by Tim McMahan, Lazy-i.com

You’ll have a chance to celebrate the New Year early with two shows happening tonight — and check it out: They’re timed so you can catch both.

Tonight at the Waiting Room Oquoa headlines a three-band bill that includes David Nance & Mowed Sound in the opening slot. Mesonjixx also is on the bill. Not sure what Oquoa has been up to lately recording-wise, though they continue playing live. As for Nance, he’s always releasing something new. On Nov. 30 he quietly released Mowed Sound Vol. 1 on Bandcamp (and cassette), a collection of live cuts from shows in Philly and LA, which includes the new funkified version of “Credit Line.” Show starts at 9 p.m., $10.

Earlier in the evening, hep-daddies The Mezcal Brothers are bringing their brand of rockabilly to The B. Bar (4330 Leavenworth, right next to Barrett’s). No price listed for this one. This super-early show starts at 5:30 and should wrap up by 8:30, giving you plenty of time to get to The Waiting Room for Nance.

There are no indie shows slated for the remainder of the weekend. As for New Year’s Eve, well, what’s the old saying about it being for amateurs? See you in 2023, with the release of the annual Predictions column…

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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 © 2022 Tim McMahan. All rights reserved.

by Tim McMahan, Lazy-i.com

One reason I ventured out to Reverb Lounge in the crippling cold last night — on a school night no less! — was to see Vera Devorah, the eponymously named Lincoln trio. Because if there’s one thing missing in our music scene (and let’s face it, there are lottttts of things missing these days), it’s female-fronted indie bands.

While the rest of the indie music world has been dominated by female-led bands for the past 10 years or so, Omaha has very few. Ones that come to mind include See Through Dresses (who haven’t played out recently and haven’t released any new material in five years), Megan Siebe (who also rarely plays live, though her 2021 album Steady Swaying is gorgeous), Anna McClellan (who I’m not sure lives here anymore), and the legendary Domestica (no new music since 2015)…

Then there’s Vera Devorah, who according to her online bio, has performed as a solo violinist, but this night played as a full-on rock trio, backed by bass and drums. Her electric guitar work, strong in basic riffage, is merely functional compared to her voice, which is as pure and perfect as any national indie vocalist, singing lines written from the heart, capturing whatever life challenge, moment, revelation or sadness that has come her way.

Set highlights included one about a dumpster fire, another written while lying in the middle of a George Floyd protest staring up at the sky, and her earnest cover of Leonard Cohen’s “Suzanne” — one of her favorite songs, which she said she played on repeat throughout 6th grade. Terrific set.

I’m beginning to wonder if Lincoln’s indie music scene is on the verge of eclipsing Omaha’s (or already has). I keep discovering amazing new Lincoln bands (some who have been around for years). And as marvelous as Petfest was last year as a showcase of local talent, Lincoln Calling dwarfed it. With only 50 miles separating us, more research is necessary… when it gets warmer.

Ol’ Reverb was beginning to fill up nicely when Breakers got cranking. The band is a trio of scene veterans, two of whom I already knew well. I’ve been watching bassist Robert Little play in bands for decades, all the way back to The Mariannes in the early 2000s. Same with drummer Matt Focht, who I remember from Head of Femur shows at Sokol Underground (and playing drums with Bright Eyes). But frontman Chris Yambor was new to me, and I take it from stage comments (and the fact the band hasn’t any recorded music (that I could find)), that this might be a fun side project, though they just played a show in September at O’Leaver’s.

Their music was fun and upbeat, and Yambor (unapologetically wearing an Eagles T-shirt) belted out the lines like a lounge singer fronting a jazzy version of Pavement or GBV. The lounge really came out when he was seated behind a keyboard for a couple numbers. I had forgotten about Little’s virtuoso bass skills, and Focht is a trip-wire rock drummer of the highest order. Alas, with an early morning call, I left the ever-crowding Reverb before the close of their set…

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Tonight at The Slowdown local rockers Garst top a three-band bill, with Problems — a.k.a. Darren Keen — a one-man dance party who alone is worth the price of admission, and Cable Network. $15, 8 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 © 2022 Tim McMahan. All rights reserved.

by Tim McMahan, Lazy-i.com

The holiday shows continue tonight at Reverb Lounge, which is boasting a big 4-band bill. Someone recently asked me about Reverb’s room capacity. I honestly don’t know though I’ve got to believe somewhere in the 150-200 range. Maybe less. With everyone still in town for the holidays and nothing else going on, tonight’s show could be crowded, especially for a Monday. 

Topping the bill is Lincoln band Universe Contest, who kinda/sorta have taken the role of our area’s Modest Mouse. They’ve developed a devoted following thanks, in part, to playing at The Sydney so many times over the years. So has Those Far Out Arrows, who (along with David Nance) are the standard bearers of Omaha psych/garage rock. Third on the bill is Breakers, a newish act consisting of guitarist Chris Yambor (Sing Eunuchs tapes, The Reports), bassist Robert Little (The Stay Awake), and drummer Matt Focht (Head of Femur). And opening the show at 8:30 is musician/ceramic artist/audio engineer Vera Devorah (check out her website).  

This is a crazy good line-up for a local show and it’s a shame it’s not at the much larger Waiting Room, where they’re hosting their usual new music showcase. If you’re planning on going to Reverb, buy tickets to ensure you’re not shut out if it sells out. You’ve been warned. $10 at the door, $12.85 advance.

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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 © 2022 Tim McMahan. All rights reserved.

by Tim McMahan, Lazy-i.com

As far as I can tell, tonight’s Scary Synthmas show at fabulous O’Leaver’s is still happening despite forecasts of windchills of -22 at showtime. Believe me, no matter the outdoor temperature, it’ll be red hot in The Club. 

The five-band bill is scheduled to start at 8 p.m. with sets by synth-powered acts Specter Poetics, Jeff in Leather, Pagan Athletes, Divider, and finally, Digital Leather. Much like the Reverb show last week, this show could “sell out.” Unfortunately, they’re only taking the $10 entry fee at the door (no ticket sales), so go early or risk getting shut out as I did at last week’s Filter Kings show. You have been warned.

Interestingly, Jack McLaughlin, a.k.a. Specter Poetics, is also playing a set tonight at The B. Bar, 4330 Leavenworth (next to Barrett’s). DJ Tyrone Storm (a.k.a., the legendary Roger Lewis) is also performing. 8 p.m., no cover price listed. 

And then it’s Christmas. An early head’s up about Monday’s Universe Contest show at Reverb. They’re actually selling tickets to this one, which, again, will very likely sell out. More on Monday. Have a great weekend and a Merry Christmas. 

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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 © 2022 Tim McMahan. All rights reserved.

by Tim McMahan, Lazy-i.com

Well, I drove out to the Filter Kings show Saturday night at around 9:45. I shouldered through the large group of smokers huddled on the sidewalk outside Reverb only to be met with a SOLD OUT sign taped to the door. I turned around and walked back to my car.  By all reports, it was a great show. Sorry I missed it. But something tells me we haven’t heard the last of the Filter Kings…

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The weather people are saying we’re in for a blizzard Wednesday night, followed by Ice Station Zebra-style temperatures. That could put a damper on the week’s festivities.

Tonight at The Waiting Room it’s the club’s “New Music Mondays.” I wouldn’t call Las Cruxes “new music.” The band has been playing and recording albums (for global labels) for years. Still, this will be a good chance to see them on a big stage. Joining them is power-pop band Blondo and Rag Doll. This one’s free and starts at 8 p.m. 

Then two shows Wednesday: Bad Self Portraits is headlining at Reverb Lounge Wednesday night with The Dirts and Velvet Velvet. $10, 8 p.m. 

And Stathi is doing a set at Pageturners Lounge Wednesday at 9:30, which by all reports, will be in the middle of a winter wonderland. 

The big question: Will the snow get cleared in time for Friday’s Scary Synthmas spectacular at fabulous O’Leaver’s? The 5-act line-up includes Digital Leather, Divider, Pagan Athletes, Jeff in Leather and Spector Poetics. Scary indeed. Again, any other night this one could sell out (and no pre-show ticket sales). Ah, but the forecasted -21 windchill could impact the draw…

Stay warm this week…

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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 © 2022 Tim McMahan. All rights reserved.

by Tim McMahan, Lazy-i.com

The 2022 Year in Review article is below. It’s already been published at TheReader.com (right here) and is in print, of course. I include it here to have my own copy (The Reader is notorious for deleting old content after a few years, and, as we all know, Lazy-i is forever). So enjoy (or enjoy again). The weekend picks follow…

2022 Music Year in Review

First published The Reader, December 2022

It’s easy to understand if you (like me) were around during Omaha’s indie music heyday throughout the aughts and into the beginning of the last decade. It was a time when the city was known nationally (even internationally) for its indie music scene, its homegrown talent and as a destination for the best touring acts in the country.

All the great indie bands came through Omaha because of Saddle Creek Records and the hustle of our local concert promoters. Heck, the worst part about that era was being forced to choose among so many amazing rock shows going on at the same time every night — no matter what choice you made, you were still missing something special.

So, maybe we’ve been spoiled. We made it through a global pandemic with (most of) our music scene still intact. The best venues stayed open, and new and bigger venues are on the way. And while the COVID-19 virus is still very much with us (and likely always will be), the memory of being shut inside for months only to emerge wearing masks and gloves (and still being terrified about catching COVID) is beginning to fade like a bad dream.

This past year was the closest we’ve been to “normal” since before 2019. Still, things have changed.

More often than not, when a top-drawing indie band’s tour is announced, Omaha isn’t on the list. “NOmaha” is becoming a familiar sight on social media, a term used to point out when a band skipped our city. Omaha, conveniently located between major tour stops of Denver, Minneapolis, Chicago and Kansas City, used to be a target market. And yes, we still get good shows, but more often these days you’re going to have to do some traveling to see your favorite indie bands.

Is the return of our “flyover country” status because bands no longer value our scene and are less sure folks will show up for their shows? Is it because local promoters no longer are willing to lay out upfront cash to book niche indie acts that sell out small rooms in larger cities? Or is it because stages once crowded with indie bands are now dedicated to more mainstream or non-music entertainment? You cannot blame promoters or venues for wanting to make an easier, safer buck. They’ve got mouths to feed and staff to pay.

Local talent is also feeling the pinch. Before COVID, it was common for local bands to open for touring acts, but more often touring acts are bringing their support bands along for the ride. The typical rock show now starts at 8 p.m. with only two bands (and sometimes just a headliner). Rock shows that once started at 9:30 and rolled on well past midnight are now over in time to drive home and catch the end of the evening news. And while my old, work-beaten bones are thankful to be home by 10:30, local bands are finding it harder to get good gigs. Just ask them.

Let’s face it, post-pandemic, things are tougher than ever in music land. Maybe we’ve been spoiled. Or, more accurately, maybe I’ve been spoiled. Times have a way of changing.

And it isn’t as if we haven’t had some great rock shows this year. Among my favorites were concerts by Black Midi, Spirit of the Beehive and Belle & Sebastian at The Slowdown, Destroyer and Rosali at The Waiting Room, Bright Eyes and Godspeed You! Black Emperor at the sparkling new Admiral Theater (the venue formerly known as Sokol Auditorium), Night Moves and David Nance Band at Reverb Lounge, Matt Whipkey at The Holland Center, Brad Hoshaw and the 7 Deadlies at the Benson Theater, Simon Joyner at Grapefruit Records and Violenteer at fabulous O’Leaver’s. And, Petfest and The Maha Festival were better than ever this year.

Still, it’s hard to ignore the fact that none of the non-Omaha bands in the following list performed in Omaha this past year. So, without further ado, and in no particular order, here are my favorite albums of 2022:

Alex G, God Save the Animals (Domino) – Personal moments captured somewhere between trauma and struggle reaching toward spiritual, our man Alexander Giannascoli breaks free for moments of beauty and clarity.

Plains, I Walked With You A Ways (Anti) – No one writes banjo-pluckin’, backbeat-fueled, county-road twangers like Waxahatchee’s Katie Crutchfield and Jess Williamson. Pure as a southern sunset.

Alvvays, Blue Rev (Polyvinyl) – Still poppy but covered in a dense, shimmering layer of jangling, shoe-gaze goodness. Try it with the lyric sheet for optimum heartbreak.

Yeah Yeah Yeahs, Cool It Down (Secretly Canadian) – Karen O, Nick (Scissorhands) Zinner and Brian Chase waited nine years for this follow-up to 2013’s Mosquito. Comeback artist of the year? Definitely.

Arcade Fire, WE (Columbia) – A return to form for a band that defined the mid-2000s indie scene with its glowing anthems. With Win Butler ensconced in controversy, this could be the end. Not a bad way to go out.

Big Thief, Dragon New Warm Mountain I Believe In You (4AD) – This epic, sprawling double LP, a laboratory for Adrianne Lenker’s songwriting, is too much for one sitting. Better in portions, with each song its own journey.

Yard Act, The Overload (Island) – Of the spoken-word British acts that are all the rage, this one stands out, thanks to its clever words, cracking rhythms and righteous riffage. Quite a debut.

Wet Leg, self-titled (Domino) – They blew up 2021 with “Chaise Longue,” then blew up even further with the rest of this LP. Their laissez faire approach toward indie punk has been embraced by a multi-generational zeitgeist.

Horsegirl, Versions of Modern Performance (Matador) – A throwback to a fuzzy, grinding, guitar-fueled ‘90s by acts like Helium, Throwing Muses and Breeders, they always find a cool melody in the hazy feedback.

Little Brazil, Just Leave (Max Trax) – A band that’s been kicking it for decades, this is a career highlight thanks to risk taking on song structures, cool guitar interplay and Landon Hedges’ always unique vocals. A standout in a city full of standouts.

Simon Joyner, Songs from a Stolen Guitar (Grapefruit) — Like Conor Oberst, whose music he influenced, Joyner has become synonymous with the Omaha singer/songwriter mythos, at least by those who know. This quiet collection of acoustic ballads gives us another chapter in the musical novel of his life.

So, will this trend of fewer touring indie shows in Omaha continue in 2023? You’ll have to wait for my annual “predictions” column next month to find out…

Over The Edge is a monthly column by Reader senior contributing writer Tim McMahan focused on culture, society, music, the media and the arts. Email Tim at tim.mcmahan@gmail.com.

The Reader, December 2022

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Back to regularly scheduled programming.

The weekend starts tonight, and musicwise, tonight is a wasteland – no indie shows going on.

Saturday you’ve got two shows to choose from.

At The Reverb Lounge, it’s the long-awaited return of country punk band Filter Kings. How long has it been? I don’t know. Years for sure. Expect a huge crowd for Lee and the boys. In fact, I would have told you to consider buying tickets in advance because it could sell out little ol’ Reverb, but this one is strictly pay at the door (just like the old days). Joining them are Left Hand Country and Edward Spencer. 8 p.m., $12.

Meanwhile, across midtown at fabulous O’Leaver’s, Problems (a.k.a. Darren Keen of The Show Is the Rainbow), returns after a recent European tour. Expect red-hot bare-chested action. Joining Problems is the multi-media funk magic of Solid Goldberg (a.k.a. Omaha legend Dave Goldberg). This must be seen and heard to be believed. All this for $10. Show starts at 9 p.m.

Tiz a shame we can’t be at both shows, right?

That’s all I got. If I missed your show, put it in the comments section. Have a great 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 © 2022 Tim McMahan. All rights reserved.

by Tim McMahan, Lazy-i.com

Yesterday, The Postal Service and Death Cab for Cutie announced a 2023 co-headlining tour to celebrate the 20th anniversary of the release of PS’s Give Up and DC’s Transatlanticism. Ben Gibbard is in both bands.

“I know for a fact I will never have a year again like 2003,” Gibbard said in a press release. “The Postal Service record came out; Transatlanticism came out. These two records will be on my tombstone, and I’m totally fine with that. I’ve never had a more creatively inspired year.”

Exciting news, except that (of course) Omaha isn’t a stop on the tour, which plays Minneapolis Sept. 24 then veers to Denver for a two-day stint Sept. 26-27 at Mission Ballroom, leaving a wide open Sept. 25 date. Who knows why our fine city was overlooked, especially considering that Omaha was a tour staple 20 years ago for Death Cab for Cutie. I can’t count the number of times they played to a half-full (smoke-filled) Sokol Underground. And, of course, Jenny Lewis (who’s in Postal Service) practically lived in Omaha in the early 2000s when she was in Saddle Creek Records band Rilo Kiley.

Omaha, with its plethora of enormous stages, continues to be flyover country for the best indie tours.

Anyway, to celebrate another NOmaha event, let’s turn on the Wayback Machine and relive Omaha circa 2003, when The Postal Service played at Sokol Underground. I wrote a feature on Postal Service for The Reader in support of that show (which you can read here).

The openers, Fizzle Like a Flood a.k.a. Doug Kabourek is still making music. His latest release is a preview of his forthcoming LP, Black Walls and William Hall, which you can check out at his Bandcamp page. And despite an outdated Wiki entry that would imply he’s no longer around, Baltimore performer Cex continues to release music on his Bandcamp page, which, in addition to having his latest release from this past January, also includes his 2003 album Being Ridden, which he was supporting that night in 2003.

Now… let’s go back, back, back….

From Lazy-i, April 27, 2003

I was back in the country to make it to last night’s Postal Service / Cex show at Sokol Underground, but not quite in time to see Fizzle Like a Flood, who had just finished their opening set when I arrived. Sounds like I’ll get another chance to see them in a few weeks as they’re playing May 12 with Matt Whipkey’s new combo at The 49’r.

Next up was Cex. A disembodied voice said, “Don’t look up on the stage, I’m not gonna be up there anytime soon.” There he was, in the center of the floor surrounded by the audience, taunting people to come closer, “Don’t be pussies!” Cex, a.k.a Rjyan Kidwell, is a blond rap kid from Baltimore with a microphone and a laptop, who sounds like a cross between MC 9000 Ft. Jesus (who remembers that guy? I do.) and an angsty Trent Reznor. He spent the entire set in the crowd, trying to eke out audience participation with call-and-response lyrics, going as far as giving instructions before the song (“When I yell ‘I promise!’ you yell ‘We promise!'”) One guy I talked to likened him to a lite version (in every way possible) of Har Mar Superstar. I didn’t catch that at all. Sure, his electro-pulse hip-hop ditties all-too-often were sex driven, but for the most part, there was no over-the-top escapades, just Kidwell and his microphone, bouncing in the crowd, screaming into faces, trying to get a rise out of them. His 30-minute set was pleasant but not altogether very interesting. We’ve heard it all before.

Finally there was The Postal Service. The stage was adorned with a large bed sheet taped to the rafters, acting as a screen for the overhead projector mounted on the ceiling stage left. Unlike the recent Faint show, where the band’s videos were so good they totally consumed your attention, the video projected during The Postal Service’s set was little more than looped snippets that acted more like a screen saver or tonal visual backdrop — they didn’t distract, merely adding color to the sensual palette — images of clouds, people’s shoes, a microwave oven, someone drinking a pint of beer, etc. A guy was sitting just below the side of stage-left with a Powerbook, keyed up the vids for each song. Nothing really synched directly with the music, so if a song ran long, the vid could just cycle back and start over.

Enough about the visuals, the music was what the 250 were there to hear. Death Cab for Cutie fans had to be pleased. Fact is, The Postal Service sounds like Death Cab with a beat box and some female backing vocals. Gibbard consumes every arrangement he touches with his simple melodies and warm, cooing voice — one of the more distinctive voices in indie rock. As a result, it’s impossible not to make the comparison to Death Cab.

It was a long set — they played almost (if not every) song off their just released Sub Pop CD, Give Up. It felt more like a duo, with Gibbard and Jenny Lewis center and stage left playing in the dark (no stage lights to distract from the projector, hence no way to really see the band other than as silhouettes), and Jimmy Tamborello dimly glowing behind another Powerbook, its white Apple logo shining in the dark. Occasionally, Gibbard would step away from his microphone or set down his guitar and slap on a pair of headphones behind a kit and add some kicky drums, a microphone was set up next to it so he could sing along Don Henley style.

For a couple songs (the duet “Nothing Better” and the encore) Gibbard and Lewis did their best Neil Diamond / Barbara Streisand impersonations, trying to look lovingly into each other’s eyes while Gibbard did his typical, weird monkey dance thing. As they came to the last song of their set, something went awry with Tamborello’s Powerbook, who knows what. Gibbard kept apologizing about the computer losing power and saying, “That may be it, folks.” Lewis added, “That’s what you get when you use that high-tech computer shit.” No one in the audience knew what was going on — everything up to that point had sounded fine. After a few moments, they started playing again. Maybe he rebooted?

They came back for a one-song encore (“It’s all we have prepared for you”), a cover of Phil Collins’ “Against All Odds.” As you might expect, scenes from the 1984 Taylor Hackford romance were shown in the background — shots of Jeff Bridges and Rachel Ward making out on the beach and snorkeling. It started as a relatively straight-forward reading of the song, but Gibbard changed the ending, repeating “Take a look at me now” over and over into distortion — a nice moment.

Lazy-i, April 27, 2003

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No touring indie shows this weekend.

The Sydney has Lincoln instrumental band Turquoise Saturday night with Good Morning Midnight and Guilt Vacation. $8, 9 p.m.

And there’s a record show at fabulous O’Leaver’s this Sunday from 1 to 4 p.m. that includes an “interactive vinyl experience.” Stop in for a drink and a cheeseburger and take home some tunes.

That’s all I got. If I missed your show, put it in the comments section. Have a great 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 © 2022 Tim McMahan. All rights reserved.

by Tim McMahan, Lazy-i.com

The weekend went like this…

From all reports, I missed the best show of the weekend by about an hour. Head of Femur opened the Sydney Saturday night showcase and I wasn’t able to get there in time for their set but was told it was an absolute scorcher from four people who were there. I got to the bar just after it ended and walked into a crowd that looked like a scene from Sokol Underground circa the early 2000s. Head of Femur goes way back with a lot of the Saddle Creek crew. 

Lincoln emo-punk band The Obsurants were up next and played a solid set of high-energy emo-punk songs performed seamlessly one after the other with no break in between. Frontman Eric Maly has the right voice for these anthemic power-punk tunes. A few times during the set when he wasn’t playing his guitar he appeared to be doing America Sign Language while he sang, which was strangely affecting. 

Headlining band Dead Letters, who were celebrating the release of their new album, Songs from Center, were slightly Omaha’d (hey, that’s what you get when you let a legend like Femur open for you). All three members of the band yelled out their lead vocals while the other two yelled out harmonies on these endearing, short, sharp jangle-punk songs that had as much in common with Violent Femmes as they did R.E.M. And when I say short songs, the album’s 9 songs only span a total of 19 minutes — so do the math. You never have a chance to get tired of any of them. 

The best part about this band is that, unlike so many acts I’ve seen lately, it’s obvious all three members were having the time of their lives, and so was the audience.

Sunday night it was off to Reverb Lounge. Less than a dozen people were in the audience when Water from Your Eyes began their set at 8 p.m. sharp. The duo of vocalist Rachel Brown and guitarist Nate Amos were joined by a third person on guitar and were backed by some thumping rhythm tracks. If you’d fallen across the duo’s past recordings, like 2019’s Somebody Else’s Song (Exploding in Sound Records) or even 2021’s artier Structure (Wharf Cat) you would have been ill-prepared for the sound barrage of last night’s set. 

At the heart of it was deep, blaring pre-recorded synths joined by Amos’ acidic, feedback-drenched guitar that interlaced with Brown’s untouched, unprocessed vocals that sounded like your little sister singing along to art-damaged post-punk. Harsh, throbbing sonic textures repeated trancelike with the second guitar providing counter riffs. 

The evening’s highlight was a brittle interpretation of “Adeleine,” a track from Somebody Else’s Song, reinterpreted with rough synths and guitar, barely recognizable compared to the original, but a better fit in what turned out to be one of my favorite sets I’ve seen this year. 

I wasn’t sure how closely headliner Palm would follow the song structures heard on their new album, Nicks and Grazes. Would they change it up like Spirit of the Beehive did when they played at Slowdown earlier this year? The answer was no. 

The new record is rife with odd time changes, hard-to-grasp repeated musical structures, and flat, atonal vocals that are more accoutrement than melody. Call it modern indie prog for lack of a better description, well played (a fantastic rhythm section) but hard to listen to if you’re someone who enjoys melodies. It didn’t help that both vocalists were buried in the rhythm-dense mix. At its best, Palm is an intricate rhythmic puzzle box that can be fun to try to solve… for awhile, and then gets tiresome. That said, the 40 or so on hand for their set were into it. 

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Yes, it’s rare for me to go out on a “school night,” but I knew this would be among the last touring indie shows coming through town until next spring. In fact, the only upcoming One Percent Productions show on my radar is the Feb. 23 Unsane show at The Admiral. Virtually no indie shows are currently booked on the 1% calendar. 

The Dec. 15 Bartees Strange show at The Slowdown is that venue’s last touring indie show until the Feb. 25 Rural Alberta Advantage gig, and then Titus Andronicus way out on March 28. 

Yep, it’s slim pickings if you’re an indie music fan. I’ll talk more about that when I post my Year in Review column in The Reader (get a sneak peek in the printed edition, which is already on newsstands). Looks like it’s going to be a long, cold winter…

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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 © 2022 Tim McMahan. All rights reserved.

by Tim McMahan, Lazy-i.com

Welcome the the weekend. It all kicks off in Benson tonight with Benson First Friday, which in the coming months will become even more special (more on that mystery later). Get to Maple Street tonight and check out the art scattered throughout the shops.

The Sydney in Benson is celebrating BFF with a heavy-ass show headlined by Lincoln’s FACE, Omaha scream-metal band Living Conditions and Jack McLaughlin’s synth-powered project, Specter Poetics. $10, 9 p.m.

Saturday night, Dead Letters, the new project by Koly Walter, Brian Byrd (both of Well Aimed Arrows) and Mark Johnson (Places We Slept), is celebrating the release of their new album, Songs from Center, at The Sydney. The album art is a photo of The Center Shopping Center, Omaha’s first shopping mall and once home to The Sky Lanes and where I went to see Santa Claus once upon a time. Walter says The Center is a block away from the band’s practice space/studio. The band released a second song from the album in Spotify (but alas, not in Bandcamp, where you can pre-order digital album, here.

Opening for Dead Letters is Head of Femur. Koly said his old band, legendary ‘90s act The Protoculture, used to play with Head of Femur frontman Matt Focht’s former band, Opium Taylor, back in the day. Kicking things off at 8 p.m. is Lincoln act The Obscurants (Eric Maly of Slow Pioneers). $10.

Sunday night, Saddle Creek Records act Palm plays at Reverb Lounge. Signed to the label this past July, Palm is a Philadelphia-based four-piece that’s been together for a decade. Their last LP was released in 2018 on boutique label Carpark Records. Their rep is for playing inventive art-rock, and they live up to it on Nicks and Grazes (2022, Saddle Creek). Lots o’ progressive / dissonant moments on this album, very similar experience to listening to label-mate Voice of the Beehive’s last album, a band who’s live set earlier this year at The Slowdown was stellar. Like VOB, will Palm bring a different approach to their live set? We’ll have to see. The Reader has a fresh Q&A with Palm (by Chris Bowling!), which you can read here.

Opening is Brooklyn duo Water from Your Eyes (Nate Amos of This is Lorelei and Rachel Brown), who’s last studio album was 2021’s Structure (Wharf Cat Records) $18, 8 p.m.

Lest I forget, today is also a Bandcamp Friday — if you buy your albums today from Bandcamp, the service will pass along its fees directly to the bands/artists (and some labels are following suit), so it’s the best time to buy new music, like that new Dead Letters album!

As for shows, that’s all I got. If I missed yours, put it in the comments section. Have a great 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 © 2022 Tim McMahan. All rights reserved.