by Tim McMahan, Lazy-i.com

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

by Tim McMahan

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Foxygen, We Are the 21st Century Ambassadors of Peace and Magic

(Jagjaguwar) — Produced by Richard Swift, who worked on the last two Mynabirds albums, it’s pure ’70s Stones, as Stonesy as you can get without dragging Mick into the studio.

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

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

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

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

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

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

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

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

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

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

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

Maha Music Festival at Stinson Park, Aug. 17

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

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

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

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

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

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

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

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

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

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

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Read Tim McMahan’s blog daily at Lazy-i.com — an online music magazine that includes feature interviews, reviews and news. The focus is on the national indie music scene with a special emphasis on the best original bands in the Omaha area. Copyright © 2013 Tim McMahan. All rights reserved.

Cursive at O’Leaver’s, Dec. 20, 2013.

by Tim McMahan, Lazy-i.com

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

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

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

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

* * *

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

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

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Read Tim McMahan’s blog daily at Lazy-i.com — an online music magazine that includes feature interviews, reviews and news. The focus is on the national indie music scene with a special emphasis on the best original bands in the Omaha area. Copyright © 2013 Tim McMahan. All rights reserved.

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

by Tim McMahan, Lazy-i.com

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

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

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

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

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

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

.

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

And so on.

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

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

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

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

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

EP) and perennial closer “Staying Alive” sounding more bombastic than ever.

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

And so it ends. Or does it?

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

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

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

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

* * *

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

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

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

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

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

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

Lastly, Sunday night The Mezcal Brothers headline at The Waiting Room with Matt Cox. $7, 6 p.m.

Have a good weekend…

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Read Tim McMahan’s blog daily at Lazy-i.com — an online music magazine that includes feature interviews, reviews and news. The focus is on the national indie music scene with a special emphasis on the best original bands in the Omaha area. Copyright © 2013 Tim McMahan. All rights reserved.

by Tim McMahan, Lazy-i.com

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

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

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

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

Opening tonight’s show is Ted Stevens Unknown Project — that means Ted’s pulling double-duty. Also on the bill: Ladyfinger (which means Chris Machmuller also is pulling double duty as he’s playing sax with Cursive). Get there early. I bet tonight will be as packed as last week’s show (which was a crush mob). If you’re worried about a sell-out, do something about it. $12, 9 p.m.

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Read Tim McMahan’s blog daily at Lazy-i.com — an online music magazine that includes feature interviews, reviews and news. The focus is on the national indie music scene with a special emphasis on the best original bands in the Omaha area. Copyright © 2013 Tim McMahan. All rights reserved.

by Tim McMahan, Lazy-i.com

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

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

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

Also ending tonight is MarQ Manner’s Songwriter Night at The Library Pub, 5142 No. 90th St. According to the Facebook invite

, this is the last night of the series, though there’s more to come in 2014.  Slated to play: Magick K Band Acoustic, Dallas Hendricks, Matt Cox and Scott Severin. Show starts at 8 and is free free free.

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

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

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Read Tim McMahan’s blog daily at Lazy-i.com — an online music magazine that includes feature interviews, reviews and news. The focus is on the national indie music scene with a special emphasis on the best original bands in the Omaha area. Copyright © 2013 Tim McMahan. All rights reserved.

by Tim McMahan, Lazy-i.com

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

. You’ve been warned.

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

Other than that…

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

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Read Tim McMahan’s blog daily at Lazy-i.com — an online music magazine that includes feature interviews, reviews and news. The focus is on the national indie music scene with a special emphasis on the best original bands in the Omaha area. Copyright © 2013 Tim McMahan. All rights reserved.

by Tim McMahan, Lazy-i.com

A glance at the week ahead show-wise…

Tonight at Pageturners it’s Lars + Mal and Silk Robespierre. No idea who this is, but it’s free and starts at 9:30. Why not?

Tomorrow night The Burkum Boys (Skypiper) play at O’Leaver’s with The Cactus Blossoms and Ojai.

Wednesday Slowdown Jr. has Midwest Dilemma, Brad Hoshaw and Landon Hedges (Desaparecidos, Little Brazil). Seems like forever since I’ve seen MD on stage.

Thursday is the final night of Cursive at The Waiting Room, with Ladyfinger and Ted Stevens Unknown Project. Expect the unexpected from what has become a very memorable “residency.”

Friday it’s The Seen and Texas band Crystal Wolf at O’Leaver’s; while Barley Street is hosting its annual X-mas spectacular.

Saturday is Brigadiers and Bear Antlers at O’Leavers; while Envy Corp. returns to The Waiting Room with Oquoa and Millions of Boys.

Finally Sunday Mezcal Brothers are at The Waiting Room with Matt Cox.

Not bad for the week before Christmas.

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In other news…

Neutral Milk Hotel (March 29) and St. Vincent (April 1) both have been booked to play at Sokol Auditorium. Seems like only yesterday that I saw St. Vincent at Slowdown Jr., and now she’s playing that famous South Omaha barn. Tickets on sale now via One Percent Productions.

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In 311 news… (yeah, you read that right)

The band that once called Omaha home confirmed via Billboard Magazine that its next album will be an independent release.  In the article

, frontman Nick Hexum calls the move to indie status “one of the best moves 311 could have possibly made,” at least now that they have a distro deal with INGrooves.

But Hexum’s prime quote was this: “The label system is corrupt; they’re so incompetent with their ability to bring any value to the table. It’s just a rip-off.” I don’t think he was saying that back in the Sony/Zomba days… Things must be getting tough at the majors for 311 to turn its back on them.

Another interesting touch was Billboard referring to the band as “the Nebraska rockers.” As we all know, 311 hasn’t lived in Nebraska in over a decade. Where did that come from, and why?

* * *

Finally, Hear Nebraska met its Kickstarter goal of $4,000 today. But the campaign continues, as money raised above the $4k goal will go toward replacing a Macbook Pro used to run the website that was stolen from an HN staffer’s car parked in Benson last Thursday night during the Cursive show…

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Read Tim McMahan’s blog daily at Lazy-i.com — an online music magazine that includes feature interviews, reviews and news. The focus is on the national indie music scene with a special emphasis on the best original bands in the Omaha area. Copyright © 2013 Tim McMahan. All rights reserved.

by Tim McMahan, Lazy-i.com

The line to get into The Waiting Room last night stretched down the sidewalk at 9 p.m. I could hear David Bazan doing his usual sad-dog electric solo set while I waited. The lady behind me said she was worried the show would sell out, and phoned a friend further up in line to buy her ticket. She was right to be concerned. The place was packed, especially compared to last week’s show.

I’ll get to the openers in a minute. First, Cursive.

The set-up was the same as last Thursday, but the actual set was altogether different. Not entirely in song choices — there were a couple repeats, including “The Martyr” and “Sierra” (I suppose they have to play those at every show) — but in the performance. Cursive brought the heavy shit last night. The band was tuned to metal, even Kasher’s guitar was extra-gritty.

While last week’s set list was a mish-mash with a heavy dose of their more-popular tunes, last night was a deep dive into obscurata, light on melody, heavy on thunder. Or maybe it just seemed that way. Again, I didn’t recognize about a third of the songs. Among the rarities was “Sucker and Dry” off their second single (rereleased on The Difference Between Houses and Homes), “Retirement” from their first album Such Blinding Stars for Starving Eyes, and something off second album The Storms of Early Summer: Semantics of Song. Kasher ended each chestnut with a wry laugh as if saying, “Remember that one? Of course you don’t.”

The band played two sets. Set One highlights included “The Night I Lost the Will to Fight,” “Rise Up! Rise Up!” and “Sierra,” along with a song or two off I Am Gemini. Then they left the stage and comedian Ian Douglas Terry, maybe the bravest man in the word, came out and did 10 minutes as people screamed at him from the floor. As Dan Rather used to say: Courage.

By the time Cursive returned, the crowd had thinned slightly. They dove back in with “Sink to Swim,” “The Worst Is Over,” “Let Me Up,” “Holiday,” and a song or two off I Am Gemini, before closing with a rearranged, gospel-tinged version of “What Have I Done?” which cements Mama, I’m Swollen as my favorite Cursive record.

It was during the second set that they rolled out “The Martyr” again. I can’t put a finger on it, but this week’s version was looser, groovier, more brazen that last week’s, and was indicative of the entire set. While there was more head-scratchers on the set list this week, the overall performance was louder, meatier, more primal — i.e., it was pretty fantastic, maybe the best Cursive show I’ve seen since that secret “sneak” show at O’Leaver’s seven or eight years ago when they rolled out Happy Hollow songs for the first time.

As everyone knows, last night was one of three shows at The Waiting Room being recorded for a (proposed) live album. I think they pretty much got what they needed. God only knows what we’re in for next week. The conventional wisdom is that now that they have the necessary tracks in the can, next Thursday’s show will be a fuck-it free-for-all where anything goes. It could be a marvel or a bloody mess, and either will make for grand theater.

Speaking of grand theater, the near sold-out crowd was just as enthusiast about Criteria as they were the headliner.

Criteria at The Waiting Room, Dec. 12, 2013.

When I was a kid I used to read Hulk comics (who am I kidding, I still read Hulk comics). The best part about ol’ greenskin is that no matter how much they throw at him, he just gets stronger. The same thing can be said about Criteria frontman Stephen Pedersen.

When the band came out and played their first song, I texted a buddy hidden somewhere in the crowd: “Steve’s losing his voice. Those high notes, just a tad out of reach.” I don’t remember what song it was, one of those early Criteria classics.

But it didn’t take long for Pedersen to get in range. Maybe he needs to warm up more before the show? I don’t know. Frankly, I don’t know how he’s even able to sing those songs, each one is a circus-act tight-rope walk of searing high notes akin to an indie-rock yodel thrust loudly into the crowd via that thick, bulging vein in his neck. Pedersen is a marvel of art and science. As is his band, whose rhythm section sits proudly alongside Cursive’s as among the finest in the land.

By the end of the set Pedersen was unstoppable. I expected his voice to be a worn-down burned-out nub, but it only got stronger. Don’t get him angry, you won’t like him when he’s angry…

The big news was the slew of new Criteria material — all solid. Though not a new direction by any means, each song held its own (and then some) alongside the band’s stellar back catalog. Pedersen’s announcement that the band is recording a new album in January was met with whoops of approval from the crowd. Is this the beginning of a second act by a band that’s sorely missed?

As for Bazan — good ol’ Bazan — his solo set was well received, though there was a lot of chatter in the back of the room. I’d be surprised if many of the youngsters in the crowd even heard of Pedro the Lion. As per usual, he paused a couple times between songs and asked if there were any questions. Someone asked him to play an older tune, and his response was something like, “Sorry man, I’m no longer the guy who wrote and played that song.”  So it goes.

* * *

All right, it’s Friday. The weekend’s looking… interesting.

Tonight at fabulous O’Leaver’s noise-rock band Pro-Magnum headlines what they’re calling “Metal \m/ Night” featuring Old Bones (self-described hardcore band featuring ex members of Split Second, 8th Wave and Ryan McLaughlin (Rymo) of Race for Titles), Relentless Approach, and Borealis (self-described death metal). Sounds loud, doesn’t it? $5, 9:30 p.m.

Also tonight, it’s Snake Island, Worried Mothers and the incomparable Dereck Higgins at Venue 51, 1951 St. Mary’s Ave. They’re calling this show “Acid Test” and describing it as “a night of interactive light and group levitation. Projections, Psychedelia, and euphoria…” $5, 9 p.m. Fitting that it’s Friday the 13th?

Tomorrow night back at O’Leaver’s it’s The Doneofits (Michael Trenhaile), Under Water Dream Machine and The Love Technicians. $5, 9:30 p.m.

Meanwhile Saturday evening down at Slowdown it’s Omahype’s annual Holiday Rock and Shop featuring local designers and crafts-makers, as well as bands: All Young Girls Are Machine Guns, John Klemmensen & The Party, Manic Pixie Dream Girls, cellist April Faith-Slaker and Seer States. Between bands buy a hip-ass bag by Artifact, a foxy dress by Hello Holiday or a kick-ass poster by Doe-Eyed Design, among others. The fun starts at 6 and entry is $5. More info here.

Sunday there’s a “Whiskey Tasting” being held at O’Leaver’s at 4 p.m. That just seems like a bad idea to me…

Have a good weekend.

* * *

Read Tim McMahan’s blog daily at Lazy-i.com — an online music magazine that includes feature interviews, reviews and news. The focus is on the national indie music scene with a special emphasis on the best original bands in the Omaha area. Copyright © 2013 Tim McMahan. All rights reserved.

by Tim McMahan, Lazy-i.com

In this week’s column, third quarter CD reviews (a little late). I’ll be tweeting random selections throughout the day at @tim_mcmahan — what better reason to finally get a Twitter account? The entire list is in this week’s issue of The Reader, or online right here… Here’s a taste:

Hospital Ships, Destruction In Yr Soul (Graveface) — Death Cab meets Arcade Fire, too often tries for epic, too often falls flat.

Destruction Unit, Deep Trip (Sacred Bones)  — Just plain burn-your-face-off garage rock for the damned (damned good).

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

Twinsmith, self titled — Blessed by the Creek, a sort of Vampire Weekend / Beach House mash-up, might be too cute for its own good.

Read all 32!

* * *

Conduits at Dundee Spring Fling, May 21, 2011.

Somewhere in the heart of the city there’s a going-away party being held for Jenna Morrison.

Jenna is/was the golden-voiced siren who fronted Omaha’s epic shoe-gaze odyssey called Conduits. What did Conduits sound like? From an April 2011 review of their performance on Slowdown’s big stage:

Conduits closed the night with grand aplomb — just an absolute wall of sound — thick slabs of droning feedback, subtle synth tones, and throbbing, tribal rhythms a la Slowdive, MBV and all the other shoe-gaze masters that obviously influenced their style and that we all know and love.

Conduits could have been huge. The conventional wisdom at the time was that they were the next Omaha break-out act, especially after word leaked that their debut LP would come out on Team Love Records (the label that Conor Oberst started). But time took its toll on Conduits. They spent a year playing the same songs, released their record then spent another year playing the same songs. But (I’m told) none of that had anything to do with their eventual demise…

Though there’s been no official announcement, the band has been broken up for more than a year. Everyone’s gone on to other projects, the most notable being Oquoa. Everyone, that is, but Jenna Morrison. Conduits fans have sat back waiting for her next move. Well here it is:

After going on a walk-about through the Southern Tier (documented on her Facebook page), Jenna decided to move to Los Angeles in the coming days/weeks. What she’s chasing out there, I cannot tell you. I can only wish her luck, godspeed and say thanks for the memories. And watch out LA, there’s a new kid in town…

* * *

Tonight is Night 2 of Cursive’s 3-night stand at The Waiting Room where the band is recording for a possible live album. Night one was a real doozy. And of the three shows, tonight’s might draw the largest crowd thanks to stellar openers Criteria (they’re baaack!) and David Bazan (Who we all remember from Pedro the Lion).

If the first night was any indication, this trio of shows attendance should be mandatory for any Cursive fan. The band is digging deep into the back catalog. Heck, they played a song off their Lumberjack debut 7-inch last week. You will hear songs performed that you may never hear performed live by this band again…

As of this posting, tickets were still available for $12. You may want to get yours online now to avoid disappointment. See you there.

Also tonight, Hear Nebraska is hosting a listening preview of its Vol. 2 album at The Omaha Bicycle Company in Benson.

The vinyl album is a snapshot of the best bands of 2013, with tracks from Universe Contest, Pleasure Adapter, Noah’s Ark, Millions of Boys, Tim Kasher, Skypiper, McCarthy Trenching, Conchance, Lloyd McCarter and Simon Joyner. HN is less than $700 away from its $4,000 Kickstarter, which is really just a pre-sale. A $20 pledge gets you the vinyl and the mp3. Pledge more for other fun stuff. Do it.

Not sure you’ll dig the record? Then head over to Omaha Bicycle Company tonight at 5:30 and hear for yourself. More detail about tonight’s event 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 © 2013 Tim McMahan. All rights reserved.

by Tim McMahan, Lazy-i.com

Seems like The Reader‘s “Music Issue” gets pushed back further and further every year. Something that used to come out in the fall is now becoming a year-end tradition, along with all those other year-end “best albums” lists, etc.

Anyway, here it is. The process for creating the list was the same as it ever was — The Reader‘s music writers got together and hashed out the list over beers at the Dundee Dell. Arguments for or against including a specific band involved whether a band performed, toured or released any music over the past year.

So are these the best bands? Are they the most popular bands? Are they the most successful bands? No, no and no. They’re not even our favorite bands. Throughout the back-and-forth that went into making the list, preference was given to bands that have made the biggest impact from our area.

My chores this year also involved writing a “State of the Music Scene” essay that precedes the list. The Reader‘s Top 20 for 2013 (descriptions written by the esteemed Chris Aponick) and Next 29 (!) are in this week’s issue on news stands now, and online right here. (Don’t ask me who that is in the photo at the top of the article).