by Tim McMahan, Lazy-i.com

I went to fewer shows this year than the past, what, 15 years? I typically go to 1.5 shows a week, which rounds out to around 75 shows a year. But this year I only went to around 50. One reason for my attendance decline was my busy schedule; another was my decision to quit seeing bands that I’ve already seen in the past six months. But the biggest reason was that there seemed to be fewer high-quality indie acts coming through town this year.

Still, there was plenty to see and hear in 2012. Here were my favorites:

Feb. 17, Stephen Malkmus and the Jicks at Slowdown — Live vs. recording, the Pavement frontman took short songs like “Tigers” and “Senators” and “Baby C’Mon” and stretched them into longer jams that leaned heavy on his own slinky guitar solo prowess.

March 1, Bleeding Rainbow at Slowdown Jr. — The set-up was simple: two guitars, drums and bass, with male/female vocalists creating flat-toned harmonies on songs that were jet-fueled by loud-as-fuck guitar riffs.

March 9, Icky Blossoms at The Waiting Room — The more I see them, the more they remind me of The B-52s and Public Image Ltd (PiL), with Derek Pressnall split between Fred Schneider and John Lydon.

April 27, Lambchop at Slowdown Jr. — Their sound was warm and subtle like sipping a glass of fine old scotch. Really beautiful stuff.

May 14, St. Vincent at Slowdown — Though her stage presence recalled Prince, her music had more in common with arch New Wave composers such as Brian Eno, Laurie Anderson and Talking Heads, while her voice was Joni and Aimee and Souxsie Sioux. But it was nothing compared to those hot-bitch guitar licks that could rattle your teeth with its staccato fists or pull you under the covers with waves of luscious, tonal phrasing.

Aug. 3, Simon Joyner and The Ghosts at The Sydney — Joyner’s seven-member drone-folk orchestra kept the vibe in a noisy haze throughout the night, filling every inch of dense space with waves of feedback, pedal steel, violin and cello, with two percussionists keeping beat for the tribe.

Aug. 12, The Maha Music Festival, Stinson Park — Despite the on-again off-again rain, the festival drew an impressive 4,300 for one of the most diverse line-ups that Omaha has ever seen. Can they top it in ’13?

Aug. 18, The Faint at Slowdown — Top of mind (at least to me) was how they would sound without Faint ex-pat Joel Petersen on bass. I doubt any of the bouncing sold-out crowd that turned the Slowdown’s dance floor into a giant trampoline noticed a difference.

Sept. 8, Twin Shadow at The Waiting Room — The crowd did the classic ’80s shoulder-shrug dance while frontman George Lewis pounded out chords on guitar. There was a macho drama to everything he did, more intense than fun, but fun nevertheless.

Sept. 14, Wild Nothing / DIIV at Sokol Underground — They reminded me of ’90s champions The Church and The Cure with bigger guitar riffs and vocals that you could actually understand.

Oct. 18, Judgement Day at O’Leaver’s — Driving, pounding, throbbing rock as intense as metal but without the pain. The Pantzer brothers played souring mini-orchestrations blending violin and cello atop a bed of drums.

Oct. 28, Cursive at Slowdown — When I Am Gemini came out at the beginning of the year, we all had our doubhts that it would fit in with the rest of the Cursive oeuvre. Those doubts were erased on stage that night…

Nov. 12, A Place to Bury Strangers at The Waiting Room — Standing next to the stage was like sitting at the foot of an airport runway watching jets fly overhead.

Nov. 21, Titus Andronicus at Sokol Underground — Patrick Stickles and company came on in a meat-and-potatoes fashion and barreled through a set that included the best off the new album.

Nov. 28, Digital Leather at Slowdown — Shawn Foree and Co. threw out a golden nugget I thought I’d never hear them play again — “Studs In Love,” the homo anthem from Blow Machine re-engineered from an electronic hump fable to a roaring, spitting metallic confession.

And then, last night at The Waiting Room, four bands to close out the year…

Little Brazil at The Waiting Room, Dec. 27, 2012

John Klemmensen is a big guy with a blue guitar, a golden voice and a broken heart who can capture more yearning with a single line than most bands can with an entire album. Mainly because you believe him; mainly because it’s (probably) all true and he doesn’t care who knows it. With his back-up band, The Party, he infuses his confessions with hooks that camouflage either anger or bitterness or just plain loneliness with lines that you would scoff at as self-flagellating BS if they came from anyone else but the guy standing/singing/rocking right in front of you. His only recordings are homemade. It’s time someone gets him into a formal studio and gets it all down on tape.

The Brigadiers debut was a cause celeb thanks to some heavy hitting vets not the least of which included drummer Clint Schnase of Cursive fame. On this project, Schnase rides the kit with a distinctively lighter touch backing songs that are folk rock bordering on Americana bordering on pure tunesmith-ing. I was reminded of Big Star. The guy next to me was thinking T. Rex, and if you can pull off those kinds of comparisons on your debut, you’re onto something.

The Sons of The Waiting Room (better known as The Sons of O’Leaver’s but recently known as The Sons of The Slowdown) saw their numbers grow by 33 percent with the addition of The Brothers Weber on pedal steel / electric guitar and keyboards. As one onlooker put it “Shit, they’ve got three of the best guitarists in Nebraska on that stage.” Indeed. The additional fire power did its job filling out their sound and (on some songs) adding a bit of southern twang. It felt more laid back than an O’Leaver’s set because it was. I prefer the harder stuff, like set-closing classic “We Need the Night” that any god fearing Replacements fan would love.

And then came Little Brazil. The line-up change mentioned a few weeks ago was done with little fanfare, and maybe that was for the best, though there wasn’t a fan in the crowd who wasn’t curious how the band would sound with beefy Matt Baum replacing the kinetic/frenetic Oliver Morgan behind the kit. The diff for me: Ollie loves his cymbals while Baum prefers his throaty toms. More lower end gave frontman Landon (a Bobby Brady alto) more room to roam on vocals, or so it seemed to me. Others said they didn’t notice a difference, and that may be true considering the a typical Little Brazil set is like sitting in a field adjacent to Cape Canaveral during a shuttle launch. Pow-ful stuff. Baum was introduced as “helping us out tonight.” So does that mean they’re still looking for a permanent drummer? With he and Landon headed to Europe and then the East Coast for a Desaparecidos tour, who knows where this lineup is headed…

* * *

The holiday action continues with a four-friggin’-band bill tonight at the Sweatshop Gallery, located just south of The Barley Street Tavern. The line-up: Capgun Coup, Yuppies, Adult Films and Brooklyn band Parquet Courts, who’s song “Borrowed Time” was named a Pitchfork “Best New Track” this past November (take a listen here). $5, 9 p.m.

Tomorrow night, popular local ’90s ska band Jimmy Skaffa has a full-blown reunion at The Waiting Room. The Stick Figures open at 9 p.m., $7.

Meanwhile down the street at The Barley Street Tavern Saturday night, Kite Pilot headlines a show with High & Tight and Above the State. $5, 9 p.m.

* * *

And don’t forget to enter the drawing for a copy of the Lazy-i Best of 2012 Sampler. The full track listing is here (scroll to the bottom of the entry). To enter, send your name and mailing address to tim.mcmahan@gmail.com. Hurry! Deadline is Jan. 15.

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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.

Lazy-i Best of 2012 Sampler

by Tim McMahan, Lazy-i.com

This was the hardest year that I can remember for pulling together a year-end top-10 list. Don’t get me wrong there was plenty of good music last year, but not very many good end-to-end albums. Case in point: It was much easier for me to pull together favorite tracks for the Lazy-i Best of 2012 compilation CD than it was choosing complete albums for the top-10 list. Is that a symptom of an era where people are buying more individual tracks than full albums? I don’t know. I don’t think so.

But interestingly, when I think about the most “complete” thematic albums from this past year, the ones that come to mind don’t have any individual tracks that stand out or that would make sense to include on a sampler. I’m talking about albums like Swans’ The Seer or Godspeed! You Black Emperor’s Allelujah! Don’t Bend! Ascend!, Scott Walker’s Bish Bosch or even Cursive’s I Am Gemini. These are challenging, sit-down records where each track depends on the others to maintain the overall atmosphere.

We all know about the rebirth of vinyl as a re-energized music format. If it really took off, then we’d see more of these thematic “whole” albums. But something tells me if vinyl sales haven’t peaked yet, they soon will. Part of the reason is the price. Those of us who were around before CDs remember paying between $6.99 and $8.99 for new single LPs — a bargain. Today, most new single LPs sell for between $18 and $22. That’s just too much for vinyl to become a truly viable option for anyone except collectors and audiophiles when kids can download the same albums for half as much or as little as $5 on Amazon (when they decide to pay for them at all).

But maybe even more disturbing than format or price is that attention spans have dwindled in this shuffle-mode world. Is it realistic to think that this generation — with all of its media distractions — has the time and patience to sit down and absorb an album like The Seer? I don’t know.

Anyway, with all that in mind, I did manage to pull together my top-10 favorite albums of 2012. Again, these are not the best albums of 2012, rather the ones that I’ve enjoyed the most and will continue to enjoy beyond this year. Here they are:

Icky Blossoms, self titled (Saddle Creek) — When word got out that they were running out to El Lay to record with TV on the Radio’s David Sitek we all knew something was up. The result was a sexy, sassy dance album that rivals The Faint’s finest moments.

Cat Power, Sun (Matador) — Chan Marshall put aside afternoon-light fragment pop for something more upbeat, trippy, tuneful and almost happy, until you listen to the words.

The Intelligence, Everybody’s Got It Easy But Me (In the Red) — The best under-the-radar indie rock collection that’s worth the effort of finding. Not so much garage as refined garage, with a nod toward yesteryear.

Twin Shadow, Confess (4AD) — A dizzying trip back to ’80s electro-pop with a sound that recalls everything from General Public to Fine Young Cannibals to New Order to Peter Gabriel. If you’re gonna steal a style, this is how to do it.

Bob Mould, Silver Age (Merge) — Of all the ’90s heritage acts that released material in ’12 (including Dinosaur Jr. and Sebadoh), Mould’s was the most well thought out, and the most satisfying.

Tilly and the Wall, Heavy Mood (Team Love) — After you get past the B-52′s-flavored opening tracks, it’s as good an (adult) indie rock album as you’re likely to find, with harmony-rich tracks like “Hey Rainbow” and “I Believe in You” that give Azure Ray a run for its money. Looks like our Tilly finally grew up.

PUJOL, Unites States of Being (Saddle Creek) — Proof that Saddle Creek still has a nose for finding new talent (even though Jack White found it first). All his earlier recordings have been leading up to this. Not anthemic, but epic nonetheless.

Simon Joyner, Ghosts (Sing! Eunuchs) — Four sides of pure prairie ennui. It’s not so much a collection of eulogies as much as elegies to his own life and the lives of friends now gone. Stark, dark and the best thing Joyner’s released since 2006’s Skeleton Blues.

Digital Leather, Modern Problems (FDH Record) — I could have just as easily listed DL’s Yes Please, Thank You (Southpaw Records) or Purple Fire, the self-released album by Shawn Foree’s other project, Mere Mortals, since all three came out in 2012, and all have the same electro-dread pop sensibility. Omaha’s best kept secret.

Paul Banks, Banks (Matador) – This solo outing from Interpol’s frontman buries his main gig’s last couple icy-cold albums because it sounds so… human.

Where are those aforementioned albums by Swans, Walker and Godspeed? Yeah, they’re good, but for me, they’re something I’ll likely only experience once and will never revisit, maybe ever again. Maybe they’re the best, but they’re not my favorites.

Now lets get to my favorite tracks that I’ve stumbled across during my tenure this year as music critic for The Reader and Lazy-i.com. As per usual, they’re included in my annual Best of 2012 Lazy-i sampler CD. Here’s the track listing:

1) Tame Impala, “Be Above It” (from the album Lonerism)
2) Ty Segall Band, “Tell Me What’s Inside Your Heart ” (from the album Slaughterhouse)
3) Pujol, “Made of Money” (from the album United States of Being)
4) Cat Power, “Manhattan” (from the album Sun)
5) Violens, “Sariza Springs” (from the album True)
6) First Aid Kit, “Emmylou” (from the album The Lion’s Roar)
7) Paul Banks, “The Base” (from the album Banks)
8) Ariel Pink’s Haunted Graffiti, “Only In My Dreams” (from the album Mature Themes)
9) McCarthy Trenching, “2:47, July 18, 2011” (from the album Plays Piano)
10) Desaparecidos, “Backsell” (from the single “Marikkkopa b/w “Backsell”)
11) Mere Mortals, “B12” (from the album Purple Fire)
12) Icky Blossoms, “Chicas” (from the single “Babes” b/w “Chicas”)
13) Ember Schrag, “Your Words” (from the album The Sewing Room)
14) Millions of Boys, “Dudcats” (from the album Competing for Your Love)
15) Twin Shadow, “Run My Heart” (from the album Confess)
16) The Faint, “Take Me to the Hospital” (from the album Danse Macabre (Deluxe Edition))
17) The Intelligence, “Little Town Flirt” (from the album Everybody’s Got It Easy But Me)
18) Simon Joyner, “If I Left Tomorrow” (from the album Ghosts)
19) Gordon, “Anti-Romantic (Drunk Dialed)” (an unreleased demo)
20) Ladyfinger, “Galactic” (from the album Errant Forms)
21) Nicky Da B, “Xmas In the Room” (from the album Chopped and Scrooged)

At this point you’re thinking, “Tim, I’m not your brother, nephew or niece, nor an industry ‘insider’ nor a member of the Saddle Creek/O’Leaver’s Mafia. How can I possibly get a copy of this fantastic, highly collectable compilation?”

Ah well, it’s simple really. All you have to do is send me an email (to tim.mcmahan@gmail.com) with your name and mailing address (where I can send it, duh) and you’ll be entered into a drawing for a copy! Hurry, drawing deadline is Jan. 15!

* * *

Tonight is one of the biggest shows of the holiday season. Little Brazil returns to The Waiting Room stage with Sons of The Waiting Room and the debut of The Brigadiers (Drummer Clint Schnase (ex-Cursive), guitarist/vocalist Shane Lamson, guitarist/vocalist Mark Weber (ex-Box), and bassist/vocalist Vic Padios (ex-Calico, ex-Gymnastics)). Opening is John Klemmensen and The Party. $7, 9 p.m. This could be huge.

Also tonight, Jake Bellows (of Neva Dinova fame) and his band plays at The Slowdown with Mal Madrigal and Our Fox. $8, 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 © 2012 Tim McMahan. All rights reserved.

by Tim McMahan, Lazy-i.com

I’m scattering the annual year in review coverage over the next few days, beginning with this column, which also appears in this week’s issue of The Reader, which I think is on the streets now (though I’m not entirely sure as my internal calendar is discombobulated).

Over the Edge #43: The Year in Review 2012 (or 1969?)

Every year at about this time for more than a decade, I’ve written a “Year In Review” article for The Reader that looks back at the events of the past 365 days and outlines the trends and direction of the coming year in popular music. This year, Music Editor Chris Aponick is handling those duties, but if I was writing a YIR article, the main message would be this:

Imagine that it’s 1969.

A major catastrophe has struck the eastern United States. President Nixon and a congress headed by Senator Hubert Humphrey (D-Minn) and John William McCormack (D-Mass) are doing what they can to pull together resources to help our fellow citizens in this time of need, but it’s just not enough. In a stroke of genius, an enterprising young person comes up with an idea to host a massive concert at the just-opened Madison Square Garden to generate funds to rebuild communities devastated by this unnamed disaster.

For the concert to succeed, only the most popular acts of the day would be invited to perform — a list that anyone in America could name off the top of their heads: Al Jolson, Duke Ellington, Bessie Smith, Louis Armstrong, Whisperin’ Jack Smith, the Kentucky Serenaders, George Olson and Jelly Roll Morton. You know, the music that everyone was listening to in 1969 at the height of the Viet Nam War.

Wait a minute, doofus, that’s not the music of 1969. Yeah, I know. In this Bizarro World, instead of inviting the current rock acts of the day, concert organizers invited the hottest acts from 43 years earlier, from 1926. Sounds crazy. An effort doomed to fail. And yet, it was a no-brainer, just like what happened two weeks ago.

When it came time for organizers to pull together a lineup for the 12-12-12 relief concert for the victims of Hurricane Sandy, the short list of top-name performers was obvious: Bruce Springsteen, Paul McCartney, The Who, Roger Waters, Eric Clapton and The Rolling Stones, acts whose heyday was 40+ years ago. Sure, Alicia Keys, Chris Martin and Kanye were there, but no one came to see them. They came to see the dinosaurs along with a few “more current” faves like Billy Joel (“Piano Man,” 1973), Bon Jovi (“Wanted Dead or Alive,” 1986), and Michael Stipe (“The One I Love,” 1987).

This is a reflection of the current state of pop music in this country. There are no new superstars making groundbreaking music anymore; and there hasn’t been in decades. The last universally recognized game-changing rock band was probably U2 in the ‘80s. Radiohead came close. Arcade Fire was important, but their music is far from known by the Great Wad.

Everything else is manufactured. Look at the charts. Bieber, Kelly Clarkson, PSY, Rihanna, Ke$ha, Taylor Swift, all diversionary fluff that no one would mistake for important game-changing music. And sure, there was plenty of fluff in the ‘70s and ‘80s, but there always was something that people could point to as timeless, embraced by a nation instead of a tiny sliver of indie music nerds who “know better” about what’s good.

Despite all the technology, there’s no longer a method for elevating talent, there’s no way for the cream to rise to the top. Because, believe me, the talent is still out there. There was some great music in 2012. You simply didn’t hear it because it wasn’t on your radio. When radio became irrelevant as a way to identify and escalate talent, we lost our national music identity.

What about television? Look, these people that emerge from American Idol or The Voice are performers; they’re not songwriters, they’re not musicians. In many ways, we’ve gone back to the pre-Beatles days of Pat Boone and Bobby Darin empty haircuts. What made The Beatles important was that they wrote and performed their own music.

But even more discouraging is that somewhere over the past few years, it has become painfully obvious that the dream of “making it” in rock ‘n’ roll is now and forever gone. There was a time not so long ago when a group of musicians could get together, write some great songs, practice, perform and record some demos that they would shop around to mid-level independent labels in hopes that maybe — just maybe — someone would spot their talent, sign them to a “deal” and put out a record whose sales would generate enough money so they could quit their day jobs.

Sure, bands still dream of getting signed, but they know better than to think that they’ll ever make a living selling records in this Spotify era when $10 a month gives a listener access to (nearly) everything. When Spotify launched a couple years ago, no one really understood how artists would get paid. Now we know — they get paid, but at a rate of around 0.004611 cents per play, according to an article on pitchfork.com. That equates to around $46 per 10,000 plays (before the split with their record label). Good luck with that.

Ironically, among the few bands who would actually make decent money off Spotify are those dinosaur acts like the ones who played at the Garden a couple weeks ago (though some of them, such as Led Zeppelin and Pink Floyd, have the wisdom to keep their music off the service).

I don’t know, maybe the music back then really was that good, that timeless. Maybe it will never be matched. But for the sake of future generations, I hope I’m wrong, or else in 43 years — in 2055 — when the next disaster occurs and a benefit concert is organized, the last great rock stars will be long gone.

* * *

Sound hopeless? Maybe. Maybe not. This Spotify/streaming audio model is just beginning to fuck things up for everyone. We’ve only seen the tip of the iceberg, as non-music fans are just now beginning to discover it. It could pile on the already-catastrophic damage that downloading had done to CD sales…

Anyway, as I said above, there was some damn fine music produced in 2012, you just had to look really frickin’ hard to find it. Tomorrow: The Year in Review 2012, Pt. 2 — The top-10 of 2012, and the Lazy-i Best of 2012 Sampler track list and give-away — get ready to enter the drawing!

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Ladyfinger at Slowdown Jr. Dec, 21, 2012.

A bit of catch-up on some pre-holiday bric-a-brac: Ladyfinger at Slowdown Jr. last Friday was like being introduced to a different (i.e., new) band, as it was the first time I’ve really noticed the impact of Dan Brennan since he took over for Ethan Jones in 2010. One might assume “it’s just a bassist” and one would be wrong, as the entire rhythm section sounded different (in a good way). Actually, the entire band sounded more polished, more focused, more tuneful. Or maybe it was just the new songs. I’m not entirely sure.

Ladyfinger used to be a hazy noise rock band that was more about dirty, dark energy than music. There was a smear or recklessness to everything they did, and amidst the smoky sturm und drang the words didn’t matter. This new version is cleaner in every way, and that more cohesive sound is reflected on their upcoming album — the best collection of songs they’ve recorded in their career.

I would be lying if I said I didn’t think that elements of So-So Sailors’ anthem rock were beginning to seep into this band. The similarities are obvious, and other than the vocalist’s grainy style, are not two-way — So-So has never resembled Ladyfinger. Whether that’s good or bad depends on what you liked most and least about Ladyfinger before the shakeup.

Too cerebral? Never. The point: Ladyfinger is emerging as more of a straight-up rock band than the grizzled noise-punkers we’d grown accustomed to, and a big part is driven by the new approach to songwriting, especially in the rhythm section. While the guitars are nice, it’s Brennan and Pat Oakes driving the show these days — a pounding, pulsing freight train that pushes Chris Machmuller’s vocals as far as his brassy croon will go.

In fact, the only criticism I have is pointed directly at Machmuller, whose vocals sounded way too restrained and mumbling on stage. Part of the precision and appeal of the new record is being able to understand exactly what Mach is singing (another So-So overlap?). That quality was gone Friday as he casually rushed the vocals. So all the fun of “Galactic” was lost because you couldn’t understand his star soldier declarations; while the soul-searching of “Dark Horse” was merely a heart-ache mumble. We may never get those qualities live, which I guess makes the records that much more valuable.

* * *

Holy Hannah!, it’s a garage rock blow-out tonight at Slowdown Jr. with Dads, Yuppies and Places We Slept all for a measly $5. Show starts at 9.

Also tonight, former Omahan and current legend Kyle Harvey returns to The Waiting Room’s stage opening for singer/songwriters Tara Vaughan and Jessica Errett. $7, 9 p.m.

So what if it’s one below zero outside? Get yourself to the clubs, people. The year ain’t over 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

With all these lists coming out, here’s one more: Pitchfork today announced its Top 50 of 2012. The list is relevant (I guess) because Pitchfork continues to be the more revered music criticism website in the country for indie music, whether you like it or not. No. 1 went to Kendrick Lamar’s good kid, m.A.A.d. city (Interscope) of which I’ve heard nary a track, more damning evidence of just how out of touch I am with today’s music. No. 2 was Frank Ocean’s Channel Orange, which I have listened to a few times, though it didn’t make my list (which you’ll have to wait until next week to read). No. 3 was Fiona Apple’s The Idler Wheel…, which I reconsidered (and relistened to) after the very public death of her dog, and must say it was better the second time around.

I was surprised at the number of artists on the list who were making follow-ups to breakthroughs, such as Grizzly Bear, Dirty Projectors and Beach House. We continue to regurgitate ourselves. As a whole, it’s not a bad list, but it’s hard to argue against the fact that this was another (in a series) off year(s) in music…

* * *

The STNNNG are back with a new album, Empire Inward, slated for February. Check out the first track, “Brain-Dumb,” below. They just got back from playing the UK’s All Tomorrows Parties (curated by Shellac). Something tells me we’ll be seeing them on an Omaha stage soon…

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The Hear Nebraska T

Hear Nebraska is hocking new T-shirts for 2012/13. Do yourself a flavor and order one right here. Your $25 not only gets you a colorful fashion statement but also helps support Nebraska music’s No. 1 mouthpiece. And HN major domo Andy Norman says if you get your order in today, you should get it delivered by Christmas. Good luck.

* * *

The other day Desaparecidos announced that it’s headed to Europe in February as part of a tour that will focus mainly on the Eastern Seaboard of these United States of America, ending with a couple dates at Webster Hall in NYC (one of which already sold out). How long will this Desa stretch continue, or is this going to do it? We’ll just have to wait and see…

* * *

Speaking of Conor Oberst, his concert at Joslyn’s Witherspoon Hall is officially sold out. Opening band Whispertown hits the stage at 8 p.m. followed by the boy wonder himself playing a collection of tunes that will likely stretch back to the early Bright Eyes years.

Don’t have tix? Well, you’re not completely out of luck. There’ still plenty of tickets available to tonight’s Ladyfinger show at  Slowdown Jr. with Everyday/Everynight and Maps for Travelers (Back When, who had been scheduled to perform, have cancelled due to illness). $8, 9 p.m.

That brings us to Saturday, when Kite Pilot is slated to play at fabulous (and recently repainted) O’Leaver’s with Gordon (acoustic set) and Video Ranger. $5, 9:30 p.m.

Finally, the most bizarre event of the weekend is the Musico reunion show The Barley Street with Cat Island. Musico was a three-piece power-pop band from around the turn of the century that included among its members Darren Keen of The Show Is the Rainbow and Touch People fame, Brad Underwood and Mark Hinrichs. Expect crazy. $5, 9 p.m.

Have a good weekend…

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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

The folks at Press Here Publicity began distributing a new She & Him video for “Baby, It’s Cold Outside” to the usual outlets yesterday. Ironic, considering how Zooey Deschanel’s version in the 2003 mega holiday hit Elf made an entire country fall in love with her for the very first time. Almost a decade later and we’re still haunted by Deschanel and her shitty TV shitcom like a painful, lingering sore. What better way to wipe whatever residue of appreciation from our collective memory than by revisiting the song with She & Him partner Matt Ward to sell downloads of their flaccid holiday album? But I’m tipping the voting scale here. You tell me which version is better.

She & Him, “Baby, It’s Cold Outside”

Zooey Deschanel and Will Ferrell, “Baby, It’s Cold Outside” from the film Elf

No contest.

* * *

Mmmm….

They’re calling for seven inches tonight and blizzard conditions. Good thing I have my rum. That’s right. Remember that Sailor Jerry event with Digital Leather and King Khan a month ago? Well, out of the kindness of their golden-colored hearts, the fine folks at SJ (and Dana Dynamite PR) sent me a care package via FedEx, which I only picked up yesterday because FedEx insists on signatures because it’s afraid of intoxicating minors. Anyway, inside were two giant bottles of golden-colored SJ rum and a thank you note — one of the best “thank you’s” the staff at Lazy-i has ever received from a vendor (Are you listening Rolling Rock, you cheap fucks?). So as the snow piles up outside, I’ll be making Hot Apple Jerrys and writing my Year In Review column and wondering why I live in Omaha in the wintertime. Cheers…

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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

I’m back. And it only took three days. Don’t get what I got.

* * *

Not much happening musicwise. The PR folks behind Statistics (Denver Dalley of Desaparecidos) are letting it be known today that you can download the first Stats track, “Nineteen Ninety-Nine,” right here. It’s free. Get it.

* * *

Pitchfork just posted its top-100 tracks of the year. Grimes’ “Oblivion” was No. 1. Meh. They sure like Frank Ocean.

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There is actually a show going on tonight. They’re calling it “The Last Hootenanny.” I’m not sure if it’s a side-joke about the Mayan calendar or they’re really ending the series, which has been going on around town for years. Regardless, it’s happening tonight at The Waiting Room and features the usual collection of Benson-centered alt-country/Americana/folkies, with one very bold exception. Listed in the line-up is the one and only Solid Goldberg, a.k.a. Dave Goldberg’s one-man rock freakout which must be experienced to be believed. It’s not just a performance, it’s also fan-frickin’-tastic songs by one of Omaha’s most iconic musicians. Your $7 cover supports “the Nebraska Farmers Union and the Nebraska Agriculture Council in their efforts to start up a small food hub so you can buy more local, sustainable, humanely raised meat” (because “Humanely Raised Meat Just Tastes Better”®). The show starts super-early at 5:30 p.m., and the partial lineup of acts is here on the One Percent website.

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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

Where the frick is Lazy-i today? Well, I spent the last 10 hours with a substance that resembles fluorescent-yellow pudding dribbling out my ass (and flying out my mouth). Needless to say, I won’t be attending tonight’s Faint concert, but if I did, my mere presence could put a lot of you down (and a few of you in the hospital). Nasty shit, but I’m on the mend. The fever’s broke, so to speak. But it puts a damper in my social calendar. Going tonight just ain’t worth it, especially since I just saw Omaha’s most entertaining band a few months ago at The Slowdown. I was going to go tonight because, really, isn’t every Faint concert a frickin’ blast? And Icky Blossoms is opening, Omaha’s next generation of twisted dance party madness. Also on tonight’s bill is the creepy-but-fun band Trust. For those of you without tickee-s, too bad. This one will smoke. It starts at Sokol Auditorium at 8, but, unfortunately, without me.

Also going on — and starting in just a few hours — is the 3rd Annual Omahype Holiday Rock-n-Shop event at The Slowdown. We’re talking performances by AYGAMG, Noah’s Ark, Laura from the Mynabirds, Thunder Party, Eli Mardock and stand-up comedy all for $5. On top of that, there will fantastic local vendors set up around the club selling you their very cool hand-made wares just in time for the holiday. Stop down before The Faint show, it starts at 7. Find out more here. And have fun…in my absence (damn).

If that wasn’t enough, The (freakin’) Yuppies are playing at The Barley Street tonight with Lincoln porn-core act Plack Blague (must be seen to be believed) and Astral Menace. $5, 9 p.m.

While over at the new, improved (but-still-the-same) Fabulous O’Leaver’s it’s Bear Stories with arntwealldead and The Debt. $5, 9:30 p.m. Check out the fresh new paint and the expanded booze selection and have a Rolling Rock for me.

Tomorrow night it’s back to O’Leaver’s for The Whipkey Three and Chromafrost with Korey Anderson. $5, 9:30 p.m.

Over at The Brothers Lounge Saturday night Killer Blow takes the stage with Millions of Boys and traveling band, Seattle’s The Pharmacy. This one will indeed kick ass. $5, 9 p.m.

And I think that’s it for the weekend. If I’m missing something, toss it into the “comments” section. As for me, I’m going back to bed. Maybe I’ll see you Saturday night, but I suggest you keep your distance (like you always do anyway).

Have a good weekend…

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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

Mick about to take flight.

I didn’t watch every moment of the 12-12-12 concert last night, but I did catch Rolling Stones, The Who, Billy Joel, Bon Jovi, Alicia Keys and Paul McCartney. For my money, Billy Joel won the “best remaining voice” competition among the codger squad. The Stones sounded every bit of 70 years old, Roger Daltrey can’t hit the high notes any more and McCartney was, well, better than I thought he’d be. It was a real sausage party. Strange that there was only, what, one woman vocalist all night? Shades of 2011 Maha Festival. As a whole, the production was a few steps below Jerry Lewis Telethon quality, with way too many technical glitches and quick cuts to people in headsets angrily shouting at someone off camera. But hey, that’s live television (or webvision) for ya.

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There’s a lot of “truth” and “growing up” going on with Ladyfinger’s next album, Errant Forms, slated for release Feb. 5, 2013, on Saddle Creek Records, and no track underscores that more than “Galactic,” the auto-biographical epic that explains once and for all the mysterious behavior of frontman Chris Machmuller. The gritty, brutal rock song tells the story of a man who picks up signals in his head — numbers and images — obviously a distress signal about an alien coup, and I’m not talking about an uprising at the Arizona state capitol. It all comes down to this line: “I’m a space invader and I think I can save this planet from galactic destroyers from space.” Unclear if Machmuller is saying he, himself, is an alien or some sort of “super soldier” tasked with leading a mission to destroy an alien onslaught. I’ve listened to this song on repeat at least 100 times in the past 24 hours and I’m still not sure. Maybe I’m not supposed to “be sure.” What I can say is that “Galactic” is one of the most important songs ever released by Saddle Creek Records (and one of my favorites). Watch the skies, people. PS: I can’t wait to see the video. Attention: Ridley Scott.

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Look’s like Statistics, the project by Denver Dalley (of Desaparecidos fame and Har Mar Superstar sideman) has signed to Afternoon Records. The label will be releasing the next Stats full length, Peninsula, in March. More info here. Check out Stats’ first AR single, below:

Statistics, “Rewind, Replay, Repeat”

[soundcloud url=”http://api.soundcloud.com/tracks/71102501″ width=”100%” height=”166″ iframe=”true” /]

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BTW, that For Against box set I mentioned on Tuesday slated for release in January? Well its release has been pushed back until May or June of 2013. And I’m also told to not hold my breath waiting for a For Against reunion. One can dare to dream…

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This week’s column is pt. 1 in a series about the joys and frustrations of remodeling a house. You can read it in this week’s issue of The Reader or online right here.

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No shows again tonight, which sucks because I have tomorrow off.

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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

You know it’s the holiday season when the music calendars for the week boast non-music events like pub quizzes, wine tastings and screenings of lame ’70s Christmas cartoons. Well, let’s just hope the holidays are the reason for this intense slowdown in shows. I have no room to complain as I missed both nights of fantastic shows this past weekend. I blame general holiday fatigue for my absence, and maybe that’s why the clubs are keeping the listings light — they know that people are pooped this time of year. Or maybe not… Anyway, the only show in Omaha tonight is a Christian-core act at TWR and it’s looking pretty light until Friday night’s sold-out Faint show at Sokol Aud…

The For Against box set.

What else is going on? Well, Captured Tracks announced that it’s reissuing the first three full lengths from seminal Lincoln post-punk trio For Against. Originally released by Independent Project between ’84 and ’90, these releases will see their first vinyl appearance in more than 20 years as part of a deluxe edition limited boxed set. The set features a bonus booklet and ephemera from the band’s early career. It won’t be available until January, according to the Capture Tracks website. As part of this release, will we see an onstage reunion of Harry Dingman III (last seen playing as part of The Millions reunion) with Jeff Runnings?  The last time I saw these guys play as For Against was way back in 2008.

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Boston University’s Daily Free Press has a review of last Thursday night’s Conor Oberst gig in Boston that’s a hint of what we’re going to get at his Dec. 21 show at Joslyn’s Witherspoon Hall with Whispertown. Sounds like ol’ Conor is playing an acoustic “best of Bright Eyes” set with some other morsels thrown in. Read the review here. Tix, by the way, are still available for $25 right here.

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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

A quick follow-up on yesterday’s “Best of” lists, The Reader‘s “Next 15 of ’12” went online yesterday afternoon, here.

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Rollingstone.com posted a couple early tracks from two upcoming Saddle Creek Records releases.

The jolly guys in Ladyfinger take a load off.

“Dark Horse” is the first sounds off Ladyfinger’s upcoming album, Errant Forms, out on the Creek Feb. 5. You can download the track fer free right now right here. The album was produced by that crazy mofo who produced their last record, Matt Bayles (Mastodon, Minus the Bear, Isis), at ARC Studios, with mixing at Bayles’ Red Room in Seattle. Says frontman Chris Machmuller at the ‘stone website: “Simply put, Dark Horse is about growing up: A departure from selfishness and moral ambiguity. Despite the overwhelming urge to escape, the convivial main character, upon reflection, realizes he wants to stay with his pregnant girlfriend. Two months after I finished writing the song I found out my wife was pregnant with our first child.” What a coincidence, Mach.

Also at Rolling Stone, right here, is “Open Sign,” the first song off UUVVWWZ’s next Saddle Creek release, The Trusted Language, also out Feb. 5. Get it.

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BFF

Benson’s First Friday (BFF) event is going on tonight, which means art and music to be seen and heard all along Maple Street. One red hot show that’s part of this event is at Sweatshop Gallery 2727 No. 67th St. (just south of The Barley Street Tavern) where Digital Leather headlines with Killer Blow and the debut of Pleasure Adapter, a brand new band featuring some familiar faces: Jeff Ankenbauer (ex Shanks, Saudi Arabia) on bass/vocals; Annie Dilocker (ex-Digital Leather) on keys; Ben Allen (Watching the Train Wreck) on guitar and newcomer Joey DeRosa. An arm wrestling tourney will be going on between bands. Should be a real David Lynch-ian moment. Admission is free and so is the beer with a $5 donation. Facebook says start time is 8, but the bands tell me that they won’t get rolling until 9. Take your chances.

Also part of BFF, Rock Paper Dynamite headlines at The Sydney with HERS and Goon Saloon. $5, 10 p.m.

Meanwhile, down at The Slowdown, it’s the return of Of Montreal. I can tell you first-hand that if the show is anything like their last one a year ago last May, it’ll be well worth the $20 ticket price. Opening is the disco stylings of Brooklyn’s French Horn Rebellion. Show starts at 9.

On Saturday, Lincoln heroes Domestica return to Slowdown Jr. with The Sons of The Slowdown. $7, 9 p.m.

Also Saturday, Envy Corps returns to The Waiting Room with Field Club. $7, 9 p.m.

Meanwhile, down at The Barley Street Tavern Saturday night, Dirty Fluorescents plays along with Robo Dojo and Earlytown. $5, 9:30 p.m.

Have a damn fine weekend.

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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.