I caught most of last night’s Laura Veirs show at The Waiting Room. The gig started at 8 instead of 9 I guess because Veirs looked to be about eight months pregnant in her navy polka dot dress, her guitar balanced over her soon-to-be brood (see photo). When I got there at around 10, Veirs and her band, which included a violinist and two guys who traded off bass, guitar, keyboards and drums, were already at it. The reason I dropped in at all was because the songs on her Myspace page reminded me of early Suzanne Vega circa Solitude Standing, one of my all-time favorite albums, and sure enough, Veirs kept up that similitude with her voice right down to her phrasing. Where her and the band veered from the Vega course was in the three- and sometimes four-part harmony; and sometimes 5-part if you included the crowd of around 50 that was trained to add “ewws” and “ooh”s and “aaahs” to one song. Afterward, Veirs said we knocked Minneapolis from the fifth-place position in their Worldclass Crowd Participation Sing-along Competition (She was just being nice). Gorgeous stuff, right down to a cover of one of my favorite Fleetwood Mac songs, “Never Going Back Again.”

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Back to SXSW coverage. I know, who cares? Especially if you’re not going. But I am, and I’ll be covering it extensively for this site (daily blog reports, Tweets, Facebook updates) and The Reader starting March 18.

The news: It’s True announced its SXSW showcases:

Friday, March 19 at BD Riley’s (Official SXSW Showcase) 7 p.m.
Saturday, March 20 at Lovey’s Loot (w/Thunder Power) 2 p.m.

It’s True also is hosting a listening party for their new CD Sunday, March 14, at The Barley St. Tavern. Still no word on who is releasing their album. The gig also will act as a “send off” party for SXSW, so show up and buy something to get them on their way.

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Digital Leather also announced its SXSW sched.

–Thursday, Mar 18, 2010 8 p.m. – Shattered Records Showcase w/ Hunx and His Punx, Wizzard Sleeve, Fucked Up +more
–Friday, Mar 19, 2010 2 p.m. – At Beerland w/ the Spits, Tokyo Electron, King Louie
–Friday, Mar 19, 2010 6 p.m. -At the Mohawk Patio w/ The Cool Kids, Uffie + more
–Saturday, Mar 20, 2010 6 p.m. -At Parade of Flesh
–Saturday, Mar 20, 2010 12:00 a.m. -At Beerland Digital Leather playing as Destruction Unit
–Sunday, Mar 21, 2010 8 p.m. -Beerland

(I’m looking hard at that Mohawk Patio gig — one of my favorite spots last year.

* * *

Little Brazil was interviewed at Spinner.com as part of their official SXSW media coverage. The Q&A with guitarist Greg Edds is right here. Greg talks Austin survival tips, and includes this gem: “Now I know why fanny packs are coming back in style. You don’t want a man-bag because that’s still too bulky, but I might dive into the fanny this time around.” Dive into the fanny? Nice, Greg.

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Add Lincoln’s Eagle Seagull to the list of Nebraska bands at SXSW. They’re scheduled to play at The Ghost Room March 18 at 9 p.m.

So, the current list of Nebraska bands in Austin this year: It’s True, Digital Leather, Thunder Power, The Mynabirds, UUVVWWZ, Little Brazil and Eagle Seagull. Are there any more?

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2009 SXSW standouts Box Elders won’t be in Austin for the festival this year because they’re going to be on the road opening for The Black Lips. Before meeting up with the Lips, Box Elders will be headlining a few shows including March 13 at The Waiting Room with Baby Tears, Yuppies and Well-Aimed Arrows (ex-Protoculture). They’ll meet up with the Lips March 17 in Charlotte, NC, and will follow them to the April 5 show at Slowdown, and close out the Lips tour April 10 at the legendary 40 Watt Club in Athens, GA.

That’s quite a coup for the trio. Another coup is their new 7-inch, which is coming out on red-hot Chicago label HoZac Records. Says the band: “HoZac dudes have been helping us out for a couple years, they’ve booked most of our Chicago shows. The 7″ is part of their singles club. 400 went to folks that joined the club and we get 75. I think they’ll go pretty quick. The Waiting Room show is gonna be the only Omaha show we’ll have them. The Antiquarium is going to carry 10 or so copies.” Get ’em while they’re hot.

–Got comments? Post ’em here.—

I left out Lost in Translation, whose soundtrack included songs by Air, My Bloody Valentine, Death in Vegas and a very young Phoenix. Great flick.

Column 261: Waiting Through the Credits
Some (indie) soundtracks are stinkers.

With the Oscars this Sunday night, I thought I’d write a column about indie music in movies. The problem: Most movies that use indie music aren’t very good. In fact, they usually suck.

I go to a lot of movies, at least one or two a week. And I go to theaters, I don’t just “Netflix it,” like everyone else does these days. But sometimes I have no choice. As research for this article, I Netflixed (500) Days of Summer because a friend of mine said it had a great soundtrack filled with lots of indie songs. And she was right, it did. Great tunes by Regina Spektor, Feist, Doves, Black Lips, The Smiths, even Hall and Oates. But the movie again proved my theory — it wasn’t very good.

Part of the reason it sucked (for me, anyway) had to do with lead actress Zooey Deschanel, who I despise since she began whoring for Cotton, the Fabric of Our Lives, and after she appeared on Top Chef as a crazy I-can’t-eat-anything gluten-intolerant, Dinner-at-Moosewood-thumping vegan, further emphasizing my theory that movie stars shouldn’t appear on reality TV or game shows unless it’s Matchgame ’79. After watching the film, I got the feeling Deschanel’s bitch character probably wasn’t too far from her real-life persona. But I’m probably wrong, I’ll never know. The movie will forever dash any goodwill she earned from Elf.

It should be a red flag whenever a movie uses indie songs. It’s as if the producers are making a desperate stab at attracting a “younger demographic” or is reaching for much-needed “indie cred” — something that cannot exist in Hollywood films, even those from so-called “independent studios.” Real indie productions can’t afford the publishing rights to good indie songs.

Zach Braff’s Garden State for example, has a good soundtrack (The Shins, Iron and Wine, Nick Drake), but it’s a horrible film. Juno, with a soundtrack that features Kimya Dawson/Moldy Peaches, Sonic Youth, Belle & Sebastian, is pretty bad (though I’m the only one in America who thought so).

From this year, there was Nick and Norah’s Infinite Playlist, a movie I could never bring myself to see or even Netflix after watching its embarrassing trailer featuring lovable nerd Michael Cera (of Superbad fame). The movie has songs by Vampire Weekend, Army Navy, We Are Scientists and creepy Devendra Banhart. Still, it wasn’t enough to get me to see it.

From ’09, Sam Mendes film Away We Go with John Krasinski and Maya Rudolph used a handful of pretty songs by Alexi Murdoch along with tracks by The Stranglers and Velvet Underground. It was one of the worst movies I’ve ever seen. Also from last year, the insipid Adventureland (with tracks by Husker Du and Replacements), and the cloying, disappointing Where the Wild Things Are, which featured Karen O and her Yeah Yeah Yeah band mates.

Then there was Fantastic Mr. Fox, with songs by Pulp’s Jarvis Cocker as well as some well-chosen tunes by Burl Ives and The Rolling Stones woven into a score by Alexandre Desplat. What director Wes Anderson does with the fantastic Fantastic Mr. Fox is what he does with all his films — he makes the songs an integral part of the film. The Royal Tenenbaums, one of my all-time favorites, has a soundtrack that perfectly complements its content, with songs by Elliott Smith and a lot of very un-indie bands like Nico, The Velvet Underground, The Clash, The Rolling Stones and The Ramones. From Rushmore to The Darjeeling Limited to the reinvention of Bowie in The Life Aquatic with Steve Zissou, Anderson remembers old songs that we’ve forgotten and reminds us how good they are.

In fact, masters like Scorsese, Lynch and Tarantino forego modern indie music for classics that emphasize the film’s period and mood. For better or worse, Paul Thomas Anderson used a handful of Supertramp songs for the soundtrack to 1999 epic heartbreaker Magnolia while reintroducing Aimee Mann, someone I had forgotten about since her ‘Til Tuesday years. She is now one of my favorite singer/songwriters, though I don’t know if she’ll ever match the work heard in that movie, which was hands-down one of the best uses of soundtrack material since Harold and Maude.

Any list like this also has to include Cameron Crowe, whose use of Peter Gabriel’s “In Your Eyes” in Say Anything is iconic, along with his grunge-infused sound track to 1992’s Singles. All of which was dashed by Almost Famous, a movie I loathe thanks to the painfully embarrassing use of Elton John’s “Tiny Dancer.” Thank you, Goldie Hawn’s daughter, for ruining that song for all eternity.

Perhaps my favorite soundtrack-loving director is Jonathan Demme. His soundtracks to both Something Wild (New Order, Steve Jones, Sonny Okosun) and Married to the Mob (Q. Lazzarus, The Feelies, Brian Eno) are as cool — or cooler — than the films themselves. And since were going back to the ’80s, I’ve got to mention Valley Girl, the 1983 Nicolas Cage vehicle that introduced an unsuspecting world to The Plimsouls, The Payolas, Sparks, The Psychedelic Furs and Modern English.

Which brings us back to the Oscars. In the end, the best soundtracks are in films where the music not only is part of the story line, it is the story line. Examples include 2006’s Once, and from this past year, Crazy Heart, a soundtrack with songs by T-Bone Burnett, Ryan Bingham and the late Stephen Bruton whose performance will win Jeff Bridges his first Oscar.

* * *

Tonight at The Waiting Room it’s Laura Veirs with Seattle band Cataldo and Portland’s The Old Believers. Veirs, who used to be on Nonesuch, released her last album, July Flame, on her own Raven Marching Band Records. Her music will appeal to fans of Suzanne Vega, Azure Ray, St. Vincent and Neko Case, among others. Very pretty stuff and well worth the $10 cover. Show starts at 9.

–Got comments? Post ’em here.—

No, I’m not on hiatus. There just hasn’t been anything worth blogging about. I didn’t go to any shows this past weekend, and hence, don’t have any live reviews to pass long… except for this one, which went online today at consequenceofsound.com — a rather depressing review of Cursive’s shows last weekend at The Metro in Chicago, which concludes with this: “It was sad to see Cursive become just another ‘shitty opening band’ for kids who just wanted to hear some pop-punk slickness. If I weren’t such a big Cursive fan, I’ll bet I would love the hell out of the show.” The Cursive/Alk Trio tour now heads to Michigan and Ohio and runs through April 3.

* * *

For those headed to SXSW, Little Brazil has firmed up its festival schedule:

Thursday, March 18th @ The Jackalope (404 E 6th St – Austin, TX)
“Anodyne Records & The Record Machine” Day Party (2 p.m. to 7 p.m. – FREE)
Little Brazil performs @ 4:15pm.

Friday, March 19th @ The Wave (404 E 6th St – Austin, TX)
“Official SXSW Showcase” (8 p.m. to 2 a.m. – Badge Required)
Little Brazil performs @ 10 p.m.

SXSW is just a couple weeks away, and the deluge of gig notices is starting to arrive from all the labels and promoters with bands headed to Austin. It’s going to be another wild ride.

–Got comments? Post ’em here.—