Conor Oberst’s first record label, Saddle Creek Records, yesterday announced that it’s releasing a digital-only “Deluxe Edition” of The Faint’s 2014 album Doom Abuse. This edition includes tracks from the “Evil Voices” 12-inch which have never been available digitally. If you go to the Saddle Creek page, you’ll see the track listings organized as Disc One and Disc Two, which makes it sound like it’ll be available as a Compact Disc, but no option for ordering a CD is available. No such organization at the Bandcamp page… Would people want a CD version of this Deluxe edition? Probably…
BTW, The Faint have been named in the line-up for this year’s Outlandia Festival, Aug. 9.
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Speaking of electronic music, last week TIT — the dynamic duo of Shawn Foree and Bobby Hussy — released their long-awaited debut album, 10 years in the making. You may know Foree as the mastermind behind punk project Digital Leather. Hussy is the proprietor of No Coast Records and member of the band Wristwatch. TIT first emerged with a four-song EP back in 2013, released by Volar/FDH.
The 11-song collection includes the track “MGBF,” with lead vocals by Bright Eyes’ Conor Oberst reminiscent of this Digital Ash/Digital Urn days. Check out the full album at the TIT Bandcamp page.
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Tonight at The Sydney in Benson, Nashville indie-folk singer songwriter Bats – a.k.a. Jess Awh – headlines a three-act show that also features solo sets by Joe Champion (Uh-Oh) and Mitch Jordan. 8 p.m. $10.
The first I heard of Conor Oberst’s new record label came via a press release with the headline: “The Felice Brothers Sign to Conor Oberst’s New Record Label Million Stars.” Wait, what? New record label? Isn’t Bright Eyes (and Conor Oberst) signed to Dead Oceans?
In the press release, Conor explained:
“I first encountered the Felice Brothers in 2007 after being given some of their music by a friend. I liked it a lot, but there was something I couldn’t put my finger on—singular and mysterious. An iconoclastic version of what some lazy people call ‘Americana.’ I subsequently met them and played shows together. They became some of my best friends, family, really. I put out two of their records on the label I co-owned at the time, called Team Love. Then we started to perform together with them as my backing band and made a record of mine called Salutations. Needless to say, I love this band, and when I asked that horrible question, ‘Who is your favorite band?’ I always answer ‘The Felice Brothers.’
“So when Ian sent me this new collection of songs and told me they just planned to put it up on the internet, I kind of flipped out, because they were so goddamn good. And then I did something I swore I would never do again: I started a new record label. This is my third. It is called Million Stars, and I am so proud to say the new Felice Brothers album is our first release. I can’t quit them. I hope you enjoy it as much as I do.”
So, yes, this would be Oberst’s third record label creation. The first was Saddle Creek Records, which he launched with a bunch of folks including his brother Justin, Mike Mogis (now of ARC Studios and Bright Eyes), and Robb Nansel, who still runs that label. The second label, Team Love, was launched in 2003 with his Oberst’s pal Nate Krenkel, who also was his former manager and an A&R dude at Sony ATV Music Publishing. Team Love continues to operate out of New Paltz, New York, though Oberst apparently is no longer involved.
Based on the press release, it doesn’t sound like the idea of creating a new record label was a premeditated decision, more of a spur-of-the-moment deal, and really, isn’t that main ingredient in every success story?
Valley of Abandoned Songs will be released on June 28 on Million Stars. The 13-song collection consists of recordings primarily from sessions for the band’s 2019 album, Undress, as well as their most recent release, 2023’s Asylum On The Hill, both of which were captured live in an 1870s church with the band’s current lineup of Ian Felice (guitar/vocals), James Felice (piano/vocals), Jeske Hume (bass), and Will Lawrence (drums).
The band will, of course, be touring Europe and the U.S. The closest pass to little ol’ Omaha is Chicago (July 27, Beat Kitchen).
Petfest has the honor of being Omaha’s most-eclectic one-day festival, featuring mostly local indie acts and singer/songwriters. Held on the red-carpeted loose-rock parking lot behind Petshop Gallery in the heart of Benson, this year’s festival, slated for Aug. 17, will be no exception.
Unless my eyes deceive me (very possible) this year’s line-up is almost all Nebraska acts, though there are a couple names I don’t recognize. The 21-act list as of this morning:
– Problems
– Dance Me Pregnant
– Ebba Rose
– Jeff in Leather
– Flamboyant Gods
– Size Queen
– Western Haikus
– Heet Deth
– McCarthy Trenching
– Mesonjixx Trio
– The Dirts
– Clubdrugs
– Saving Fiona
– Riké
– Universe Contest
– Queer Nite
– Bumpadump
– Mike Schlesinger
– Vempire
– Ex-Lover
– Ol’ Mo and the Varmits
A few highlights: Dance Me Pregnant is a golden nugget from a bygone era of Omaha indie/punk; Vempire is a newish Lincoln project featuring Mike Elfers from Thirst Things First; The Dirts are an emerging showgaze/indie act that has been a regular opener at Reverb indie shows; Mike Schlesinger is perhaps the most overlooked talent in the state, who I’m told has been working on a new album. And Darren Keen will be making the trip from Chicago to provide a return performance as PROBLEMS.
The performance schedule hasn’t been released yet but the show will run from 2 p.m. to midnight. Tickets are $30 Adv/$40 DOS. More info at the BFF FB page. See you there.
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Speaking of festivals, late last month an organization called “Hook n Sync” announced a three-day, three-district music festival taking place this year during the heart of the College World Series weeks, June 13-15.
Called “One Omaha Music Festival,” it’s brought to you by the Hook N Sync Foundation, a non-profit “focused towards creating an extended support platform and performance exposure for local singer songwriters and musicians across the mid west community with a special side focus on uplifting gender equity in creative fields.”
According to their website, last year “Hook n Sync already had 6 different diverse outdoor festivals including some 2 Day 2 stage ones with multiple National Artists, Grammy Winners, regional and other touring bands and many local artists.” Impressive. The organization’s executive director isn’t listed on their website or on their FB page. Considering the CWS connection, is MECA also involved, or the NCAA?
Hook n Sync has alredy published a district schedule (Old Market, June 13; Benson & Midtown, June 14; Benson June 15) but no venue names are listed, though they say it’ll take place on “up to 20 stages” and will feature “up to 100 bands” who they appear to be in the process of booking. Hook n Sync posted a couple requests on their Facebook page last week. One asked for your ideas as to who they should book; the other is seeing out local “female influenced music” in Omaha and the surrounding area.
According to their FB posts this NEVER DONE BEFORE event is a HUGE STEP FOR OMAHA MUSIC. This no doubt is a tremendous undertaking for someone. Just pulling off a one-day music festival like Petfest that focuses primarily on local bands is a major effort that involves lots of planning and coordination. One Omaha is three districts over three days with 20 venues and more than 100 bands during two of the most chaotic weeks in Omaha.
It’s the first Friday of April and that means Benson First Friday (#BFF). If you’ve driven down Maple Street over the past few days you already know the entire length of Downtown Benson is coned for road construction. The city is replacing the old metal curb ramps with new ramps, and decided to do it during the district’s busiest day of the month both for car and foot traffic. Coincidence?
Anyway, the parking situation is essentially the same, just drive around the cones and construction equipment.
ADDENDUM: The city has cleared the cones! Proceed with confidence…
BFF highlights local artists in galleries and other businesses up and down Maple Street tonight. Among them is the opening at Ming Toy Gallery, 6066 Maple Street, with feature artist Karen Linder. Drop by, say hi, grab a beer/wine and check it out. The opening runs from 6 to 9 p.m. See you there.
As part of BFF, The Sydney in Benson is hosting Pasadena duo System Exclusive along with Madison Wisconsin electronic artist Carrellee and Omaha’s Jeff in Leather and Specter Poetics. $12, 9 p.m.
Saturday is noise rock day in Benson.
Starting in the afternoon (3 p.m.) and running into Saturday night is ClüsterFüst 2, a metal/noise concert at The Waiting Room with 15 bands, headlined by local heroes BIB and including acts Ex Lover, Cult Play, Prolapse (Dave Goldberg metal odyssey) and Nowhere, among others. “15 bands playing 15-minute sets.” All for $15, with proceeds going to Youth Emergency Services Omaha. More info and full lineup, here.
Also Saturday night, Omaha double-bass noise-core band Violenteer headlines a four-band bill at Reverb Lounge. Word on the street is Violenteer has a new album coming out soon, with recorded tracks already in the can. Maybe we’ll get some of the new stuff Saturday. Joining them are Leafblower, Radical Sabbatical and Aircraft Grade. This show is sort of being held in conjunction with ClüsterFüst 2 in that entrance is only $5 with a Waiting Room wristband – smart marketing! Otherwise, entrance is $10. Starts at 8:30.
Also Saturday night, there’s a three-band bill at fabulous O’Leaver’s with Jar, Box Eats Miah and Pretty Beige. Box Eats Miah is sort of emo-ish? Not sure on the others. This one starts at 9 and is absolutely free.
Sunday night Tommy Prine headlines at Reverb Lounge, and yes, he is the son of legendary singer/songwriter John Prine. They call his music “alt country,” but it leans more toward the Americana spectrum (though there’s plenty of twang on his latest LP, This Far South (Thirty Tigers)). In fact, if you squint your eyes it sometimes sounds like Mystic Valley Band music. Opening for Prine is Kiely Connell. $22, 8 p.m., and I wouldn’t be a bit surprised if it sells out the smallish Reverb.
And that’s all I got. If I missed your show, put it in the comments section. Have a great weekend.
The Dirts have been playing out for at least a couple years and I still don’t know who’s in this band. Other than an Instagram page, there virtually was nothing I could find out about this intense 5-piece act that consists of four women and one of the guys who also plays in Garst (who we’ll get to later).
Last night’s set at Reverb Lounge was the second time round seeing them and they’re becoming one of my favorite new Nebraska bands thanks to their dense, atmospheric style of shoegaze. In addition to singing well (his voice kind of reminded me of the guy in Pardoner), he did a nice job balancing songs with his relaxed guitar solos. The band’s two women vocalists could barely be heard above the roar, though what I could hear sounded good. Their lack of presence in the mix was likely more due to the fact they didn’t appear to be singing very loudly or very close to their microphones.
To my knowledge, there are no recordings of The Dirts on the internet or streaming services, and since I don’t know who’s in the band, I don’t know who to ask. I guess I could have asked one of them while I was in the club, but I’ve startled more than my share of young musicians over the years (it’s the cop thing) and was in no mood to do so last night. Short set! Done by 8:30.
Virga at Reverb Lounge, April 3, 2024.
Maybe the women of The Dirts could take a clue from Faith Maddox of Virga, who played next. Fronting a fourpiece with guitar in hand, Maddox’s gorgeous, lonesome voice was a perfect match for Virga’s two chord verses, minor-key, heavy, and at times dirgy downer rock that had a way of exploding before the end of each song. Later, Virga rolled out a few very ’90s-style post-grunge songs reminscent of Lawrence bands from back in the day.
Maddox said last night was the first stop on their tour, which will take them to Chicago tonight, and was very appreciative of the crowd response. The band closed out with another uptempo number but then, in the end, reverted back to its downer-core as if to say “This is who we really are.”
As they cleared their gear from the stage, I thought, “For the love of god, please let Blanky play next.” I didn’t want them to get Omaha’d by Garst.
Thankfully, Blanky did go on next. The trio played in a more upbeat style than what’s heard on their Blood Harmony album, and likely is a sign of where their sound is headed. Frontman Anthony Cunard was the showpiece, a fantastic guitarist who played in an echoing, slow-pulse surf style a la early Pixies or Breeders and sometimes sounded like Jon Spencer on Valium. They had an intensely cool sound and Cunard’s solos were eye-popping. .
Then came Garst a little after 10:30. These guys are, indeed, ferociously good at what they do, which is play ’80s-style riff rock at a breakneck pace. All four dudes are super talented and mega-tight shredding fast, intricate riffs like a ’70s prog band with fun-loving ’80s hair metal charm. The frontman/guitarist began the set sporting a sort of affected growl that thankfully faded halfway through. I recognized Cat Piss/Pagan Athletes drummer Nate Wolf behind the drum kit, who I assumed was a new addition as the frontman went out of his way to introduce him early in the set. Wolf is one of the city’s brightest new talents.
While not a style of music I listen to often anymore (Hey, I grew up on bands like Fastway and Van Halen) these guys were impressive, jumping from one riff-fueled groove to another. You could argue Garst was an odd way to end a night of touring indie rock bands (and one great local shoegaze opener), but they also helped bring a crowd. Garst’s fans – many of them young ladies — patiently waited in the back during the early sets, but once their dudes came on stage were went right up front dancing.
Funniest moment of the Garst set was between songs when the frontman said (and I’m paraphrasing): “There’s a lot of slow core coming out of Lawrence these days. I’ve got a question: Are you guys OK?”
To which one of the Blanky guys sitting next to me at the bar responded by yelling, “No, we’re not.”
Two Lawrence, Kansas, bands make the long trip up I-29 today to play at Reverb Lounge tonight.
Blanky has been described as an “alt-country shoegaze” band. Alt-country? Um, nah. Shoegaze? Maybe. Languid, distorted, feedback-fueled, drunken, surf-guitar songs that feel like a morning-after hangover? Sure, especially on their latest album, 2022’s Blood Harmony.
Blanky frontman Anthony Cunard has a deep, dry, low voice that sings sordid tales of cautionary love with lines like, “You fell to your death in your baby’s arms / I guess that’s one way to get away,” that sound like a distorted funeral procession… but in a good way. Cinematic murder films shot in black-and-white.
Very likely driving to Omaha in the same van as Blanky is Virga, who according to The Pitch, classify themselves as “gothic Americana,” which for me sort of misses the mark. Their sound is reminiscent of ‘90s acts like Madder Rose, Lisa Germano, Cowboy Junkies and Kristen Hersh. Stark, slow, indie rock songs that build over their four-minute lifespans, guided by frontwoman Faith Maddox’s gorgeous voice that recalls Margo Timmins.
T’was a time in the early ‘90s when LinOma and Lawrence swapped bands on a regular basis, almost as if the two regions were part of one post-punk alt-indie scene. Maybe we should get back to that?
Like all the best shows, tonight’s is a study in contrasts considering the Omaha bands that are also on the bill. Garst plays a more straight-forward, riff-fueled indie that borders on alt-rock. The Dirts includes a member of Garst, but the band, who I saw open for Hotline TNT, is something completely different. You’ll see.
Four acts on a Wednesday? It’s going to be a long night. Bands take the Reverb stage at 8 p.m. — and please be prompt! Those Lawrence folks have a long way to drive back home. $12.
The last time I saw John Vanderslice perform was back in October 2005 at Sokol Underground when he was touring with Matador Records experimental noise artist The Double. I don’t know whatever happened to The Double. Vanderslice, on the other hand, is playing an Undertow concert this Friday somewhere in Dundee.
Vanderslice came in hot back in 2001 with Mass Suicide Occult Figurines, released on then super-hot indie label, Barsuk Records. It would be followed by about an album a year, peaking with career highlights Cellar Door (2004, Barsuk) and Pixel Revolt (2005, Barsuk).
In 2009, Vanderslice switched labels and began releasing albums on red-hot indie Dead Oceans, and these days he’s releasing albums on his own Tiny Telephones label, including last year’s CRYSTALS 3.0.
In fact, Vanderslice might be more well-known as owner/operator of Tiny Telephone, a studio in the Mission District of San Francisco that recorded a plethora of indie giants including Death Cab for Cutie, Sleater-Kinney, Deerhoof, Moutain Goats and Spoon — artists whose albums many of which Vanderslice contributed to. That studio closed during in 2020, according to Wiki, though a second Tiny Telephone studio still operates in Oakland and is run by Vanderslice.
He’s one of those guys who has always had has finger on the pulse of indie music and is credited with bringing a number of today’s indie heroes on the road with him, including Sufjan Stevens and St. Vincent. And now you have a chance to see him play in someone’s living room in what can only be described as “an intimate solo performance.”
The location of Undertow shows are kept secret except for their zip code, which is why I know this one is taking place in Dundee. You’ll get the actual address after you buy a ticket, which is $25 and available here at the Undertow website. Don’t worry, I can pretty much tell you the house where this is happening is amazing (though I’ve never been there); the owner has hosted many Undertow shows.
Tonight, instrumental trio Los Angeles League of Musicians (LA LOM) plays at Slowdown Jr. Their style is Cumbia Sonidera, ’60s soul ballads and classic romantic boleros. Pretty cool stuff. DJ C-Record opens the show at 8 p.m. $25.
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