Yesterday Desaparecidos announced a new two-song double-A single, “Anonymous” b/w “Left is Right.” You can listen to a stream of the songs below, then order your copy of the limited edition 7-inch from desaparecidosband.com. ($5 for the mp3, $10 for the vinyl). Brutal, anthemic rock, not sure I’d call it punk, though the themes touch on revolution, which is an old punk theme. “Anonymous,” the harder-edged of the two, reminded me of early Strike Anywhere, another band around at the time Desa first came on the scene. Check it out below.
The press release announcing the new Liars video for “WIXIW” reminded me of a Netflix moment I had over the weekend. Going through the queue, I watched “Kill Your Idols,” a 2004 documentary that looks at the New York City No Wave movement of the ’70s and early ’80s and includes interviews with Lydia Lunch, Teenage Jesus and the Jerks, DNA’s Arto Lindsay, Swans, Glenn Branca, Sonic Youth and others.
It then kind of compares it to the so-called NYC No Wave scene of 2004, with interview with Yeah Yeah Yeahs, Black Dice and, to my surprise, Liars. There on the screen were Liars’ Pat Noecker (ex-Opium Taylor, These Are Powers, RAFT) and Ron Albertson (ex-Mercy Rule, Ron Wax), along with Aaron Hemphill and Angus Andrew. The film was made before Pat and Ron left the band under circumstances that are still unexplained (to me at least). Still, it’s interesting to see those two briefly talk about the band and moving from Lincoln to the big city. The film concludes with the older artists, including Lunch, lambasting the new kids on the block. Actually, I’m not quite sure who they were targeting. As a whole, the documentary kind of sucked… but worth it if you have Netflix and 90 minutes to kill…
Here’s that new Liars video. I lost interest in this band after Pat and Ron left and it turned into something else.
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Speaking of videos, here’s the new Love Drunk video of New Lungs performing “New Lungs” at the New BLK. New Lungs have a self-released EP coming out Feb. 9 called You’re Not Gonna Recognize Me that is being celebrated at a release show this Saturday at O’Leaver’s. Be there.
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This week’s column focuses on feedback I got from that gun control column I wrote a few weeks ago. One guy wasn’t too pleased, as you’ll read. It’s in this week’s issue of The Readeror online right here.
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At Slowdown Jr. tonight there’s a benefit for Gary Kurtz. I don’t know who Gary is, but he has some super-talented friends who will be performing to help raise money for his battle with cancer. Among them: The Brigadiers, Video Ranger and Gordon. $8, 7 p.m. start time. More info here.
There’s also a couple hot shows going on tonight in Benson.
Over at The Sydney John Klemmensen and the Party headline with The Love Technicians. Opening are performances by Reagan Roeder, Aly Peeler, Jeremy Mercy, Jon Jerry and John Larsen. 8:30 start time. No idea on cost.
Meanwhile, over at The Barley Street Tavern, Pleasure Adapter headlines with Millions of Boys and Dads. $5, 9 p.m.
Comments Off on New Desa; Albertson/Noecker from the Liars days; New Lungs vid; gun feedback; Brigadiers, Gordon, Klemmensen, Pleasure Adapter tonight…
will be publishing a feature in tomorrow’s issue, and I have no doubt that Kevin at The OWH also will put something together for The Go! about the show, but by then it could be an afterthought to fans who (like me) would have had to had made plans to go. Sunday night shows are a struggle for those who have to be up bright and early the next day for school or work or whatever.
I’m taking Monday morning off for this show. Ty Segall is one of the hottest garage/psych rock bands in the country, a guy who is continually putting out new and interesting music, and who is arguably at the height of his game. This show would be sold out already in a lot of other markets. As evidence, this from NYC Taper: “On Friday (Feb, 1), Ty Segall sold out Webster Hall. This was not a soft sell out — tickets prices were inflated five times over on various secondary markets for weeks before the show.” Of course, this means nothing in Omaha.
I point a long, crooked finger directly at Slow Burn Productions, the company bringing in Ty Segall and a number of other interesting shows, including last night’s Growlers/Jaill show at The Slowdown (which I didn’t attend) and tonight’s Red City Radio show. I’m guessing that these shows aren’t cheap to book. Tickets for Ty Segall are $16.59 after convenience fees (here at etix) — that’s pricey for a band that’s not well known in this market. You’d think that Slow Burn would be canvas-bombing every square inch of the Internet trying to drum up interest.
A music colleague pointed out another reason why this show is under the radar: It’s not a One Percent Production. One Percent does a pretty good job of getting the word out about their shows via Social Media and, of course, the One Percent Productions website, which is a go-to spot for a lot of local music fans searching for show info. For many of them, if it’s not listed at the One Percent website, it’s not happening.
Which begs the question: Where’s the Slow Burn Productions website? Why, it’s right here at slowburnomaha.com. Unfortunately, the first thing you see when you go there is a bunch of anonymous, unmarked photos instead of a clear, easy to read calendar (and why is every listing dated Nov. 8, 2012? Confusing). And as a person who follows Slow Burn in Facebook, why haven’t they been blasting this show on their timeline/newsfeed? Simple shit that would make all the difference.
The reason I’m busting Slow Burn’s balls is because I want them to succeed. They’re bringing in some amazing shows — shows that One Percent either didn’t know about or passed on. Without them, we may not be getting to see bands like Ty Segall in Omaha. So come on, guys, get your shit together. I want this show to sell out.
One other thing about Sunday night’s show at Sokol Underground: I’m told that opening band Digital Leather has something very special up its sleeve for this performance. You won’t want to miss it. Get your tix now.
Here’s a taste of Ty Segall from last Friday night’s show at Webster Hall:
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As mentioned above, Oklahoma punk band Red City Radio plays tonight at The Slowdown with Broadway Calls, Silver Snakes and The Renfields. $10, 9 p.m.
UUVVWWZ, The Trusted Language (Saddle Creek, 2013)
It’s a big day at Saddle Creek Records. UUVVWWZ’s The Trusted Language and Ladyfinger’s Errant Forms both drop today. Interestingly, both are being offered as digital/vinyl releases — i.e., Saddle Creek isn’t offering either on CD from the online shop, though the vinyl comes packaged with a compact disc. So if you want the CD, you have to buy the vinyl at a higher price ($15 for UU, $17 for Ladyfinger).
Is this CD-with-vinyl-only format how Saddle Creek will handle all releases in the future? I wouldn’t be surprised. Interestingly, digipak CDs of Errant Forms were on sale at last Friday’s album release show. I wonder if UU will have digipaks at Saturday’s release show at The Waiting Room…
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If Jenny Lewis wasn’t busy enough with the upcoming Postal Service tour, today Rilo Kiley announced (via Press Here Publicity) that it’s releasing a b-sides and rarities collection called RKives April 2 on LA based indie Little Record Company, owned by Rilo Kiley’s Pierre DeReeder.
“The record includes nine never-before released songs, a variety of demos, b-sides, and previously hard to find tracks. The 16-song CD and double vinyl will be available in multiple formats including a special deluxe bundle personally curated by Rilo Kiley.”
Who remembers when RK was on Saddle Creek?
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The Slowdown is featuring some interesting garage rock bands tonight, headlined by Cali band The Growlers (Burger Records), Milwaukee Sub Pop act Jaill, Bluenote/Capitol act Jessica Hernandez and the Deltas and Twinsmith. $13, 9 p.m.
After last Friday night, it’s high time that I dig out whatever parking maps may be available for the Benson area that identifies public parking. Big shows + First Friday = ol’ reliable parking places won’t be available. That certainly was the case last weekend, as I drove around and ’round looking for somewhere to park my ’96 POS Tracker, finally finding a parking lot east of PS Collective’s back parking area. There were no “No Parking” signs anywhere, so I figured I was safe (and was). I’m guessing there’s plenty of parking in Benson — if you know where it is — and even more importantly, where it isn’t. No one wants to go back to their car after a show and find it gone, which is a distinct possibility if you park in a private lot owned by an asshole who loves to tow cars.
But I digress…
I got to Ladyfinger’s album release show Friday night at The Waiting Room around 10:15 in time to see The Seen, who also was celebrating the release of a new record. I’d describe the 5-piece band’s sound as “alternative” in a ’90s connotation, a sort of post-grunge alternative, the kind of music that 89.7 The River plays between its usual spate of grunt/cookie monster goon bands.
Their recipe is big guitar riffs beneath frontman Buck Blanc’s breathy Counting Crows/Adam Duritz-style vocals. I had one guy tell me his voice reminded him of Conor, but all I heard was Duritz, though The Seen’s music in no way resembled the Crows’. The band was tight, the music well-played, but just not my cup of tea. And no doubt their commercial style of rock would/could attract a much larger audience than the usual indie stuff that I listen to.
I was a tad bit concerned that there could be a drop-off in the crowd after The Seen. The fans pushed up against the stage during their set was way younger than who I’ve seen at past Ladyfinger shows — they looked like regular listerners of The River (which (I’m told) The Seen has been played on). And while the crowd’s demographics did indeed change between sets, the room was no less full when Ladyfinger hit the stage for what was easily the loudest set I’ve heard them play.
The band played mostly songs off their fantastic new Saddle Creek release, Errant Forms, as well as a few older numbers including “Smuggler” from their first record. The giant sound was a good test of The Waiting Room’s new sound system, which was impressive — huge, but with great separation. If there was a nit to pick it was (probably) with the mix. Cursive’s Patrick Newbery joined the band on keyboards for a handful of songs, but I couldn’t hear him above the roar… that is until I went to take a leak, when all the sudden, there were the keyboards coming straight out of the urinal! But once I got back out to the floor, they were gone, lost in the melee.
officially comes out tomorrow. Order your copy of the cool, clear, limited-edition (of 500) vinyl at the Creek store while you can…
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The Postal Service announced today via its press agent (Nasty Little Man) that the project, which centers around Ben Gibbard and Jimmy Tamborello, will play its first headlining gigs in 10 years. And get this, joining them as part of the backing band will be The Mynabirds’ Laura Burhenn.
From the press release:
Gibbard and Tamborello will be reuniting on the road with a band fleshed out by Jenny Lewis (Jenny & Johnny, Rilo Kiley) and Laura Burhenn (Mynabirds, Bright Eyes) to celebrate the 10th anniversary and deluxe edition reissue of The Postal Service’s universally acclaimed release, Give Up. The Give Up Deluxe 10th Anniversary Edition out April 9 on Sub Pop, includes the original 10-track album along with 15 bonus tracks–including the brand new songs “Turn Around” and “A Tattered Line of String,” a previously unreleased live recording, and every other official recording the band has ever released-as well as cover versions of Postal Service classics by The Shins and Iron & Wine.
Both the tour and Give Up Deluxe 10th Anniversary Edition find Lewis reuniting with The Postal Service: She appeared on the original album and played with the band on its handful of 2003 tour dates. Lewis also sings on the two new songs on the Give Up Deluxe 10th Anniversary Edition. Give Up was certified platinum last year just shy of 10 years from its original Feb. 9, 2003, release. Led by the single “Such Great Heights,” the landmark album is the second-biggest selling album in Sub Pop’s nearly 25-year history after Nirvana’s Bleach.
The first tour dates announced were on the West Coast, Europe and NYC. No Omaha dates have been announced… yet. Who remembers when the Postal Service last came through town? Here’s a hint…
at The Waiting Room tonight. I’m told the boys will actually have some CDs on hand for sale in addition to the vinyl. Opening is The Seen, who also are celebrating a CD release, and The Hussies. $8, 9 p.m. See you there, if I can find a place to park…
…Because in case you’ve forgotten, it’s Feb. 1, which means tonight is Benson First Friday. As part of the art walk festivities, Sweatshop Gallery, 2727 No. 67th St. (just south of The Barley Street) is hosting Club No Quiet featuring music by Howard, George Glass, Rock Paper Sisters, Sister Kisser and The Wayward Little Satan Daughters. The fun starts at 8. More info here.
Saturday night Florida “punk” band Hot Water Music plays at The Slowdown with La Dispute and The Menzingers. Hear Nebraska has a Q&A right here with Menzinger Tom May (wonder if he gets confused with former Omaha folk singer Tom May? Something tells me he doesn’t). $20, 8 p.m.
The evolution of Ladyfinger can be heard from the first track of the band’s new Saddle Creek Records release, Errant Forms.
“Renew” opens with brittle, electric guitar chords before the rhythm section of drummer Pat Oakes and bassist Dan Brennan slides beneath warm keyboards, Jamie Massey’s smokey, twirling guitar and frontman Chris Machmuller’s cool growl.
You could say Machmuller also sang on the band’s 2006 debut, Heavy Hands, but not like this. These days Machmuller really sings, confident on the ghostly, glowing high notes that follow the song’s prophetic line, “I will grow old.”
If it sounds “pretty” compared to the howling noise of Ladyfinger’s early years that’s because it is. Still, the music is no less bracing or powerful, just easier to grasp in its clarity.
Or as Machmuller put it, “There’s more space between the parts on this record.”
A brief history: Ladyfinger (also known by the legal restriction Ladyfinger (ne)) formed in 2004 out of three other bands: Massey from Race for Titles, Machmuller from Bleeders for Treats, and Oakes and bassist Ethan Jones from Putrescine The original foursome produced two albums, Heavy Hands and the 2009 followup, Dusk. After that, Jones left Ladyfinger to be replaced with “new guy” Brennan, formerly of rock band The ’89 Cubs.
Ladyfinger, Errant Forms (Saddle Creek, 2013)
Back to the present: Better singing means understandable lyrics. Good thing Machmuller knows how to tell a story. On Errant Forms‘ first single, “Dark Horse,” he spins a non-autobiographical yarn about a wild, irresponsible party hound who’s “looking for a road I ain’t ever gonna find” but finds it when he discovers his wife or girlfriend is carrying his baby. Coincidentally, Machmuller discovered his wife was in a “family way” shortly after writing the song.
Then there’s “Galactic” — also not auto-biographical…probably. The brutal rocker describes a guy who picks up signals in his head — numbers and images — obviously messages about an alien coup, which he explains with the line: “I’m a space invader and I think I can save this planet from galactic destroyers from space.” Rush’s 2112 has nothing on these guys.
Like their previous albums, Errant Forms was recorded by their old pal Matt Bayles, whose track record includes working with Mastodon, Minus the Bear, Pearl Jam and fellow Saddle Creekers Cursive.
Working with such an accomplished producer puts pressure on the band, Oakes said, especially when the band isn’t sure it’s ready to enter the studio.
“This record seemed like it was pieced together out of random parts more than the last ones,” Oakes said. “When we went in for Heavy Hands, we knew exactly what we wanted to do, and had played those songs a million times, but for this one, we asked ourselves, ‘Are we ready to record? What if this whole thing falls apart?’”
When it comes to working with Bayles, uncertainty could spell trouble. “Matt does not indulge you,” Machmuller said. “He refers to our sessions as ‘abridged.’ He’s used to having six to 12 weeks in the studio. We only had two weeks (at Omaha’s ARC Studio) to track 13 or 14 songs.”
“He’s very thorough, very meticulous, and that’s what makes him a good producer and engineer,” Oakes said. “If you push back, Matt will stand his ground and be a dick about it. He knows that time is of the essence, and he’s not going to negotiate with you.”
Good thing he likes these guys.
“He doesn’t do our records to make money” Massey added. “He’s been good to us when he didn’t have to be. He bends for us and we appreciate it.”
While the way they make records hasn’t changed much, the way the band and label sells them has. In the old days bands simply released records and hit the road, hoping college radio and good reviews piqued people’s interest.
These days marketing is all about online placement and social media. “The social network sphere is completely different than when Dusk came out,” Oakes said. “As a result, we’re seeing things happen with this record that have never happened before.”
Things like first single “Dark Horse” being selected as the “Daily Download” at rollingstone.com, where readers can listen to and download the track for free. Massey credited Saddle Creek’s Jeff Tafolla, in charge of licensing and new media, for the increased exposure, including Errant Forms being available as a digital stream from taste-making music blog AbsolutePunk.net.
But these new-fangled sales methods go beyond blogs. Tafolla suggested Ladyfinger launch a Twitter account (@ladyfingerne) as well as a Facebook page (@facebook.com/ladyfingerne).
“All four of us have access to these accounts and can do what we want with them,” Oakes said, “but it gets complicated.”
“I’ve been signed up to six brand new things that I have to figure out,” Machmuller said. “I’m worried about keeping all the passwords straight.”
With fans now able to hear the entire album from their computers for free, some of the “specialness” that comes with buying an album has faded. That’s one reason Errant Forms is being offered on vinyl in addition to digital download. “We considered going the vinyl route with Dusk,” Machmuller said. “Vinyl has become less of a novelty and more of a collectible. We saw the trend even back then.”
Saddle Creek says Ladyfinger’s combined sales for their past two releases was somewhere north of 1,200 units, far from what’s needed to make a living. All four band members have day jobs. Brennan, 34, is a sound engineer at The Slowdown when he isn’t on the road working sound for bands like Cursive. Massey, 37, is an art director at Turnpost Creative Group and proprietor of The Sydney in Benson. Machmuller, 32, launched Workers Take Out and now runs O’Leaver’s Pub, while Oakes, 35, is a production manager at Ink Tank Merch, a custom screen printing company owned by Saddle Creek.
With families to support and a music industry in decline, why keep putting out records?
“At the end of the day, for me, it’s all about playing shows,” Oakes said. “And if we sell more albums, that could mean playing bigger shows.”
“None of us have never not been in a band,” Machmuller said. “I love hearing things in my head and hearing them become recorded music. That’s the best part.”
Ladyfinger plays with The Seen and Hussies this Friday, Feb. 1, at The Waiting Room, 6212 Maple St. Tickets are $8. Show starts at 9 p.m. For more information and tickets, go to onepercentproductions.com.
More Ladyfinger… The fine folks at Love Drunk today released the new video for Ladyfinger’s “Away Too Long.” If you ever wondered what Saddle Creek Records’ world headquarters look like, here’s your chance to get a peek. Check it out below:
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The Thermals, Desperate Ground (Saddle Creek, 2013)
Saddle Creek Records announced via Pitchfork (Who needs to issue a press release when you’ve got Pitchfork?) that the label signed (former) Sub Pop act The Thermals. The details, from the actual press release issued by the band:
“The Thermalsare pleased to announce they have signed toSaddle Creek, a label the band has known and admired for many years. The Thermals and Saddle Creek have a long history of sleeping on floors together: The Thermals have toured with Cursive and Ladyfinger, and Hutch and Kathy organized the firstBright Eyes show in Portland way back in 1999.
“The band formed in 2002 and has released five records and toured 15 countries. The Thermals’ sixth LP and debut for Saddle Creek, Desperate Ground, will be released April 16 and is available now for pre-order at the Saddle Creek Online Store. The album was produced by John Agnello (Dinosaur Jr, Sonic Youth) in Hoboken, NJ. Agnello and The Thermals completed the record and evacuated the studio just hours before Hurricane Sandy ravaged New Jersey, a fate quite fitting when you consider the product. Desperate Ground is a true scrappy and scratchy return-to-form for The Thermals, with all the raw power and unhinged adolescent energy that made their early LP’s so insanely enjoyable.
“Lyrically, Desperate Ground is a brash and irresponsible ode to human violence, a black celebration of the inevitability of war and death. A dark and yet joyous affair, Desperate Ground tells the (murky) tale of a lone rogue in the night. One man, one path, one sword. An unceasing urge to destroy. A never-ending battle against the forces of nature. A destiny impossible to avoid.”
The signing could be good timing for Saddle Creek, as Sub Pop announced last week that it’s reissuing the band’s first three albums on vinyl. “On March 5, fans can own limited-edition, colored vinyl copies of 2003’s More Parts Per Million, 2004’s Fuckin’ A, and 2006’s The Body, the Blood, the Machine. The triple-reissue (which also includes the rare “No Culture Icons” 7″) comes on the 10th anniversary of the release of More Parts Per Million.”
The only Thermals album I’ve owned was More Parts… which reminded me a ton of Superchunk. I haven’t heard their last couple of albums. After 2008’s “Returning to the Fold” single, the band jumped ship from Sub Pop (or was pushed) and landed at Kill Rock Stars for two more LPs, the last of which was Personal Life in 2010.
The Thermals are no strangers to Omaha stages. They last played in Omaha at The Waiting Room in May 2011. Before that, they played Slowdown Jr. in April 2009, and before that, Sokol Underground with Thunder Power back in November 2007.
Hey Maha, here’s another band for you to consider for this year’s festival…
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The Whipkey Three opens tonight for touring Columbus, Ohio band Red Wanting Blue (Fanatic/EMI/Caroline) at The Waiting Room. $10, 9 p.m.
and TwentFourBit have stories that include links to an unreleased Oberst song called “Night at Lake Unknown” (Do you think he was talking about Lake Manawa?). They also recap details about an upcoming Monsters of Folk film and music project that Jim James discussed on his Reddit AMA. Oberst made news last week with a massive Q&A at Drowned In Sound (right here) where he confirmed that we’ll be getting some new Desaparecidos material sometime in the future. Desa plays Europe and stateside for nearly a month starting Feb. 7 in Dublin, right after Oberst finishes up some European solo dates.
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Check out The Faint performing “Agenda Suicide” and “Glass Danse” on Pitchfork.tv, below:
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The Waiting Room’s $3 showcase series continues tonight, this time sponsored by Boulevard Brewing Co. and featuring InDreama, Universe Contest and Arrows, which I’m told is a brand new Omaha band whose members include a recent Detroit transplant. Just $3 gets you in. Show starts at 9. Don’t let the snow, cold and wind slow you down.
I figured the easiest way to finally catch a set by Gordon was to drop in at their show at The Side Door Lounge Friday night. It’d also be a chance to see what the club, located on Leavenworth just a couple blocks from my old apartment (The St. Regis), was all about. The Side Door has become a sort of go-to spot for singer songwriters, at least it appears to be based on the number of shows they book, acts I’ve never heard nor seen before that rarely play at the usual indie music clubs. So there was that… and the fact that the show was free — I had nothing to lose.
I was surprised when I was able to park my shit-car in the club’s adjacent parking lot. I’m not sure where I would have parked otherwise. The neighborhood has a seedy reputation these days, just like it did back when I lived there twenty-some years ago. Once inside the long, narrow, concrete box of a building I almost turned around and left. The place was belly-to-butt. Every table was filled and people were crowded all the way to the bar.
I’ll say this up front: It’s a helluva nice place, well designed, clean, a giant leap from the dinge-holes I’m used to. In fact, it was downright romantic, warmly lit with dim track lighting pointed at tasteful black-and-white art photos along one wall and large ironic pastel drawings of cars along the other. I made a mental note to come back sometime just to drink.
But as a music venue, The Side Door has its share of challenges, mostly due to the layout. The room is filled with short tables that crowd right up to the “stage” in the back. An exit off stage right leads to the beer garden, but forget about going outside to burn one — you’ll never make it through the maze of tables, at least on this night. With no space in front of the stage there’s nowhere for people to stand and watch the band, and if they did, they’d block out everyone sitting down since there’s no stage riser. This likely isn’t a problem during one of club’s many open-mic nights, but for a punk show…
Gordon had posted on Facebook that they would play at “10 sharp,” but it was well past 10:30 before the opener — a duo called I Am the Navigator — finally packed up and left. Then it took another 20 minutes before members of Gordon began skulking out of the back room with their instrument cases and pieces of drum set.
With nowhere to sit, I found the least conspicuous place to stand against the far wall and aimlessly flipped through my iPhone to kill time. The crowd of young hipsters gave me more than my share of ‘who-the-fuck-are-you’ looks.
Finally at around 11:30, the Men of Gordon assembled in the cramped spot it the back of the room between a couple pair of speakers that make up the club’s PA. Before they started, the frontman — a tall drink of water with a big ol’ head of hair — asked the sound guy to turn off all the lights except for the bar lights, which he quickly did, leaving the room lit only by the tiny electric candles on the tables and the penlight attached to lead singer’s microphone, which didn’t last long.
Gordon’s music was as grinding and abrasive as what you’ll hear on their Soundcloud page — a slop-mire of drums and guitar and lead guy’s slurred vocals made raw by a cheap condenser microphone. The sound is pure slacker, a bastard child of Pavement and Galaxy 500 and whatever dark-light indie rock band you can remember from the ’90, which is probably why I like it so much.
The frontman’s mic light still burned brightly as he introduced the first cover of the night. “This next song’s by Nirvana,” he said. “Kurt Cobain committed suicide in 1994. Good riddance.” And with that the band launched into a scuzzy cover of “Territorial Pissing” recognizable by the guitar chords rather than his screeching.
Between songs a short, weathered-looking woman wearing layers of coats pushed through the crowd right up to the stage. “Hello pretty lady,” said the frontman as she shuffled right past him and into the back room, only to emerge halfway through the next song carrying a couple loaded plastic bags.
At about that time, the microphone broke — along with the penlight and the breaker that powered the left side of the stage. Frontguy stood shirtless in the dark asking the audience to touch his nipples as the band tore into a wasted version of their own “No Masters, No War.” By the end of the set he was laying flat on his back barking out a cover of The Smiths’ “This Charming Man” plagued by the backup mic’s drop outs.
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. Just like them, Gordon contains unmeasurable raw talent that has a habit of spinning gloriously out of control on stage, or at least it did last Saturday night…
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By the way, Gordon has been named to open for powerhouse Brooklyn post-hardcore band The Men when they play at Slowdown April 27. If you can’t wait that long, you catch them Feb. 7 at the Grant Curtz Benefit show at Slowdown with Video Ranger and Brigadiers.
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Speaking of The Shanks, top Shank Todd VonStup wrote to say that The Shanks “Complete Discography” is available from their Bandcamp page
as a free download, at least for the next week. After that, the download will cost you 7 bones. Run on over there and get it while it’s hot.
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Finally, word leaked out Sunday that Morrissey has been diagnosed with a bleeding ulcer, which will sideline him for the next couple weeks including the Feb. 6 Lincoln/Rococo show, which has been postponed (and not cancelled) again. Hold on to your tickets folks and stand by for the rescheduled date, which (if it happens) won’t be at least until mid-March…
Lots of stuff happening this weekend, but not until Saturday night.
Band Build Benefit
Maybe the biggest show is the Band Build benefit for Habitat for Humanity at The Waiting Room. The lineup: Icky Blossoms, Blue Bird, Life Is Cool and John Klemmensen. Tickets are $10 today, $12 tomorrow and all proceeds (including money generated in the event raffle) go to Habitat Omaha. Starts at 8 (that’s right, 8 p.m.).
Also Saturday night, red hot indie rockers Gordon play at The Side Door Lounge, 3530 Leavenworth. Also on the bill is I Am the Navigator. I’m told Gordon goes on at 10 p.m. sharp, and that the show is absolutely free.
Meanwhile down the street at O’Cursive’s — uh, O’Leaver’s — it’s Field Club with Pony Wars and Morning at Sea. $5, 9:30 p.m. Check out some Field Club below:
Finally, down at The Slowdown, Columbia recording artist Wild Belle (fuzzy reggae dance) opens for Satchel Grande. Not sure how that happened. $10, 9 p.m.
Then comes Sunday and with it the return of The Waiting Room’s $3 showcase, this time sponsored by Schell’s Brewing Co. and featuring Back When, New Lungs and Baby Tears. Show starts at 9 p.m.
What am I missing? Put it in the comments section.
One more thing… Bright Eyes’ song “First Day Of My Life” has made the cut of BBC Radio 6’s Top 100 Greatest Hits of the past decade, and now voting is open to pick the very best. You can vote for Bright Eyes’ tune — or any song on the list that you think is better — right here. Voting is open through 7 p.m. London time today…
Foxygen, We Are the 21st Century Ambassadors of Peace and Magic (Jagjaguwar, 2013)
Not much to report other than the new Foxygen album, We Are the 21st Century Ambassadors of Peace and Magic (Jagjaguwar), is somewhat fantastic and should be sought out at any fine record store. It was produced by Richard Swift, who worked on the last two Mynabirds albums. Track “In the Darkness,” with the classic line: “There’s no need to be an asshole / You’re not in Brooklyn anymore…” is pure ’70s Stones, as Stonesy as you can get without dragging Mick into the studio.
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Sun Settings has changed its name to Ego Death. Is the name better? Will the band sound different? Find out at O’Cursive’s Feb. 9.
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In this week’s column, I make the argument that Figure Skating is, indeed, a sport (and who else is going to the championships this weekend?). Read it in this week’s issue of The Reader or online right here.
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The $3 showcases at The Waiting Room continue tonight, this time brought to you by Odell Brewing Company and featuring Snake Island with creepy Lincoln guy Plack Blague, Swamp Walk and Ruby Block. Starts at 9.
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