Desaparecidos rock the Holy Name Fieldhouse in April 2001. And they still don’t give a f***.

by Tim McMahan, Lazy-i.com

I’ve been interviewing members of Desaperacidos since the band first formed way back in 2001. The guys have a new album called Payola, which came out on Epitaph last month, that just happens to be No. 14 in the College Music Journal top-20. With a show coming up Sept. 10 at The Waiting Room (which, btw, is bound to sell out, so if you want to go, you better get your $20 tix now), it would seem like an opportune moment to interview the band again.

However, I’m not sure what I’d ask the band that didn’t get covered in technicolor in this Noisey interview with Dan Ozzi that dropped today with the headline ‘Desaparecidos didn’t give a fuck back then and they don’t give a fuck now.’ In it, Conor Oberst and Matt Baum give candid, straightforward answers to questions that I probably would have asked, such as “Why did you go with Epitaph instead of Saddle Creek?” “What’s wrong with journalism these days?” and “Why has public opinion (in this case, Pitchfork) about Desa changed over the past 12 years?”

Perhaps the most controversial answer in the interview involves Saddle Creek:

You guys are so strongly associated with Saddle Creek. Why did you decide to go with Epitaph on this one?

Conor: Well, the Saddle Creek thing has been kind of unraveling for a long time. They’re still our friends, and I’ve definitely got no ill will. When the label started when we were all kids, it was very much a collective thing. I’m talking way back in like, ’93, ’94. The record label honestly started with me and our friend Ted Stevens, who plays in Cursive, and my brother Justin, and we started in my parents’ attic making Kinko’s copies of record sleeves. Anyway, the collective aspect sort of fell to the wayside and it became more of a regular business and certain peoples’ names ended up on the paperwork and other people’s didn’t and it… I don’t know. After years, it kind of soured a little bit and we happened to go our own way. I wish all of them the best, but we knew we weren’t gonna do it with them and we started talking about what label would make sense with our band, and what’s the label we respect, and can get it out there, and Epitaph was the very first one that…

OK, wow. There’s no question that Saddle Creek V.2015 is a lot different than Saddle Creek V.2001. The only artist from the label’s original “crown jewels” that’s stuck around is Cursive/Tim Kasher. Not sure what “certain peoples’ names ended up on the paperwork and other people’s didn’t…” means, but I can venture a guess, especially if things “soured a little bit…” Certainly Oberst and Co. didn’t go to Epitaph because it’s some sort of “collective” (’cause it ain’t).

Anyway, after I read this interview (and there have been countless others recently) I wondered what’s the point of pursuing an interview of my own? What could I ask that hasn’t already been asked? Just read these ones if you want to know what’s happening with the band.

That said, if anyone from the band wants some press in ol’ Lazy-i (and thereader.com), I’d love to shoot the shit with them…

BTW, Desaparecidos starts their next tour tomorrow in Indianapolis. Digital Leather opens that show along with the show the following night in St. Louis.

* * *

Speaking of crown jewels, here’s yet another new song off The Good Life’s upcoming album, Everybody’s Coming Down, out Aug. 14 on Saddle Creek Records.

* * *

We all know MarQ Manner, even some of you readers who don’t live in Omaha. MarQ is sort of the ex officio mayor of Benson and a strong supporter of bands that haunt Maple Street’s liquor corridor. While MarQ and I don’t always share the same taste in music, I pay attention when he goes ga-ga over anyone other than Prince (to which I’m already a fan). Kind of like he did with Sturgill Simpson.

I don’t follow country music, but I must say Simpson puts a modern face on a traditional approach to C&W that is hard to resist, even on first listen. Which is a round-about way of saying MarQ is right about this guy; he is special, and he’s playing tonight at Sokol Auditorium. So dust off your cowboy boots and scoot on down at 8, when opener Cody Jinks starts things off. Tix are $25.

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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 © 2015 Tim McMahan. All rights reserved.

Melvins play tonight at The Waiting Room.

by Tim McMahan, Lazy-i.com

When the first New Music Friday happened last week — forever changing release date for new albums from Tuesdays to Fridays — I asked Homer’s General Manager Mike Fratt for his take on the change. Here’s what he had to say, via email:

“I fought very hard against this while on the Music Business Association board. The idea came from Universal’s Global head of digital sales. There was no research to support this move and when we pushed back they presented this trumped up nonsense they called research. Funny to see it mentioned in the NPR piece as it was total bullshit.

“I am against removing a traffic driver from the middle of the week to the weekend. As the face of the fight against this I was on the cover of the Wall Street Journal back in November of 2014.

“It is stupid to move the dependency to just the weekend and to move away from the release date we shared with books, movies, comics, video games, etc. Doing so creates logistics issues for our suppliers, who ship all the products to stores together. Now they will have to manage new release shipments twice a week to accommodate music separate from the other categories.

“There is also concern about sales. Currently, if a new release blows up stores can easily restock for the weekend. Now, if something blows up on Friday there will be no restocking ’til Tuesday at the earliest. Dumb.

“We were for a global release day, just not Friday. We (U.S. retail) and the trade association for music retailers in the UK (ERA) agreed to both use Monday in an effort to keep it during the week but align to one day.

“Universal threatened to leave the Music Biz Association if the board approved the move to Monday as they were invested in it being Friday. I had the votes on the board lined up to approve Monday. That threat would have crushed Music Biz Assoc as Universal is the largest member and pays the largest dues. I was so disgusted by this unprofessional action that, after nine years on the board, I resigned.

“Soundscan has yet to get all retailers to alter their reporting of sales dates (during the week) to reflect this move to Friday through Thursday from the current Sunday to Saturday, so the first eight weeks’ sales numbers will be royally fucked up and very likely just made up.”

I asked Fratt, in this new streaming age does the release date matter to anyone except brick-and-mortar stores? Are we headed toward an age when music is released digitally whenever? His response:

“Regarding your question about digital, this aligns digital and physical even more so. So, I don’t see digital going rogue and releasing on different days than physical. But pay for digital album sales are falling faster than physical. And if all indie stores sales were actually counted (only 60 report to soundscan) we would see physical sales are actually pretty healthy.

“Streaming is the new radio, as you so often write. It creates awareness for releases, artists, music. We’re seeing it positively impact physical sales.”

A post script to all of this:

Last Friday the Saddle Creek Shop, located in north downtown in the Slowdown complex, announced it no longer will stock non-Saddle Creek Records titles, and that the store will only be open one day a week — Friday from 10 a.m. to 6 p.m.

* * *

In other news, Protomartyr released the first song from their upcoming album, The Agent Intellect, out Oct. 9 on Hardly Art. Check it out.

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Iconic ’80s/’90s/today doom/sludge/stoner/metal/grunge band Melvins plays tonight at The Waiting Room. If you’re wondering if you should go, here’s a review of last Wednesday’s Melvins show in Chicago, complete with set list, to help you decide. Le Butcherettes opens the show at 9 p.m. $17.

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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 © 2015 Tim McMahan. All rights reserved.

Ceremony at The Sweatshop Gallery, July 11, 2015.

by Tim McMahan, Lazy-i.com

They don’t call it The Sweatshop Gallery for nothing. Saturday night’s show in the converted garage behind Sweatshop’s art gallery in Benson was easily the most uncomfortable concert experience in memory. If you thought it was hot outside Saturday, you should have stepped foot into that concrete stink oven Saturday night. I felt like a chicken in a rotisserie or a hippie in Southwestern sweat lodge. Within minutes after stepping inside the bunker sweat dripped off my elbows and ran down my legs in salty streams. My shirt, my shorts were drenched, stuck in a layer of warm moisture against my skin, sweat broiling off my forehead and into my eyes. Stifling, suffocating. It was awful, but it was worth it.

Ceremony is a West Coast band that made their nut playing what has been described as “power violence” music, which is a form of hardcore punk. What made them stand out may have been their guitar work or frontman Ross Farrar’s vocal approach, which was a bit more “arty” than the usual hardcore screaming. Anyway, the band started as a hardcore act in ’05. Then slowly eased off and became more post-punk-ish after their album Rohnert Park came out in 2011. Then they signed with Matador and turned their back on hardcore altogether with the release of the somewhat boring Zoo in 2012.

Now comes The L-Shaped Man, which was released earlier this year on Matador and sounds like an Interpol/Joy Division tribute album. Farrar’s vocals went completely Ian Curtis/Paul Banks on top of music that feels like it was developed in a Joy Division/New Order sound incubator. Pitchfork hated it. I love it because I love that style of music, though at times the record is so derivative it’s chuckle-inducing.

How many of the 70 or so kids jammed into Sweatshop were there to see the old hardcore Ceremony vs. the new post-punk version, I do not know, though it didn’t matter when they launched into their Joy Division-fueled set opener that got the sweat-slick crowd jumping. In the heat and darkness, Farrar was in his element saying before he started that the gig already was the best show he’d played in Omaha, and telling the crowd to step right up, which they did. The band fed off the heat and energy, and the set boiled with a goth-dance-punk intensity that Bauhaus would appreciate.

While there were plenty of Factory Records moments during the set, the band — and Farrar — did something wholly unique live, pulling in abstract elements from their past to create a new sound that melded post-punk with something much darker. The crowd loved it and the room became a pit, with youth hanging from the rafters. If Ceremony could tap into this hybrid sound/energy not heard on their album, they’d be onto something that is entirely their own.

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Tony Molina at Sweatshop Gallery, July 11, 2015.

It was a varied night of music at ol’ Sweatshop. North Bay punk band Creative Adult was among the openers playing a heavy, rhythmic punk that was brittle and fun. Then came Tony Molina, another Bay-area guy I’d never heard of but who was nothing less than amazing playing pure power-pop influenced by ’70s icon bands like Thin Lizzy and Cheap Trick, but with more than a nod to J Mascis and Teenage Fanclub. Molina and a second guitarist weaved intricate harmonies that were Thin Lizzy taken to an extreme backed by a solid rhythm section on songs that rarely lasted more than two minutes. As badly as I wanted to get outside for some relief I couldn’t get myself to miss any of it. Utterly exhausting and exhilarating.

Yes, this will be in my top-10 (maybe top 5?) favorite shows of ’15, despite losing at least five pounds in water weight.

Gramps at Barley Street Tavern, July 11, 2015.

Between sets I slipped into the Barley Street for Rolling Rock and AC and to catch Gramps, the new-ish band fronted by Django Greenblatt-Seay of Love Drunk Studio fame. A solid four-piece, Gramps’ style of indie sounds influenced by the local scene, specifically acts like Little Brazil and Criteria, but every song has a twist, whether it’s a unique guitar solo or an unfamiliar time sequence. Django and Co. play with a no-shit attitude that says “come along for the ride if, if you want to.”

Another local act seen for the first time this weekend was Mint Wad Willy. Here’s a band I’ve never made an effort to see because of their name. Mint Wad Willy? Sounds like a cover band or a white-guy blues band. Well I wasn’t going to miss them Saturday morning because they played at The Indie 5K/10K run, which benefitted Benson/Ames, and I must say I dug what I heard. Their style wasn’t straight-up rock as much as mainstream garage a la The Black Keys, though something about their sound also reminded me of heavier Big Star or even Silkworm with some Creedance thrown in. That sounds like a mess, but I can’t put my finger on a key influence.

By the way, the band’s name is an old-school reference to a Mary Jane cigarette (a mint-wad willy). And also BTW, I won my age bracket in the 5K (which isn’t so impressive when you realize I was the only one entered).

* * *

Sun-less Trio is a new project that features Mike Saklar (No Blood Orphan, Ritual Device), Marc Phillips (Carsinogents) and Cricket Kirk (Paper Owls). They’re playing tonight at Pageturners Lounge with A Great Disturbance. 9 p.m. and FREE. Great way to start your 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 © 2015 Tim McMahan. All rights reserved.

by Tim McMahan, Lazy-i.com

NPR had a solid feature this morning on New Music Fridays — the shift of release schedules for new albums from the traditional Tuesday to Friday. It began today. I think it’s probably a mistake, but what do I know? Record stores “owned” Tuesdays because there was nothing else going on that day. Fridays are crowded with film releases and the general hub-bub that surrounds the weekend…

But in this new streaming age, does the release date matter to anyone except brick-and-mortar stores?

Are we headed toward an age when music is released digitally whenever? Probably not, at least not while record labels continue to exist because they depend on that bulge of sales/stream traffic that comes with release dates, and market for it.

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Yesterday right after lunch the PR folks at Omaha Performing Arts announced that Conor Oberst will be the headliner for the first-ever Holland Stages Festival on Saturday, Oct. 17.

Sez the press release: “The free all-day performing arts event is a celebration of the 10th anniversary of the Holland Performing Arts Center. The festival will be held on five stages inside and outside the building at 1200 Douglas St., with family-friendly performances, followed by a variety of jazz, roots, world and blues artists until 5 p.m., and ending with the Holland Stages ‘After Dark,’ which will include Oberst’s performance at 8 p.m. and a House of Loom dance party afterward.”

It’s free, but you’ll still need a ticket to get in. How they’re going to pull that one off without pissing off a lot of people is anyone’s guess, but we’ll find out how they’ll do it “at a later date.” And if they need an opener, I can think of a certain band from the North Carolina region…

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Tonight’s really big shoe is the Big Wheel CD release show at Reverb Lounge. Big Wheel was born of the musical collaboration of songwriters Jason Churchill and Kevin Hiddleston, who just happen to be sound engineers. Believe me, if you go to shows, you’ve seen these dudes running around making sure everything sounds good. Anyway, they added Bill Nanson on drums and Mike Matsui on bass. “We don’t play emo, we don’t play metal; we play guitar-oriented rock songs with hooks.” That it is. We’re talking traditional rock ‘n’ roll here, and considering the personnel involved, you can imagine how well recorded it is. Opening is The Sons of Reverb Lounge and The Rex Granite Band featuring Sarah Benck. $7, 8 p.m.

Also tonight, Nathan Ma and the Rosettes headlines at fabulous O’Leaver’s with Madison band The Minotaurs and Navy Gang. $5, 9:30 p.m.

And if you’re hanging around downtown early in the evening, check out Matt Whipkey playing at the Bob Kerrey Pedestrian Bridge. Lee Bowes also is on the bill, which begins at 6 p.m.

BTW, the Down Under has moved to where the Side Door Lounge used to be at 3530 Leavenworth. Check out their new stage at a free show tonight featuring Aly Peeler and a bunch of other performers. Starts at 8 p.m.

I realize it’s probably going to be a late night for all of us, but you’ve got to get up early Saturday morning and run in The Indie 5K / 10K race. I’ll be there sweating up a storm. More info here.

Tomorrow night it’s Matador band Ceremony at The Sweatshop Gallery. Read an interview with the band at Hear Nebraska. The band’s new album, The L-Shaped Man,  is indeed a departure from their past metal sound. Now they sound like Interpol. Opening is Tony Molina, Creative Adult and FLAK. This will be a packed show. $10, 9 p.m.

Under the Radar Festival is going on all weekend. You can check the schedule at their website, but Saturday night there’s a special performance by Nik Fackler and InDreama at Sokol Auditorium. The entire show starts at 7:30. Check out the line-up and ticket info here.

Also Saturday night, it’s time for another Omaha Girls Rock! concert, this time at The Waiting Room. The non-profit puts on a special concert with all their summer camp participants annually, and it’s always a hoot. Support this great cause and see tomorrow’s stars today. $5, 5:30 p.m.

Also Saturday night, Gramps (featuring Love Drunk director Django Greenblatt-Seay) opens for Thinkin’ Machines and Beth Bombara at The Barley Street Tavern. $5, 9:30 p.m.

While over at O’Leaver’s Saturday night All Young Girls Are Machine Guns headline with High Up (featuring the Fink sisters, Christine and Orenda, and a host of heroes) and Manic Pixie Dream Girls. $5, 9:30 p.m.

Finally, Sunday night at The Lookout Lounge (formerly The Hideout) pop-punk band The Ataris headlines. The band will be playing Blue Skies, Broken Hearts…Next 12 Exists (1999, Kung Fu Records) in its entirety. Also on the bill, local heroes Little Brazil and Low Long Signal and touring act Arliss Nancy. $10, 8 p.m. Never a better time t check out the club under new management?

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 © 2015 Tim McMahan. All rights reserved.

by Tim McMahan, Lazy-i.com

What ever happened to Sorry About Dresden?

Turns out Let It Rest, which brought them to Omaha in 2003, would be the band’s swan song, though according to Wiki they released a 7-inch split with The Jaguar Drop in 2006 and contributed to a Guided by Voices tribute album in 2011. They also contributed to a 2004 Will Oldham tribute album. The last update at their official website is dated Feb. 19, 2008. And then there’s this YouTube video, also from 2008. The only member who appears to have remained active musically is James Hepler, who joined I Was Totally Destroying It. That band’s most recent EP, Blood on the Beach, came out in 2013 on Greyday Records.

Dresden’s more tuneful emo-indie style never caught on in a big way, though they’re among my favorites from the early Saddle Creek Records days. So on this Throwback Thursday, from July 9, 2003…

Sorry About Dresden takes flight circa 2003.

Sorry About Dresden: Rooting for the Home Team

July 9, 2003 – Lazy-i.com

“I don’t think you can ever really escape Omaha, and I mean that both in a good way and a bad way,” says Sorry About Dresden guitarist / vocalist Matt Oberst.

Somehow, the Omaha native has managed to escape the confines of the city itself, relocating to North Carolina seven years ago, along with former SAD bassist Matt Tomich (we’ll explain the “former” comment in a minute) to become a teacher as well as part of the then-burgeoning N.C. music scene.

Oberst says his Omaha roots influence his approach to music and the business. “People who leave Omaha still have this home-team ethic going for them, which is stronger than in any other community,” he said. “When they find out that a band has connections to Omaha, they just want to help them out.”

It was an Omaha connection that helped draw Tomich and Oberst together. The two first talked about forming Sorry About Dresden at a January 1997 Commander Venus concert (a band in which Oberst’s brother, Conor, sang lead) in Chapel Hill. Tomich introduced Oberst to drummer James Hepler and guitarist/vocalist Eric Roehrig, both North Carolina natives. Six months later, the four played their first gig at a local club.

So is Tomich’s recent decision to leave the band a shock? Not really, Oberst said. “Matt turned 30 and decided he’d rather do other things than drive around in a van and be in the same bar in a different city every night,” he said. “I’m telling people he’s pursuing a solo acting career.”

Oberst said Tomich felt that the timing was right for his departure. With the tour that brings SAD to Sokol Underground July 15, the band will have finished crossing the country supporting their most recent release, Let It Rest. “That means we’ll be taking a little time off to work on new songs,” Oberst said. “I don’t think we’ll be touring in earnest again until next spring.”

Stepping in at bass is Finn Cohen, an old friend of the band and former guitarist for The White Octave. “Hopefully he’ll want to become a full-fledged member,” Oberst said. “With his songwriting skills, he would bring a whole lot to the band.”

But can anyone ever really replace Tomich? Oberst says the band lost more than a bass player, they lost a figurehead. “He’s one of those people who knows someone in every city,” Oberst said. “We’d be in a subway in New York City and someone would walk up to him and say, ‘Matt, is that you?’ He’s the figurehead that everyone knows, and in that sense, it’s sad that he’s leaving.”

With Let It Rest, Tomich goes out on a high note. Released earlier this year as the follow-up to their Saddle Creek Records debut, the CD perfectly melds bone-jarring, over-the-top indie rock with the band’s fist-pumping anthem style. The sound is more-varied than earlier releases, constantly straddling that fine line between punk and pop.

“We do ‘abrasive’ very well, but we can’t do the Sonic Youth ‘interesting noise’ thing for very long. That’s not our strength as a band.” Oberst said. “You can sit and strum most Sorry About Dresden songs on acoustic guitar. They have that singer/songwriter structure. We take those pretty pop songs and, at times, tear them up. We destroy what we build. I like the freedom of having those sing-along anthems right along with the quiet songs.”

SAD also has the distinction of being one of the more uplifting acts on a label that has its share of stark, angry bands. Oberst says he and Roehrig approach songwriting like putting together a collection of short stories rather than the more thematic approach taken by bands such as Cursive.

“My perspective is very skewed,” he said. “The first band I was in was with Tim Kasher and Matt Maginn. I grew up with Conor and listening to Norman Bailer which became The Faint. I’ve watched as all the bands on the label have sort of grown into their voice. They are coming into their own to do what they do very well.”

He said being lumped in with such a group of high-quality song writers is a distinct advantage. “Being on Saddle Creek, you can call up a club and they will book you immediately. It’s great,” he said. “To some degree, we’ll always be the new band on Saddle Creek because we’re not part of that core Holy Trinity. In that sense, people’s opinions of us are stronger one way or another than they would be if we were on a different label. There’s a set of preconceptions people have about you due to the label and who you are. You’re constantly asked if you’ve lived up to your potential.”

But maybe the biggest advantage to being on Saddle Creek, Oberst said, is working with people you know and trust. “We have a record label we can call up and deal with as friends, not some monolithic organization,” he said. “It’s nice to be part of that family.”

–Lazy-i, July 9, 2003 http://www.timmcmahan.com/dresden.htm

* * *

A few shows happening tonight.

SLC drug/surf-rock band Dark Seas headlines at Midtown Art Supply, 2578 Harney St. Joining them are local bands Black Finger Cult (Brian Tait among them) and Calm Fur.  This is listed as a 7 p.m. show, $5.

Also tonight Brooklyn’s Pony Farm opens for White Wolf T-Shirt and Buffalo Sex Change at The Barley Street Tavern. $5, 9 p.m.

And the Under the Radar Festival continues. Tonight it’s at The Joslyn, Bancroft Street Market and House of Loom. Details and schedule here.

* * *

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 © 2015 Tim McMahan. All rights reserved.

by Tim McMahan, Lazy-i.com

Somewhere on newsstands is the July issue of The Reader, and within its pages is a feature story about Hear Nebraska’s Good Living Tour . Waitaminit! Looks like you can also read the story online here.

The story gives you the usual who, what, when, where and how of the tour, and most importantly, the “why,” plus some technicolor from a Scottsbluff resident on how hard it is to see new bands when you live in the far reaches of western Nebraska. A full tour schedule is also provided to help you plan your summer vacation.

I won’t recast the story here, other than to say the tour is ambitious, it’s one-of-a-kind, and it could be an important moment in the history of local music. Its success depends on getting people to the shows, people who very likely have never heard of any of the bands involved. No doubt the Hear Nebraska forces have been hard at work doing their part to get the word out. But will it be enough? We’ll find out in a couple weeks.

Anyway, check out the story and pass it along to folks you know who live in these communities. Sharing is caring. Hear Nebraska thanks you.

* * *

Local boy wonder Aaron Gum (who you remember from InDreama (which, btw, I wish would get back on stage)) is co-directing a feature-length horror film with screenwriter Faustus McGreeves called Endor. Or at least he’s trying to. The crew is looking for money, and that’s where you come in.

According to Mr. Gum, filming is scheduled to begin this summer. Eli Mardock (of Eagle*Seagull) is composing an original motion picture soundtrack, and the final film will be color corrected by Jaimie O’Bradovich (Who remembers Shinyville?). Country musician Jeremy Starkel will be seen on screen as himself performing a new song written and being recorded for the movie, and rapper/actor Keives Mcgaugh will act in the film. On top of that, the campaign/teaser video features guest appearances by Orenda & Todd Fink and Nebraska state senator Colby Coash.

You can view that teaser here. and while you’re there…

The production is hoping to raise $7,000 via an IndieGoGo campaign that expires in 14 days. They’ve already raised $4,290. Among the premiums are tix to the premiere showings, posters, signed stuff, cameos, even props. Check out the campaign here and throw some money into the hat.

* * *

Pageturners’ Summer Concert Series continues tonight with singer/songwriter Sam Martin (Capgun Coup) along with Nathan Ma. The free concert gets rolling at 9 p.m.

* * *

Read Tim McMahan’s blog daily at Lazy-i.com — an online music magazine that includes feature interviews, reviews and news. The focus is on the national indie music scene with a special emphasis on the best original bands in the Omaha area. Copyright © 2015 Tim McMahan. All rights reserved.

by Tim McMahan, Lazy-i.com

How Live at O’Leaver’s looks on your iPhone.

The next batch of 30 sessions has been released at the Live at O’Leaver’s website

. We’re talking live performances recorded at the bar located at the direct center of the universe.

So far I’ve listened to the Cursive tracks (sublime), Big Harp (cool, different, surprising) and Swamp Walk (Stoner rock extraordinaire — where did these guys come from?). The Swamp Walk recordings are a prime example of why this effort is so important. I probably wouldn’t have heard these guys without this website (What can I say, the band’s name isn’t exactly enticing).

I’m trying to talk mastermind Ian Aeillo into creating some sort of Live at O’Leaver’s Radio button that would randomly play tracks from the entire archive — now there’s an internet radio channel I could get behind. Quick tip for you iPhone users: Go to liveatoleavers.com and create a home screen button so the site is always just a tap away.

Here’s the list of new artist sessions available at the site:

Cursive
Frontier Ruckus
Kickback
Planes Mistaken for Stars
Roman Polanski’s Baby
Brad Hoshaw
See Through Dresses
She Keeps Bees
Last Good Tooth
Dirty Talker
Dumb Beach
Goon Saloon
All Eyes West
Empty Moon
Manic Pixie Dream Girls
Bob Log III
Kill County
Coaxed
Boneheart Flanagan
Dan Mariska
Big Harp
Uh Oh
Worried Mothers
Hotlines
J Fernandez
Anna McClellan
Universe Contest
Swamp Walk
New Lungs
Small Houses

* * *

Singer/songwriter Mitch Gettmann has some new tracks online. You can check them out below. Apparently Mitch ain’t moving to Chicago after all. And he’s got a Kickstarter campaign on deck ready to launch next week. More info soon.

* * *

Dereck Higgins turns 60 today. If you’re involved in Nebraska’s music scene you already know who he is, what he’s done and what he’s still doing. He’s a local legend. If you don’t know, read this profile

that barely scrapes the surface of his art and music.

At my 50th birthday rock show/benefit for Hear Nebraska (where Dereck performed as part of Son, Ambulance) he gave me copies of two of his releases on vinyl — a remastered reissue of Nice and a colored-vinyl copy of Flyover. Both albums are now part of my warm-up and stretch routine prior to a long run. Order yours here.

I remember thinking at my birthday party that I would be lucky to be half as vital a part of the local music as Dereck is when I turn 60. We should all be so lucky.

Happy Birthday, Dereck.

* * *

Portland folk rock band Blitzen Trapper (Sub Pop) takes the stage tonight at The Waiting Room. We Are the Willows opens. $15, 9 p.m.

Also tonight at Slowdown Jr. it’s the hard stuff from Cancer Bats (Metal Blade Records). Opening is Megaton and Varmint. $10, 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 © 2015 Tim McMahan. All rights reserved.

Icky Blossoms at The Slowdown, July 3, 2015.

by Tim McMahan, Lazy-i.com

Maybe it’s the new record or maybe it’s the time they spent on the road with Of Montreal, but Icky Blossoms is blossoming into a full-on arena-rock band.

Whereas no past performance has been less than fun, there has been a tentativeness to their stage shows, an unsureness that bordered on amateur. All that was gone Friday night on The Slowdown’s big stage in front of what looked to be 300 or so fans eager to cut loose.

Adding to their usual energy was new lighting and stage designs — three giant, gaping, bleeding “flowers” that resembled either poppies or a certain portion of the female anatomy were painted on backdrops hung from the rafters.

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Icky Blossoms at The Slowdown, July 3, 2015.

Icky’s music is beginning to fall into three categories — seething acidic rock propelled by Nik Fackler’s screeching guitar (“Silver Tongue,” “Phantasmagoria”), ethereal driftwood stoner shoe-gaze where Derek Pressnall and Sarah Bohling share the vox (“Want You So Bad,” set highlight “Away From You,” which screams to be released as a single) and pure, unadulterated dance tracks (“Living in Fiction,” “In Folds”) that get the crowd moving.

A smart set list that ebbs and flows between those three styles makes the show dynamic and keeps the band from being pigeon-holed as just another dance band. Now blend in the best songs from their debut (“Babes,” crowd-chant-exorcism-humpfest “Sex to the Devil”) and let the party begin.

In fact, Icky Blossoms could become the ultimate party band, taking the helm from The Faint, but to get to that next level they’ve got to reach even further into the crowd to turn their shows into unforgettable, sweat-soaked spectacles. They’re on their way.

One other show note: I was told to pay close attention to opening hip-hop act Both. I saw what was billed as “Both” at the Hear Nebraska Vol. 3 album release show and was less than impressed. That show featured only one member of the duo, who spent that set playing bomb-explosion samples. Well, Friday night I got the full Both treatment and was impressed with their sound, their beats and how they worked the crowd. I’ll wait until I hear their new EP and can check out their lyrics (undecipherable from stage) before I say more…

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The first-half CD/album reviews round-up went online at The Reader this morning, here. I used to do these round-ups quarterly, but now that The Reader

is monthly, I’ve pulled back to bi-annual, which is tough in years like this one where there’s so many good new releases. Check it out and see if your favorites made the list.

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Interesting read here in that two of the five are attributed to past Lazy-i interviews: Five Noteworthy Facts You May Not Know About Conor Oberst

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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 © 2015 Tim McMahan. All rights reserved.

Mates of State at Reverb Lounge, July 2, 2015.

by Tim McMahan, Lazy-i.com

I had no intention of staying at Reverb last night, certainly not long enough to see Mates of State. But the opening bands pulled me through almost to the end.

How to describe the twin sisters that make up opening band Good Graeff — guitarist vocalist Brooke and cellist Brit Graeff?

Bubbly? Playful? Fun-loving? Giddy? How about precocious? Or fetching? Let’s just settle for “darling,” and “talented.” The duo, along with a bass player and drummer who were mainly in the background, played a set of up-tempo love songs (introduced by Brooke as love songs, though she said she’s never been in love. Pshaw!) that were catchy and cute and hard not to like.

Good Graeff at Reverb Lounge, July 2, 2015.

They count The Pixies and Tegan and Sara among their influences and are at their best when channeling those bands’ more percussive/less linear moments. When they try their hand at modern, streamlined pop they sound like watered-down Sheryl Crow. Fortunately, those moments were few and far between.

As entertaining as their music was their between-song patter. Led mostly by Brooke who, if this music thing doesn’t work out, she could pursue a career in topical stand-up comedy. When Brit joined in the pair sounded like the Sweeney Sisters. Or maybe the Pigeon Sisters. Now I’m reaching. Watch for their new EP, Good Job Go, out July 10.

Hey Marseilles at Reverb Lounge, July 2, 2015.

They were followed by Hey Marseilles, who, for whatever reason, I keep confusing with Hey Mercedes though the bands have nothing in common except the Hey. The six-piece, who I’d never heard before, sounded like a chamber-pop version of Guster, Death Cab or Jeremy Messersmith, featuring pure indie rock songs augmented with viola and cello.

HM frontman Matt Bishop has a crisp, non-affected vocal style that doesn’t outshine the rest of the band. You get the sense he’s just part of the band instead of an irreplaceable centerpiece. Great stuff worth checking out if you’re into indie pop that relies on strong, complex melodies (and who isn’t?). They also have a new album coming out in the near future.

I was planning on leaving halfway through HM and skipping Mates of State altogether since I had to work this morning, but HM kept my attention with the strength of their last three songs, which blended nicely and finished with a crescendo. I figured what the heck, might as well hang ’til 11.

I haven’t seen Mates of State in years. Their early songwriting relied heavily on Kori Gardner’s brash, almost calliope-style keyboards that had a way of grating. Well, that style of keyboards is gone, replaced by more traditional electric keyboard arrangements that emphasize their current straight-forward indie-pop songwriting. It’s pretty stuff that sits well with Gardner’s and husband, drummer Jason Hammel’s, intertwining vocals.

Pitchfork crushed their new Barsuk-release EP, You’re Going to Make It, with a 3.9 rating saying it “makes life sound like one big bouncy castle of fun, and that unquestioned contentment renders Mates of State musically anonymous.” Maybe so, but I doubt the duo were targeting the Pitchfork reader when they wrote the album. Instead, they were targeting people like 100 or so who crowded Reverb, 80 percent of them women. The first three rows of people standing hear the stage were mainly 20-something women pseudo-dancing (i.e., shaking their shoulders) and singing every word. These were happy people, having a happy time, which doesn’t describe the typical glum, too-serious Pitchfork reader.

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The Fourth of July can really be a bust for shows, but it definitely kicks off with a bang tonight.

Have you checked out the College Music Journal “Most Added Radio 200 Top 20” chart lately? Well if you had, you’d have noticed that Icky Blossoms’ new album, Mask, currently sits at No. 18, one position higher than the new one by Hop Along, Painted Shut, at No. 19.

Tonight Icky Blossoms belatedly celebrates the release of Mask in The Slowdown’s big room. I’ve been told to expect a “new light show, stage props, and some other fun stuff happening.” What do the Icky’s have up their sleeves? Opening is Eric In Outerspace, BOTH and Thick Paint. $10, 9 p.m.

Also tonight LA first-wave punk band The Weirdos headlines at The Lookout Lounge. The band has been blowing shit up since ’75. Opening is Bullet Proof Hearts, Hand Painted Police Car and Omaha punk legends R.A.F. $13, 9 p.m.

And it’s Benson First Friday. If you’re walking around Maple Street tonight, drop into The Little Gallery at Polecat HQ, located right across the street from The Sydney, where we’re featuring the works of Brian Tait — artist, musician, poet, madman.

Tomorrow night is the 4th of July and what better place to toast Ol’ Glory than fabulous O’Leaver’s? The Independence Day Weenie Roast features three All-America bands: the patriots of Pro-Magnum, the warriors of Dumb Beach and the heroes of New Lungs. Will there be fireworks? Oh yes, but only of the rock ‘n’ roll variety. (But yeah, some a-hole probably will shoot roman candles at people in the parking lot. You know how it goes.). Hot dogs and chips are served at 8 p.m.; the rock starts at 9. $5.

Finally on Sunday, Canadian singer/songwriter Calvin Love headlines at Slowdown Jr. Love’s sophomore album, Super Future, was released this year by Arts & Crafts and is rather sublime. Lineman’s Rodeo opens this 8 p.m. show. $8.

And that’s all I got. If I forgot your show, post it in the comments section. Have a fantastic Fourth of July.

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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 © 2015 Tim McMahan. All rights reserved.

RadiOmaha is streaming from radiomaha.com

by Tim McMahan, Lazy-i.com

Speaking of online-only radio stations (like Beats 1), someone recently passed along a link to the new RadiOmaha website.

There’s not a lot of info about the site at the site: “We’re online. We’re worldwide. We’re from Omaha – a vibrant music community that’s home to exciting emerging artists. We play great alternative artists and classic rock hits, and we bring great Omaha artists to the world.”

According to their website, their music mix is 50 percent new alternative & Indie; 15 percent classic rock; 15 percent local Omaha artists; 10 percent new cuts from classic artists and 10 percent blues, world, reggae and specialty shows. I’ve listened off and on for a few days have heard few indie tracks, but maybe I’m just unlucky. So far I’ve heard mostly jazz, blues and oldies. Locals heard include tracks by Kris Lager and Scott Severin.

This morning before work I heard on RadiOmaha “Go To Hell” by The Clash, followed by a smooth jazz instrumental, followed by “Time Has Told Me” by Nick Drake. That was followed by an unidentified voice talking about an ancient Firehose in-store performance at Homer’s, a brief comment about lengthening the school day, and an episode of Lance Stallion Radio Detective — what used to be a staple of the Otis 12 & Diver Dan show on Z-92 20 or so years ago.

If you’re wondering how RadiOmaha can legally stream label-produced music, the website apparently has acquired a license from StreamLicencing.com

, which covers ASCAP, BMI, SESAC, SOCAN royalties and performance fees. That means they can live-stream just about anything.

The station is the brainchild of Rick Galusha, who has been putting it together for a few years. On-air hosts include some familiar names: Diver Dan (formerly a Z-92 host), Victor Hahn, Ariann Anderson, Mike and Tom Becka, MarQ Manner, BJ Huchtemann, David Leibowitz, Michael Murphy, along with others whose names aren’t so familiar. Check out the entire list here.

Why are online-only radio stations like RadiOmaha and HN Radio

(let alone big names like Beats 1 and KEXP) relevant? Because it’s just a matter of time before someone figures out how to get Internet radio stations to play in your cars. They already do if you know how to tune them in on your smartphone (I use the TuneIn Radio app, which allows you to stream most local and  national radio stations) and your car stereo is Bluetooth enabled, like mine is.

Eventually car makers (and car stereo makers) will “get it” and you’ll be able to tune to your favorite web-only radio station as easily as you tune into a local terrestrial station.

A bigger issue for local web radio is content generation. One assumes that RadiOmaha is merely a stream of pre-recorded shows/podcasts by the aforementioned jocks strung together in a loop that plays endlessly — i.e., not real live broadcasting. There is no other way a station (or its volunteer jocks) could pull it off, at least until they become popular enough to sell advertising.

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Good ol’ Mates of State (Barsuk, Polyvinyl) returns to Omaha tonight, this time at Reverb Lounge. The band has been touring though Omaha since 2002 (as evidenced by this Lazy-i interview — whoa, Neva Dinova and Race for Titles opened that show!). More amazing than the band still performing is that the husband-and-wife duo of Kori Gardner and Jason Hammel are still married. They’re on the road supporting their recently released EP, You’re Going to Make It (Barsuk/Fierce Panda). Opening is Seattle’s Hey Marseilles and Sarasota-based twin sister duo Good Graeff. $16, 9 p.m.

Also tonight, Luke Polipnick headlines at fabulous O’Leaver’s with Mitch Towne and Dana Murray. $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 © 2015 Tim McMahan. All rights reserved.