Cymbals Eat Guitars tonight at Slowdown Jr…

Category: Blog — @ 1:02 pm October 17, 2011

by Tim McMahan, Lazy-i.com

Just enough time today to tell you to check out Cymbals Eat Guitars tonight at Slowdown Jr. with Hooray for Earth and Bazooka Shootout. I’ve been digging Lenses Alien, CEGs latest on Barsuk. Chris Aponick’s got all the particulars about the band and the record in this week’s issue of The Reader (which you can read right here). $10, 9 p.m.

* * *

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 © 2011 Tim McMahan. All rights reserved.

Lazy-i

MEN, McCarthy Trenching CD Release show, Depressed Buttons tonight; Lincoln Calling weekend…

Category: Blog — @ 1:08 pm October 14, 2011

by Tim McMahan, Lazy-i.com

And so, the weekend…

The under-the-wire show of the week is MEN at Slowdown Jr. tonight with The Show Is the Rainbow (just back from a European tour) and Millions of Boys. MEN is the brainchild of Le Tigre members JD Samson and Johanna Fateman. The band now consists of Samson, Michael O’Neill (Princess, Ladybug Transistor) and Tami Hart (MKNG FRNDZ). Should be a dance marathon. $8, 9 p.m.

Tonight at O’Leaver’s is the McCarthy Trenching CD release show for Fresh Blood (Slumber Party Records). Opening is Kill County and The Bears of Blue River. 9:30, $5. Check out “Theoretical Love Song” (with Gus & Call) from Fresh Blood, below:

[soundcloud url=”http://soundcloud.com/slumberpartyrecords/theoretical-love-song-with-gus”]

Meanwhile, Depressed Buttons is making its usual monthly visit to House of Loom tonight. Special guest is Beataucue. $5 with RSVP to info@houseofloom.com (with arrival before 11 p.m.), otherwise, $10. The room got to capacity last month, so you may want to get there early. More info here.

Also tonight, Blue Bird, Lonely Estates and The West Valley are playing at Studio Gallery, 4965 Dodge Street. $7, 9 p.m.

Tomorrow night Witness Tree, Vago and Kyle Harvey are playing at fabulous O’Leaver’s. $5, 9:30 p.m.

Quing Jao and Tall Boys are at The Barley Street Tavern. $5, 9 p.m.

Sunday night it’s Japanese experimental rockers Boris (Hydra Head Records) at The Waiting Room with Tera Melos & Coliseum. $15, 9 p.m.

And of course, all weekend it’s Lincoln Calling in beautiful downtown Lincoln. Full schedule and line-up info is available at the Lincoln Calling website.

* * *

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 © 2011 Tim McMahan. All rights reserved.

Lazy-i

Column 345: Are music critics necessary in the digital age?; Matt Bowen Benefit, The Photo Atlas tonight…

Category: Blog,Column — Tags: , , — @ 12:52 pm October 13, 2011
A brief glance at my current inbox.

Above, just a snippet of one of my inboxes. No critic could ever listen to all the music that's sent to him on a given day.


Column 345: Brother, Can You Spare Five Minutes?

by Tim McMahan, Lazy-i.com

You see, it’s all about time.

It was about three-quarters through Thao and the Get Down Stay Down’s set Sunday night at The Waiting Room, only about an hour or so before The Head and the Heart would take the stage, that I began to wonder how a crowd this size — a sold-out crowd — had heard of the bands playing on the night’s bill.

It isn’t as if local radio plays music by bands like The Head and the Heart. We don’t have a radio station in our market that plays good new modern music in regular rotation, and never have. There’s no reason to belabor the point. Omaha’s lack of decent radio has been a topic that’s been mulled to death; it ain’t exactly fresh column fodder.

Bad radio. We all know this. Moving on.

So if you didn’t hear The Head and the Heart broadcast to your car radio or home hi-fi unit, how’d you discover The Head and the Heart? The simple answers are the easiest, and usually wrong. There’s satellite radio, good ol’ Sirius XMU. My little Mini isn’t equipped with a satellite deck, so I have no idea if HatH is played on XMU, but even if it is/was, it wouldn’t account for a mob this size.

Could the crowd have been called to The Waiting Room by the Pied Piper we call the local press? Well, as much as my fellow writers would like to take credit for it, the answer is flat-out “no.” No amount of press in any of the local rags or blogs has been able to generate a crowd at a local show. People who read about bands featured in The Reader or the Omaha World-Herald or whatever electronic or pulp-derived reading material that litters the streets or the internet already know who the band is or they wouldn’t be reading about it.

Which brings us to record reviews, and music criticism in general. Lately the idea has edged into my mind that music criticism is becoming more useless as the technology gets better and music becomes more available and affordable. I began writing about music while in college at UNO for one reason: To get free CDs. I cannot begin to tell you the thrill I felt when a box arrived post marked from Lawrence, Kansas, from The Note, a regional music magazine that I wrote for back in the early ’90s. It usually weighed a few pounds, was the size of a record album but about three inches thick, wrapped in carton tape and marked in big letters FRAGILE. CONTAINS MUSIC.

Inside was a treasure trove of albums, singles and CDs from a variety of labels culled together by some intern and shipped for my ears to embrace. Yes, The Note paid me, but I already had a good job. The contents of that hand-made cardboard box was why I was doing it.

Now, a hundred years later, The Note is a distant memory, along with those care packages from Lawrence. Shortly after Lazy-i.com went online in ’98, manila envelopes filled with music began arriving at my house. Stacks of them. Sent directly from record labels. Those, too, have dwindled. Nowadays, labels seeking pre-release “press” merely email a link that takes writers to a download site, allowing them to copy a digital file to their hard drive — not very romantic, but still a luxury. Now even those downloads are fading.

Services like Spotify have wrung all the magic from the audio top hat. No, Spotify is not free, but it’s cheap and everyone has access to it. In fact, everyone has access to everything.

The critic’s role used to be to convince you to lay down your hard-earned cash on the gamble of buying a record sight unseen… or unheard. Now our job is merely to get you to listen. Just listen. If you’ve got Spotify or any of the other services, you’ve already paid for the music. But having access to all the music in the world doesn’t give you the time it takes to listen to it.

Look, I could write 900 words right now telling you how Eleanor Friedberger’s new album, Last Summer, is the best thing I’ve discovered this year — a kicky, hooky, roll-in-the-audio-hay hit factory, some of the best song writing you’ll ever hear. All in an effort to get you to type her name into Spotify or Rdio or Rhapsody or browse to her SoundlCloud site or even seek her out on Media Fire. No one said anything about buying her record. All it would take is just five minutes of your time.

These days when a local band contacts me about their new record, they always include a link to a SoundCloud or download site, along with a pitch letter that says, “Please, please, please just take five minutes and listen.

There’s only one problem — no one has the time to listen to all the music being thrust at them from every corner of the internet. So while more music is being created by more bands available to more people than any time in the history of recorded music, no one is listening.

It’s all about time. Time is now the commodity. If you don’t spend the time to listen to the music, you’ll never hear it. And if you don’t hear it, you’ll never love it. And if you never love it, you’ll never show up on a Sunday night at The Waiting Room and PAY to see it performed live, right in front of your eyes.

That’s where we are now. That’s where technology has led us. The biggest entertainment decision we make is how we invest our time. Because time is always running out.

* * *

I have not spoken to Matt Bowen since his operation; I don’t know the grisly details behind his condition. I can tell you that everyone of any consequence in the Omaha music scene was and is concerned about him. If you don’t know Bowen, well, you’re worse off than he is. More than a DJ and a bartender, he’s one of the founding fathers of the current Omaha music scene, a member of a number of important early Saddle Creek-related bands including Commander Venus, The Faint, Magic Kiss (which turned into Tilly and the Wall), Race for Titles and, of course, current project, The Third Men. Translated: Matt Bowen is a National Treasure.

And according to the One Percent Productions website, Matt Bowen also is “no longer a person with a full colon.”  Or, for that matter, a full bank account, as ongoing medical procedures has also meant stacks of medical bills. Which is where tonight’s benefit event comes in. Swing by The Waiting Room anytime past 8 p.m. and enjoy some fine spinning by DJ Kobrakyle (and DJ Matt Bowen himself). Take part in the raffle and silent auction. There is no cover but a donation to the Bowen fund is encouraged. So come on down and bring your wallet or our check book and help a brother out.

* * *

Also tonight, Landing on the Moon headlines a show at fabulous O’Leaver’s with The Photo Atlas and New Lungs. Whoa! $5, 9:30 p.m.

And Fierce Bad Rabbit is playing at The Barley Street with Travelling Mercies and Fools. $5, 9 p.m.

And Lincoln Calling is going on strong. Among the highlights is UUVVWWZ and Conduits at The Bourbon Street. Check out the Lincoln Calling website for the full schedule and other details.

* * *

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 © 2011 Tim McMahan. All rights reserved.

Lazy-i

Live Review: Bill Corgan’s (Smashing Pumpkins’) Jazz Odyssey; Portugal. The Man. Capgun Coup, Well Aimed Arrows, Lincoln Calling Tonight…

Category: Blog,Reviews — Tags: , — @ 12:49 pm October 12, 2011
Smashing Pumpkins at The Slowdown, Oct. 11, 2011

Smashing Pumpkins at The Slowdown, Oct. 11, 2011

by Tim McMahan, Lazy-i.com

I have to start this review by saying that I’m not the biggest Smashing Pumpkins fan in the world. I do have a copy of Mellon Collie and the Infinite Sadness around here somewhere, along with a copy of Siamese Dream that I bought used at Pickles a few years after it was released. So I can’t tell you if the first hour of songs were taken from earlier or later albums or not. All I know is that I didn’t recognize many of them, not until the end, when we got a half-assed, perfunctory version of “Bullet With Butterfly Wings” that featured Ol’ Baldy looking as if he was told to play it. I wonder if the crowd was expecting an hour of Billy Corgan’s personal jams when they hustled in front of their computers two Saturdays ago to “win” their tickets. Probably not.

I will say this in Corgan’s defense — just because he continues to fly the Smashing Pumpkins banner at his shows instead of simply going on the road on a solo tour (that likely wouldn’t sell out quite as quickly, but would still sell out a venue the size of Slowdown) doesn’t mean he’s required to play the “hits” that he penned 15 or more years ago. Read Kevin Coffey’s Q&A with Corgan that appeared on Omaha.com (here). Corgan implies that he’s moved on, but is still reticent to drop the name. After all, it’s his band. “The question then becomes, ‘Why continue under The Smashing Pumpkins name?‘” he says in the Q&A. “A, I want to play Smashing Pumpkins music. B, I want to make new Smashing Pumpkins music. And C, Who are you to tell us who The Smashing Pumpkins are?” I guess the answer to C is “We’re the fans.”

The unfortunate by-product of touring as Smashing Pumpkins and not playing Smashing Pumpkins “hits” is that you’re going to disappoint the fans that paid to hear them. Corgan obviously could care less. And the fans have no room to complain. They knew the line-up, and they’ve (presumably) heard the recent, rather flat SP output. Whenever you pay to see a legacy band with less than half of its original members that is still recording new music, you’re taking a risk unless the band flat-out says it’s going to play the oldies. Is Corgan milking the Pumpkins name for profit? Who are we tell him?

Which brings us to the actual performance. Though most of the rock riff-based material was unfocused and lacked a central melody, you have to admit it was well played. Corgan’s new band is remarkably proficient — good players all. His classic Chester Cat-in-heat voice was as good as it was back in the day. And the sound was huge; painfully huge. As always, I had my earplugs. I pity those who didn’t, as the gear stacked on either side of the stage looked powerful enough to fill a good-sized theater instead of humble ol’ Slowdown. You felt the bass.

And then there were the lights. I was situated in my usual perch behind the rail along stage left, a space that affords a good view of the band (but for whatever reason, is never crowded). With all the gear stacked along the side, I couldn’t get a glimpse of the drummer. Instead, I was in the direct line of a pair of blazingly bright stage lights, like looking into the heart of a thousand suns. Imagine someone popping a flash bulb directly into your eyes, all night long. Toward the end of the set, I had moved to the back of the room and discovered that a different set of painful strobe lighting was shooting directly into the crowd from the back of the stage. A lot of people in the crowd were shielding their eyes. Fun!

Because I couldn’t watch the stage a lot of the time, I watched the audience — a mob of 30+ white people who looked mesmerized by the performance, though they never seemed terribly engaged. A few held up their hands during high points. Most just stood and squinted. After the first 30 minutes of nondescript riffage, things began to get boring, and I began to realize I wasn’t likely to hear “Tonight, Tonight,” “1979,” “Today” or Corgan growl the endearing opening line “The world is a vampire.” But toward the end, I recognized a couple songs from Siamese Dream, and my vampire wish came true during the two-song encore. The true, die-hard fans got their money’s worth.

* * *

Busy week. Lots going on tonight.

Over at The Waiting Room, Portland psych-pop band Portugal. The Man (formerly of Fearless and Equal Vision Records, now with Atlantic) is playing with Alberta Cross. $15, 9 p.m.

Meanwhile, over at O’Leaver’s, Capgun Coup is headlining a four-band bill with Cartright, Paleo and Honeybee & Hers. $5, 9:30 p.m. More info here.

While downtown at Slowdown Jr., Well Aimed Arrows and The Prairies open for The Dead Ships. $7, 9 p.m. More info here.

And finally, down in Lincoln, the first full night of Lincoln Calling kicks off with a hum-dinger of a lineup that includes McCarthy Trenching and So-So Sailors at Duffy’s. The full schedule is 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 © 2011 Tim McMahan. All rights reserved.

Lazy-i

Smashing Pumpkins (SOLD OUT), McCarthy Trenching, Lincoln Calling tonight…

Category: Blog — Tags: — @ 12:50 pm October 11, 2011

by Tim McMahan, Lazy-i.com

Billy Corgan

Billy Corgan

What’s worse than hearing someone go on and on about what a fantastic time they had on their vacation? Hearing someone go on and on about the fantastic vacation they’re about to go on. Especially when you’re stuck in this landlocked town with no money and no escape.

So I guess it doesn’t do you any good to hear about tonight’s Smashing Pumpkins show at The Slowdown when it’s very likely you don’t have a ticket. The concert sold out in about one minute flat when the $50 tickets went on sale a couple weeks ago. That said, ticketexpress.com still lists tickets available for $55 (plus fees). What you’ll get for your money is Smashing Pumpkins frontman Billy Corgan surrounded by three strangers playing SP hits along with new new(er) material. One could argue that it’s not Smashing Pumkins at all; one could also argue that Corgan IS Smashing Pumpkins. Regardless, it’ll still be special to hear a classic ’90s performer in a space as intimate as Slowdown’s big room.

Openers are Fancy Space People, a glitter rock band on the Star Tone label (owned by Smashing Pumpkins producer Kerry Brown), and LA by way of Chicago band Light FM. 8 p.m. start time.

If you’re going to the show (or even if you’re not going to the show), stop by the Slowdown complex early for the McCarthy Trenching in-store at Saddle Creek Shop at 7 p.m. Dan’s new album, Fresh Blood (Slumber Party Records) will be available for your purchase. Check out McCarthy Trenching’s new video for “Oh Nancy” here at the Love Drunk website.

And let’s not forget that Lincoln Calling kicks off this evening. For details, go to lincolncalling.com or read my write-up from a couple weeks ago.

* * *

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 © 2011 Tim McMahan. All rights reserved.

Lazy-i

Live Review: The Head and the Heart, Fizzle Like a Flood; Melt Banana, InDreama tonight…

Category: Blog,Reviews — Tags: , , — @ 12:49 pm October 10, 2011
Head and the Heart at The Waiting Room, Oct. 9, 2011.

Head and the Heart at The Waiting Room, Oct. 9, 2011.

by Tim McMahan, Lazy-i.com

If last night’s sold out The Head and the Heart show at The Waiting Room taught us anything, it’s that in this age of endless “vibe” bands, people are thirsting for songs that they can sing to.

I mean, seriously, who wants to sing along to Animal Collective or Toro Y Moi or Neon Indian or Girls or Grizzly Bear or even St. Vincent? The current wave of indie is more about setting a mood than songwriting. So when a band like The Head and the Heart comes along and creates simple songs with simple lyrics about simple things like love and loss and longing — all sung to super catchy choruses and refrains — well, people just can’t help themselves but join in. And that’s exactly what they did during last night’s show.

The six-piece band was joined by a chorus of a few hundred who sang along to almost every song, sounding like a warm ocean lapping gently on the shores of the band’s acoustic folk. I haven’t heard so much singing since Dashboard Confessional circa 2003, only these songs weren’t cheesy heartbreak anthems sung by children. Instead the crowd was mostly in their mid-20s, with more women mixed in than I’m used to seeing at typical indie rock shows. Credit the nature of their music, which is more soothing than rousing, though it had its moments of exultation.

I leaned over and asked one music pro in the crowd if this was the coming of the next Arcade Fire. He said more like the next Mumford and Sons. I think they meet somewhere in between, with enough modern touches to please Arcade fans, and those song-along choruses for the Mumford crowd (but, thankfully, without the brogue and side order of Gouda). Where they go next is anyone’s guess, but who knows what happens after they perform on Letterman Oct. 28.

By the way, word going ’round last night before the show was that the band had a little meltdown the night before in Minneapolis, where one of the guitarists/vocalists walked off stage in anger, forcing the band to finish without him. Maybe last night was a “healing set” for them.

Fizzle Like a Flood at The Barley Street Tavern, 10/8/11.

Fizzle Like a Flood at The Barley Street Tavern, 10/8/11.

I said last week that we wouldn’t be hearing my favorite song from the new Fizzle Like a Flood record, “Cutters,” performed at the CD release show as it was recorded. And I was right. Instead, we got a Pixies version of “Cutters” played by Doug Kabourek’s other band, At Land. As much as I enjoyed hearing acoustic Fizzle Like a Flood, the revved up and rocking version was more fun.

When he’s out there with just his guitar, Kabourek channels John Darnielle a.k.a. The Mountain Goats, though Doug’s songs are less story telling and more emoting from the heart. When he’s behind the drum set with At Land, Kabourek pushes the songs closer to territory heard on records, though nothing can compare to those multi-tracked marvels. Despite that, my favorite moment of Friday night’s CD release show, played to only about 20 people at The Barley Street, was Doug solo singing “Believe in Being Barefoot” from his watershed release, Golden Sand and the Grandstand, an album that has still yet to get its due.

* * *

It’s going to be a very tiring week for yours truly and anyone else who loves going to rock shows. It started last night, it continues tonight with Melt Banana at The Waiting Room with openers InDreama and Flesh Eating Skin Disease. $12, 9 p.m.

Then it’s Smashing Pumpkins tomorrow, Portugal. The Man Wednesday, The Matt Bowen Benefit Thursday, and MEN (members of Le Tigre) on Friday. I’m going to need an IV drip to make it through work this week…

* * *

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 © 2011 Tim McMahan. All rights reserved.

Lazy-i

Fizzle Like a Flood, Saudi Arabia tonight; Head and the Heart Sunday (SOLD OUT)…

Category: Blog — Tags: , — @ 1:08 pm October 7, 2011

by Tim McMahan, Lazy-i.com

Fizzle Like a Flood, Choice Kills Response (Nectar & Venom, 2011)

Fizzle Like a Flood, Choice Kills Response (Nectar & Venom, 2011)

It appears that my column has been a week early for the past two weeks. This week focused on Lincoln Calling, which ain’t until next weekend. Last week’s focused on Fizzle Like a Flood’s CD release show, which is tonight. Blame it on The Reader, who dictated those deadlines. So if you missed it, here’s my column/interview from two weeks ago with Doug Kabourek a.k.a. Fizzle Like a Flood, and if that’s not enough for you, Kabourek is the special guest on the latest episode of the Worlds of Wayne podcast, which you can listen to here. And if you’re still wondering what Fizzle’s new music sounds like, check “Cutters,” my favorite track from Choice Kills Response, embedded below:

[soundcloud url=”http://api.soundcloud.com/tracks/18997134″]

 

Too bad it won’t sound like that tonight at The Barley Street (if he even plays it at all), because Kabourek will be performing solo without a band or backing tracks, despite my incessant pleading that he do otherwise. Oh well. Opening for Fizzle is The Whipkey Three,  At Land (Kabourek’s other band), and Underwater Dream Machine. All four acts for a mere $5. Show starts at 9.

Also tonight, Saudia Arabia (the band formerly known as The Dinks) is playing at O’Leaver’s with Kansas City’s Dead Ringers and Swamp Walk. Come on down and get stinkin’ drunk. $5, 9:30 p.m.

Down at Slowdown Jr. Gerald Lee Jr. (The Filter Kings) opens for Michael Lee Firkins. $8, 9 p.m.

It’s another Husker football Saturday night, which means slim pickin’s show-wise. Slowdown Jr. has local indie slackers Family Picnic with Cymbal Rush and Dads. Show starts after the game and will run you $7. Meanwhile, at the Barley Street Tavern, Big Al Band is headlining a 5-band bill that starts at 9 (no idea on the cover).

Finally, Sunday night Sub Pop band Head and the Heart plays a sold-out show at The Waiting Room with San Francisco’s Thao with the Get Down Stay Down (Kill Rock Stars) and  SLC’s The Devil Whale. 9 p.m.

* * *

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 © 2011 Tim McMahan. All rights reserved.

Lazy-i

Column 344: Lincoln Calling downsizes and upgrades; a few words about Steve Jobs; Dick Dale tonight…

Category: Blog,Column,Interviews — Tags: , , , — @ 12:38 pm October 6, 2011

Column 344: Does Size Matter? Lincoln Calling Pt. 8

by Tim McMahan, Lazy-i.com

Lincoln Calling logo

We live in a culture where “bigger” is always perceived as being “better.” Some might argue that this concept is The American Way.

Well, Jeremy Buckley, the impresario behind the annual Lincoln Calling Music Festival, isn’t concerned about getting “bigger.” On the surface, one might look at this year’s festival — the 8th Annual, an achievement in and of itself — and say that it’s a step backward. There are no significant national touring acts on the 100-plus-band 16-DJ (so far) roster whose schedule is spread over five nights at 10 venues in downtown Lincoln. Financial support was cut in half for ’11, thanks to a tsunami that not only devastated Japan, but also washed away sponsorship dollars from Toyota. But a glance at the schedule shows (which you can view at lincolncalling.com), this year’s event may be the best ever.

Buckley, as you can imagine, agrees.

“Each year is a different beast,” he said between football games last Sunday afternoon. “Last year the sky was the limit. We had an assload of money from sponsors and a perfect storm of national touring bands that just happened to be coming through at the right time. This year it was doing what we could with what we had, and I think we put together something great.”

Though the festival’s organization falls exclusively on Buckley’s shoulders — and that’s the way he wants it — this year he loosened the reins oh so slightly and got input from folks who asked to be part of the fun. The result is a more varied lineup that spreads the festival’s genres beyond its usual indie-only focus.

“I guess I tried to put an emphasis on making other people do my work,” Buckley said. “Quite a few aspects of this year’s festival came from people asking to help out.”

For example, Buckley received a Facebook message from Corey Birkmann asking why so few punk and metal bands were involved in the program. Buckley’s reply: “I don’t know much about punk or metal, so I don’t know the difference between the good and bad bands.” Birkmann offered to help by booking a show a day at The Spigot that was metal and/or punk-oriented.

“So I said, ‘Roll with it.'” Buckley quipped.

As a result, 12 Lincoln punk and/or metal acts are booked Thursday through Saturday at The Spigot, including Dust Bled Down, Ten Dead and Beaver Damage. “So this year, metal and punk are getting some love,” Buckley said.

KZUM talent Hilary Stohs-Krause, host of radio show “X-Rated Women in Music,” asked Buckley if she could curate a showcase that featured women musicians in an MTV Unplugged-style setting. “I told her to roll with it,” Buckley said. The two-hour Friday afternoon program will take place in the art gallery above Duffy’s. Called The Parrish Project, it will feature student artists from the LPS Arts and Humanities Focus Program under the tutelage of Mezcal Brothers’ Gerardo Meza.

Then there’s music website hearnebraska.org (which Buckley helped develop), that will host a Saturday afternoon program that includes musicians merch booths at The Bourbon Theater. And DJ Spencer Munson a.k.a. $penselove, who pulled together a posse of DJs who will perform at clubs throughout the festival, including the all new Mix Barcade, a venue in the old Bricktop space that will debut as part of Lincoln Calling.

While all that help is “making things a lot less stressful” for Buckley, the festival’s primary attraction continues to be its overall line-up. No, Lincoln Calling didn’t attract any Saddle Creek bands this year, but it did draw the cream of the crop of the non-Creek acts, including Ideal Cleaners, Conduits, Digital Leather, Eli Mardock, Gus & Call, Icky Blossoms, McCarthy Trenching and Pharmacy Spirits, The Show Is the Rainbow, So-So Sailors, UUVVWWZ, Machete Archive, Talking Mountain, Son of 76, The Whipkey Three, Matt Cox, and even some out-of-towners. They include the always amazing The Photo Atlas, poorly named Gauntlet Hair and Nebraska adoptees Cowboy Indian Bear.

Glancing at the line-up, there were a lot of acts that I flat-out didn’t recognize. Buckley even has an answer for that in the form of a massive 47-song digital download available for free from the Lincoln Calling website.

Like like every real festival, all bands are receiving some sort of compensation, whether it’s a guarantee, a cut of the door or an all-access pass to all five days of the event. Helping defray costs were donations from the Downtown Lincoln Association, Guitar Center and Lincoln’s Young Professional Group.

The particulars: The festival kicks off Tuesday, Oct. 11, with the Homegrown Film Festival at The Bourbon Theater at 8 p.m., a listening party at Duffy’s at 10 p.m. and an acoustic open mic night at The Zoo bar at 9 p.m. The real stuff gets rolling Wednesday, Oct. 12, and runs through Saturday, Oct. 15. All access passes for the full festival are $30, one-day passes run $10 to $12, or you can pay the door at each venue, which runs from free to $8.

So no, Lincoln Calling isn’t as big as it was in 2010, “and I’m OK with that,” Buckley said. “I know there are 5,000 people who will go to this and have a good time, and the bands will have better crowds than on any given Friday night.”

That said, Buckley’s already thinking about the 10th Annual Lincoln Calling in 2013, and for that one, size will definitely matter.

* * *

If Steve Jobs is remembered for anything, it will be that he was a great judge of talent and had a terrific eye for design. Even more than that, Jobs inspired greatness in others.

No, Jobs didn’t design the iMac, iPod, iPad, iPhone or any other modern-day Apple product. Jon Ive and his design team did. Jobs didn’t write the code that makes those devices operate – in fact he didn’t know how to code. That was the work of his programmers. And Jobs didn’t come up with the phrase “Think Different” or write the words spoken by Richard Dreyfuss in that amazing commercial. Ken Segall and his team at TBWA\Chiat\Day did that.

Last night when I heard about Jobs’ death, I clicked around on the ‘net and eventually wound up at folklore.org, a website that compiles stories about the making of the first Macintosh by those who were actually involved. Their stories cover everything from the computer’s initial design to programming, construction, marketing, you name it. Through it all, Jobs was an insufferable task master. He put a boot up everyone’s ass that worked at Apple, and if that boot didn’t fit, he fired them. He made insane demands and never accepted “no” for an answer.  He added his two cents to every decision, and expected perfection from everyone.

So no, Jobs didn’t do a lot of what he’s being credited as doing in the endless stream of requiems. Instead he did something that was just as important — he made decisions, he inspired innovation, he recognized good ideas and demanded their implementation. And yes, in the end, he represented all those products and ideas as a bigger-than-life icon as indelible as the Apple logo itself.

Jobs was a perfectionist and had impeccable taste. It seems unlikely that his successor, Tim Cook, has those qualities at the same levels Jobs did  (or if anyone does, for that matter). Cook’s ability to inspire greatness remains in question, along with the future of Apple as an innovator.

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Another aside: Ironically, Jobs will be remembered by some as the guy who helped bring down the music industry as we knew it, when in fact iTunes came along two years after Napster and was designed to help protect the industry in the face of widespread music-file piracy.

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Tonight at The Waiting Room it’s the return of Dick Dale. I interviewed the “King of Surf Guitar” way back in 1998 (which you can read here) and was happy that he was still alive and rocking. Now at age 74, Dale is still alive and still rocking. With Speed! Nebraska band The Mezcal Brothers. $20, 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 © 2011 Tim McMahan. All rights reserved.

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Live Review: Wild Flag makes you forget the past; YellowFever…

Category: Blog,Reviews — Tags: — @ 5:32 pm October 5, 2011
Wild Flag at The Waiting Room, Oct. 4, 2011.

Wild Flag at The Waiting Room, Oct. 4, 2011.

by Tim McMahan, Lazy-i.com

Wild Flag may be the first super group whose former-band baggage is actually a disadvantage.

Without a doubt there likely wouldn’t have been the 150 or so people at The Waiting Room last night if not for the band’s famous pedigree. The average audience-member age was late-20s/early-30s, and consisted of people like me who grew up listening to Helium and Sleater-Kinney. But if those folks thought they were going to hear a medley of songs by those bands sandwiched between new material, they were in for a surprise (but not disappointment).

Wild Flag’s sound is wholly rooted in the now. The 4-piece has as much creative energy as any band of young upstarts currently touring a successful debut album. So it’s deceptive to go into a Wild Flag concert with a preconceived notion as to what you’re going to hear based on, say, Helium’s output. They don’t sound like Helium, however there’s no denying Mary Timony’s wonky vocal style, heard on more than half the material. Her quirky, swirling voice has all the swagger of a young Iggy Pop (but in a sparkling dress), countered by Carrie Brownstein’s more direct, straightforward vocals that come off like punk Chrissie Hynde. There’s nothing girly about the music, but when all four sing, it can conjure memories of The Go-Go’s.

Ten minutes in and I doubt anyone was interested in hearing any old S-K or Minders songs anyway. “Glass Tambourine,” a driving, almost tribal rocker played early in the set was a psychedelic, feedback-fueled head trip, with Timony playing her guitar above her head. Live, the 5+ minute song (on record) stretched out over 10, and no one wanted it to stop.

If Brownstein played the roll of sonic bedrock (with impressive high kicks), Timony was the demure rock star. Her simple guitar lines and solos broke though on every song. Musically, their style vacillates between garage, art punk and modern psychedelic. Through it all, there’s always something familiar that holds it together, though it’s never what you expect. For example, it’s impossible to listen to Timony’s guitar line in the middle of “Short Version” and not be reminded of the middle section of Deerhunter’s “Nothing Ever Happened.” Set highlight “Racehorse,” which came toward the end of the evening, went from a jagged riff rocker into blinding groove stretching forward on Rebecca Cole’s glowing keyboards and Janet Weiss’ seismic drums. Huge. Top-five? Probably. The band came out for a two-song encore that included a very loose-grooved version of “Beast of Burden” before calling it a night.

Opener YellowFever was a quirky guitar-and-drum duo that filled out its sound thanks to drummer Adam Jones also playing a synth/keyboard. Each song began with Jones punching out a rhythm along with a bass line on the keyboard (set to repeat) while guitarist vocalist Jennifer Moore proceeded to chop away at the bass strings of her ax. When Moore added her pretty chirp it became pure art rock. Think early punk B-52s meets Micachu. Fun stuff.

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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 © 2011 Tim McMahan. All rights reserved.

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Sleater-Kinney + Helium + The Minders = Wild Flag, tonight at The Waiting Room…

Category: Blog — Tags: — @ 12:50 pm October 4, 2011

by Tim McMahan, Lazy-i.com

Wild Flag, self titled (Merge, 2011)

Wild Flag, self titled (Merge, 2011)

We’ve all heard of super groups, but how about an all-female supergroup? Actually, does it matter that all the members of Wild Flag are women?

I’d like to be able to say in this enlightened age of acceptance, tolerance and equal rights that it doesn’t, but let’s face it, it does. If it didn’t, we wouldn’t need groups like Omaha Girls Rock to nurture young female talent and keep it from going unheard. Rock ‘n’ roll continues to be perceived by many as a guys’ game, when in fact some of the best talent in rock ‘n’ roll is (and always has been) women.

Wild Flag is an obvious example.

Conisisting of of Carrie Brownstein (vocals, guitar, member of Sleater-Kinney), Mary Timony (vocals, guitar, member of Helium), Rebecca Cole (keyboards, backing vocals, member of The Minders) and Janet Weiss (drums, backing vocals, member of Quasi, Sleater-Kinney, Bright Eyes), Wild Flag released its first full length on Merge this past September, garnering a mighty 8.0 from online indie-bible Pitchfork, which I guess gives it immediate respectability.

But even without Pitchfork‘s nod, Wild Flag is like a heroes’ guild of classic indie rock talent that glows white-hot on the debut album. It’s as much a modern approach to indie as it is a nostalgic nod toward ’90s college rock.

This show should have sold out faster than Smashing Pumpkins, but as of right now, tickets are still available for a mere $14. Opening is YellowFever, who Brownstein described as “haunted house surf music” and whose debut also received a 7.2 from Pitchfork. Show starts at 9. Go!

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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 © 2011 Tim McMahan. All rights reserved.

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