Matt Whipkey has been working on a secret project for a number of months. He’s known for a style of music that falls somewhere in the folk rock / Americana / alt country / singer-songwriter genres. The new project, going by the name Unexplained Death, is Whipkey’s take on punk as only he can.
His first angry solvo has been hurled at Pete Ricketts and the Ricketts family in general. Called “Wall Street Pete (Daddy’s Money)” it throws the Ricketts spaghetti agaisnt the wall. See what pieces stick below.
I asked Whipkey, “Why punk, why now?”
“Look at the world; it’s a flaming shit storm. In all directions, fireballs of shit flying,” Whipkey said. “A lot of musicians are speaking out against the current state of affairs and that is great, but a lot of these songs are borderline lullabies.”
Whipkey’s abrupt change in musical style also is the result of too often being hung with the “Americana, singer/songwriter” genre tag. “I’ve carried it for a long time,” he said.
So is what he’s doing punk? Probably not in the truest sense. This song and others off the upcoming collection fall closer to Replacements-style indie rock.
“When I was learning to play guitar, these were the kind of jams I first figured out,” he said. “Fast and loud is definitely part of my nature. In no way am I claiming to be a punk purist. I still like melody too much. But the energy it carries has always been a part of my identity.”
The Unexplained Death songs were mostly recorded in Whipkey’s unfinished basement. “I did the drums for some songs at Scott Gaeta’s (studio),” Whipkey said. “I mixed all the songs and even played everything (sans drums).”
He’s looking for a record label to put it out, but, “I have little hope because the music industry is also part of that flaming shit storm.”
We’re all still waiting for the first Unexplained Death rock show; do you hear that Lookout Lounge and The Brothers?
I’m one of the odd ones. Even if all four members of Gang of Four were playing tonight at The Slowdown there’s a pretty good chance I wouldn’t go see them. I’m just not interested in heritage acts whose heyday was 40 years ago.
That said, I do get the appeal. Most (almost all) people not only are more enamored with the music they grew up with, but it’s the only music they can bear to listen to. Play a new band or a new sound for them and you’re bound to get a pinched-face reaction. It’s human nature, folks, which makes me a freak of nature, because I’d much rather hear something I haven’t heard before than to rehash the past with new actors in the power positions.
And don’t get me started on cover/tribute bands. Like I said, I understand the appeal — music-wise, people love what they’re familiar with, which is why cover bands always have made multiples above what original local bands earn on a given night. Such is life.
So, tonight is Gang of Four down at Slowdown Jr., with one original member, guitarist Andy Gill. And while I’m not going, I’d much rather see this band than, say, a Gang of Four tribute band. At least you’re getting one of the original gang, and a nice selection of oldies along with their newies.
Their Feb. 5 set at The Casbah in San Diego included “Anthrax,” “He’d Send an Army” “I Love a Man in Uniform” and “At Home He’s a Tourist” among its 17-song set list, which you can view right here.
By the Way, this is a Slowdown Jr. show — i.e., in the front room. I’m surprised it isn’t sold out yet. Opening is our very own Eric in Outerspace, so get there early. 8 p.m., $25.
Quite a coincidence that two Grammy winners also played at O’Leaver’s Saturday night.
Lupines frontman John Ziegler accepted the award for Best Rock Performance last night surrounded by the rest of the band. Ziegler thanked the academy and “his team” that includes his record label and its army of marketing personnel that have made Lupines a household name. Wearing a classic Nudie Cohn suit, bassist Mike Tulis saluted fellow nominees Artic Monkeys and Greta Van Fleet before flipping off the star-studded audience to roars of applause.
On the other hand, after accepting their award for Best New Artist, Chase the Ghost members Brian Tait and Reagan Roeder were immediately detained by federal law enforcement agents the moment they walked off stage. I’m told they’ve since escaped custody and currently are hiding out at Grammy President Neil Portnow’s plush Malibu compound.
Chase the Ghost at O’Leaver’s Feb. 9, 2019.
That Best New Artist award was a real surprise for everyone as Saturday night’s O’Leaver’s gig was (I believe) only the second performance ever by Chase the Ghost. The duo puts an extra helping of “psychedelic” in their psych-rock style, resulting in a strange outer-body experience. Reagan was in his usual good voice on these stripped-down indie-flavored hoe-downs. Tait, looking like a young Hunter S. Thompson in white cowboy hat, white glasses and white patent-leather shoes, sported one of the more unique drumming styles in recent memory, bashing out rhythms while adding backing howls. Great stuff, though the duo only played four songs after Roeder’s guitar suffered a technical mishap.
Reagan couldn’t put a date on when they’ll play again. Neither could Tait, though he said they hope to release a recording (possibly even on vinyl). And they have this video (below), which encapsulates the duo’s essence quite accurately.
They were followed by the always awesome Lupines. I’ve seen these guys a million times and every time I walk away saying to myself, “They deserve a Grammy for Best Rock Performance.” I don’t know what more to say other than, along with David Nance, they’re my favorite rock band from this area. If you haven’t seen them (especially if you’re a fan of Nance’s sound, which is currently grabbing national attention), you owe yourself the favor.
* * *
Speaking of The Grammys, I’ve been listening to the big winner Kacey Musgrave’s album, Golden Hour, all morning. I know it’s been said before (by Kevin Coffey last night, for example), but this isn’t what I consider a “country” album. It’s more like a middle-of-the-road folk-rock record. Anyone who remembers when KFAB used to play music back in the ’70s and ’80s will recognize this sound — harmless 4/4 background music perfect for an evening of grocery shopping at your local Hinky Dinky. Well done for sure. Nice. Who remembers Crystal Gayle? Anne Murray? Juice Newton?
Even Pitchfork gave this record a great review (strangely). I guess the country classification comes from her slight twang? The occasional banjo? The single “Space Cowboy”? Or is this where country music resides these days? Maybe it has for awhile. Or maybe it’s because Musgraves music doesn’t fit in any other category…
“Devotchka” is a Russian word for “girl,” according to Wikipedia, whereas DeVotchKa is a Denver four-piece fronted by brassy crooner Nick Urata. The band’s history dates back to 1997 and 11 studio albums including their latest, This Night Falls Forever (2018, Concord Records), a romantic collection of lush ballads that, on tracks like “Done with Those Days,” and opener “Straight Shot” sees Urata channeling such vintage vocalists as Roy Orbison and Chris Isaak.
“One common thread in these songs is their sentimentality,” Urata says. “When you first discover rock and roll, that’s usually the same time you’re discovering girls or boys, when everything is so romantic and huge — that era of your life is where these songs are coming from.”
We caught up with Urata and gave him the Ten Questions treatment. Here’s eight of his answers:
1. What is your favorite album?
Nick Urata:Revolver by the Beatles. Every song on it is a classic and in a genre of its own. The moment I heard it I knew I had to make music.
2. What is your least favorite song?
The “877 Kars 4 Kids” (jingle/commercial)
3. What do you enjoy most about being in a band?
I’ve always wanted to be in a band. I’ve been in so many that fell apart when you find one that works it’s like magic. To have brothers and sisters in music, to share the peaks and valleys of this life is a blessing.
4. What do you hate about being in a band?
“Hate” is a strong word, but if you’re serious about your band it takes over every aspect of your life.
5. What is your favorite substance (legal or illegal)?
I left (this one and No. 10) blank. They will just get me in trouble…
6. In what city or town do you love to perform?
Omaha, obviously.
7. What city or town did you have your worst gig (and why)?
There have been a few. When we look back it turns out our home town of Denver is the sight of some of our worst disasters. Mostly because that’s where we cut our teeth and learned how to put on a show. It’s always the ones that you think are going to be earth-shattering that are the biggest let down. For us early on we were asked to open for Marilyn Manson, we were elated, but the reality was a harsh one. I thought his fans would be enlightened and open to something different, but the diehards up front hated us and made our first arena show a nightmare, it was also the day GW got re-elected, very dark…
8. Are you able to support yourself through your music? If so, how long did it take to get there; if not, how do you pay your bills?
It goes back to my previous answer: If you are willing to give up any semblance of a normal life you can eventually quit your day job. I’m happy to report we all have.
9. What one profession other than music would you like to attempt; what one profession would you absolutely hate to do?
I would love to be a cinematographer, but I’m not sure I can even spell it so I guess that says something, but I think the fact that we can capture our world in such a beautiful light is a miracle we take for granted and future dystopian generations will cherish.
On the flip side, anything around an airport or church.
10. What are the stories you’ve heard about Omaha, Nebraska?
Devotchka plays with Neyla Pekarek (formerly of The Lumineers) Sunday, Feb. 10, at The Waiting Room, 6212 Maple Street. Tickets are $25 Adv/$60 M&G. For more information, go to onepercentproductions.com
* * *
Now onward to the rest of the weekend…
Acclaimed singer/songwriter Samantha Crain headlines tonight at fabulous O’Leaver’s. She’s a Choctaw singer, songwriter, poet, producer and musician from Oklahoma and a two-time Native American Grammy Award winner. Sean Pratt and McCarthy Trenching open at 10 p.m. $10.
Meanwhile, over at The Sydney in Benson, Cult Play headlines with Lincoln band Universe Contest and Dross (members of Noah’s Ark Was a Spaceship). 10 p.m., $5.
There’s also a four-band emo show at West O bar Dr. Jack’s Drinkery, 3012 No. 102nd St. Headlining is Nebraska band About-Face, with Missouri act Faintheart, and Nebraska bands Midwest Coasta and Phantom Killer. $10, 9 p.m.
Tomorrow night (Saturday) it’s back to O’Leaver’s for the amazing Lupines. Also on the bill are Las Cruxes and Chase the Ghost (Reagan Roeder/Brian Tait madness). $5, 10 p.m.
Also happening Saturday night is the return of ’90s/’00s Omaha act Janglepop at Reverb Lounge. Read this ancient article about the band here. Modern-day jangle-pop alt-country band Clarence Tilton opens at 8 p.m. $5.
And that’s all I got. If I missed your show, put it in the comments section. Have a great weekend.
With no news, on Throwback Thursday I thought I’d advocate for you to rediscover The Wrens 2003 magnum opus The Meadowlands.
I had the good fortune of interviewing The Wrens’ guitarist/vocalist Charles Bissell a.k.a. Charles Mexico and writing a story about the making of that album in support of a Sokol Underground gig they played with Criteria back in the day. Turned out, there was an Omaha connection to the record’s origins. From the story:
By the summer of ’99, The Wrens were close to calling it quits. The album that they had expected to take four weeks to record had lingered for six months. That’s when Bissell received a call from someone he’d met at the band’s first-ever show — an August 10, 1994, gig with Babe the Blue Ox and Big Drill Car at the Capitol Bar & Grill in downtown Omaha. It was Todd Baechle of the then little-known band The Faint.
“Robb Nansel (who runs Saddle Creek Records) and Todd wanted to set up a show with us in New Jersey,” Bissell said. “We kept putting them off, trying to tell them we weren’t playing anymore, which sounded preposterous since we were six months into making the record. So we had a nifty loft party for them in Hoboken and played drunk, which is very rare for us. They had just defined their new sound and played this great set. We didn’t play again for four years. They went on to become virtual powerhouses.”
It would be four years after that loft party before The Meadowlands was released and became an instant classic. It still holds up today, almost 16 years later.
As for “where are they now”: According to their last news update on wrens.com the band just finished mastering a batch of new songs. Unfortunately, that last news update was dated January 5, 2017…
It’s year 14 for Lincoln Exposed, the annual week-long multi-bar showcase that celebrates the Star City’s music scene.
With forecasts calling for three to six inches of snow tonight, the timing couldn’t be any better to get stuck in Lincoln for a few days! The five venues participating this year are The Zoo Bar, Duffy’s Tavern, Bodega’s Alley, Bourbon Theatre and 1867 Bar.
Wednesday and Thursday – $8 per day
Friday and Saturday – $10 per day
Here’s the sched:
Wednesday, Feb. 6
ZOO BAR
6-6:40 – Orion Walsh & The Ramblin’ Hearts
7-7:40 – The Whiskey Drinkers Union
8-8:40 – Rock Paper Cities
9-9:40 – Brazen Throats
10-10:40 – The Wise
11-11:40 – Sapien Sounds
12-12:40 – Within Wilds
DUFFY’S TAVERN
7:40-8:20 – Cynge
8:40-9:20 – They Exclaim!
9:40-10:20 – Thirst Things First
10:40-11:20 – Manslaughterer
11:40-12:20 – CJ Clydesdale Band
BOURBON THEATRE
7:20-8:00 – Ashes of Immolation
8:20-9:00 – 8th Day Broken
9:20-10:00 – The Credentials
10:20-11:00 – Histrionic
11:20-12:00 – Sons of Thursday
BODEGA’S ALLEY
8:00-8:40 – Gamma Goat
9:00-9:40 – Shit Flowers
10-10:40 – Root Marm Chicken Farm Jug Band
11-11:40 – 23rd Vibration
12-12:40 The Hanyaks
1867 BAR
7:40-8:20 – Domestica
8:40-9:20 – Featherfoot Charlie
9:40-10:20 – Hosting Monsters
10:40-11:20 – Pure Brown
11:40-12:20 – Seymour
Thursday, Feb. 7
ZOO BAR
6:00-6:40 – Tim Budig Band
7:00-7:40 – The House Band
8:00-8:40 – Tie These Hands
9:00-9:40 – Curtis Beard
10:00-10:40 – Powerful Science
11:00-11:40 – MrMc$
12:00-12:40 Will Hutchinson Band
DUFFY’S TAVERN
7:40-8:20 – St. Luis and the Bottom Boys
8:40-9:20 – Plastic Garbage
9:40-10:20 – Death Cow
10:40-11:20 – The Bottle Tops
11:40-12:20 – Mad Dog and the 20/20s
12-12:40 – Our Society
1867 BAR
7:40-8:20 The Other Side of Now
8:40-9:20 – Sweats
9:40-10:20 – Emily Bass and the Near Miracle
10:40-11:20 – Producers of The Word
11:40-12:20 – Hakim
12:40-1:20 – After Arizona
Friday, Feb. 8
ZOO BAR
5:00-5:40 Prairie Psycho
6:00-6:40 – Gabe Nelson w/ Pants
7:00-7:40 – Big Daddy Caleb and The Chargers
8:00-8:40 – The Morbs
9:00-9:40 – Stonebelly
10:00-10:40 – Night Push
11:00-11:40 – Artichoke Hearts
12:00-12:40 – Body Garden
DUFFY’S TAVERN
6:20-7 Nate Armstrong and the Fiddlin Fool
7:40-8:20 – Gnawstic
8:40-9:20 – The Dancing Dead
9:40-10:20 – Said Mantics
10:40-11:20 – Dazzle Ships
11:40-12:20 – Evan Bartels and The Stoney Lonesomes
12:40-1:20 – Dudes Gone Rude
BODEGA’S ALLEY
7-7:40 – Could Be Cursed
8-8:40 – Sputnik Kaputnik
9-9:40 – Eddy Mink
10-10:40 – Gerardo Meza and the Dead of Night
11-11:40 – Hex Weaver
12-12:40 – Cornerstone Dub
1-1:40 – Bogusman
1867 BAR
7:40-8:20 – The Rewind
8:40-9:20 – Leaves Brown
9:40-10:20 – Ro Hempel Band
10:40-11:20 – Laughing Falcon
11:40-12:20 – Blowing Chunks
12:40 – 1:20 – Radiant Bones
Saturday, Feb. 9
ZOO BAR
5-5:30 – Floating Opera
6-6:40 – Frailin Hearts
7-7:40 – Charlie Burton and Or What
8-8:40 – Verse & The Vices
9-9:40 – Undisco Kids
10-10:40 – Wildwoods
11-11:40 – Killigans
12-12:40 – Oatmeal 97
BODEGA’S ALLEY
7:00-7:40 – Deadbeat
8:00-8:40 – Yellow After Rain
9:00-9:40 – The Inbetweens
10:00-10:40 – Talent Show
11:00-11:40 – Dirty Talker
12:00-12:40 – Mobius
1:00-1:40 – The Midland Band
1867 BAR
7:40-8:20 – Rift
8:40-9:20 – Ghost Town Radio
9:40-10:20 – Mike Semrad & The River Hawks
10:40-11:20 – Hammersaw
11:40-12:20 – Salt Creek
12:40-1:20 – The Fey
* * *
Meanwhile, back here in Omaha tonight, Epitaph recording artist Hunny plays at Reverb Lounge. From Newbury Park, CA. Opening is Kanine Records act Hockey Dad, whose latest, 2018’s Blend Inn, was produced by John Goodmanson (Bikini Kill, Sleater-Kinney). $18, 8 p.m.
Just a quick note to pass along a recommendation, in fact the first recommendation of 2019.
Spielbergs are a Norwegian trio that formed in Oslo back in 2016. Their name is (you guessed it) a sort of tribute to Steven Spielberg, apparently after seeing Close Encounters for the first time.
This Is Not the End is their full-length debut, which came out last Friday on tiny indie label By the Time It Gets Dark Records. No doubt these kids grew up listening to ’90s-era indie as the record combines all the best qualities from the best bands of that time period. They’ve been compared to Japandroids, Titus Andronicus and No Age, but to me they’ve got more in common with the grinding indie rock of Superchuck and the massive hooks on early Teenage Fanclub albums.
A little past halfway through the album is a 7-plus minute epic tonal composition that sounds like Yo La Tengo combined with a modern-day Trent Reznor soundtrack. Titled “McDonald’s (Please Don’t Fuck Up My Order)” it underscores the understated humor that runs throughout this album. And it’s gorgeous. It’s followed by “Sleeper,” an acoustic number with the same simply beauty as “A Pillow of Winds” from Pink Floyd’s Meddle.
Those two quiet songs are the exception to the rule on an album that consists mostly of bombastic, feedback-fueled anthem rockers that are going to sound even better this summer. A great way to start off 2019…
* * *
This month’s Over the Edge column for The Reader went online this morning, just in time for the State of the Union address. It’s a cautionary tale about what Trump would have to do to win a second term, and how easy it would be (if Trump wasn’t Trump). You can read it online here or in the February issue of The Reader, on newsstands somewhere…
It was a shoulder-to-shoulder crowd at Almost Music Saturday night around 8 p.m., the store filled with revelers celebrating the unfortunate demise of an Omaha music store. Some of the book shelves had been moved out of the Solid Jackson side to make room for the crowds watching the bands. In back they were doling out what can only be described as “doses” of the Nite Owl “punch” that indeed packed one. It was a happy though solemn affair as we were all happy to see the bands and each other, and sad that it was the last day for Almost Music and Solid Jackson, a store that will never be equaled (Unless Brad decides to open one again some day).
So crowded was the store that we couldn’t see Pagan Athletes, who were performing on the other side of the room. The synth/drummer duo was knocking out crazy futuristic jams, hyper-kinetic instrumentals that held the crowd in a trance with its jittery swing. The fine young man standing next to me drinking the blood-colored punch from a coffee cup said the band consists of John Wolf’s sons! Wolf is nothing less than an Omaha music legend behind such great bands as Cellophane Ceiling and Bad Luck Charm (among others). No doubt talent runs in the family. Check out some Pagan Athletes demos below.
Wagon Blasters at Almost Music’s farewell show, Feb. 2, 2019.
Speaking of legends, Pagan Athletes was followed by Wagon Blasters, the next evolutionary step in the ever mutating genre of Nebraska Tractor Punk. Gary Dean Davis was in his usual fine form, as was the rest of the band, who I could barely see while standing atop a three-foot step ladder, where I took the above photo (I never got a clear shot of Pagan Athletes).
We only hung around for a couple Blasters songs, overcome by ennui generated by the knowledge that we wouldn’t be able to stop into Almost Music again on Saturdays after lunch at Noli’s. Brad, we salute you (and by the way, you hit the nail squarely on the head with that Rat Columns album — primo!
We headed cross town to catch Matt Whipkey’s set at Reverb Lounge. Whipkey has been performing in a variety of bands and projects for almost two decades, and while rock has always been the staple, his style has varied from Americana to heavy metal (or close to it). That variety makes for a fine selection of songs and styles, which we got a heathy sample of Saturday night.
It’s become known in some circles that Whipkey has been working on a secret project, and sure enough he rolled out one of those songs last night — a punk version of “Fred, You’re Dead” (of which there’s a slower version on his last album, Driver). When will Whipkey reveal this full punk project? Only time will tell…
* * *
Tonight Cam Stout celebrates her birthday at The Brothers Lounge. I don’t know who Cam is, but I like her taste in music, as the bands No Thanks and Hussies are both performing in her honor. $5, 10 p.m. Happy Birthday, Cam…
Before we get to it, tickets went on sale today for both the March 21 Better Oblivion Community Center (Conor Oberst/Phoebe Bridgers) show at The Slowdown and the two-night stand by The Faint at The Waiting Room May 24 & 25. Better get on it before tix are gone…
Now, on with the weekend…
Sub Pop recording artist King Tuff plays tonight at Slowdown Jr. King Tuff a.k.a. Kyle Thomas was a member of Ty Segall’s band The Muggers. The Reader‘s Houstin Wiltsey has an interview/feature with King Tuff online right here, which you should really check out before the show. Australian psych-rock band Stonefield opens at 9 p.m. $17.
Also tonight See Through Dresses kicks off its latest tour with a show at The Sydney in Benson. This is a big one that also includes Those Far Out Arrows, Lincoln’s Her Flyaway Manner and the always awesome Tyrone Storm. Music starts at 10 p.m and it’s the usual $5. Get there early and check out the multi-artist art opening that benefits the amazing Youth Emergency Services. More info here. It’s all part of Benson First Friday (#BFF).
Speaking of BFF, if you’re in Benson for the festivities, swing by The Little Gallery (my wife’s place) and check out this month’s opening featuring the art of Bob Matthews. The Little Gallery is at 5901 Maple St. in the east bay of the Masonic Lodge building. Stop in and say hello. We’re there from 6 to 9 p.m. More info here.
Tomorrow (Saturday) is the Almost Music Going Out of Business Music Festival, a stupendous line-up of bands that starts at 4 p.m. Get in on the music and leave with some bargains as the store will have deeply discounted vinyl available. It’s free, though donations are welcomed; it’s BYOB; and Nite Owl is preparing a “special punch” for the occasion. And it’ll be a good chance to say goodbye to Brad and thank him for all he’s done. Here’s the set times:
Bad Actors (first show): 4:15-5:00
Eric in Outerspace: 5:15-6:00
Kyle Jessen: 6:00-6:45
Putter & Co.: 6:45-7:30
Little Ripple: 7:30-8:15
Pagan Athletes: 8:15-9:00
Wagon Blasters: 9:00-9:45
Houma: 9:45-10:30
Conny Franko: 10:30-11:15
BIB: 11:15-midnight
Also Saturday night Matt Whipkey headlines at Reverb Lounge. Will Matt roll out a few new (punk) songs during his set? You’ll have to go and see. Hot new band Garst opens at 9 p.m. $8.
That’s all I got. If I missed your show, put it in the comments section. Have a great weekend.
Reaching back into the archive on this Throwback Thursday, to a time when Twitter was just getting going. Who’da thunk back than that Twitter would become the main tool for the country’s Biggest Tool? And yet, here we are. This column was a sort of introduction to Twitter, and the first time I used the tool for doing live concert reviews. It was also the last time. There’s no point in “real time” reporting a live concert in Twitter. It’s about as interesting as seeing pictures from people’s vacation while they’re still on vacation. Actually, isn’t that what Facebook is based on?
The concert I was tweeting from was a preview show by Cursive of material that would appear on Mama, I’m Swollen, which was released March 10, 2009, and is still one of my favorite Cursive albums.
From Lazy-i, Jan. 29, 2009…
Column 207: In a Twitter The end of conversation.
Back in the old days — a few short years ago — just blogging was enough. People had a way of electronically publishing their ideas — no matter how mundane — in a format that was accessible to the entire world via the Internet. Bored college students in Toledo could now share their insights with bored college students in Gdansk about such nail-biting topics as: what they had for dinner, why they’re pissed at their boyfriend/girlfriend, and what’s on TV.
Now along comes Twitter. Well, not just now. Twitter’s been around since 2006 (according to Wikipedia, which itself has been around since 2001), but it seems like no one started using it until last year. Oh sure, there were a couple Twitter pioneers (drones who will proudly boast that they’ve been Tweeting (the verb form) for years), but the technology — and the term itself — only just entered our vernacular in the past year or so (or mine, at least).
Brief tech discussion: Twitter is a browser-based “social networking” environment that limits its users to 140 characters per post. The limit is there, in part, to facilitate the use of cell phones as input devices, along with the web. It also forces people to strenuously self-edit themselves, to carefully hone their ideas to only the most critical few words. Each comment answers the universal question: What are you doing? The result: Briefer discussions about what’s for dinner, boyfriends/girlfriends, and what’s on TV.
Unlike blogs (but like Facebook, which is another slice of entropy altogether) people search Twitter for their friends, and then “follow” them. Twitter aggregates everyone you’re “following” into one inane conversation, each comment conveniently time-stamped, something like:
Husker_power: Hungry. Taco Johns tonight fur shure. about 3 hours ago from TwitterBerry Santinofan: Watching Top Chef. Ariane got screwed. Padme where are you? about 5 hours ago from web
And so on. Twitter appears to be a natural de-evolution of human interaction. Soon all discussions will be limited to Tarzan-like grunts, culminating in: “Poop. Pee. Eat. Poop. Screw. Eat. Simpsons. Poop.”
So why all this discussion about Twitter? About six months ago, I logged onto Twitter for the first time. You can “follow” my tweeting online at: twitter.com/tim_mcmahan. I quickly discovered that “micro-blogging” has its advantages. Take CD reviews, for instance. Instead of spending hours writing gripping, nuanced examinations of an album’s true meaning, I only have room for:
tim_mcmahan: Listening to the new Ladyfinger album. Brutal fun.
or
tim_mcmahan: Listening to new Springsteen. Nothing new here *yawn*.
Conversely, Twitter allows bands, record labels and assorted famous folk to keep in touch with their fans. I now know what The Willowz (thewillowz), Saddle Creek Records (saddlecreek) and Lance Armstrong (lancearmstrong) are having for lunch. For better or worse.
One perceived value of Twitter is the real-time nature of the medium. Instead of text messaging to one person, you’re text messaging to all of your “followers” at once. To test Twitters’ capabilities and limitations, I took my iPhone to Slowdown last Saturday night for the Cursive concert and annoyed everyone within a few feet of me by tapping in the following comments throughout the evening. Here’s the transcript/review:
tim_mcmahan: Full house. I’m buying Rolling Rocks two at a time. 10:34 PM Jan 24th from mobile web
tim_mcmahan: House music is Michael Jackson, or at least it sounds like Jacko. 10:37 PM
tim_mcmahan: Seems like they’re working trumpet into every song these days. For better or worse. 11:14 PM
tim_mcmahan: Some of this new stuff sounds like The Good Life. The convergence keeps getting closer. 11:31 PM
tim_mcmahan: Halfway through the set. Ted Stevens finally switches from the 12-string to his LP. 11:34 PM
tim_mcmahan: Kasher says he’s got a sore throat and is drinking hot tea. He sounds fine. 11:41 PM
tim_mcmahan: “What Have I Done.” Kasher’s back to the self-referential lyrics. Songs about writing songs. 11:44 PM
tim_mcmahan: His most soulful song since Domestica. 11:46 PM
tim_mcmahan: Cornbread on drums changes the entire complexion of Cursive. They swing now, moreso than the old frontal assault of Schnase. 11:54 PM
tim_mcmahan: Off stage now. Encore’s next. This is a longer set than Union Hall. 11:55 PM
tim_mcmahan: Back. With “Art is Hard.” Crowd loves it. Kasher’s right. Mostly kids huddled along the stage. 11:59 PM
tim_mcmahan: Never get tired of hearing “The Martyr.” 12:04 AM
tim_mcmahan: Okay, now his voice is giving out. 12:06 AM
tim_mcmahan: Struggling through “Sierra.” The last song of the night. 12:11 AM
tim_mcmahan: Kasher takes over the drum kit. 12:13 AM
tim_mcmahan: That’s it. Kasher won’t be talking for a week. 12:14 AM
Just like being there? Not really. Looking over the comments the following morning, I wondered if they needed to be augmented with explanations, but realized that anyone who knows me and what I write about understands the shorthand. They know who Kasher and Cursive is. They know the song titles and the terminology. And if they don’t, they can always find out. On Myspace or Facebook. On YouTube. On Wikipedia. Or on Twitter, which is effectively shoe-horning the world into a conversation that’s only 140 characters wide. For better or worse.
* * *
Tonight, BMG Recording artist Jocelyn releases the first single from her upcoming album, a song titled “Speak Up,” at Slowdown Jr. I’ve heard it and it’s pop-candy fun. Aly Peeler opens the show at 7 p.m. $10.
Recent Comments