Of Montreal at The Waiting Room, Nov. 2, 2013.

by Tim McMahan, Lazy-i.com

While last Saturday night’s Of Montreal concert was the usual spectacle that one expects from these colorful Athenians, it was only a medium-sized spectacle, especially compared to the last time they came through town and played at The Slowdown.

Your first thought might be that they pulled back because The Waiting Room has a smaller stage than The Slowdown’s cavernous maw, but you’d be wrong because I’ve been told the two stages are about the same size, and that TWR might actually be a tad larger. No, the real reason could have had something to do with the style of the band’s latest album, which is less of a party and more of a psychedelic head trip.

To help build that trippy buzz, Of Montreal’s eye-blazing projector-powered graphics got an extra punch of wow — pure acid-flashback dazzle combined with strange 8 mm-style film effects.

Theatrics did abound. Three “extras” made stage appearances in a variety of costumes, most resembling blobs or giant wadded up pieces of paper. When they weren’t stumbling around in bulky costumes, the extras slipped into place in white body stockings, unfolding umbrellas that reflected targeted projected graphics (see the eye-popping skull above).

And then there was the music. Of Montreal played their mega-hit “Wrath Pinned to the Mist and Other Games,” (a.k.a., the Outlook Steakhouse commercial jingle from a few years ago) in the middle of the set, surrounding it with new glammy material from Lousy with Sylvianbriar, their latest Polyvinyl release. If someone ever decides to make a David Bowie biopic, Kevin Barnes would be the shoe-in to play the Thin White Duke — his voice (at times) was a photo-realistic replica of Bowie’s, complete with the obvious, recognizable inflections we’ve come to know and love.

Beyond the Bowie comparisons, Barnes has a mammoth voice that keeps going and going, and is the clear centerpiece of the entire performance. Good thing, too, because while Of Montreal’s music often has a thumpin’ beat, it lacks a strong central melody. The reason “Wrath Pinned…” was a hit is because it’s one of the few songs they’ve written that invites you to sing along. The rest of Of Montreal’s melodies are two-dimensional gymnastics — dense, complex and sparkly — but forgettable. It’s the reason Of Montreal never broke through the way Arcade Fire has, though the two bands do very similar things (and one might argue, Of Montreal does it better).

But who cares when you see Barnes coming out after a costume change dressed as a 12-foot tall singing psychedelic ghost?

La Luz at The Waiting Room, Nov. 2, 2013.

Opener La Luz was a fun exercise in genre rock, described to me by one listener as Middle Eastern-infused surf rock. To me they played traditional garage rock with a sinister undertone. Great stuff, in small doses.

* * *

The big shows keep rolling on tonight:

Cold War Kids play tonight at The Slowdown with Crystal Antlers, whose latest, Nothing Is Real, is brash and loud and worth getting to the club early for. $20 9 p.m.

Meanwhile, over at The Waiting Room, chillwave superstar Toro Y Moi headlines with Classixx, a DJ duo who have remixed everyone from Phoenix to Yacht to Holy Ghost to Ladyhawke. $17, 9 p.m.

Why does it have to be Monday?

* * *

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.

A screen capture from Of Montreal’s video for “Fugitive Air,” the first single off their latest album.

by Tim McMahan, Lazy-i.com

Welcome to November.

And that’s all I have to say about that, other than get ready for a solid weekend of shows.

It starts tonight with Deer Tick at The Slowdown. I kind of lost track of Deer Tick after I interviewed them in 2009. The band has released three albums since then, including their latest, Negativity (2013, Partisan), which pulls them further from the folk rock category to whatever genre Wilco is known for. Opening is Nashville’s Robert Ellis (New West Records). $17, 9 p.m.

Also tonight, Omaha’s monsters of punk Pro-Magnum play at The Sydney with red hot electro-dance newcomers Routine Escorts and the always entertaining Touch People. $5, 9 p.m.

BTW, it’s Benson First Friday again, so you may want to try Larkin’s Parkin’ right across from Jake’s if you can’t find a spot. It’s valet — fancy!

Saturday’s marquee event is Of Montreal at The Waiting Room.

You could say Of Montreal’s latest album, Lousy with Sylvianbriar, is more organic than what we’re used to. Frontman Kevin Barnes downshifted his songwriting to something less ornate (and confusing) and more sonically straightforward. In addition, he threw out the technology and recorded the whole thing on a 24-track tape machine, in fact most of it was recorded live with the band in a single room. The result sounds like a ‘70s glam album welded to an indie rock underframe. Barnes has always reached for Bowie stylistically, but usurped it with his trademark layered harmonies (reminiscent of ELO). Yeah, this is a ‘70s record, and I mean that in a good way.

But forget about the record, Saturday night’s show is about staging. The last time I saw Of Montreal a couple years ago at Slowdown it was, indeed, a spectacle, with iridescent metallic body suits, a simulated wrestling match, a giant blob, a pig person, a 12-foot-tall shimmering thing with four arms, all done with campy flair. I ‘spect we’ll get more of the same, though the new record — which seems more serious and backs away from dance beats — is better suited for a hippie pageant than a space odyssey. Regardless, an Of Montreal show is always worth the price of admission.

Opening is the strutting, sexy, spy-guitar-fueled garage stylings of Seattle’s La Luz (Burger, Hardly Art, Suicide Squeeze). $18 Adv/$20 DOS. Starts at 9.

Finally, country folk twangster Robbie Fulks is playing at The Waiting Room Sunday for an early 5 p.m. show. $17 Adv/$20 DOS.

If I forgot something, put it in the comments section.

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

It’s Halloween which is usually a night to avoid the bars for obvious reasons, not the least of which is that most clubs celebrate with bad cover bands and costume contests. Thankfully, most of that took place last weekend, and as a result, there’s actually some fun stuff happening tonight that doesn’t involve dressing up like a zombie (Show of hands, who’s getting sick of the zombie bullshit? That’s what I thought. “Zombie walks” are this generation’s renaissance fairs).

Tonight, House of Loom is hosting “Solid Plackout” — a show featuring Digital Leather, Lincoln geek-rocker Plack Blague and the incomparable Solid Goldberg. Added to the bill is Superstar + Star, a one-man dance explosion (check out the video below). All for $8, or $5 with Facebook RSVP (go here for that). The fun starts at 9.

I’m told by promoter Chris Aponick that you’re not required to wear a costume to attend the Loom show. Chis is calling it a “can’t be bothered with costumes” event. On the other hand, if you feel the need to wear a costume, Chris tells me that none of the bands will make fun of you from stage. I will go in my traditional costume — off-duty cop.

Also tonight, ’80s MTV icons Living Color plays at The Waiting Room. You remember “Cult of Personality,” don’t you? How could you forget? The song was on heavy rotation on rock channels and MTV for about five years (along with Aerosmith’s “Love in an Elevator” — often played back to back). Voodoo Method opens. $25, and don’t be surprised if it sells out because Omaha loves its legacy acts.

There also are parties at The Sydney and Barley Street, and Boo Goo (with M34N ST33T) at The Slowdown.

Whatever you do, remember it’s amateur night. And expect cops…

* * *

In this week’s column, a look at what’s involved with making a local independent film from the viewpoint of a producer. You can read it in this week’s issue of The Reader or online right 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

Lost amidst all the hub-bub about Arcade Fire’s release of Reflektor

today is the fact that Maria Taylor’s new one, Something About Knowing, also dropped via Saddle Creek Records. I didn’t receive a promo of this one for whatever reason, so like you I’m checking it out for the first time via the MSN Listening Booth. Very poppy. The reviews so far would have us believe it’s a collection of lullabies and/or reflections on motherhood. Still waiting for the big online pubs to come out with their reviews, but here’s All Music‘s and some smaller pubs’ reactions:

All Music gave it 3.5 stars. From the review: “...retains many of the hazy dream pop undertones that informed her earlier work, while introducing a more streamlined, radio-ready patina…”

Best Fit gave it 5 out of 10. From the review: “…While it would be cruel to compare this release to sitting through 40 minutes of a stranger showing you baby pictures, that might be the most potent warning for those unaware of what awaits them here…“

Meanwhile, Reflektor is up on Spotify, where I’ll listen to it this afternoon. Pitchfork when apeshit over it yesterday (a 9. 2, here), which is all it takes these days. Well, that and the mega media blitz the band is currently undergoing, from The Colbert Report to SNL to NPR.

* * *

Scott Severin is doing a set tonight at The Barley Street opening for Michael Wunder and the Uninspired along with John Larsen. Severin grew up in New York City during a time when Lou Reed was very much on the scene. Expect some sort of tribute to Lou by Severin during his set, which makes it more than worth the $5 cover. 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 © 2013 Tim McMahan. All rights reserved.

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Lou Reed taking a ride on the wild side…

by Tim McMahan, Lazy-i.com

Lou Reed, like all rock icons, was one of those guys that was nice to have around whether he was making music or not. When I listen to his music, I can see him walking the streets in Lower Manhattan in his leather jacket, sun glasses and ever-present scowl, or making the scene at The Factory or on stage somewhere in midtown. Always in New York City circa 1970, a New York City that, like Lou, no longer exists. But that’s how I’ll remember him. Along with his music, of course.

* * *

It’s a busy Monday night.

Tonight down at Slowdown Jr. it’s red hot Brooklyn band Widowspeak (Captured Tracks) with Portland’s Pure Bathing Culture (Partisan Records). Widowspeak’s Molly Hamilton sounds like the second coming of Hope Sandoval (though last I looked, Hope didn’t go anywhere). So, yes, if you’re into Mazzy Star you’ll be into Widowspeak, though their music sounds more haunted and guaze-covered. Pure Bathing Culture reminds me of Throwing Muses. Check out the vids below. $8, 9 p.m.

Also tonight, at fabulous O’Leaver’s, east coast band Les Rhinocéros with headliner locals Mint Wad Wally and opener Underwater Dream Machine. $5, 9:30 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 © 2013 Tim McMahan. All rights reserved.

I’m not the only one who thinks Halloween is lame. Just to clarify, this is not my dog.

by Tim McMahan, Lazy-i.com

It’s Friday and that means it’s time for the weekend wrap.

Tonight Denver duo In the Whale plays O’Leaver’s with Saturn Moth. From what I can tell, In the Whale is a garage band, but not really. Judge for yourself below. $5, 9:30 p.m.

Over at the Barley Street Chromafrost (Lincoln Dickison’s red hot noise-punk band) plays with Seer States and The Real Action. $5, 9 p.m.

Tomorrow night John Vanderslice makes his way to Slowdown Jr. His latest, Dagger Beach, was released on Tiny Telephone. Opening is the always entertaining John Klemmensen and The Party. $12, 9 p.m.

Can you believe Halloween is less than a week away? Test drive that lousy costume of yours Saturday night at The Goth Ball at Ralston Arena. Digital Leather is the featured band, which is odd because I can’t think of a band that’s less goth than Digital Leather. Tickets are $20 but are available until 4 p.m. today for $10 from gooddealomaha.com. Doors are at 8. No idea when DL goes on. More info here.

There’s a lot of other Halloween-related things going on around town this weekend. Since I generally hate Halloween (except for the candy part) I’ll leave it to you to find out where those “parties” are happening. Needless to say, most involve cover bands.

One last show worth mentioning that doesn’t have a Halloween theme — The Whipkey Three headlines at The Barley Street Tavern Saturday night with Guilty is the Bear and Virginia Tanous-Gallner. $5, 9 p.m.

That’s all I got. If I missed anything, post it in the comments section. Have a good one.

* * *

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

Congratulations to the Omaha World-Herald on its relaunch of its Go section.  They’re calling it “Go Magazine” now, though the  print format is no different than the paper’s old Go section. According to the article explaining the change, the section will include more quick reads because, “We know you’re busy and don’t always have time to read longer stories,” and “more of you,” which means they’re soliciting reader input via social media channels, because we all want to read what the person in the cubical next to us thinks about the latest Tom Hanks movie.

Those changes are inconsequential compared to the fact that the section appears to have more music coverage. They worked Kevin Coffey like a mule for this inaugural relaunch issue, and it shows especially with this fun story where people recount memories of bands playing Omaha before they made it big. The Nirvana stories are particularly interesting. The section’s music calendar is probably the best design improvement in the printed version of Go.

Unfortunately, the Go website (like the OWH website in general) continues to de-emphasize the content for the benefit of the horrific pop-up advertising. But maybe their strategy is to get you so infuriated with their lousy website that you’re forced to buy a printed copy of the paper to read the articles. Who knows. The OWH has never had a good website.

Regardless, here’s hoping Go continues to maintain its heavy music focus. You cannot have too many music news resources in a market the size of Omaha.

* * *

Meanwhile, in this week’s issue of The Reader (in addition to this Desaparecidos story), I’m characterized as a “naive lib,” and also talk about Lee Terry, heathcare.gov, the Goth Ball, The Book of Mormon, Avoli Osteria and Dundee’s impending parking problem. Like I said, it’s in this weeks issue of The Reader or you can read it online right here.

* * *

Tonight at fabulous O’Leaver’s Twinsmith kicks off a sweet little Midwest tour. Opening is their pals Routine Escorts. $5, 9:30 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 © 2013 Tim McMahan. All rights reserved.

Desaparecidos at The Waiting Room, Oct. 22, 2013.

by Tim McMahan, Lazy-i.com

The main point Denver Dalley made during our recent interview — and in most other interviews of his I’ve read — is that Desaparecidos is a playground for the guys in the band, a full-on good time where — no matter what else is going on in their lives — they can enjoy playing their music and just being together.

And it was obvious watching them on stage last night at a sold-out Waiting Room that they were having the time of their lives. But I have to admit, frontman Conor Oberst always looks like he’s having a good time on stage except when he’s clearly NOT having a good time (Like at some of those early Bright Eyes shows legendary for his unpredictable incendiary behavior). And really, when doesn’t Denver, Landon Hedges and Matt Baum look like they’re having fun no matter what band they’re playing in? (Is it even possible for a guy like Dalley to not have a good time?).

That said, last night’s set felt like an effortless party. Their strategy of releasing singles every few months has proven to be a smart one — it keeps their set sounding fresh, and makes the older material glow that much brighter. As big and bombastic as ever, Desa never sounded better. I credit the TWR stage and environment, which feels intimate while delivering full-on concert sound.

Oberst was in rare form, though his voice was hoarse at times, especially on those high notes. Good thing Landon 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.

Like all Desa shows, there were the obligatory political comments between songs, but none were heavy handed. Oberst mentioned the Concert for Equality and how proud he was that those shitty Fremont housing laws got overturned.

He spoke in support of against-the-grain ideas. “Socialism isn’t a dirty word. Communism isn’t a dirty word,” he said as he introduced “The Underground Man,” the B-side of the band’s most recent single.

He pointed out that Omaha is a segregated town, a racist town. Paraphrasing, he said black people live in North Omaha. Hispanic people live in South Omaha and white people live in West Omaha “and the only time they look each other in the eye is when they drive by each other in their cars.” I think he knew he was stating the obvious. “I don’t know where I’m going with this… get to know someone who doesn’t look like you.”

The comments weren’t so much angry as matter-of-fact statements. Let’s face it, no one wants to be preached at, especially at a party.

The set closed with “Greater Omaha,” which he introduced saying “This song is about where we’re standing right now

.” Is it? I always thought that song was about the miles and miles of beige houses spread out across the freeways and traffic lights and drive-through windows west of 120th Street. Maybe not.

Like I said, the band sounded especially good last night. It was the first time I really noticed Dalley’s blazing guitar work — he handled the difficult stuff, the technical intros and the counter solos that cut through all the chopping going on around him. Drummer Baum did his usual between-songs madman yelling from back of the stage. When he egged the audience on to “move around more,” Oberst cut in with, “No, just stand there as still as possible and try to send as many texts as you can.”

After the obligatory exit stage left, the band returned for an encore that included the single “Anonymous,” before Oberst called opening band, Brooklyn’s So-So Glos. to join them for a cover of The Clash’s “Spanish Bombs,” which strangely was the one song that stuck in my head as I walked back to my car. (The set list pretty much matched their show in Lawrence the night before, which is online here).

Afterward I chatted with a guy outside who said Desaparecidos is the best thing Conor has ever done. Well, it’s certainly the funnest music he’s ever played, the most sonically violent. Whether Oberst finds Desa to be the most satisfying thing he does only he can say. Which brings up that question: Will they really keep it together this time like Denver said in the interview

? It’s hard not to be skeptical considering every temptation that Oberst has dangled before him.

Concert notes: Though a sell-out, The Waiting Room felt nice and roomy because they removed all the tables. Moving around was a snap. The sound at TWR just seems to get better and better. And thanks to the Lazy-i reader who bought me a draw of Rolling Rock! I’ll get you back at the next show…

* * *

The party continues tonight at The Waiting Room as LA funkmeisters Orgone returns with support from Satchel Grande. $9, 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 © 2013 Tim McMahan. All rights reserved.

Desaparecidos rock the Holy Name Fieldhouse in April 2001.

by Tim McMahan, Lazy-i.com

First, Desparecidos is playing tonight at The Waiting Room and believe it or not, there’s still tickets available as of noon today. If you have any interest in going, you should go to the this e-tix page right now and buy your $25 tickets.

Next, you should read my interview with Desaparecidos’ Denver Dalley where the guitar-playing blond wonderboy testifies that the current incarnation of Desa ain’t no reunion gig, it’s the real deal. The boys are back for good this time, and that means new music and (maybe) a new album.

The story was written for The Reader, which means you’ll have to go here to The Reader website to read it. Just click this link. DO IT NOW.

Okay, if you don’t want to do it now, you can wait until tomorrow when the story appears in the printed version of The Reader. Yes, I know this should have come out last week, but there was a snafu with the deadline and, well, JUST GO AHEAD AND READ IT NOW

.

And then go to tonight’s show, which should be a freakin’ blast. The So-So Glos are opening. Show starts at 9.

* * *

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.

Built to Spill at The Waiting Room, Oct. 18, 2013.

by Tim McMahan, Lazy-i.com

I received the following message via my Twitter page

after last Friday night’s Built to Spill  show at The Waiting Room:

“So what B2S showed up tonight? Jam or album?”

My answer: “The album version. The hits. The best B2S set that I’ve seen

.”

In fact, last week’s nearly sold-out show edged its way to the top of my list of Omaha B2S shows. 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. Martsch was in particularly good voice (Is it me or is his voice getting higher as he gets older?) and the band was tight as a tic. The best part, there were virtually no extended jams or drawn-out noodling like we got the last couple times B2S came through town. Instead, it was bam-bam-bam from song to song.

The high point was the encore. Forget about “Cortez the Killer,” instead Martsch rolled out a lush version of The Smiths’ “How Soon Is Now,” (complete with the trademark tremolo guitar effect). Knowing that he likely whetted our appetite for classic ’80s post-punk, he followed with a bouncing version of New Order’s “Age of Consent” before closing with his own B2S classic “Car.”
The full setlist is here.

Lee Ranaldo and the Dust at The Waiting Room, Oct. 18, 2013.

Just as solid was the opening set by Lee Ranaldo and The Dust. Like I said last week, this is as close as you’re going to get to Sonic Youth around here (including Steve Shelley on drums as a member of The Dust). Ranaldo’s music is akin to the more melodic, psychedelic stuff from SY, and featured some amazing guitar solos held together with a tight rhythm section. Gorgeous, dense rock songs, beautifully played. If you haven’t already, seek out Ranaldo’s solo stuff on Matador.

I expect this show will be on my personal “best of ’13” list…

* * *

Rock band Electric Chamber Orchestra (members of Gus & Call and McCarthy Trenching) is playing a set tonight at Pageturners. It’s a warm-up of sorts for a brief Boston tour the band is launching this Thursday. Actually, the band will be providing the “thematic accompaniment” to a couple Boston performances of Mac Wellman’s Wu World Woo.

One problem: The band needs cash for air fare, gas, food and lodging. That’s why they’ve launched an Indiegogo page to raise money to support the tour (Indiegogo is just like Kickstarter). The premiums are pretty sweet, and include McCarthy Trenching vinyl and unreleased Gus & Call material.