Here’s a late review of Saturday night’s show; late because the Lazy-i servers were down for awhile yesterday for maintenance, upkeep and and other technical stuff. I guess I should have just written the review right when I got home from the show Saturday night, but I was still feeling a but uneasy. Just to clarify up front: What I’m about to say isn’t meant as an insult. I was literally physically ill after Father’s set. But let me start at the beginning…

I got down at the Underground just as Noah’s Ark Was a Spaceship had taken the stage. Their style and sound was pleasingly thunderous and epic, intense and… well, loud, dark and ominous as a storm cloud rolling in — a fitting opener for what lied ahead. Shortly after they finished their set, a projector screen was placed on stage. The guys in Father followed next, setting up in the dark. The projector glowed blue, then pink as Clark Baechle started off the 20-minute song with booming, repeated, tribal drum riffs that went on — alone — for at least a few minutes before D. Bushon joined in on drums alongside him, throwing his arms high with every capped measure. Bushon threw his sticks off stage, picked up a guitar and began a throbbing drone that would eventually include Dapose and someone on bass.

Meanwhile, on screen, a faint pattern emerged, a pulsing central circle surrounded by four pulsing dots — one in each corner. Slowly, small lines appeared, growing into a web of veins (or so it seemed). As the sound intensified, the veins kept growing, become more detailed with each pulse of the central circle, eventually resembling the circulatory system of an alien life form. Behind it, in the dark, the gutteral sounds from Father throbbed louder, trancelike and grim. Eventually Clark up and left the stage, leaving Bushon, Dapose and the bass to rumble on. I don’t know if it was the all-encompassing low end, the nightmarish image on screen, or the combination of the two, but it was right about here that I began to get slightly nauseous. What the f*** was this supposed to be, some sort of bludgeoning nightmare séance?

One-by-one members of the band left the stage, eventually leaving Dapose to drone to a conclusion while Seth Johnson’s gruesome image slowly faded from the screen. When Dapose finally left and the house sound and lights came up, the crowd of 100 clapped, confused and maybe a bit startled. Father’s performance was disturbing and unsettling and most likely right on target.

Most of the crowd left before The Autumn Project took the stage (see this week’s column (online Thursday) for a further explanation). They missed out on some more powerful, though stark, instrumental music driven by a talented drummer. It reminded me of the instrumental bands that were so popular four or five years ago, playing chord changes that center around the rhythm section. Autumn Project is the first band I’ve seen in a long time to use a smoke machine. At one point, during one of their song’s dramatic moments, the drummer became hidden in the fog only to reemerge wearing a white mask! Weird! Was he wearing that thing the whole time? I think I would have noticed. He slipped it off moments later and continued with the set. All-in-all, a disturbing evening of sound, light and noise.

–Got comments? Post ’em here.—

There’s actually more shows going on than I realized this weekend. Here are my picks:

Tonight at O’Leaver’s, an evening of twang, headlined by Iowa City’s Shame Train, with Mal Madrigal and Springhill Mine Disaster. $5, 9:30 p.m. Meanwhile, down at Sokol Underground, you’ve got vanilla-flavored alt-rock band The Nadas, coming off a recent loss in a contest to open for Bon Jovi in New York — which pretty much says it all. More Hootie than Hootie ever was. With The Josh Davis Band. $12. 9 p.m. Lincoln’s Scenefest 4 kicks off at Duffy’s with Tie These Hands, Prints of Apple Island, The Goddamn Rights, The Static Octopus and Straight Outta Junior High. $6, 9 p.m.

Saturday night: The multimedia spectacular known as The Autumn Project headlines down at Sokol Underground. I’m listening one of the trio’s tracks now — a long, heady instrumental that would be right at home on The Cure’s Disintegration album. Quiet than loud, you know the drill. Father is guitarist D. Bushon with help from Dapose and Clark Baechle of The Faint, and visuals from Seth Johnson. Get ready to grind. $7, 9 p.m. Meanwhile, Randy Cotton (ex-Ravine, ex-Ritual Device) and his band Members of the Press will grace the O’Leaver’s stage with Darsombra (from Baltimore), Wasteoid and Demon Attack. $5, 9:30 p.m. Night two of Scenefest at Duffy’s will be under way with Robot, Creep Closer!, Producers of the Word, Electric Soul Method, Once A Pawn and Sinikil. $6, 9 p.m.

–Got comments? Post ’em here.—

Column 73: Acid Test in the Park
Who is this Bright Eyes character, anyway?

So I’m going through the line at the Petco on 72nd and Dodge, picking up a fresh box of much-deserved milk bones for the two very special critics who edit my work. I turn to the cheerful, late-30s-aged woman behind the counter and ask, whilst signing the digital signature pad, “Say, ever heard of a band called Bright Eyes…?”

Here’s the deal: Never has there been a better acid test as to the popularity of Bright Eyes, Saddle Creek Records and the Omaha indie music scene than the just-announced concert in Memorial Park June 17 featuring Conor Oberst and his band of merry men. Once and for all, we’re going to see just how popular indie is among the great unwashed masses.

Those of us who live and breathe indie, who go to the shows at Sokol Underground, buy the records and read the online journals, we go through life with blinders on. We believe that Oberst and Cursive and The Faint and Saddle Creek are the harbingers of Omaha’s status as “The New Seattle,” that the world outside our freeway has embraced us. I mean, everyone knows Bright Eyes, right? Hell, how could they not? He’s played guitar right next to The Boss and Michael Stipe.

Ah, but mention Conor or any of the Creek bands to the guy or gal slouched in line next to you at, say, your local Wal-Mart, and you’re bound to get a blank stare in return. Bright Who?

Which brings us to that concert in the park. I’ve already heard speculation from those entrenched in the local music scene that this will be an event for the ages that will far out-draw the July 16, 2004, Memorial Park show that featured 311. Depending on your source, that concert drew more than 50,000 rabid fans eager to see the former Omahans present a “night of positivity” along with a medley of dated ska-rock classics.

What will Bright Eyes draw on June 17, 2006? Let’s look at the facts.

Conor has been written about in every respectable newspaper and magazine in the country. He’s appeared on Letterman, Leno and even the lame Craig Ferguson Show. And unlike 311, he maintains a domicile in Omaha even though he spends most of his time in Manhattan (and who can blame him?). Those curious about his music but who have been apprehensive about venturing to a venue engulfed in sad-eyed indie kids finally will have a chance to see the boy wonder on neutral territory. And it’s free. Yes, the curious will come.

So will the traveler. Other than a handful of shows in Canada and the Bonnaro Festival in Manchester, Tennessee, the park show is the only scheduled Bright Eyes appearance in North America this year. Expect heartbroken fans from across the country to make a holy pilgrimage and turn the event into a mini Woodstock. If you live within blocks of the park, expect moody youths with tattoos and piercings in tents in your front yard days before the show.

Let’s not forget that Bright Eyes drew nearly 4,000 paying customers to Council Bluffs’ MAC center just last May. Ah, but remember, The Faint was on the undercard that night. Who will open for Conor June 17? Certainly not The Faint or Creek’s third-biggest band, Cursive.

Which gets us to arguments against a huge draw. Bright Eyes skews younger than 311, whose heyday was over a decade ago, and hence has a broader fan base than Conor’s. And while we’re talking about 311, remember that they’ve had four Gold records, one Platinum, one Triple-Platinum, a Gold and Platinum DVD; in total they’ve sold more than 7 million units in the United States. Bright Eyes has yet to produce even one Gold record, thanks to a complete lack of commercial radio airplay. Meanwhile, 311 music is on regular rotation on hundreds of radio stations across the country, including a couple here in Omaha.

Then there’s the fact that the 311 concert was the centerpiece of the city’s 150-year “celebration.” Fireworks were promised. The Bright Eyes show is merely Mayor Fahey’s and US Cellular’s bright idea (And can you imagine Conor, who has railed endlessly against Clear Channel and commercial sponsorships, playing in front of a gigantic US Cellular banner?).

Some won’t come because they despise Conor’s politics. Some won’t come because they despise Conor’s music. Some won’t come because they despise the kind of people who like Conor’s politics and music. Then there’s the proximity of the “oldies” concert in the park just two weeks later, which is more likely to draw wary families. And then there’s the weather. And on and on.

But maybe the most telling indication of how many will come to the concert in the park is that cheerful Petco clerk bagging my milk bones. “Bright Eyes? Never heard of ’em. Is that a local band or something?”

I’ve never parked so far away for a Sokol show — a block north of Bam’s near the church, maybe a 1/4 mile from the venue. What’s the deal? I’ve always parked closer, even for sold-out shows. I don’t know if last night’s Yeah Yeah Yeahs Yeahs show was a sell out or not, but I’ve never seen it so packed in the auditorium before. I got there at 10, just in time for the Yeahs’ set. On the back of the stage hung a huge Show Your Bones scrim, red and black like a giant flag representing the United States of Yeahs. With no fanfare at all, on walked the band, including a fourth guy who played acoustic guitar, keyboards and, on one song, bass! So here were the Yeahs with added fire power, and despite that, they sounded less epic than they did when I saw them as a trio two years ago, back when the show was literally a showcase for Nick Zinner’s blowtorch guitarwork. Maybe it was the fact that I was sandwiched in the very back of the hall, but Zinner’s guitar sounded buried in the mix, tucked away somewhere beneath Karen O’s vocals and the rest of the cacophony. Overall, a lackluster show. I blame their new record, which is less inventive and interesting than Fever to Tell (or maybe I’m just getting too familiar with the formula). With Nick in the background, O’s theatrical prancing took center stage. Dressed in a red-and-black jumper and wearing one glittering glove on her right hand, she looked and sounded like a cross between a bobbed Chrissie Hynde and a modern-day Wicked Witch of the West. I never heard her once address the audience, instead blowing through the set of new songs non-stop. The crowd didn’t seem to care, though. They were too busy doing a modified pogo and flashing devil horns. After 45 minutes, I figured I’d seen enough and high-tailed it down to the Underground. I’m told that shortly after I left the band kicked off a three-song encore that included the night’s best performance.

Meanwhile, downstairs, a hip-hop show was in high gear. Here’s where anyone with even a surface knowledge of the genre can click away to some other blog or news as you’ll find nothing valuable in my comments (just make sure you come back in a sec and read about Once a Pawn, below). I don’t know the name of the crew on stage who were opening for Murs, but they weren’t bad. They featured three MCs and a turntable guy who pumped out dense but rather minimal beats beneath their rapping. Before their last number, they passed on a story about running into Conor Oberst at a party in Atlanta. “And like all emo parties, there was only one hot girl there,” the MC said. Just as he was about to swoop down on his prey, Oberst walked up to her and leaned against the wall, blocking his approach. He shoots, he scores! “It was tight,” added another MC, while the lone white MC said, “We still like his music.” Murs joined them for their last song, and it was like turning on switch to a power grid. Night and day. The first crew walked off and Murs stayed up there and tore into his set. Compared to the last crew, he was magnetic, pouncing on an audience that looked 10 times as punk as the crowd that was standing around listening to the Yeahs above them.

End of review. Intro to this week’s feature: Without a band story assignment, Reader editor Andy Norman called me last week and asked if I could do a little sumpthin’ on Once a Pawn, whom I’d never heard of. I’m glad he did. I listened to the Lincoln trio’s tunes on Myspace and made some calls. Read the results here and check them out at Scenefest this weekend. The fourth annual event seems a bit throttled back from years past, but is still an impressive showcase of Lincoln talent, all at Duffy’s this time.

–Got comments? Post ’em here.—

What will all those radio-loving suburban youth who are driving down to the Yeah Yeah Yeahs show tonight at Sokol Auditorium going to think of Mike Dapose of The Faint’s death metal side project Precious Metal? Will they cover their ears? Will they cower in fear? Or will they stand in awe at Dapose’s guitar virtuosity? Putting Precious Metal on the bill was a savvy move that will result in as much talk as the headliners. I suggest getting there at the stroke of 8 to see the carnage. You’ll either love it or hate it. You’ll definitely remember it. The other opener, Brooklyn’s Blood on the Wall, is described as an indie rock trio with male and female vocals. Hmmm… If the Yeahs are anything like they were the last time they came through, this will be a must-see show if only to see Nick Zinner’s amazing guitar pyrotechnics. Last I looked, tickets were still available.

It’s a busy Tuesday. O’Leaver’s is hosting Voodoo Organist, who Brendan of Life After Laserdisque (who is opening this show along with No Blood Orphan) swears by. If the Yeahs end early, it might be worth a swing-by.

–Got comments? Post ’em here.—

I made it only to one show this weekend. Actually, one-third of a show. I drove down to Sokol Underground Friday night to catch The Family Radio, which I’ve written about on the blog for the past few days (Nik Fackler, Dereck Higgins, etc.). I got there later than expected, but didn’t miss a thing as Nik and the band stood around on stage for a good 20 minutes doing a sound check (I think). You figure if you were nervous that standing around on stage would only make it worse. Fackler, however, seemed relaxed, almost giddy, throwing candy into the audience throughout the short, five-song set.

The consensus afterward — they sounded a lot like Bright Eyes. Certainly the style is similar — folksy, chamber-pop music pushed gently by a solid rhythm section, with personal lyrics (though not as confessional as poor Conor’s). Fackler’s voice is nothing like Oberst’s, though he does provide the occasional shriek (maybe more Kasher-esque?) and he likes to count out the beat. Violinist/flautist Tara Konradi added nice counter-melodies, though I’m doubtful she could hear herself on stage. And ex-Azure Ray-er Orenda Fink lent a hand on trumpet for one song. It sounded pretty good, and at times, almost great. The night before Fackler was most excited about the “50s-style rocker” that the band planned to end their set with. It was the weakest tune of the bunch, however. The best songs were the more subtle numbers that featured Fackler’s simple finger-picking guitar lines and the warm rumble of the rhythm section — Higgins we all know about, but that drummer was a real pleasant surprise. Now we’ll wait and see just how much more Fackler will do with this band. He’s a busy boy, what with his film projects and music videos. Is it possible to do all of it at once?

In the News: A number of people e-mailed pointing out that Ladyfinger has signed with Saddle Creek. The band themselves confirmed the rumor on their website (http://www.ladyfingersucks.com/), where they announced that their debut full length will be released on Creek Sept. 26. The story goes that Saddle Creek paid for recording the new Ladyfinger disc with the option of putting it out if they liked it. Apparently they did. If you go to the Saddle Creek tours page you’ll find details about the band’s late-May early-June tour that caps off with a gig at The 49’r June 17 (You’ll also find on that same tours page a listing for Neva Dinova dates — the first pseudo-acknowledgement on the Creek site that the band has been signed to the label).

Tonight at Sokol Underground: Saves the Day with Moneen for $15. I’m not sure why I’m telling you this since I think both bands suck.

–Got comments? Post ’em here.—

Weird thing about the Crystal Skulls — I listened to their new CD over the last few days, dug the keyboards throughout. And yet, last night, no keyboards. What the… ? Still, an interesting if not low-key band that got better as the night wore on. They have a hit song on their hands if they can get people to hear “Baby Boy,” one of those tunes that jumps off their CD and off the stage. “I’m tellin’ ya, it’s sheer gold, Maury….” Here’s one of those bands where their CD was better than their live show. It’s a pretty good CD if you’re into that laid-back indie sound…

Vanderslice, well, seems like he plays here every six months when actually it’s probably about once a year, which is still a lot for a touring band. Who remembers the old days when Vanderslice had this madcap drummer who set up right at the front of the stage? You went to Vanderslice shows to see that guy. Well, he’s long gone, and while the current drummer is no pushover, he’s also no freakshow, like the last one. About a half-dozen people I spoke to during their set made the same comment. “Remember his old drummer? Man, that guy was a blast!” Anyway… Vanderslice sounded fine. I’ve never been a big fan, but I dig his clear, throaty voice, and the rest of his ensemble sounded rock solid. Still, nothing about the set stands out as I write this right after the show.

Not a bad crowd, btw — maybe 150? I suspect Sokol will see twice that many tonight with The Elected/Jake Bellows/The Family Radio.

Which brings us to Friday’s usual glance at the coming weekend (cue theme music).

It starts tonight with the show I just mentioned. And I’ll reiterate what I said in yesterday’s column — Nik Fackler and his band, The Family Radio, is really what I’m interested in hearing. Fackler tells me the band has worked up at least a half-dozen songs for tonight. Talk about an acid test — he’ll be debuting this band in front of most of the Saddle Creek Club, all of whom he knows, anyway, thanks to his ever-growing video work. You’d think playing in front of his pals would make him even more nervous. But never fear, with Dereck Higgins backing him on bass, everything will be all right. Get there at 9. Door is $10.

My plan is to jet out early and go cross town to Mick’s and see Bill Hoover & Friends. Hoover, if you don’t know already, used to front The Darktown House Band and is something of a legend ’round these parts — sort of Omaha’s version of Tom Waits. This will be a special show, and Mick’s will fill up early.

Saturday night’s marquee event is The Stills w/Raising the Fawn at Sokol Underground. I’ve heard the new Stills CD, and no, it’s not as good as Logic Will Break Your Heart, but it’s still serviceable. Meanwhile, The 49’r will be hosting Brother Trucker from Des Moines and Western Electric (Scott Roth ex-Such Sweet Thunder).

Look for reviews this weekend.

–Got comments? Post ’em here.—

Column 72: Early Warning System
A glance at the rock calendar

Rock shows have a funny way of sneaking up on you if you’re not paying attention. And though we at The Reader go out of our way to point you in the right direction week in and week out, we rarely give you a heads-up more than eight days in advance. With that in mind, here are some early warnings of worth-while indie shows on the horizon, with details on who these folks are and why you should care. A caveat — two performances in the past two weeks were cancelled the night of the show due to “van troubles.” Rock stars’ lives are complicated, and schedules can (and do) change, sometimes at the last minute. Check the usual websites (onepercentproductions.com, myspace.com/oleaverspub, micksomaha.com, lazy-i.com) for the latest info.

The Elected w/Jake Bellows, The Family Radio April 14 @ Sokol Underground — You already know The Elected (Blake Sennett of Rilo Kiley) and Jake Bellows (of Saddle Creek band Neva Dinova). The hidden treasure is The Family Radio, a new ensemble fronted by local film maker Nik Fackler that includes legendary bassist Dereck Higgins (Digital Sex, One Mummy Case), Aaron Gum, Ian O’Donnell and Tara Konradi making a noise like Simon and Garfunkel having dinner with Bright Eyes. Could Fackler turn his back on Hollywood to become a rock star? Get there early and find out.

The Autumn Project w/Father, Noah’s Ark Was A Spaceship, Ila April 22 @ Sokol Underground. Father is guitarist D. Bushon with help from Dapose and Clark Baechle of The Faint, and visuals from Seth Johnson. Get ready to grind.

The Pomonas w/The Third Men, Someone Still Loves You Boris Yeltsin April 28 @ O’Leaver’s — Lawrence 4-piece The Pomonas look and sound like a bunch of slackers from your local record store gigging in their basement, which is why they’re so damn charming. The Third Men is a retro/summer/feel good band featuring Mike Tulis, Matt Rutledge, Mike Loftus and Pat White.

Maria Taylor w/13Ghosts April 29 @ Sokol Auditorium — Maria Taylor we all know as half of the currently defunct Azure Ray. Birmingham’s 13Ghosts are as haunting as their name implies.

Pretty Girls Make Graves w/Giant Drag, The Joggers May 2 @ Sokol Underground — PGMG’s new one, Élan Vital on Matador Records, is a strange, slurred, funky bite of bittersweet post-punk. LA’s Giant Drag is another guitar-and-drums girl-and-guy duo a la The White Stripes but with a distinct My Bloody Valentine vibe.

Kite Pilot CD release show May 6 @ Sokol Underground — A copy of KP’s Mercy Will Close Its Doors fell into my lap last August with the hope and promise of finding a label to release it. Nine months later and the CD will be born as a self-released joint, but still as precious. The Protoculture are rumored to open.

Atmosphere w/Brother Ali and Los Nativos May 10 @ Sokol Underground — If you haven’t experienced one of Sokol’s underground hip-hop shows, there is no better time to start. Atmosphere is Slug a.k.a. Sean Daley, the genius behind Minnesota’s Rhymesayers Collective, that includes such acts as MF Doom, P.O.S. and Brother Ali, the albino who called me out from stage for calling him a white guy. Things could get ugly.

Gomez w/David Ford May 13 @ Sokol Underground — There was a time only a few years ago when you’d expect Gomez to be playing the big room above Sokol Underground. Those days, apparently, are long gone. That said, the band’s new CD, How We Operate, rocks harder than anything they’ve ever done.

Minus the Bear w/Criteria, Russian Circles May 23 @ Sokol Underground — Minus the Bear’s last CD, Menos el Oso, renewed my faith in a band that before could only be described as “quirky.” They’re still quirky, but now there’s something significant under the jangle. After months of touring, Criteria should be plenty road-hardened.

Two Gallants acoustic May 25 @ Mick’s — One of Saddle Creek Records’ latest bands, the duo usually do their thing White Stripes style, all electric. How will their sea-shanty ballads sound unplugged?

I Love You But I’ve Chosen Darkness w/The Rogers Sisters May 31 @ Sokol Underground. The Austin band on Secretly Canadian (Antony & The Johnsons, Swell Maps) is making waves with a stark, electronic sound that heralds back to the old Factory Records days (Yeah, that means they’re influenced by Joy Division).

Simon Joyner w/Coolzey, Miracles of God June 27 @ O’Leaver’s — Few shows these days are as thoroughly satisfying and memorable as Joyner and his band, The Wind-Up Birds, at O’Leaver’s. It’ll be packed, it’ll be sweaty and it’ll be pure spectacle.

Just posted for your reading pleasure, a feature/interview with Nick Zinner of Yeah Yeah Yeahs. Nick talks about hanging out in Omaha, competition in Brooklyn, the band’s new album, and the old days (Read it here). Among the stuff that didn’t make it into the story, Zinner said he digs playing in Bright Eyes, a band he’s toured with as recently as last year’s Digital Ash tour (Btw, he said playing at the MAC Center in CB for a Bright Eyes gig last May was kind of a drag because the crowd was so far from the stage — it drained a lot of the energy from the set). Zinner says he looks forward to doing another tour with Conor and Company…eventually. “I’m booked for awhile, but I definitely want to do it again in the future. It’s so much fun for me to play with him, it’s like a rock vacation.”

Zinner also talked about working with legendary producer Alan Moulder behind the mixing console both for their new record and their debut LP. Moulder has worked with some of indie rock’s most defining acts, including My Bloody Valentine, Jesus and Mary Chain and Smashing Pumpkins. “He kind of downplays his role in all those productions,” Zinner said. “I was able to get a lot of great stories out of him. He’s an amazing man. He’s worked on so many important, influential, seminal records, but is so down to earth and receptive and relaxed and supportive.” Zinner said the band originally got connected to Moulder through their manager, who was good friends with Toni Halliday of Curve — Moulder’s wife. How do they work together? “When I’m in the studio, I take a back seat while Alan gets it to the point where he thinks it sounds good, then we’ll work together at perfecting it. I’m a bit of a studio geek, but not as much as he is. We take time and keep listening to the song over and over again.”

Tonight, The Fray at Sokol Auditorium with Landing on the Moon. I’ve never heard of The Fray, so I was a bit surprised when their show sold out so quickly. Who are these guys? Well, their last record was on Sony/Epic. They’re from Denver. Their sound is safe, middle-of-the-road radio rock. Hmm. Ah, here it is. Their songs have been played on TV’s “Grey’s Anatomy,” “ER” and “Bones,” three shows I’ve never seen before. And last summer they toured with Weezer. It’s all beginning to make sense now. More interesting than The Fray is the Sokol Aud debut of Landing on the Moon. How will they pull it off on the big stage? Get there at 8 and find out (if you have a ticket).

–Got comments? Post ’em here.—

So I spent the good part of the last two days trying to track down a drummer on the road for this week’s column and at the end of it all came up with nil. It happens, it happens… Luckily, I was able to track down Nick Zinner of the Yeah Yeah Yeahs, so you’ll get a nice little feature on Nick and the band online right here tomorrow. As for this week’s column (online Thursday), well, it’s a recap of upcoming shows which y‘all probably know about anyway. Oh well…

Bit o’ entertainment tonight at O’Leaver’s with Seattle’s Boss Martians (they sound like run of the mill indie rock to me) along with Omaha’s favorite bar band, Anonymous American. 9:30 p.m. $5.

–Got comments? Post ’em here.—