Recently spotted on the web:

— Drowned in Sound does a nice, long interview with Nik Zinner (a.k.a. Edward Sissorhands) of Yeah Yeah Yeahs (read it here), where Nik invents a new word. He’s discussing the All Tomorrow’s Parties festival, which the Yeahs were asked to curate a day, along with Devandra Banhart. The writer comments about the festival’s performers. “DiS: What’s ridiculous, really, is that any one of those bands could easily curate a day themselves, such is their level of recognition. Zinner: Yeah, absolutely. We have to leave on the Sunday, though, but I don’t know that many people that he (Devandra Banhart) has selected. They’re all beardos.” Beardos!

— Criteria get dissed roundly in this review in the MSU State News, with the headline Criteria Lags with Dark, Whiny Style. “To get right down to it: Criteria sounds like a bunch of suburban boys finding an alternative to working for ‘The Man.'” Uh, isn’t that the motivation for most bands these days? Notable for being one of the first outright negative review of the CD, which came out last year.

— Speaking of Criteria, Aversion reports the boys had some van troubles (read it here). And they gave WWB 4 out of 5 stars (here).

— Pop Matters has a super-long interview/profile with Two Gallants (read it here). Adam Stephens doesn’t like his band compared to Dylan and The Beatles, which, of course, they sound nothing like in the first place. “Not only is it lazy journalism, I think it is uneducated journalism. Mentioning Bob Dylan or the Beatles in the context of modern music is redundant. Of course the influence is there. It’s like pointing out Thomas Edison’s influence on a well-lit room. The only reason people say it with us more often is because our songs might have a bit of content. But, we don’t really like to describe our music with words either. Not like what we do is beyond description, but we just try to avoid the undertaking whenever possible. Whenever people describe bands, it’s always a litany of other bands. Sometimes that works, and some might think it works with us. I don’t. We just try to stay away from it altogether.” Wonder what he thinks of my description: “…rousing ship-galley sea-shanty ballads on meth.” Probably not much.

— Personal writing hero/mentor/guru Robert Christgau has posted another in his series of Consumer Guide CD review round-ups (read it here). He likes the new Arctic Monkeys (They sound like not knowing the doorman, like moving on a girl you think isn’t pretty enough, like missing the bus in a leather jacket that doesn’t keep out the cold.), hates Editors (Someone should tell him about the Human League.). Editors, by the way, don’t just rip off Interpol (who ripped off Joy Division) they mug them in broad daylight.

— Finally, there’s been enormous coverage of last week’s ‘Bring ’em Home Now’ concert, and Bright Eyes is consistently singled out as one of the evening’s highlights, including in this New York Times piece. “But as pure protest, a quintet version of Bright Eyes, the ever-changing band led by Conor Oberst, hit the hardest of the night.” Strangely, the next day, NYT Creek cheerleader Kelefa Sannah filed this story, where he calls out Oberst: “…in one sense: Mr. Oberst’s best political songs are full of ambivalence and confusion, not unshakable defiance.” Make up your minds, dammit.

–Got comments? Post ’em here.—

I generally try to get live reviews online the morning after the show, but I was pressed this weekend for other things and never had a chance. That said, I did go out both Friday and Saturday nights. Here’s what happened:

Friday was Edith Frost/The Zincs down at Sokol Underground. What a disappointing turnout. I was one of around 40 people there. The Underground never seemed so empty. One guy I talked to wanted to leave because he was so embarrassed by the whole thing. Why wasn’t this show at O’Leaver’s? Maybe because the promoters understandably thought that bands of this quality would bring out throngs of Omaha music fans that can differentiate between good music and schlock (Note, Pomoroy was playing upstairs in the Auditorium). I guess they were wrong.

I missed the opener, McCarthy Trenching, but caught most of The Zincs’ set — very earthy, very moody rock with a frontman who’s voice was low and smoky. It’s the kind of band that you could imagine breaking through the indie-rock glass ceiling to bigger things. Very cool.

Then Edith was up. Backed by members of The Zincs, she uncorked a nice set of songs from her new album along with plenty of older material. Though generally twangier, her music reminds me a lot of Liz Phair, the difference being that Edith can actually sing. She didn’t seem to mind playing to a mostly empty room. Maybe it was the lack of people or the distraction of the UConn game on TV at the bar, but I never locked into her performance, as good as it was.

Saturday night was Western Electric at O’Leaver’s, along with The Pendrakes. Very packed house. O’Leaver’s is now packed just about any night they have a band (but you have to keep that in perspective — packed for O’Leaver’s means 60 to 75 people — the Edith Frost show would have seemed packed in there). I showed up just in time to catch the last couple of Pendrakes songs, which sounded like generic pop-punk to me. I need to see a whole set to make any judgments. Western Electric, fronted by Scott Roth (of Such Sweet Thunder fame) has only been playing together six months. You wouldn’t have known it by listening to them. They had the presence and sound of a veteran rock band. Yeah, they’re twangy… sort of. But their style is closer to classic chug-a-lug Americana bar stomp rock (think Anonymous American for comparisons). One guy in back said they reminded him of Jeff Tweedy. I didn’t hear it. And while the band was amazingly tight, it was Roth that was impossible to ignore — he has a ’90s grunge croon that recalls Pearl Jam or the dozens of bands that aped Pearl Jam back then — a style fans of Such Sweet Thunder will immediately recognize and remember. They played a long set for never having recorded a CD. Roth said they’re currently in the process of recording some of their material, and to look for some more gigs in the near future.

Tonight, Reggie and the Full Effect with Fluxuation and Common Denominator at Sokol Underground. Reggie’s on Vagrant. Used to be that was all you needed to say and you knew what you were in for. But now The Hold Steady is on Vagrant, and that’s thrown everything out of whack. I guess now I have to say Reggie sounds like old-school Vagrant. You know what I mean. $12, 9 p.m.

–Got comments? Post ’em here.—

In the wake of The Faint news, I received a few comments from people who were just as surprised by the news that the Slowdown business/entertainment project was slated to begin construction this week. Well, looking outside my office window from 1400 Douglas I watched as a big steam-shovel-type piece of equipment dug a large hole in the southern portion of the Slowdown property. Construction has indeed begun. I was getting pretty worried there for awhile that barriers put up by various bureaucratic entities were going to quash the entire project. Can they race against the clock and get it finished by the end of the year or will another of my predictions for ’06 become a reality? I’ll keep you updated as construction progresses, and might even post a few snapshots.

The weekend starts off with a bang tonight as Edith Frost takes the Sokol Underground stage with The Zincs and McCarthy Trenching. I’m guessing last night’s Two Gallants show was either a sell-out or damn close (I didn’t go, so anyone with data, please post on the webboard posthaste). Tonight could be a different story. Frost has a rep for being a sad-sack singer/songwriter, yet the last time she came through, she most definitely brought the rock (think Throwing Muses/Belly). I’ve got a feeling tonight will be no different. The Zincs play cool, laid-back indie rock with a frontman who sounds like a cross between Nick Drake and David Bowie. And opener Dan McCartney has become one of the area’s must-see singer-songwriters. A terrific show for $8. Starts at 9 p.m.

Tomorrow night brings the return of Scott Roth (Such Sweet Thunder) and his new band, Western Electric, at O’Leaver’s. In addition to Roth, the band includes John and Jerry Stevens (Hanna’s Porch, Gauge, Box, Hong Gyn Corp, Midwest Dilemma) and Scott Petersen (Four Corners). Roth described the new sound as “more electric than western, but there are some twangy elements that round out the sound.” Veeery interesting. The Pendrakes are the openers. $5, 9 p.m.

–Got comments? Post ’em here.—

Lazy-i: I think your music is sad and beautiful, simple and honest, and your voice is gorgeous and very easy to fall for. Your songs remind me of Aimee Mann or Liz Phair. Do you think Liz sold out on her last couple albums? Would you consider doing that if the money was there?

Edith: I’m not Liz Phair, I wouldn’t be able to follow her same path. I have no problem with what she’s done with her career… it’s not a way I would want to go myself exactly, but that’s cool, we’re both doing our thing and making the kind of music we want to make. As a formerly huge fan I’d rather see her out there and continuing to make music even if it’s currently not my cuppa tea stylistically. There’s always hope.

Lazy-I: Speaking of song writing, I read somewhere that you’re suffering from writer’s block, or that you’re just having a difficult time writing new material. Is that true, and is it a cause of worry for you? Do you need a muse? Are you trying to put together a new album?

Edith: I don’t know where you’re reading these things. I write songs when I’m in songwriting mode; I’m not in that mode right now. Actually I am writing things down and coming up with some ideas but I’m not in any rush get them demo’ed. Right now I’m in *touring* mode, I’m promoting the album that just came out. I’m not going to worry about the next job until I’m done with this one… should be done with touring by summer so that’s when I’ll hopefully get crackin’ on new demos.

Lazy-I: What do you think of Omaha?

Edith: I need to get to know ‘er better I guess. I’ve never hung out there at all, just played a couple of shows, blew in and blew out… the audiences have always been really cool though, that’s for sure! Good audience = good show, for me and for them.

Column 69 — Not for The Faint of Heart
Is one of Saddle Creek’s biggest bands flying the coop?

Omaha is a very small town. And once a rumor gets traction — any traction — there’s no slowing it down. We are a species of gossips and information whores, constantly on the look-out for hot scoop (or poop, in some cases). Information isn’t power in Omaha, information is the new smack that forces those locked in the music scene to stumble around for their next fix.

There was plenty of smack on the streets last weekend in the form of a rumor that The Faint, one of the holy triad of Saddle Creek Records’ bands, is leaving their home-town label for greener pastures. Specifically pastures fed and watered by hip-hop guru and professional turn-around artist Rick Rubin.

I could not grab a beer at any bar without someone leaning in and whispering, “I’ve got a lu-lu. But you didn’t hear it from me,” then saying that The Faint are not only sniffing around, but have already signed a deal with American Recordings and are flying Rubin to Omaha in a silver dart to begin recording sessions post haste at The Faint’s swank new rehearsal space.

It wasn’t exactly fresh news. I had heard about it five weeks ago, maybe more. A well-connected deep throat sent me an e-mail with a single sentence: “The Faint are leaving Saddle Creek.” It sounded like shit to me. The band has been solid all around with the label from day one; no one’s held up the Saddle Creek banner higher. Whenever it came press time, the Baechle brothers were always first in line with a faithful quote. “Why would we leave when we got it so good here? You think we’re stupid?”

But my source had never been wrong. Never. Every bit of info no matter how lame-brained always proved solid. Even when I thought it was pure cockamamie, asking around always came up diamonds. But this seemed too big.

I immediately asked Creek about the rumor, but got zilch back on the record. Weeks went by with nothing new from the grapevine. Deep Throat was swollen shut. Then out of the blue a week ago, I got another tip from a different source. Same story. More details. This time Rick Rubin was mentioned by name along with his record label, American Recordings, home of Johnny Cash, Neil Diamond and Slayer. By last weekend it was all over the streets; it was just a matter of time until I’d read it in the World-Herald, until it was old news.

Calls and e-mail to a member of The Faint went unreturned. No surprise there. So I tried Saddle Creek again, figuring label executives Robb Nansel and Jason Kulbel would be too busy schmoozing at South by Southwest to reply. Lo and behold, Nansel clarified the rumor. “They have not signed anything with American,” he wrote in an e-mail. “Not sure if they will. They are still talking to them, but that is all at this point.”

Nansel went on to write that Rubin has indeed expressed interest in working on the band’s new record, “but I don’t know that he ever expressed doing that in Omaha, let alone at their space.”

What’s in it for Saddle Creek? One story had it that negotiations were under way to compensate the label for its years of support, promotion, and all the other benefits. Apparently not.

“We are not negotiating any compensation with the band,” Nansel wrote. “We have briefly discussed different ways we could/could not be involved with their future records (assuming they don’t end up on Saddle Creek). (We) have not come to any agreement on whether we would be involved at all or not.”

None of this can be a complete surprise to Nansel or anyone at the label. It’s only a matter of time until one of their biggest acts leaves the nest. There are limits to the meaning of the word “loyalty” in the rock and roll business, especially when millions of dollars are at stake. The Faint have had offers before, but always turned them down. Something else must be driving this new level of interest beyond cash.

So, if it’s all true, why isn’t Nansel pissed? “The possibility of a band leaving has always been there,” he wrote. “The bands will ultimately make a well-informed decision about what is in their best interest. We will support their decision regardless of what it is, and hope that all parties are satisfied at the end of the day. Certainly (we) would not be pissed.”

But what would it mean if The Faint does leave the label? How would it financially impact Saddle Creek, especially during a time when so much of the label’s money is tied up in a new, untried venture — the Slowdown entertainment complex slated to begin construction this week just a couple blocks west of The Qwest Center? Nansel didn’t say. Maybe it’s too early to speculate. After all, Elvis hasn’t left the building… yet.

An afternoon update today because I was finishing a column about The Faint, which will go online tomorrow morning (and look for an Edith Frost interview/feature Thursday morning).

Not much news today, anyway. In the aftermath of SXSW, sounds like Saddle Creek’s Two Gallants made an impression on the masses, at least according to this San Jose Mercury News item. The writer called the band “one of the most exciting and unique acts I’ve seen this week.” Other than that item, coverage of Omaha-related bands at the event was all but nonexistent. On a side note, The AP filed an interesting interview with Barsuk’s Josh Rosenfeld, where he talks about the value of the SXSW, underscoring what everyone knows — no one goes to Austin to sign bands anymore. Those days are long gone.

Underground hip-hop acts P.O.S., Mac Lethal and Sims at Sokol Underground tonight. 9 p.m., $7.

–Got comments? Post ’em here.—

As expected, The Protoculture brought the faithful in droves to last night’s show at O’Leaver’s despite forecasts of snowy doom, a full house of 75 or so were there to see the legends. And the legends did not disappoint, playing six songs off their upcoming 7-song EP — almost the whole catalogue of Protoculture tunes. All except “The Hit,” as I warmly call their b-side single “My New Laugh,” the only Protoculture song with a sing-a-long chorus. Where was it?

They started out nervous and a tad tentative, or so they sounded. By the midway point of their brief set, they were firing on all cylinders. Having never seen them perform before, I had no idea that drummer Koly Walter did most of the singing. He was in good voice, as was co-singer Erica Petersen-Hanton, opening the set with the new material and closing with three songs off the ’97 singles that sounded as modern as anything you’re going to hear on today’s indie charts. The crowd, as you might expect, loved every minute of it. The young lad next to me said this was just the kind of band he would have worshipped had he been kicking around the scene back in the day. I kept turning to him, saying, “They’re gonna play their hit next.” But it never happened. Afterward I mentioned this to Walter, who said rather quizzically? “That song? That’s just a B-side.” Maybe so, but it’s my favorite of their entire oeuvre. Maybe they’ll play it when they open for The Stay Awake and The Bombardment Society at Sokol Underground sometime in April. I’ve waited seven years to hear “My New Laugh” live, I suppose I can wait a few more weeks.

–Got comments? Post ’em here.—

So the big question is whether or not the Protoculture show is happening tonight. I just talked to the show promoter and he says it’s on no matter what. The heavy stuff isn’t supposed to start until later tonight — probably right when the show is going on. It should make for some interesting driving. I’d skip it, but this is The Protoculture, and though they say they’ll be playing again soon, who really knows for sure what our future holds?

Nice crowd last night for Ladyfinger and Mr. 1986 at Sokol Underground. My ears are still ringing. Frickin’ loud. Ladyfinger was double-barrel hardcore heavy. Throw the bitch out the window mean, but cool like a serial killer up there on stage. Chris and the boys are anything but metal head rock freaks when it comes to stage presence. Machmuller just leans to the mike and does his thing while nonchalantly uncorking a hail of power chords. That’s the irony of this band — they seem like nice guys, but their music is some dark shit, black and negative, psycho angry, rattling around loud and scary like a box of smoking chainsaws. All that time spent recording has done something to this band. Obviously they sound tighter, but they also sound harder, almost weathered. The old songs from their first EP seemed compact and well-planned. The new ones are complete chaos, not as hook-laden as, say “Too Cool for School, ” which, in comparison, sounds like a dance song. The groove is still there, it’s just more subtle amidst the ensemble’s raw power. Did I mention how loud it was?

I only caught three of Mr. 1986’s songs seeing as I had to make it down to O’Leaver’s to bid farewell to Reader music writer/editor Jeremy Schnitker, who’s on his way to Chicago. Good luck in the Windy City, bro. ’86 does what it does about as well as anyone could — huge, cinematic songs that recall Mogwai and God Speed, repeated tonal instrumentals that can explode at any moment. The drums were otherworldly in size and scope, and made the whole thing work. I wonder, however, if what they’re doing hasn’t become somewhat dated, if they have room to take it a different direction or if they only want to play these throbbing, dynamic symphonies of noise…

If I hear any updates about tonight’s show, I’ll pass them along right here. Otherwise, I’ll see you there…

–Got comments? Post ’em here.—

The Lincoln 5-piece does what Godspeed does with as many as nine or 10 people, albeit on a smaller scale. The idea’s the same — create sprawling, echoing, tonal sound pieces that are theatrical in size and style. These guys do it well. The first tip that we were in for something special was when the band didn’t face the crowd, but faced each other — the guitarist and keyboardist at stage right faced another guitarist and a bass player who stood toward center, focused intently on the drummer. They watched each other as we watched them create haunting, sonic joyrides. Like tonal chamber pieces, the 10- to at times 15-minute ambient overtures often rode on two or three chords that switched at the end of two-bar phrases of 4/4 — back and forth or back and up and back while the drummer played crisp syncopated rhythms. Guitars added even more rhythms, created effects or took off on their own highly technical though nuanced tangents.

Column 68 — Dilly Dalleying in Court
A chat with Juror No. 23

There are few things more dull in life than serving on jury duty. You get the letter in the mail. You show up at the appointed time. You sit in a cramped little room filled with the other unlucky few forced to give up two weeks of their lives for the right to vote and drive a car. It’s the price you pay for liberty, I suppose. You do your time like a good citizen and if you’re lucky, they won’t call your number and force you to sit and listen to cheap-suit lawyers argue over whether their client had the right-of-way when the light turned yellow.

So there I was, Juror No. 73, stuck in stuffy Courtroom 20 in the Douglas Co. Courthouse, bored, absently listening as the names were called, when suddenly up walked Juror No. 23. “What is your name and occupation?” asked the bailiff.

I wanted him to say, “My name is Denver Dalley and I’m a ROCK STAR.” Instead, the frontman to Omaha indie band Statistics and guitar player for Saddle Creek act Desaparecidos (a band on perpetual hiatus), merely said, “I’m Denver Dalley, and I’m a musician.” Dalley sat quietly throughout the vior dire process, looking forlorn in his blue hooded wind-breaker. I don’t know how he did it, but when it came time to appoint the final jury, his name was struck from the list and he left the jury box, relieved.

Dalley had arrived in Omaha the morning of the first day’s jury proceedings, driving straight from his parents’ home in Nashville, where he’s been living for the past few months while working on a new recording project called Intramural. More on that later.

Maybe the most interesting news was that Dalley has left Jade Tree Records, the label that took him on in early 2003. The original deal called for releasing one record and two “optionals.” With two records out, Denver wanted out of the third, and got out. “When I first signed, there was a lot of personal contact and excitement, then it got to the point where I barely heard from them,” Dalley said during one of the few breaks during our court time. “It wasn’t the same label that I signed to. I’m not trying to totally trash them, but I really didn’t want to work with them anymore.”

Jade Tree had been offered the Intramural project, but was confused at the concept, which involves Dalley and Nashville partner in crime Sam Shacklock writing and producing tracks that are then sent to other artists for vocal tracks. Upon hearing the initial instrumental tracks, Jade Tree thought the project sounded “unfinished” (Duh!). After they passed, he gave a copy to Slowdance Records label executive Ezra Caraeff. “He immediately heard the potential,” Dalley said. “He was stoked.”

Shacklock is the son of Abbey Roads Studio producer Alan Shacklock, who’s worked with the likes of Roger Daltrey, Jeff Beck and Meatloaf. “When he was doing sessions over there he got a number of outtakes that enabled us to get all these amazing drum samples and string sounds from the London Symphony Orchestra,” Dalley said.

But more impressive is the list of artists supplying vocals, including The Long Winters, Minipop, Slender Means, The Pale Pacific, Men Women and Children, Brand New, The Evening Episode, and last but not least, Greg Dulli (Twilight Singers, Afghan Whigs).

While in town, Dalley is working with local filmmakers Nik Fackler and Aaron Gum to develop videos for each song on the album. The final product may be used for an Intramural tour. After he moves to Los Angeles in the coming weeks, Dalley said he plans to ask Dulli if he can film him playing piano at a local dive bar. Very cool… if it happens.

With all but one song mixed, the only thing left is mastering. Dalley said he’s shooting for an August release date, which would be followed by an Intramural tour featuring him, Shacklock and a yet-to-be-named drummer. “We’d all be running around doing different things, playing keyboards and playing guitars and stuff,” Dalley said.

So what’s going on with Statistics? “I’m taking time off, but will come back eventually,” Dalley said. “I want to record the next album entirely on my own and take as much time as I need. Right now I’m focused on this new project. I was determined to not tour for a while, but my UK booker really wants me to come over in September.”

It was European tours that got Dalley out of two other requests for jury duty. He said he couldn’t avoid serving any longer. By the end of our second day, however, it was all over. Neither Juror 23 nor 73 was ever called, and both were excused. I know I can speak for Dalley when I say how proud we are to have performed our civic duty.

God bless America.