by Tim McMahan, Lazy-i.com

A follow-up on the item posted a couple weeks ago about Simon Joyner’s Kickstarter campaign… It only took Simon a few days to reach his $6,000 goal to help fund the final recording, mixing and manufacturing expenses for his 13th full-length album. With 19 more days left in the campaign, Simon is now pushing $9,000 in pledges and there are still tons of cool awards left for those of you who haven’t pledged (and even for those of you who have). Check it out.

There’s been a lot written about Kickstarter, both positive and negative. When you see results like this, it’s hard to criticize it as a business model. That said, this is the third Kickstarter campaign that I’ve contributed to, and I have yet to see results from the first two. I pimped Digital Leather’s Kickstarter campaign on Lazy-i way back in April 2010, and put my money where my mouth was, pledging (along with 100 other people) to support the band’s campaign. If they met their goal (and they did) I was promised a free download of their next album along with a limited edition vinyl copy of the record. Two albums later and I’m still waiting to receive both. Then in August 2010 I pledged cash via Kickstarter to help finance a local production of a short film. To the best of my knowledge, shooting on that film wrapped over a year ago, and I haven’t seen a frame of it, nor have I received the promised copy of the film’s “soundtrack.”

Yeah, I guess you could say that I got screwed, but to be honest, I never expected to get anything from those two pledges other than a chance to help the artists involved. I gave because I supported the cause, and if in the end they were able to pass along the promised rewards for my generosity, that was cool. If not, well, I was only out a few bucks. That said, I know I don’t speak for the majority of people who make pledges on Kickstarter. They expect to get their booty if the campaign reaches its goal. What could be a cool thing could easily turn into a dead albatross hung around the artists’ neck along with a lot of bad PR. If my track record with Kickstarter reflects a national trend, I can’t see its popularity lasting very long.

But if my experiences have been the exception to the rule, Kickstarter could become the ultimate method for artists to allow their fans to “pre-order” their next record, effectively generating money needed to cover production before the record ever hits the store shelves.

Who knows, maybe Digital Leather and that film producer will fulfill their Kickstarter commitments… eventually. I know Simon will.

* * *

Saddle Creek band Big Harp joined the legions of acts that have recorded a Daytrotter session. Theirs went online today, right here. The duo of Chris Senseney and Stef Drootin-Senseney sing three songs from their White Hat debut, plus “Other Side of the Blinds.” It’s been awhile since I stopped in at Daytrotter. I hadn’t realized that they’d begun a “membership” model, and I can’t say I blame them. Doing what they do isn’t cheap. Becoming a Daytrotter member is a mere $2 a month, and well worth it. But you can check out Big Harp’s session for free with a trial membership.

* * *

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 © 2012 Tim McMahan. All rights reserved.

Eli Mardock at O'Leaver's, Jan. 28, 2012.

by Tim McMahan, Lazy-i.com

It’s been about a month since I last visited O’Leaver’s. I don’t remember it being quite as bright as it was Saturday night. I blame the strings upon strings of white twinkle Christmas lights hung along the ceiling, turning the club into a trailer park wonderland. When I mentioned this to the soundman, he said, “Don’t worry, it won’t be long until half of them are burned out, and it will look like the same ol’ place” yes, but with strings of ugly dead Christmas lights in the ceiling. That’s the O’Leaver’s I remember, friend, that’s the O’Leaver’s I so dearly crave. Other than the Christmas lights, nothing has changed (thankfully). No matter how screwed up your world becomes, you can always depend on O’Leaver’s to bring you right back to 2004 (or whenever it turned into a rock club).

Onstage upon my 11:15 arrival was traveling band The Bears of Blue River, your run-of-the-mill jangly indie folk band with loveable hippie frontman. Pleasant enough. But I came to see Eli Mardock, who I’d been told had grown his live trio into a full-blown 5-piece band. Sure enough, there was Mardock backed by his lovely wife on keyboards, two guitarists/bass players (One of which was Ian Aiello of The Golden Age) and a drummer. You could argue that this was a natural re-evolution of Eagle*Seagull, and you’d be wrong. Mardock as a solo band seems more focused, more rocking than E*S ever was, though there are some obvious similarities in songwriting style.

The biggest change (to me) is Mardock himself. His singing no longer has that lilt, that awkward, alien affectation that had a way of overshadowing everything that E*S was doing. Mardock now sounds like a normal citizen of this country singing rock songs about love and death and art. The first three or four songs featured him on acoustic guitar while the guys handled the bass, but after halftime Mardock switched to bass for numbers with a more definitive swing, while the guys shared rhythm and leads (though, really, it was Mardock that was leading with his bass).

With this band, Mardock finally has gotten past E*S once and for all. His other incarnations — whether it was Beauty in the Beast or his trio — seemed like incremental stages on the way to something else, half-formed with residue from the past and blueprints for the future. Now his sound is fully formed and ready for a next step that is firmly outside (but next to) the shadow of E*S.  He’s pushed this band into the top level of Nebraska indie projects, and who knows how far he’ll go from there.

* * *

One more note about O’Leaver’s: While things seem to be slowing down elsewhere, O’Leaver’s looks to be gearing up its bookings. They have nine shows scheduled through March, including this Friday night’s Digital Leather tour kick-off, which should be a surreal experience.Check out O’Leaver’s Facebook events calendar.

* * *

Tonight at Slowdown Jr., Skypiper is hosting what it’s calling a “Mini-apolis invasion” featuring Twin Cities bands Tarlton and Zoo Animal. Opening is Omaha’s I Am the Navigator. It should be a night of Decemberists-style chamber/indie/pop. $7, early 8 p.m. start.

* * *

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 © 2012 Tim McMahan. All rights reserved.

by Tim McMahan, Lazy-i.com

Weekend. Go!

Tonight at The Barley Street Tavern it’s The Killigans with Death of a Taxpayer, Whipkey/Zimmerman and Andrew Bailie. $5, 9 p.m.

And that’s about it for Friday night.

You actually have some choices on Saturday night.

Over at O’Leaver’s Saturday it’s Eli Mardock with Chicago bop-folk artists The Bears of Blue River, The Betties and Dastardly. If you haven’t seen Mardock in a while, he’s now sporting a full backing band, which I’ve been told is rather impressive. I suspect we’ll be hearing songs off his forthcoming solo album, Everything Happens for the First Time, a preview of which you can hear at his Facebook page. $5, 9 p.m.

Also Saturday night, Hear Nebraska is celebrating its one-year anniversary with a show featuring UUVVWWZ, Howard, and the Wayward Little Satan Daughters. The location: DP Muller Photography, 6066 Maple St in the heart of Benson. 9 p.m., no idea if there’s  a cover.

And th-th-th-that’s all, folks…

* * *

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 © 2012 Tim McMahan. All rights reserved.

Dave Sink in better days...

by Tim McMahan, Lazy-i.com

This week’s issue of The Reader features a cover story that compiles remembrances of Dave Sink from the musicians and friends who knew him best. And while portions of the article have appeared on other websites over the past day or so, none collect more comments from the people who made a mark during the era in which Sink was most influential. The contributors: Brian Byrd, Simon Joyner, Craig Crawford, Pat Buchanan, Bernie McGinn, Conor Oberst, Robb Nansel, Gary Dean Davis, Tim Moss, Matt Whipkey, Jake Bellows, Patrick Kinney, Adam J. Fogarty, Gus Rodino and Brad Smith. You can read the article online right here, or find a printed copy around town.

The issue also includes my remembrance of Dave, which I’ve posted below:

Remembering Dave

It began in November 1992. I was a few years out of college at UNO, already working full time at Union Pacific, but still writing about underground music, something that I’d begun doing as the editor of the college paper and as a freelance writer for The Metropolitan and The Note, a Lawrence, Kansas, regional music paper that had expanded its coverage to Omaha and Lincoln.

One of my first assignments for The Note was writing a piece on Dave Sink, his record store in the basement of The Antiquarium, and his record label, One-Hour Records. By the time of our interview, One-Hour already had released singles by Culture Fire (Release), Frontier Trust (Highway Miles) and Mousetrap (“Supercool” b/w “Fubar”), as well as Simon Joyner’s landmark full-length cassette, Umbilical Chords. One-Hour was a big deal both to the editors down in Lawrence and to me.

The audience for indie and punk music in Omaha was microscopic. At this point in its history, Omaha’s live music scene was dominated by top-40 cover bands that played a circuit of local meat-market bars along 72nd St. College music was heard mostly in college towns — something that Omaha certainly wasn’t. But Dave didn’t care. He had no aspirations of getting rich off One-Hour.

From that article:

“It’s fun empowering people,” said the 43-year-old entrepreneur who used to prefer classic rock to punk. “These are good people with good ideas and lots of energy. I knew these guys as really cool people long before I knew them as musicians.”

The advantage to being on One-Hour? “Possibly nothing,” Sink said. “We’re in an infant stage. But this is how Sub Pop got started and a lot of other quality punk labels. Any band we press is going to get 200 promotional copies of their single shipped to radio stations and ‘zines across the U.S. and Europe. The bottom line is we’re a medium for a band to reach a broader audience.”

Sink said Omaha had never had as many good original bands as it does now, whether the city knows it or not. “Unfortunately, most of the time they’re playing shows for each other. Omaha has a very talented music scene that is woefully underappreciated.”

Funny how, despite the success of Saddle Creek Records, little has changed.

After that story ran, I continued to drop into Dave’s store. He would pick out an armful of albums and singles for me to buy, and that’s how I discovered a lot of the bands that I would end up writing about in The Note (and later, in The Reader). He was always willing to give me the inside scoop on something that was going on musicwise. And much to my surprise, he read a lot of my stories, and was always willing to tell me when he thought I got it right, or got it wrong. A former editor at the old Benson Sun Newspaper, Dave’s perspective on my writing went beyond his music knowledge. As a result, he was always in the back of my mind whenever I wrote anything about music (and still is). I guess I didn’t want to disappoint Dave. Actually, no one did.

Toward the latter days of his involvement in the record store, Dave became more and more disillusioned with modern music. I’d go down there ask him what was good and he’d start off by saying, “Nothing, it’s all shit,” but eventually would find a few things for me to buy. He was more into jazz by then, and (of course) baseball, which we’d talk about at great length, along with his perspective on art and literature and film.

Funny thing, it didn’t matter that Dave was 20 or 30 years older than the kids buying the records. They all respected and sought out his opinion, and Dave was always happy to give it. My favorite Dave line when he didn’t like something: “It’s not my cup of tea.” It was that simple.

As the years went on, Dave quit showing up at the store, and then eventually it changed hands and moved out of the basement. Meanwhile, Saddle Creek Records bloomed, Omaha became nationally recognized as the new indie music “ground zero,” and I slowly lost touch with Dave.

And then along came Facebook. And there was Dave again. Over the last couple years we reconnected online, but mostly about baseball. Dave, a long-time Royals rooter, hated the fact that I’m a Yankees fan, a team he said was ruining baseball. I would argue that, in a market like Omaha, being a Yankees fan was downright punk – people hated you for it, that it was a lonely existence not unlike being a punk fan in the ‘90s. He never bought that argument.

I tried and I tried to get Dave to do that all-encompassing interview about the glory days of One-Hour and The Antiquarium. I told him how much he influenced everything that Omaha’s music scene had become, that I wanted to tell his story and put him on the cover of The Reader. Of course he would have none of it. He would kindly turn down the requests, saying he didn’t do anything, that he was only a record store owner and that the focus should be on the bands, not him.

Despite that, I think he knew how important he was to everything that’s happened here. He certainly was important to me.

* * *

If I had to venture a guess, I’d bet that Dave wasn’t a Lemonheads fan.

Not coincidentally, neither am I. But that shouldn’t stop you from going to see The Lemonheads tonight at The Waiting Room, where the band will be performing It’s a Shame About Ray in its entirety. I’m told that Evan Dando was a bit fussy the last time he came to Omaha. What will he do this time? Opening is Meredith Sheldon. $15, 9 p.m.

Also tonight, power pop in the form of Lonely Estates and the Beat Seekers at The Sydney. 9 p.m., $5.

* * *

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 © 2012 Tim McMahan. All rights reserved.

by Tim McMahan, Lazy-i.com

Not a whole helluva lot to report today.

A video of a couple songs from Conor Oberst’s solo performance at Krug Park last weekend went online today. You can watch it here (it’s a vimeocast). The tunes are “Lenders in the Temple” and “Laura Laurent.” It’s dark. It’s black & white. But the sound ain’t bad. I would have embedded it, but Vimeo doesn’t play nice with WordPress (or at least I can’t get it to).

Conor’s been busy around here lately. The OWH reported here that he and 16 other musicians signed a letter “calling on state lawmakers to pull the plug on a proposal that would ban Omaha and other communities from passing anti-discrimination ordinances.” At issue is Omaha City Councilman Ben Gray’s proposed ordinance to ban discrimination against homosexual and transgender people. As a result, State Sen. Beau McCoy of Omaha introduced Legislative Bill 912 that would bar cities from passing such ordinances. McCoy doesn’t want these bans handled on a city-by-city basis. So does that mean he supports a REAL statewide ban against such discrimination? The story doesn’t say. Others signers included members of The Faint, Big Harp, So So Sailors and Honeybee & Hers, the article said. It’s a complicated issue. Want to get involved? Check out http://www.equalnebraska.org/

* * *

Tonight at House of Loom, Bad Speler a.k.a. Darren Keen conducts his monthly evening of musical madness that he calls Good Speakers. Read more about the event here. It’s free and starts at 9.

Also tonight, local indie janglers Family Picnic, The Benningtons and Betsy Wells take the stage at Slowdown Jr. for a free show that starts at 9.

* * *

Tomorrow: Remembering Dave

* * *

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 © 2012 Tim McMahan. All rights reserved.

by Tim McMahan, Lazy-i.com

Saddle Creek Records announced today that it’s re-releasing six early Bright Eyes albums on vinyl. We’re talking A Collection of Songs…(2 LPs), Oh Holy Fools (Son Ambulance lives!), Letting Off the Happiness, Every Day and Every Night, Fevers and Mirrors (2 LPs), and There Is No Beginning to the Story.

The doubles are $23 (180-gram), the EPs are $13 and the LPs are $15 (180-gram). Or you can get the lot for $99. Each reissue contains a CD of the album packaged in the jacket. And you also get the digital download for free. That’s a lot of content, folks. Too bad they didn’t get this ready in time for Christmas.

Fevers is the golden one here. And if you’re wondering, the Saddle Creek online store already offers everything including and beyond Lifted on vinyl.

So this got me wondering what was available by the other members of the Creek triumverate. All of Cursive’s LPs from Domestica on are available on vinyl, as are all The Faint’s LP’s from Blank-Wave Arcade on. Saddle Creek always has done a good job with vinyl.

The biggest areas for future exploitation are The Good Life catalog — only Album of the Year and Help Wanted Nights are available on vinyl, which leaves Black Out and one of their best, Novena On a Nocturn, ripe for vinyl reissue. Also for consideration: the entire Now It’s Overhead catalog.

So will all future Saddle Creek vinyl releases come with a free CD and download? For example: You can preorder Cursive’s I Am Gemini for $11 on CD, or for just $4 more get the vinyl, CD and mp3 file. Hey, might as well just buy the vinyl, kids. So far, this free-CD-with-vinyl approach hasn’t become the industry model. Neither Sub Pop, Matador nor Merge are offering a similar deal, yet…

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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 © 2012 Tim McMahan. All rights reserved.

by Tim McMahan, Lazy-i.com

Briefly…

I spent the weekend nursing a rather vicious head cold, which kept me away from the clubs and the various CD/album release shows. My continued recovery also will keep me out of Slowdown Jr. tonight when singer/songwriter Mitch Gettman has his going-away show, as he’s moving to Chicago. Also on the bill are Matt Cox and Tara Vaughan. $5, 9 p.m.

* * *

Look for a rather large tribute in this week’s issue of The Reader to Dave Sink, who died last Thursday. Remembrances are coming in from all over. If you don’t know who Dave was or the roll he played in the Omaha music scene, you will after reading Thursday’s Reader.

* * *

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 © 2012 Tim McMahan. All rights reserved.

More to say later…

* * *

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 © 2012 Tim McMahan. All rights reserved.

Millions of Boys from left are Alex van Beaumont, Ryan Haas and Sara Bertuldo.

by Tim McMahan, Lazy-i.com

Omaha power-pop punk band Millions of Boys’ new 10-inch record, Competing for Your Love, is a 180-gram slab of vinyl complete with digital download key, and even comes with a photo of local booze palace O’Leaver’s on the cover. What more could you ask for? Well, there’s also the record’s 10 sticky-sweet rock songs that capture all the fun and pain of middle school crushes.

Released by Kansas City’s Golden Sound Records, the mini album is being celebrated with a rock prom at Slowdown Jr. Saturday night.

While the trio has a distinctive sound of its own, there’s no denying its influences – real or imagined. During our brief coffee talk at Blue Line in Dundee Sunday, I went on and on about how the band reminded me of That Dog (actual spelled “that dog.”), a mid-‘90s LA power pop act whose members would go on to write songs for the new Josie and the Pussycats and become members of The Rentals and Decemberists. I loved That Dog’s cool, ironic take on cloying high school love and heartbreak on albums like ‘95’s Totally Crushed Out! and follow-up Retreat from the Sun.

Of course Millions of Boys had never heard That Dog’s music before. Nor (probably) have they heard Tsunami or Blake Babies or the other ‘90s bands that plowed this same fertile fun-pop ground a decade (or two) before them, though…

“We all just grew up loving light-hearted pop punk,” said drummer/vocalist Ryan Haas.

“There’s this connotation that pop punk has, but…” said guitarist/vocalist Sara Bertuldo before Haas quickly added “It’s like a guilty pleasure, but it’s not.”

Bassist/guitarist/vocalist Alex van Beaumont merely nodded, as if having heard it all before.

Millions of Boys, Competing for Your Love (Golden Sound, 2012)

The three started playing together in 2010. Bertuldo and Haas had been in a very short-lived band with Snake Islands’ Allan Schleich called Leaving Vaudeville that played all of one show before disbanding. Bertuldo, already a member of Honey & Darling, wanted to continue working with Haas, who said at the time he’d recently “fallen in love with Weezer again” and wanted to be in a two-piece project. Unfortunately, when it came time to do solos, Bertuldo couldn’t handle it. “I’m not very good at looping,” she said.

Enter van Beaumont, a friend of Haas’ sister who Bertuldo had met before. “We tried it and it worked,” Haas said. “These are not super complicated songs. They’re straight-forward. He just gets it and nothing has to be explained.” Van Beaumont merely nodded again.

All three members share vocals and switch instruments, but it’s hard not to look at Bertuldo as the band’s front woman, despite her diminutive stature. I first met her in 2005 when she was working as an intern for One Percent Productions, taking money at Sokol Underground shows. Standing at around five foot nothing, she’s so tiny you just want to put her in your pocket and take her home with you. She’s like the daughter that none of us will ever be lucky enough to have — cute, unassuming and quiet.

In fact, maybe too quiet. One of the challenges of being so tiny is also being heard above the rest of this rather rowdy band, something she’s struggled with at clubs with less-than-optimum (i.e. shitty) PA’s, like O’Leaver’s, where Bertuldo has had no choice but to ratchet up her sweet, innocent mew.

“It’s why I’m starting to like screaming,” she said. “It’s really hard, especially if you have a sound guy who’s not paying attention. I can’t wait until we have our own sound person.”

Ah, but first things first. The band would like nothing more than to tour full time, which, of course, would take a booking agent, which they don’t have yet. But at least they have a label, which is helping them with distribution and the digital side of things.

Clocking in at a just over 23 minutes, Competing for Your Love is a chock full of tasty little morsels like “Dudcats,” (with the inspirational chorus “That girl is the bomb / That girl is the bomb / But that bomb is a dud,”), the roaring zombie epic “Dead Girls,” the too-cute-for-its-own-good “Sparky + Mittens” (“I’ll give that cat a home in a hot dog bun“), and the mythic story of local super hero “Doug Flynn,” one of our scene’s unforgettable legends.

“Doug Flynn is the big guy that used to work the door at The Waiting Room,” Bertuldo said. “One time I blacked out there during a Times New Viking show and he picked me up and carried me to the back room.”

Haas remembers watching what he called “The Maple Street Riot” from his apartment that overlooked the melee. “There were about 100 people in the street, and in the middle of it was Doug Flynn,” presumably keeping the peace like an indie Buford Pusser.

“He’s the big brother of The Waiting Room,” Bertuldo said.

Anyway. The album is pretty fantastic. It was recorded by Bertuldo’s boyfriend (and member of Honey & Darling) Matt Carroll at Little Machine, the couple’s basement studio (where New Lungs currently is recording its debut).

Opening Saturday night’s release show is label mates Empty Spaces, as well as local low-fi punkers The Dads and new band Power Slop, which Haas described as “a loud, fast band that includes members of Hercules.” That’s a lot of rock for $5. Go to theslowdown.com for more info.

* * *

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 © 2012 Tim McMahan. All rights reserved.

Icky Blossoms, from left, Derek Pressnall, Sarah Bohling and Nik Fackler.

by Tim McMahan, Lazy-i.com

As the announcement that Icky Blossoms signed to Saddle Creek Records filtered its way though the various social media channels Monday, I noticed something peculiar: Promo photos of the band only showed Derek Pressnall, Nik Fackler and Sarah Bohling. Where were JJ Idt, Dylan Strimple and Craig Dee?

I wasn’t the only one who noticed the omissions, as I received a couple e-mails asking the same question. So I contacted Saddle Creek Records and asked if the band had been downsized to a trio. I received the following response from the band via Saddle Creek:

“The band originally evolved out of Flowers Forever which was never a ‘band’ band. But as Derek and Nik began writing music together with Sarah singing they realized a different band had formed and started Icky Blossoms. They took the songs and beats and began playing them live with JJ, Dylan and Craig filling in the parts.

“Nothing has downsized. The writing/recording process (Nik/Derek/Sarah) has always been different than the live performance.”

Is this any different than how Conor Oberst runs Bright Eyes? Conor, Mike Mogis and Nate Walcott are “the band” while a variety of players fill in parts on stage. The difference might be that Oberst changes out his live players on almost every tour, while JJ, Dylan and Craig seem to have a more permanent footing in Icky Blossoms, at least on stage (I don’t recall seeing the band play without them). Who knows? Regardless, they’re apparently not involved in the recording process, which is taking place right now with TV on the Radio’s David Sitek behind the board. Is info, Idt also plays in Conduits, while Craig Dee is a member of Tilly and the Wall with Pressnall. Strimple used to play with Son Ambulance and Baby Walrus.

* * *

Drum roll please…

The winners of this year’s drawing for a copy of the Lazy-i Best of 2011 Sampler are:

Matthew Hanson, Omaha
Nathan Johnson, Yankton
Tim Guthrie, Omaha
Vic & Fletch Fletcher, Omaha
Lauren Rosenthal, Long Beach

Thanks to everyone who entered. I’ll get them in the mail tomorrow, and hopefully we’ll be doing it again next year…

* * *

Tonight at Slowdown Jr. Sun Settings are headlining a show with Howard and Jasong Mountain. It starts at 9 and it’s at the “right price” of absolutely free.

* * *

Tomorrow: One on one on one with Millions of Boys.

* * *

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 © 2012 Tim McMahan. All rights reserved.