This album is not about being homeless in New York. Maybe if we’re having a beer sometime we can bullshit about our past and tell drug stories but the repeated discussion of them in relation to talking about my music is beginning to bore me. I HAVE DONE A SHIT TON OF DRUGS AND I USED TO SLEEP OUTSIDE SOMETIMES. I ATE FOOD OUT OF THE GARBAGE AND SAVED FOUND CHANGE TO BUY MALT LIQOUR (sic). IF YOU DON’T ALREADY HATE THIS STORY YOU WILL SOON. Oh the unshakeable stench of cliché that surrounds me.”

Poor, poor MBAR. I have to agree with him, his background certainly is sad and cliché, and there are those who will assume that the experience permeates his songs, whether it does or not. He better get used to being asked about living in a cardboard box because us poor, lazy music journalists — dying to find some kind of hook to write around — are going to ask about it again and again. It reminds me of a comment I read from a musician who had a different kind of pre-fame hardship: “Yeah, I lived in my car for a year, in fact I was parked right behind Jewel.”

Checking out some of MBAR’s music on Myspace, it indeed sounds like something that belongs on Saddle Creek. How did it all come about? Saddle Creek head honcho Robb Nansel e-mailed me to say, “Jeff Tafolla (who works at Saddle Creek) came across him online. We all really liked his music and he was looking for a label. Jeff and I met him and his manager at SXSW earlier this year.” So, along with the recently signed Rural Alberta Advantage, it’s yet another SXSW success story for Saddle Creek.

Creek is on a signing binge these days. The label announced last month that it signed Lawrence band Old Canes. It’s as if they’ve decided to throw a handful of indie haircuts at the wall and see what sticks. Hopefully it’ll turn into a big, sticky wig.

* * *

Yet another “talent competition”-style audition was held Monday night for the MAHA Festival (O! what a terrible name). This time it was Little Brazil, Noah’s Ark Was a Spaceship, Anniversaire, Little Black Stereo and Conchance battling for a chance to play on the festival’s “local stage.”

Two of the five were to be chosen via audience ballot. I told members of one of the bands prior to the show that they should form a union and tell the MAHA organizers that it’s all or nothing — take all the bands or take none. All have moved beyond the “battle of the bands” point in their careers a long time ago.

The two “winners” will be joining a couple other local bands on the litigiously titled “Brashear LLP Local Stage.” A similar audience-ballot process was conducted during the recent Omaha Entertainment and Arts Showcase. MAHA organizers issued a press release last weekend announcing that Jes Winter Band received the most ballots in that election. But it also said that “Another local band, It’s True, will appear after a collaborative effort between YFC, MAHA’s organizing committee, and 1% Productions earned them an invitation to play.”

Don’t get me wrong, I dig It’s True, but what exactly is “a collaborative effort” supposed to mean? That they got together and just decided? That would be a refreshing alternative to this endless stream of talent contests.

By the way, who or what is “YFC”? Well, Google “YFC” and the first search results you’ll see is Youth For Christ, which this ain’t. Instead, YFC stands for the not-so-cleverly titled “Your Festival Committee.” They may want to rethink that TLA (Three Letter Acronym).

The fest takes place at the Lewis & Clark Riverfront Landing on Aug. 29. Tickets are $30. On the bill are some Harrah’s Casino-type bands including Big Head Todd and the Monsters, G. Love and Special Sauce and Dashboard Confessional. Guess they couldn’t get The Spin Doctors or Crash Test Dummies.

There actually are a couple good national acts on the bill — Appleseed Cast and Army Navy, two bands that I’d rather see perform at The Waiting Room or Slowdown. The bad news is that they’ll be playing at 1 p.m. and 2:30 p.m. respectively. Of course no one will be there yet, so the organizers will feel justified in saying, “See, no one’s here. Good thing we scheduled them early.” And they’ll be right, because no one who wants to see Big Head Todd knows or cares for Appleseed Cast.

I’m still waiting for someone to step up with a real festival that would include some truly vital bands, like Sonic Youth, Wilco, PJ Harvey, or a reformed Jane’s Addiction. Waitaminit, that festival was held last weekend… in Chicago.

–Got comments? Post ’em here.—

So who is backing Daniel Johnston tonight at The Slowdown? The mystery was solved last week when Kyle Harvey e-mailed me to say that Daniel’s backing band would once again be The Rayguns — Mike Friedman, Reagan Roeder, Scott “Zip” Zimmerman and Mr. Harvey himself. Those of you who missed Daniel’s last Omaha performance (back in February 2008) can catch up on it with this review. Opening tonight’s show is Hubble (Roeder’s and Friedman’s latest project) and Darren Keen (of The Show Is the Rainbow fame). Tickets are $18 and the show starts at 9.

Also tonight, indie dance pop band Someone Still Loves You Boris Yeltsin (or simply SSLYBY) is playing at The Waiting Room with Joe Firstman and Brian Wright. $8, 9 p.m.

–Got comments? Post ’em here.—

The Box Elders tore it up at their CD release show at The Waiting Room Friday night. Though we didn’t get any green-foam-drooling, the crowd of around 200 (I’d hoped for a sell-out, and I’m sure they did, too) did get a scorching two-song encore. Opening band The Goodnight Loving was OK, but too many of their songs sounded the same (and their set was too long).

Saturday night I swung by The Saddle Creek Bar for a late-night drink(s) and saw The Pilots and Lawrence band American Lowlife. The Pilots played mainstream FM rock, while American Lowlife was trying for punk but relied too much on the same chord progressions and rhythms as Blink/Green Day, which is a shame because they could do more with it if they wanted to. They had one song with a vocal line that reminded me of Chavez. I mentioned this to the band afterward and of course they’d never heard of Chavez (but said they’d check it out). Total audience size at The Saddle Creek Bar, not including the help, was around five. BTW, I’d gone there to see Akita-Ken, who I’d been told played a good set at least week’s OEA showcase, but the band didn’t show up — they didn’t cancel, they just didn’t show up.

* * *

Altsounds.com reported yesterday (here) that Saddle Creek Records has signed Miles Benjamin Anthony Robinson and will be releasing his new album, Summer of Fear, Oct. 20. MBAR has worked with a couple guys in Grizzly Bear and TV on the Radio.

I’ve never heard of MBAR. Looks like there was a rather large swell of press about him last summer, including an item in SPIN and this Q&A in Gothamist that included this quote about his homeless stint:

Q: Are there any nights you remember distinctly from that time in your life? A: This album is not about being homeless in New York. Maybe if we’re having a beer sometime we can bullshit about our past and tell drug stories but the repeated discussion of them in relation to talking about my music is beginning to bore me. I HAVE DONE A SHIT TON OF DRUGS AND I USED TO SLEEP OUTSIDE SOMETIMES. I ATE FOOD OUT OF THE GARBAGE AND SAVED FOUND CHANGE TO BUY MALT LIQOUR. IF YOU DON’T ALREADY HATE THIS STORY YOU WILL SOON. Oh the unshakeable stench of cliché that surrounds me.

Poor MBAR. I have to agree with him, his background is sad and cliché, and there are those who will assume that the experience permeates his songs, whether it does or not. He better get used to being asked about it because us poor, lazy music journalists — dying to find some kind of hook to write around — are going to ask about it one way or another. I like how Gothamist broached the topic. It reminds me of a comment I read somewhere from a musician who had a different kind of pre-fame hardship: “Yeah, I lived in my car for a year, in fact I was parked right behind Jewel.”

Check out some of MBAR’s music on his Myspace page. Sounds like something that belongs on Saddle Creek. So how did this all come about? Saddle Creek’s Robb Nansel e-mailed me just now to say, “Jeff Tafolla (who works at Saddle Creek) came across him online. We all really liked his music and he was looking for a label. Jeff and I met him and his manager at SXSW earlier this year.” So yet another SXSW success story.

Creek appears to be on a signing binge these days. It’s like they’re throwing a handful of spaghetti at the wall and seeing which piece sticks. Hopefully it’ll turn into a big, sticky pasta puck.

* * *

Tonight is another “talent competition”-type audition for the poorly named MAHA festival. This time it’s Little Brazil, Noah’s Ark Was a Spaceship, Anniversaire and (last-minute addition) Conchance battling for a chance to play on the festival’s second stage. The show is at The Waiting Room at 8 and is free of charge.

Two of the four will be chosen via ballot. I told members of one of the bands that they should form a union and tell the BLAHA organizers that it’s all or nothing — take all four bands or take none. They all have moved beyond the “battle of the bands” point in their careers a long time ago. I wonder if any of these bands will be getting paid for performing tonight. I wonder if they’ll get paid for performing at the BLAHA Festival or if they should “just feel lucky” that they’ve been given a chance to play in front of what organizers believe will be a large crowd.

I’m also trying to figure out who’s actually behind this event. The BLAHA folks issued a press release a couple days ago announcing that Jes Winter Band received the most ballots during the OEA Summer Showcase, and will be performing at the fest. But it also said that “Another local band, It’s True, will appear after a collaborative effort between YFC, MAHA’s organizing committee, and 1% Productions earned them an invitation to play.”

Don’t get me wrong, I dig It’s True, but what exactly is “a collaborative effort” supposed to mean? That they got together and just decided? That would be a refreshing alternative to this endless stream of talent contests.

By the way, if you Google “YFC” the first search results you’ll get back is Youth For Christ, which this ain’t. Instead, YFC stands for “Your Festival Committee.” You guys may want to rethink that TLA (Three Letter Acronym).

Anyway, you can find out more about the BLAHA Festival here. On the bill are a couple of Harrah’s Casino-type bands including Big Head Todd and the Monsters, G. Love and Special Sauce and Dashboard Confessional. Guess they couldn’t get The Spin Doctors or Crash Test Dummies.

There actually are a couple good bands on the bill — Appleseed Cast and Army Navy, two bands that I’d rather see perform at TWR or Slowdown. The bad news is that they’ll be playing at 1 p.m. and 2:30 p.m. respectively. No one will be there yet, so the organizers will feel justified in saying, “See, no one’s here. Good thing we scheduled them early.” And they’ll be right, because no one who wants to see Big Head Todd knows or cares for Appleseed Cast.

The fest takes place at the Lewis & Clark Riverfront Landing on Aug. 29. Tickets are $30.

–Got comments? Post ’em here.—

Here’s what I have for the weekend…

Tonight at The Waiting room it’s the Box Elders CD release show with Hercules and The Goodnight Loving. Methinks this one will draw very well indeed, especially for a mere $7. Show starts at 9 p.m. Get there early to see a rare club appearance by Hercules.

Also tonight, Chris Kramer, the former member of Talking Moutain who as you all know moved to Chicago earlier this year, is back in town tonight for a very special performance by Stolen Kisses at The Barley Street Tavern with Darren Keen (TSITR), Adam Robert Haug and The Red Burros. Quite a line-up for $5. Starts at 9.

Down at Slowdown Jr., singer/songwriter supreme Kyle Harvey opens a show for Vago and 24 Hour Cardlock. $7, 9 p.m.

Saturday night, Pete Yorn, who recorded a ton of his new album right here in Omaha at ARC studio with Mike Mogis, heads to Council Bluffs to perform at The Whiskey Roadhouse at the Horseshoe Casino. $22.50, 8 p.m.

Also Saturday night, Akita-Ken and The Pilots open for American Lowlife at The Saddle Creek Bar. No idea on the cover, but the fun starts at 9 p.m.

Finally on Sunday, The Breeders return to Omaha to perform at The Slowdown with Times New Viking. Tix are $17, show starts at 9 p.m.

Also Sunday night, the incomparable Thunder Power plays at O’Leaver’s with Sleeping in the Aviary, Cloud Dog and Adam Robert Haug. 5, 9:30 p.m.

See you tonight at The Waiting Room.

–Got comments? Post ’em here.—

I easily could have written 2,500 words on Box Elders, but the paper just didn’t have the room. Such is life. Instead, this streamlined 1,000-word epic (which you can read here) covers the origins of the band, the sibling characteristics, the new album and the stage show. Read it, then get your tickets to tomorrow night’s CD release show at The Waiting Room featuring Hercules and The Goodnight Loving, all for a mere $7.

* * *

A reader pointed out on the webboard that I forgot to mention in yesterday’s column — where I talked about how bands from a number of labels, including Slumber Party Records, didn’t take part in the OEA showcase — that Thunder Power (which played the showcase) is actually on Slumber Party Records. Not only that, but Thunder Power has a new EP called And Everything After that just came out on the label that includes three songs that previously were only available on that hard-to-find split EP the band did with Alessi’s Ark. Check it out at slumberpartyrecords.com.

* * *

Tonight at The Waiting Room it’s Magnolia Electric Co. with The Donkeys and Thousand Arrows. $10, 9 p.m.

Meanwhile, down at Slowdown Jr. it’s Little Brazil with The Valley Arena and Anniversaire. $5, 9 p.m.

–Got comments? Post ’em here.—

Other thoughts about the OEA showcase:

For the most part, the bands ran on schedule, sometimes too much so. I missed The Answer Team because apparently The Barley St. was running the schedule on bar time rather than human time. Only two bands canceled. The smaller venues sounded great, specifically The Barley and Burkes. Burkes was hampered by having the bands set up next to the front door — there must be a reason they don’t set them up in the back of the room.

Though I say below I didn’t hear any complaints from the bands, I did hear one — at some clubs (maybe all of them?) performing bands had to pay for their own drinks. This seems to be a slap in the face considering they’re already not getting paid to play. At the very least, bands should be given drink tickets that can be used at all the venues, or better yet, a laminate that would give them access to a venue’s green room where free refreshments would be on ice. Considering that 60 bands were scheduled to perform, each with an average of four members, that equates to 240 potential lost paying booze customers, which means this idea will never materialize.

Column 232: OEA Redux
The showcase enjoys its best year ever.

MarQ Manner, the organizer of last weekend’s Omaha Entertainment and Arts (OEA) Summer Showcase, must be pleased.

By the looks of the crowds (and the lack of available parking throughout Benson) the two-day showcase of mostly unsigned local bands was a big wet success — at least on Friday night when a downpour fell halfway through the night’s docket of bands.

This is the third year for an OEA-related festival held in Benson. Cash generated from wristband sales went to the non-profit organization, apparently to help pay for all those heavy crystal trophies that will be handed out at the annual awards presentation this January.

As per usual, the bands who played got nothing except exposure to the same people who they expose themselves to during non-festival nights at the very same venues, but I didn’t hear any complaints. No one held a gun to their heads and said they had to play the showcase.

The weekend’s real beneficiary, of course, were the clubs involved — The Waiting Room, Burke’s Pub, The Sydney, The Barley Street Tavern, and PS Collective. They got two days’ worth of free entertainment on their stages and kept every penny of the booze sales, which had to be staggering judging by the zombie-like patrons seen stumbling along the sidewalks toward closing time.

By the way, this wasn’t an official “qualifying round” for this year’s OEA awards. That showcase, where nominated bands perform for the OEA’s “music academy” (of which I am a member), takes place later this fall, but will likely be a rerun of what we got this weekend.

With 60 band performing, it was impossible to see them all. Here’s my personal scorecard:

— Boy Noises — Consisting of former members of Sleep Said the Monster, these guys have awoken into a Franz Ferdinand-flavored big-beat dance band. If It’s True is Slo-Fi Records’ Bright Eyes, Boy Noises is their Faint. Word has it that the band’s days are numbered, as their drummer is moving and their keyboard player wants to focus on his other band (the aforementioned It’s True, and who can blame him?). Catch them while you can (Pssst… Sept. 12 at TWR with Broken Spindles and Pharmacy Spirits).

— Anniversaire — I tweeted that they are “a baroque Ben Folds w/cello and giant bass drum,” and that’s about right, though their songs go for “slow building epic” more than Folds’ “sing-a-long,” and could do with a bit of editing (as if that’ll ever happen). They’re playing Aug. 6 at Slowdown Jr. with Little Brazil.

— Brad Hoshaw and the Seven Deadlies — Sporting the best local album released so far this year, Hoshaw is bound to take home more of those OEA crystal penises. The Seven Deadlies have been cut to three, but they’re just as deadly. Maybe even deadlier. Hoshaw now has no reason for not getting this tightly hewn unit onto the road (and I mean roads outside of the quad-state area).

— Sweet Pea — Chop pop upbeat dance rock that at times seemed to be trying for a fun (rather than dour) Pixies vibe and at other times bordered on cabaret (or Broadway). They could be theatrical if they wanted to be, but they just want you to forget about them and dance. They’re almost there.

— It’s True — Adam Hawkins and his crew are blowing up. They drew the largest crowd of the weekend (that I saw, anyway), bringing The Waiting Room close to capacity and then killing it with their epic soundtrack. I remain quietly amused that these guys and Hoshaw are not signed to a mid-sized indie label (including one that resides in their hometown).

There was more. The Midwest Dilemma Orchestra played half unplugged resulting in an exuberant performance that turned The Sydney into a heated gypsy orgy. Goodbye Sunday went out in style, playing their farewell show to an adoring Burke’s crowd. Honey and Darling pulled the short straw and got gypped by PS Collective’s inferior sound, while Fortnight got buried beneath a muddy mix at TWR. My weekend ended by watching DJ Brent Crampton getting the shorties moving with his thick-ass beats (I Zimbra indeed).

Manner said around 850 paid over the weekend, but that numbers seem light if (as he said) they sold 500 wristbands on Saturday alone. Regardless, the showcase is the organization’s most successful to date. Still, whether the OEA folks want to admit it or not, many are starting to consider the OEA’s as “a Benson thing” that only involves the neighborhood’s bands.

Which brings us to that point in the story that you’ve all heard from me before. Most of the city’s best bands continue to be missing from OEA events. There were no Saddle Creek, Slumber Party, Speed! Nebraska (except for The Filter Kings) or “Goldberg bands” (you know who I’m talking about) playing on either night. It wasn’t for lack of trying. As one band that declined an invitation told me over the weekend, they don’t need exposure in this market, and they’d like to get paid for what they do.

But they never will, not at this event, which means you’ll likely never see those bands play an OEA showcase, and that’s OK. The OEAs are doing just fine without them.

Tonight is busy show-wise.

At The Waiting Room, Athens GA trio The Whigs (on ATO Records) plays with London trio Band of Skulls. Should be nice and loud. $10, 9 p.m.

At O’Leaver’s, The Lepers are headlining a show with Giant Squid and Grayceon.$5, 9:30 p.m.

Down at Slowdown Jr., locals Honey & Darling and Akita-Ken are opening for One for the Team. $8, 9 p.m.

And finally, Midwest Dilemma is playing at The Barley Street Tavern with Long Shadowmen. $5, 9 p.m.

–Got comments? Post ’em here.—

What can I say, I’ve been busy. My recap of last weekend’s OEA showcase will be online tomorrow and it’ll also be my column this week in The Reader. Also this week (Thursday) I’ll be posting an interview/feature with/about the Box Elders in support of Friday night’s CD release show at The Waiting Room. Apologies for the delay, but your patience will be rewarded.

So until tomorrow, enjoy some images from last weekend’s OEA showcase by way of my iPhone:

— Anniversaire at TWR.
— Goodbye Sunday at Burke’s.
— Brad Hoshaw and the Seven Deadlies at TWR.

* * *

Tonight at The Waiting Room, the always entertaining Perry H. Matthews opens for Anavan and Dazzler — two bands I’ve never heard of. $8, 9 p.m.

–Got comments? Post ’em here.—