by Tim McMahan, Lazy-i.com

by Tim McMahan

It’s time once again to gaze darkly into my crystal Fender Stratocaster and behold what miracles and wonders lie before us music-wise in the year 2014. But before we begin, let’s recap and score last year’s music predictions:

2013 Prediction: The number of indie shows booked at larger clubs will decline, making way for more commercial fair — cover bands, pop acts, etc.

Reality: The trend started in 2012 and continued last year. In addition to pop acts and cover bands, comedy nights became a staple at almost every music venue in the city.

2013 Prediction: Shows hosted at alternative venues — including hall shows, house shows and temporary one-off venues — will become more commonplace.

Reality: Sweatshop Gallery (and West Wing) stepped up to fill that niche in ‘13.

2013 Prediction: Bands will give away music as free downloads to spark interest in vinyl and merch sales.

Reality: Almost every new recording is now available to stream for free via Bandcamp or Soundcloud, though actual downloads will still cost you.

2013 Prediction: The number of touring indie bands will dwindle as it becomes nearly impossible for even nationally known bands to make a living solely from their music.

Reality: There were as many bands touring last year as ever, but fewer stopped in Omaha.

2013 Prediction:  A new digital music file format will emerge that will make mp3 and AAC formats obsolete.

Reality: Not yet.

2013 Prediction: A new social web app will emerge to promote upcoming rock shows, replacing Facebook invitations, which have become more annoying than useful.

Reality: Unfortunately, no.

2013 Prediction: A new music-based TV competition will debut, but instead of focusing on performers it’ll focus on singer/songwriters.

Reality: What decent songwriter would ever sign away his/her publishing rights for a chance to be on TV?

2013 Prediction: Rolling Stone will follow SPIN and discontinue print publication to become an online-only music website, while Pitchfork will debut the first issue of a new monthly print publication.

Reality: Instead, Pitchfork diversified by launching a new online movie website, The Dissolve.

2013 Prediction: A stellar headliner will force Maha Music Festival to make a format change from past years that will involve either an additional night of music or a third stage.

Reality: Why fix it when it ain’t broke?

2013 Prediction: MECA will fill the void left by Red Sky Music Festival’s demise with at least two major outdoor concerts at Ameritrade Ball Park and six sell-out-quality shows at CenturyLink Center, including a “significant” indie-style band.

Reality: Uh, no.

2013 Prediction: Bands we’ll be talking about this time next year: Husker Du, Wilco, Bob Dylan, Led Zeppelin, PJ Harvey, Pavement, My Bloody Valentine, Tom Waits, Lloyd Cole, Matthew Sweet, Liz Phair, Beck, Arcade Fire, David Bowie, Grasshopper Takeover and Bright Eyes.

Reality: Huskers and Wilco were AWOL, but Zep went online (with Spotify), MBV released a top-10 album, plus we got new ones from Lloyd, Beck, Arcade Fire and Bowie.

2013 Prediction: Bands we won’t be talking about: Green Day, Rolling Stones, Springsteen, Metallica, Lady Gaga, fun., Ke$ha and Psy.

Reality: Crickets from all including Ga Ga, whose new release was a flop.

2013 Prediction: All of Aerosmith’s problems will be resolved once and for all.

Reality: Tyler, Perry and Co. continued their ever-lasting world tour.

2013 Prediction: Local record stores will get some new competition from a music shop that will open in Benson that caters to vinyl enthusiasts and musicians.

Reality: Almost Music, a vinyl-only shop, opened in Benson this summer.

2013 Prediction: Expect at least two new bands to join the Saddle Creek roster, including one well-known indie veteran, while at least one long-standing Creek act will jump ship for a major label.

Reality: Saddle Creek signed and released an album by indie vets The Thermals, and released a single by local darlings Twinsmith. Meanwhile, rumors are rampant that Desaparecidos’ new record will be released by a different label (such as Epitaph?).

2013 Prediction: We’ll say goodbye to one of the area’s most promising local bands that will break up despite a label-released album, but we haven’t heard the last of the band’s frontwoman.

Reality: Conduits quietly dissolved last year. Frontwoman Jenna Morrison moved to Los Angeles last week.

2013 Prediction: Another all-ages venue will open in Omaha operated as a non-profit catering to the indie music crowd.

Reality: 402 Arts Collective launched this year. The non-profit opened an all-ages performance space and recording studio in Benson, along with a coffee shop.

2013 Prediction: An out-of-this world national performer will play a last-minute “secret show” at either O’Leaver’s or Pageturners.

Reality: No, though both venues hosted some big names this year.

2013 Prediction: A local performer will be “discovered” by a big-time movie or TV mogul who catches their set while in town working on a production.

Reality: Alexander Payne apparently isn’t into local music.

2013 Prediction: And finally, it wasn’t Bright Eyes, The Faint or Cursive but Icky Blossoms who will finally break the barrier by making their television premier on Saturday Night Live.

Reality: Maybe next year (seriously)…

So 10 for 21 (if you’re feeling generous). Not bad, not good…

As for this year’s predictions for 2014, if you read last week’s Year in Review story you got a glimpse of a possible ’14 dominated by streaming music services (and the possible consequences). So with that, this year we’re going straight to the Lightning Round!

2014 Prediction: Thanks to social media, MTV will become an important (i.e., actual) music channel once again, but not on television, on the web. Look for MTV to emerge as a primary launching pad for premiering new music and online video.

2014 Prediction: Streaming services such as Spotify, Songsa, 8Tracks and Pandora will enter the concert promotion business, creating packaged “caravan”-type concert tours that barnstorm the country and whose performances will be streamed live on their respective streaming channels.

2014 Prediction: Target, Walmart, Best Buy and even Kmart, will reinstall record bins as the vinyl renaissance continues.

2014 Prediction: With the advent of computers integrated into apparel, eyeglasses, rings and watches — i.e. “wearables” — almost every concert you attend will be recorded and uploaded to YouTube.

2014 Prediction: Pussy Riot’s release from a Russian gulag will land them in America, where they’ll work with a handful of “important” producers to create a breakthrough punk album… before returning to Russia where they’ll once-again be imprisoned.

2014 Prediction: Upon its release next year, a song off the new Cursive double-live album will break through to pop culture in a way we haven’t seen since Cheap Trick, Peter Frampton and George Thorogood.

2014 Prediction: A one-time-only all-day outdoor concert will attract a handful of well-known national indie bands and rival the Maha Music Festival in attendance.

2014 Prediction: Speaking of Maha, the festival will land multiple headliners this year and will finally reach attendance that exceeds Stinson Park’s capacity, forcing the organization to look for a larger venue in 2015.

2014 Prediction: In an effort to keep CD prices from eroding, more artists will follow Beyonce’s lead and release albums exclusively on iTunes, causing similar rifts with retail outlets such as Amazon and Target, but opening doors with independent music retailers who will get exclusive access to “hard inventory,” such as CDs and vinyl.

2014 Prediction: More artists and independent labels will say “I’ve had enough” and follow Thom Yorke’s and Nigel Godrich’s lead and pull their music from Spotify, forcing the online streaming service to rethink its business model.

2014 Prediction: Bands we’ll be talking about this time next year: Radiohead, U2. The Faint, Conor Oberst, Cursive, Ted Stevens, Beck, Prince, Animal Collective, Digital Leather, Frank Ocean, Grizzly Bear, Future Islands, Sleigh Bells, Spoon, Death Cab for Cutie, Little Brazil, Tame Impala, Local Natives, Modest Mouse and Icky Blossoms.

2014 Prediction: Bands we won’t be talking about: Miley, Springsteen, Flaming Lips, Bieber, Chris Brown, Ritual Device, Monae, HAIM, Kanye, Katy Perry and Skrillex

2014 Prediction: All Bob Dylan’s problems will be solved once and for all.

2014 Prediction: New Lincoln venues, including Vega, will put a squeeze on Omaha music-goers, forcing them to “make the drive” more often to see their favorite touring indie bands.

2014 Prediction: One local online music-focused website will shut down forever in 2014 (and no, it won’t be Lazy-i).

2014 Prediction: Believe it or not, a local radio station will integrate a College Music Journal-style playlist into its regular programming

2014 Prediction: Yet another new live music venue will open in Benson, but this one will focus on either jazz, blues or country music. In addition, look for a new music club to open in or around Midtown Crossing.

2014 Prediction: An indie music legend with Nebraska roots who moved away from the Midwest more than a decade ago will return to The Good Life state and open a recording studio.

2014 Prediction: Look for another local singer/songwriter to break out nationally in 2014, but without the help of Saddle Creek Records. The name will be no surprise to his longtime fans.

2014 Prediction: Next year Conor Oberst really will appear the Saturday Night Live stage, but not as a music performer…Oberst, the actor!

First published in The Reader, Dec. 31, 2013. Copyright © 2013 Tim McMahan. All rights reserved.

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New Year’s Eve historically is a night for cover bands and DJs and this year is no exception. Only two shows stand out for bringing in the New Year with original music. Simon Joyner and The Ghosts are playing tonight at The Side Door Lounge, 3530 Leavenworth Street. I’m told the bar is under new management. Simon and his posse will hit the stage at 10 and will perform two sets. If it is anything like we saw last Friday night, you’re in for a treat. By the way, there’s no cover!

The other show worth mentioning is at The Sydney tonight where John Klemmensen and The Party open for A Man Amongst Men and headliner Rock Paper Dynamite. This one starts at 9 p.m. and also is absolutely free.

Me, I’ll be busy trying to blow a rack at Chops while counting down the seconds to midnight.

Have a safe and happy New Year. See you in 2014.

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Lazy-i Best of 2013

Before you let 2013 pass you by, enter to win a copy of the Lazy-i Best of 2013 compilation CD! The collection includes songs by Nick Cave and the Bad Seeds, The Gardenheads, Destruction Unit, Lloyd Cole, Pet Shop Boys, Daft Punk, Jack Bugg and a ton more.  The full track listing is here. Entering has never been easier: To enter either: 1. Send an email with your mailing address to tim.mcmahan@gmail.com, or 2) Write a comment on one of my Lazy-i related posts in Facebook, or 3) Retweet a Lazy-i tweet. You also can enter by sending me a direct message in Facebook or Twitter. Hurry, contest deadline is midnight Jan. 6!

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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 © 2013 Tim McMahan. All rights reserved.

Simon Joyner and The Ghosts at the Hear Nebraska album release show, The Waiting Room, Dec, 27, 2013.

by Tim McMahan, Lazy-i.com

I’m trying to remember if I’ve ever seen a better Simon Joyner performance than what we got at last Friday’s Hear Nebraska album release show at The Waiting Room. I’d have to go back and back, maybe to some of the Fallen Men shows when Skeleton Blues was released in aught six, or further and further still, to the Howard Street Tavern days when Simon was first joined by Chris and Alex and Lonnie.

Sitting on a bar stool center-stage surrounded by no fewer than six musicians (The Ghosts), Joyner played a loud, droning, wonderful set of seasick hangover blues folk ballads heavy on feedback and pure on vocals. I knew a few of the folks up there with him — brilliant pedal-steel man Mike Friedman, violinist Megan Siebe (of Anniversaire and more recently cellist with Cursive – Megan is becoming Omaha famous, before you know it she’ll be touring Japan with Bright Eyes), and (who I think was) dashing singer/songwriter Noah Sterba.

The rest I did not know, including the shaggy gentleman ripping apart an electric guitar, spraying shards of love and anger and pain throughout the crowd. I was told the next day (by the proprietor of Almost Music, Brad Smith) that it was likely David Kenneth Nance. Brad than played a track off Nance’s 2013 Grapefruit Records release Actor’s Diary, which I should have purchased on the spot (but instead ordered online the next day). On Friday night, Nance provided the Sturm to Joyner’s drang, pitching one bright sustained note after another alongside Joyner and the rest of the band, who were lost in their own howling storm.

Among the set list was a new one about a drinking buddy, and a lot of old, familiar ones including “The Only Living Boy in Omaha” and Joyner classic “Double Joe” and Ghosts highlight “Vertigo,” which closed out the set with Joyner leaning back and (almost) falling off his bar stool. As his trademark straw cowboy hat fell from his head a bevvy of photographers rushed the stage to try to capture the moment. It was a glorious spectacle indeed.

Universe Contest at the Hear Nebraska album release show, The Waiting Room, Dec, 27, 2013.

Joyner made way for the night’s headliner — Lincoln band Universe Contest who brought a lighting rig the size of which I’ve not seen with any other local indie band since, well, The Faint. The Faint’s first foray in lighting entertainment — multi-colored floor floods controlled via foot pedals operated on stage by Joel Petersen during the performance — was quaint and crude, but effective.

Universe Contest’s light rig was a series of blinding LED light panels attached to a massive metal framework — it must be a bitch to haul around and set up. A lighting guy controlled the synchronization from a controller behind the sound board. Sometimes the effects were dramatic and impressive, other times they were distracting. At their best they provided a contrast, dimming to nearly nothing during quiet moments, blazing white hot during peaks. The investment is proof these guys have their sights squarely set on getting to the next level.

Countering the hard work that went into lighting was all the flying debris. Universe Contest is apparently the band you throw shit at. I counted no less than seven empty beer cans hurled at the stage throughout their set, as well as an assortment of other trash. One beer can bounced off the guitarist’s fretboard; he reacted without a flinch. I waited for someone in the band to pick up a can and say, “The next person who throws shit at us gets this shoved right up his ass,” but it never happened. Instead, the garbage continued to rain down on them. Maybe it’s a Lincoln thing because I’ve never seen anyone throw anything at any other band on The Waiting Room’s stage. (Imagine what would happen if someone threw something at Joyner).

Anyway, it was a distraction from what everyone should have been paying attention to — the music. Early in their history, Universe Contest had a Modest Mouse thing going on that was unmistakeable. They’ve moved beyond that, though there’s still touches here and there, as well as marks of other band such as MGMT and Le Savy Fav. Their sound is more electronic than I remembered and certainly more rhythm-heavy. While I could barely hear the guitars, I could feel the bass, and the drums — a standard trap set mixed with electronics.

I counted at least three vocalists sharing leads throughout the set, most were handled by the guitarist and bass player, though the keyboard player’s vocals were the most restrained (and the most sublime). There were only a few numbers where the vocals did more than add to the rhythms, which is one way of saying there were few if any central hooks in these songs, nothing you’re going to hum to yourself as you walk back to your car.

Instead, Universe Contest’s music is openly simple, with a number of songs centered around a repeated phrase that builds momentum with every turn. When the band gets in a groove it exudes a modern tribal energy that’s both neo-psychedelic and progressive.

Add it all up — the lights, the music, the flying debris — and Universe Contest is never less than entertaining. They sound like they’re halfway between being an indie pop band and being a full-on prog band; and that indecision defines them (for now).

So.

I’m told the crowd was just under 200, and Hear Nebraska sold quite a few albums. I spied a copy and they look pretty cool. I haven’t gotten mine yet since I bought a super-special signed copy and they were still getting the sigs. Where can you buy your copy? For now, they can be purchased here at hearnebraska.org. Sweet orange vinyl. Get one while you can.

* * *

The way the holidays sit on the calendar this year has got me discombobulated. Is it Monday or is it Friday? If you’re like me, you have tomorrow and Wednesday off, which makes this a Friday. Unfortunately, the clubs didn’t get the memo and mistook this for just another Monday… Come on, people….

* * *

TOMORROW: The blog entry you’ve all been waiting for: MUSIC PREDICTIONS FOR 2014. Be here and find out what’s going to happen to you next year…

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Lazy-i Best of 2013

A reminder to enter to win a copy of the Lazy-i Best of 2013 compilation CD. The collection includes songs by Arcade Fire, Eli Mardock, Foxygen, Yuppies, Tim Kasher, Speedy Ortiz, Low and a ton more.  The full track listing is here. Entering has never been easier: To enter either: 1. Send an email with your mailing address to tim.mcmahan@gmail.com, or 2) Write a comment on one of my Lazy-i related posts in Facebook, or 3, retweet a Lazy-i tweet. You also can enter by sending me a direct message in Facebook or Twitter. Hurry, contest deadline is midnight Jan. 6!

* * *

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 © 2013 Tim McMahan. All rights reserved.

by Tim McMahan, Lazy-i.com

Well, I tried to go to Icky Blossoms at The Waiting Room last night but there was a snafu with “the list.” It’s an occupational hazard — even though they told you you’re on the list, there’s always a chance someone forgot. As The New Yorker footnotes in its “Night Life” section: “Musicians and night-club proprietors live complicated lives; it’s advisable to check in advance to confirm engagements.”

Usually it’s no big deal — I simply pay to get in, but not this time. The show was sold out. Yes, Icky Blossoms has broached that next level of local success — they’re too big for The Waiting Room. I have no idea how well their last CD sold, but it looks like Saddle Creek may have a new Faint on their hands (which is good because they no longer have the old Faint on their hands (except in their back catalog)). The real test will be how well Icky draws outside the holiday season. Could be they simply had a huge list last night of friends and family, albeit missing one person.

It’s possible we could have a replay tonight at The Waiting Room as Hear Nebraska celebrates the release of its Vol. 2 vinyl compilation. Tonight’s show features (in this order) Pleasure Adapter, Conchance, Simon Joyner and the Ghosts and headliner Universe Contest. $8, 9 p.m. Don’t forget to pick up a slab of vinyl while you’re there.

Also tonight, Pro-Magnum returns to fabulous O’Leaver’s with Weakwick. $5, 9:30 p.m.

Two shows Saturday night feature Nebraska ex-patriots.

Over at The Sydney, former Nebraskan now Philly guy Mike Jaworski (Virgin Islands, The Cops) returns to the stage. Sayeth Mr. Jaworski: “I’ll be playing solo with some members of the Sons Of joining me on a few songs. I’ll be playing mostly new songs I’ve been working on for a new project called Shocking Waves. I may throw in a song or two by The Cops and Virgin Islands for fun too. We’ll see…” Jaws opens and is followed by Lincoln’s Weldon Keys and then everyone’s favorite local rock stars, The Sons of The Sydney. $5, 9 p.m. Check out some Shocking Waves below:

Meanwhile former Omahan now New Yorker Steve Bartolomei (Mal Madrigal) and Co. plays down at Slowdown Jr. Saturday night. Steve talks about what he’s been up to in this exclusive Hear Nebraska interview.  Opening is Noah Sterba and Ben Brodin. $8, 9 p.m.

On Sunday down at Slowdown Jr. James Maakestad (Electric Chamber Orchestra, ex-Gus & Call) headlines with Millions of Boys and Anna McClellan. $7, 9 p.m.

Meanwhile John Klemmensen hosts another “Songwriter Death Battle” at The Waiting Room Sunday night. The evening features a plethora of local singer/songwriters each playing one song using Klemmensen’s acoustic guitar. $7, 9 p.m.

* * *

Lazy-i Best of 2013

A reminder to enter to win a copy of the Lazy-i Best of 2013 compilation CD. The collection includes songs by Arcade Fire, Eli Mardock, Foxygen, Yuppies, Tim Kasher, Speedy Ortiz, Low and a ton more.  The full track listing is here. Entering has never been easier: To enter either: 1. Send an email with your mailing address to tim.mcmahan@gmail.com, or 2) Write a comment on one of my Lazy-i related posts in Facebook, or 3, retweet a Lazy-i tweet. You also can enter by sending me a direct message in Facebook or Twitter. Hurry, contest deadline is midnight Jan. 6!

* * *

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 © 2013 Tim McMahan. All rights reserved.

The thing on the left is a dog sculpture created by local artist Julie Jenowe. The thing on the right is my dog, Evie.

by Tim McMahan, Lazy-i.com

by Tim McMahan, Lazy-i.com

In this week’s issue of The Reader, the annual Music Year in Review article, complete with top-10 list and favorite live shows. It’s on news stands now, or read it online right here at thereader.com, or… read it below.

by Tim McMahan

Let me tell you a story that could reflect a huge shift in how music is heard, and where the whole thing (may be) headed in the very near future.

I recently had this conversation with a young music listener. Her ear buds tucked firmly in her earholes, I tapped her on the shoulder and asked what she was listening to.

“Oh, I listen to 8tracks,” she chirped, referring to the music streaming service. Okay, I said, but what band are you listening to? “Oh, I don’t know who it is. I just like listening to this music.”

Wait a minute, you don’t know who you’re listening to?

“Right. I just tune to my favorite theme on 8Tracks. I don’t pay attention to who’s singing.”

This led to a discussion about live music. My friend said she rarely goes to live concerts because, “I can’t imagine listening to music by one band all night.” One band all night? Who could tolerate such a thing in this “random shuffle age”?

For her, going to shows or concerts wasn’t about the music, but the performance, the light show, the spectacle. In fact, the music wasn’t secondary when deciding to go out, it was way down the list, somewhere after the ticket price, venue choice, booze and food availability, and (of course) who else was going.

Data check: This person is an intelligent, educated, indie-music-listening graphic artist in her mid-20s. I thought she was a fluke, an oddity, until I had a nearly identical conversation with a guy at the gym. When I asked him who he was listening to, he said Pandora.

He said he never bothers to interrupt his work outs to see who’s actually singing. The last concert he went to was Nine Inch Nails a number of years ago. He’d never been to a local club. He didn’t even know there were local bands that played original music. It’s not that he didn’t care, it’s that local music doesn’t get played on Pandora, and even if it did, he wouldn’t know because he never checks to see who’s playing.

Think I’m feeding you a load of shit? Try it — ask someone outside of your personal music-listening inner-circle what they listen to. See which (if any) musicians they can name beyond those who have performed skits on Saturday Night Live. Then ask them how they listen to music.

It comes back to the same problem that’s plagued the music industry since the dawn of the Internet Age: The paradigm shift in how music is distributed. And it brings up some stark questions: Why and how do listeners buy music? Are labels necessary anymore? In a streaming age, will the idea of “owning” music even exist?

The so-called “vinyl renaissance” that’s been ballyhooed as a potential savior of the music industry (even though we all know that vinyl sales represent a scintilla of total music sales) could be a backlash to the lack of materialism associated with today’s music options. Digital music is “immaterial” to new listeners. Vinyl represents tangible ownership, especially for “collectors.”

But casual music listeners don’t care about collectables. They don’t buy vinyl. In fact, unless the artist is a mega media star that regularly lands in TMZ  or Huffington Post , they don’t know who they are, and they don’t care.

People are listening to more music today than ever before, they just don’t know who or what they’re listening to. Their loyalty is shifting from artists and labels to streaming services — Spotify vs. Songify vs. Pandora vs. 8tracks vs. Rdio vs. Slacker, etc. There’s a new one coming online every six months.

And in a Pandora world, more value is placed on “style” than individual artists. Songify’s model involves merely selecting a theme: “Music to study to,” “Runway music,” “Urban Dance Party,” and so on.

8tracks’ “explore” mode is all about curated lists and themes with names like, “I can’t unlove you,” “Numb and trippy” and “Don’t make a sound now.” It takes the shuffle-mode concept to a whole ‘nother level. It’s weird.

Curation has never been more important in this Amazon/Walmart world where we can buy whatever we want whenever we want it. The problem os, of course, figuring out which is “the good stuff.” With millions of digital tracks available from your iPhone or Android device, no one can be expected to figure out what they want to hear. It’s so much easier to let someone else decide.

So how is any of this different than terrestrial radio, where faceless DJs picked the music that was the soundtrack to our lives? Well, at least with radio, they told you what you were listening to. Curated streaming music services merely dish out the songs one after another. If you want to know who’s playing, you have to look at your phone, and who has the time or energy for that?

But even in the radio days, you never heard local bands on the airwaves. That problem is just as bad — if not worse — with streaming services.

The other night a local musician walked up to me at the bar and began excitedly talking about his new record — not that it was coming out on a label, but that he finally got it accepted by Pandora. Now if he could only figure out a way to get his songs played on everyone’s “Springsteen Channel.”

Now for something less dismal. Without further ado, the list of my top-10 favorite records of 2013, in no specific order:

Lloyd Cole, Standards (Tapete) — Don’t call it a comeback, it’s the best thing he’s released since Music in a Foreign Language, and could be a hit if he ever tours the U.S.

Low, The Invisible Way (Sub Pop) — Produced by Wilco’s Jeff Tweedy it’s a return to form for indie rock’s throb-pulse heroes.

Arcade Fire, Reflektor (Merge) — Probably the most hyped indie album of the year, it lives up to it (for the most part).

Nick Cave and the Bad Seeds, Push the Sky Away (Bad Seed, Ltd.) — As with most of his recordings, Cave is almost perversely dramatic in his singing/speaking, as if telling dark lies at midnight, which btw, is the best time to listen to this record.

Foxygen, We Are the 21st Century Ambassadors of Peace and Magic (Jagjaguwar) — Produced by Richard Swift, who worked on the last two Mynabirds albums, it’s pure ’70s Stones, as Stonesy as you can get without dragging Mick into the studio.

Destruction Unit, Deep Trip (Sacred Bones) — A twisted, feedback-soaked parade of broken, angry garage rock that never fails to shine brightly.

Speedy Ortiz, Major Arcana (Carpark) — Conjures comparisons to Guyville-era Liz Phair (but much heavier), Breeders, Pavement, but with a soulful sound of its own.

Daft Punk, Random Access Memories (Columbia) — Probably the most hyped dance album of the year, it exceeded all expectations.

Tim Kasher, Adult Film (Saddle Creek) — The most tuneful Kasher project since The Good Life’s Help Wanted Nights in 2007.

The Gardenheads, Growing Season (Wee Rock) — A lot of bands try to do Americana. A lot of bands are boring. And some might say The Gardenheads’ music is “by the numbers,” but there’s something more here, something infectious in its simplicity.

I went to a few shows last year (okay, a lot of shows). Below is the list of — maybe not the best — but certainly the most memorable moments I lived through in 2013:

Gordon at The Side Door Lounge, Jan. 26 — It was a lovely train wreck the likes of which I haven’t seen since The Shanks farewell two-night stand at O’Leaver’s a year or so ago. In a lot of ways Gordon reminds me of The Shanks, albeit a cute, furry animal version without the blood and gore.

Ty Segall / Digital Leather at Sokol Underground, Feb. 10 —  Segall and his band was a well-honed noise machine, easily the loudest thing I’ve heard on a stage in a few years. I stood on a chair along the wall and watched the crowd writhe in ecstasy to the knuckle-bleeding music.

The Men at Slowdown Jr., April 27 — Here was a band that could effortlessly switch between hyper-rock and something vaguely resembling alt-country while always maintaining their speed, power, grace.

Baths at The Waiting Room, June 2 —  In addition to having the deepest, loudest low-end I’ve heard at The Waiting Room since the last Faint show, Baths’ melodies were abrasive and tricky but worked their way into my psyche. What starts as awkward and ugly becomes big and beautiful by the end.

Digital Leather, Big Harp, Kill Country at The Holland Center, June 7 — On the surface, the line-up for the inaugural Hear Nebraska Live program sponsored by Omaha Performing Arts at the Holland last Friday night was edgy, if not just plain risky. The outcome was — for the most part — a success.

Maha Music Festival at Stinson Park, Aug. 17 — If you came for spectacle, you got it. The Flaming Lips’ amazing light show included pin lights flowing from above Wayne Coyne down a chrome mountain like an LED volcano. But the highlight of the day was Bob Mould, who rifled though a “greatest hits” selection so loud it scared away the faint of heart.

Joan of Arc at O’Leaver’s, Sept. 18 — Vocalist Melina Ausikaitis — hands thrust in pockets, slouched in rolled-up blue jeans, red Converse high-tops, well-worn T-shirt and suspenders — was strangely magnetic, especially singing two a cappella numbers while the band fiddled with their various tuning devices.

Quasi, Jeffrey Lewis at Slowdown Jr., Oct. 4 — The best moments were the hits, which Sam Coomes supplied with a weathered panache that made them sound as fresh as they did when first performed 15 years ago.

Built to Spill at The Waiting Room, Oct. 18 — Doug Martsch and company played a sharp, measured set that combined the best songs from his classic albums with heavy stuff from the band’s latest. The high point was the encore — a lush version of The Smiths’ “How Soon Is Now,” complete with Marr’s trademark tremolo guitar effect.

Desaparecidos at The Waiting Room, Oct. 22 — Conor Oberst was in rare form, though his voice was hoarse at times, especially on those high notes. Good thing Landon Hedges was there to fill in the gaps. Here’s a secret: Hedges has a better voice, but when the material calls for screaming more than singing, it doesn’t really matter.

Cat Power at The Slowdown, Nov. 22 — Throughout the two-and-a-half hour solo performance Marshall looked anxious and irritated, clearly struggling with either an illness or a serious case of anxiety, stage fright or just not being prepared, all the while constantly being distracted by someone in the crowd who baited her from the edge of the stage (whether that person realized it or not).

Cursive at The Waiting Room Dec. 5, 12, 19 — This trio of “residency” shows recorded for a possible live album is everything any Cursive fan could want — more than 20 songs performed each night spanning the band’s entire career. What a way to cap off the year.

First published in The Reader, Dec. 23, 2103. Copyright © 2013 Tim McMahan. All rights reserved.

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So you’re done with the family stuff on Christmas night and don’t feel like watching It’s a Wonderful Life again? Why not sneak out to O’Leaver’s, where, in addition to a staff reenactment of The Gift of the Magi, Omaha troubadour Dan McCarthy a.k.a. McCarthy Trenching will be headlining a show that also features James Maakestad (Electric Chamber Orchestra), Michael Todd (yes, the one from Hear Nebraska) and more. As the song goes, “Oh what fun it is to drink / until you pass out drunk…” No price or time listed for this one, but it’s either $5 or free and probably starts at 9:30.

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If I don’t see you, Happy Holidays from your friends at Lazy-i….

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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 © 2013 Tim McMahan. All rights reserved.

Cursive at O’Leaver’s, Dec. 20, 2013.

by Tim McMahan, Lazy-i.com

Cursive followed its three-day “residency” at The Waiting Room with a two-day “residency” at fabulous O’Leaver’s this past weekend. I’m told both nights also were recorded and may be used as part of a package promo for the proposed “Live at The Waiting Room” album (maybe a “Live at O’Leaver’s” bonus collection?).

Needless to say, The Club was packed Friday night as word got out about the “secret show.” Cursive had been billed as Crystal Wolf from McCallen, Texas (They were Bear Antlers Saturday). The set-up was the same as at TWR shows but with a lot less room (but more Christmas lights). I won’t go into the set list other than to say it was a lot of same material — pop songs, rock songs and rarities from more than a decade of recordings.

The difference soundwise is what you’d expect going from TWR’s huge system to a small club environment. The performance sounded more intimate but no less dynamic. If there’s a nit to pick it may be that Matt Maginn’s bass was a tad bit overpowering at times, though hardly distracting. It would be very interesting to hear how the two recordings sound side-to-side. Keep your fingers crossed that something comes out of these five nights of shows.

Now that the Cursive residency is over, what am I going to do with my Thursday nights?

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It’s a special night for fans of the old Ranch Bowl as a handful of bands that were regulars at that long-gone classic venue will take the stage tonight at The Waiting Room. Headliner Mandown was part of Omaha’s pop-punk scene from the early 2000s identified by Big Fish/BJM Studios/GetGo! Records bands like Pomoroy and Lowercase i. Joining Mandown tonight is 8th Wave and The Fonzarellies. $10, 9 p.m.

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Check back tomorrow for the huge Music Year In Review story that includes my top-10 list and favorite live shows from 2013.

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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 © 2013 Tim McMahan. All rights reserved.

Cursive, Night Three at The Waiting Room, Dec. 19, 2013.

by Tim McMahan, Lazy-i.com

Night Three — the final night — of Cursive at The Waiting Room was just as packed as Night Two. Well, maybe not just as packed, but impressively crowded nonetheless.

The set-up was the same as the past two shows, but the set list was firmly in “extra angst” mode. The band came on around 11 and launched into “A Gentleman Caller,” which would have its usual reprise during the encore, but I’m getting ahead of myself.

The first half of the set felt dominated by odd, angular, proggy obscurities off the early releases, mixed with Gemini songs. Here’s a little secret: Though I have the records, I’m not intimately familiar with the band’s early material. Without access to a set list, my process for figuring out song names is to tap-in a specific lyric into my iPhone notepad, figuring I could look it up on the InteWeb the next morning.

Hence, this morning I typed “I once had pride, I once had guts…” into the Google machine and out popped the lyrics to “A Little Song and Dance,” from the band’s second album, The Storms of Early Summer: Semantics of Song.

“You lying naked next to me…” was from “Excerpts From Various Notes Strewn Around The Bedroom of April Connolly, Feb. 24, 1997” off 8 Teeth to Eat You.

“What are you missing…” was “Dedication to Desertion” off the band’s first album, Such Blinding Stars for Starving Eyes.

“You’re a major leaguer now…” — “A Career in Transcendence” from Storms…

And so on.

Crib notes weren’t needed for the hits, such as “Rise Up! Rise Up!” “Dorothy at 40” and “I Couldn’t Love You.”

The band played with the usual panache, but seemed a bit reserved through the first half. For added effect, pre-recorded noises and sound clips played between songs — something I didn’t notice the first two nights — maybe a device to help hold the set together?

While the old stuff was well received, the audience didn’t explode until the last 30 minutes of the night. The set was definitely back-loaded with gold. “The Casualty” went directly into “The Martyr,” and the crowd went nuts. The back-to-back performance was the “arena moment” I’d been waiting for, though frontman Tim Kasher’s voice began to give out on the high-octane screams.

Lovely cellist Megan Siebe (of Anniversaire) was particularly mesmerizing last night. The band needs to recruit her for the next album (if she’s willing, and who wouldn’t be?).

They closed out with “Big Bang” (Chris Machmuller again joining on sax alongside trumpeter / keyboardist / Kasher wingman Patrick Newbery) and one of my all-time faves, “From the Hip” before exiting and returning for a two-song encore of “Mothership, Mothership, Do You Read Me?” (off the Burst and Bloom EP) and perennial closer “Staying Alive” sounding more bombastic than ever.

Any one of the three nights of shows that comprised Cursive’s Waiting Room “residency” would make anyone’s “best shows of the year” list. All three taken as a whole is something of a landmark for local music, which (hopefully) will be documented for the ages with a live album next year.

And so it ends. Or does it?

Word leaked out last night that we might get two more nights of Cursive — tonight and Saturday — at O’Leaver’s, both nights also to be recorded. Scuttlebutt was that the band would announce the shows from stage last night, but they never did, which makes this a “secret show”… if it happens at all. Take your chances.

Ladyfinger at The Waiting Room, Dec. 19, 2013.

Hey, what about last night’s openers? I missed Ted Stevens Unknown Project (sorry Ted), but caught all of Ladyfinger. Someone pointed out a grievous error on my part — Ladyfinger’s last album, Errant Forms, actually came out in 2013. I forgot all about it while putting together my year-end “favorites” list. Had I remembered, I likely would have included it (“The list” comes out next week, btw).

Last night’s set drew heavily from that album. While the rest of the band couldn’t have been more on point — break-back rhythm section, screaming guitars — when it came time for frontman Chris Machmuller to sing the inspirational lines from “Galactic” he went into complete mumble mode. WTF! Just an off night for Mach? No. He followed it with a vocal performance on “Dark Horse” that would make Springsteen blush. So who knows. Needless to say, at the end of their short set I wanted more.

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I would tell you that my weekend plans are skewed by rumor of “secret” Cursive shows except that I was planning on going to O’Leaver’s this weekend anyway, starting tonight for The Seen and McCallen, Texas, band Crystal Wolf. Will Cursive also perform? Find out. $5, 9:30 p.m.

Also tonight is Barley Street Tavern’s Xmaspalooza Showcase, featuring Jeremy Mercy, Darren Keen, John Klemmensen, All Young Girls Are Machine Guns and a handful more. 9 p.m., $5.

Meanwhile, down the street at The Sydney it’s Hotlines (Dereck Higgins, Amanda DeBoer Bartlett, Javid Dabistani and Luke Polipnick), with American Cream. No details, but probably $5, 9 p.m.

And for an extra-special dance treat, Darren Keen and Crew are covering Daft Punk tonight down at House of Loom. $5, 10 p.m.

Tomorrow night it’s The Brigadiers with Bear Antlers at O’Leaver’s (and maybe/probably Cursive?). $5, 9:30 p.m.

Also Saturday night, The Envy Corps headlines at The Waiting Room with Oquoa and Millions of Boys. $8, 9 p.m.

Lastly, Sunday night The Mezcal Brothers headline at The Waiting Room with Matt Cox. $7, 6 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 © 2013 Tim McMahan. All rights reserved.

by Tim McMahan, Lazy-i.com

You could look at the last two Cursive “residency” shows at The Waiting Room (the past two Thursday) as Acts I and II of a 3-act play. If so, tonight’s show would be the pay-off act, where everything comes together.

Or, you could view tonight’s show as a 90-minute Cursive finale following two marathon sets.

Me, I see tonight as a chance for the band to navigate uncharted territory. Cursive is recording all three nights for a possible live album. Night 1 (Dec. 5) was a straight reading of the source material. Night 2 (Dec. 12) had the feel of an arena concert tucked into a nightclub. Needless to say, they got enough from the first two nights — well over 40 songs recorded — to fill a handsome double album.

But now comes Night 3. With the first two shows securely “in the can” they can do whatever they want whatever way they want to. But it’s hard to imagine them rolling out anything more obscure from the Cursive catalog than what they’ve already played. So what will they do? Only one way to find out.

Opening tonight’s show is Ted Stevens Unknown Project — that means Ted’s pulling double-duty. Also on the bill: Ladyfinger (which means Chris Machmuller also is pulling double duty as he’s playing sax with Cursive). Get there early. I bet tonight will be as packed as last week’s show (which was a crush mob). If you’re worried about a sell-out, do something about it. $12, 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 © 2013 Tim McMahan. All rights reserved.

by Tim McMahan, Lazy-i.com

Three local songwriter showcases are happening tonight, two of which are series that are celebrating their final curtain call (for now).

Down at Slowdown Jr. it’s the return of Midwest Dilemma. Frontman Justin Lamoureux’s band has taken on a myriad of forms — everything from a trio to a 16+ piece acoustic orchestra. What configuration will he take tonight? Opening is Landon Hedges, better known as the frontman of Little Brazil and member of Conor Oberst-powered rock band Desaparecidos. Joining them is the always entertaining Brad Hoshaw. Get all three for one low price of $7. Show starts at 9.

Also tonight, Matt Whipkey ends his “Whipkey Wednesdays” solo series at The Lauter Tun, 3309 Oakview Dr., a bar that recently announced it’s closing its doors for good. Send them both off in style. Jessica Errett opens. 8 p.m. and absolutely free.

Also ending tonight is MarQ Manner’s Songwriter Night at The Library Pub, 5142 No. 90th St. According to the Facebook invite, this is the last night of the series, though there’s more to come in 2014.  Slated to play: Magick K Band Acoustic, Dallas Hendricks, Matt Cox and Scott Severin. Show starts at 8 and is free free free.

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If you didn’t get your tickets to Neutral Milk Hotel you’re out of luck. E-tix is showing that it’s SOLD OUT.

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In this week’s column, a look at how film-maker Peter Jackson desecrated J.R.R. Tolkien with his latest installment in The Hobbit trilogy. You can read it in this week’s issue of The Reader or online 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 © 2013 Tim McMahan. All rights reserved.

by Tim McMahan, Lazy-i.com

A quick head’s up: One Percent Productions announced today that fewer than 10 percent of tickets are available for the March 29 Neutral Milk Hotel show at Sokol Auditorium (w/Elf Power). I suspect this one will sell out in the coming hours or day(s). Tickets are $33 ($38.12 after fees) available online here. You’ve been warned.

One Percent also announced today Okkervil River is playing at Slowdown April 7.

Other than that…

The Burkum Boys (the main guys in Skypiper) headline tonight at O’Leaver’s. Opening is the C&W stylings of Minneapolis duo The Cactus Blossoms and Ojai. $5, 9:30 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 © 2013 Tim McMahan. All rights reserved.