The Lupines at The Waiting Room, Oct. 7, 2015.

by Tim McMahan, Lazy-i.com

“If you’re a praying person, send your prayers to the Thornton family.” Solemn words from Lupines frontman John Ziegler, and a reminder why the bands were playing last night at The Waiting Room.

As outlined yesterday, Robert (Bob) Thornton is going through serious medical issues that have kept him from working and created mountains of medical bills. Find out more about the situation at his GoFundMe page and lend a hand.

Last night’s show was a benefit for Bob, and despite the tragic circumstances surrounding the evening, the bands brought their A games, performing rousing sets performed in front of about 100 fans. Ziegler’s message came smack-dab in the middle of the Lupine’s usual break-neck/ball-buster set we’ve come to expect from the Omaha garage-rock giants.

Wagon Blasters at The Waiting Room, Oct. 7, 2015.

Lupines followed a set by tractor-punk heroes Wagon Blasters, a band that features Robert’s brother Bill Thornton on guitar. Gary Dean Davis and the crew were in rare form, with the Waiting Room’s stage finally giving GDD the space he needs for maximum bounce height/trajection.

The Sun-less Trio at The Waiting Room, Oct. 7, 2015.

The evening was rounded out by a gorgeous set from The Sun-less Trio, a band that features Mike Saklar on guitar and vocals, galvanized by the rhythm section of drummer Marc Phillips and bass player Cricket Kirk.  The music’s style was earthy, laid-back and (dare I say it?) soulful, powered by Saklar’s masterful guitar work. The band has a new record coming out Oct. 18. Their set was the perfect way to end a night of music dedicated to a good cause.

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Word to the Totally indeed.

The hits keep on coming from The Reader. As part of The Reader‘s annual Music Issue, this morning my big-ass feature on O’Leaver’s went online. Matt Maginn, Ted Stevens, Craig Dee and Ian Aeillo give the skinny on what’s happening these days at The Club as it enters its next renaissance. The story covers everything from the new sound system to Live at O’Leaver’s to the booking policy to the new, massive beer garden. The story is on newsstands now and online right here.

This O’Leaver’s feature story is the central part of the issue’s look at Omaha music venues. I also wrote about The Waiting Room and Slowdown, and Wayne Brekke and BJ Huchtemann  wrote about their favorite clubs, including the styles of music, booking etc. Those stories will be online soon but why wait? Grab your copy of the paper right now.

Included (and now online) is BJ Huchtemann’s list of Top Bands, that joins my list and Wayne’s list in the issue. BJ kicks off her list by saying how much she hates lists, and points to John Heaston for coming up with the whole “lists” idea. But, in fact, the blame is all mine. Sorry Beej. Check out BJ’s list right here.

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What’s happening tonight?

Lincoln singer/songwriter Scott Severin is playing down at the Harney Street Tavern with Jack Hotel. That free show starts at 9 p.m.

Meanwhile, over at fabulous O’Leaver’s, All Young Girls Are Machine Guns returns with LA’s Nicky Davey and Mesonjixx. $5, 9:30 p.m.

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Read Tim McMahan’s blog daily at Lazy-i.com — an online music magazine that includes feature interviews, reviews and news. The focus is on the national indie music scene with a special emphasis on the best original bands in the Omaha area. Copyright © 2015 Tim McMahan. All rights reserved.

Head of Femur at O’Leaver’s, Oct. 4, 2015.

by Tim McMahan, Lazy-i.com

Do they still make bands like Head of Femur?

I don’t think so. Son, Ambulance was sort of created in the same image; so was the first iteration of Eagle*Seagull. Beyond those examples there are few bands as big and sprawling and creatively ambitious as Head of Femur either back in the day or right now, seven years after the band escaped into an extended hiatus.

Last night we got the full Head of Femur experience. The band packed itself onto the “stage” space of O’Leaver’s, all eight of them lined up in two rows with the horns and strings in the back, the guitars and keys and vocals up front, led by the inimitable Matt Focht. They sounded as good — maybe even better — than I remember them back in the early 2000s.

They played a lot of their “hits” from the those fantastic early albums, songs you’d immediately recognize if you were a fan. Those dense, high-flying numbers with intricate arrangements, rhythms and lyrics, proggy and fun, celebratory in their execution. The kind of songs that makes you want to cheer after every number. There was an Eno cover in there, as well as a cover of Steve Harley & Cockney Rebel’s “Make Me Smile” that made me smile.

Musically, the comparatives don’t give Head of Femur the justice its due. I typed out on my iPhone during the set: “XTC meets early Joe Jackson meets Imperial Bedroom-era Elvis Costello,” which doesn’t take into account the band’s classic baroque-rock qualities. For that, a guy who’s been following them forever compared them to Mott the Hoople, whereas I’d lean more toward Procol Harum or Left Banke whereas modern fans might point toward Belle and Sebastian. None of that’s right, of course.

Let’s just say they are immensely entertaining. Focht’s voice remains as gorgeous as ever. The band was on point. The vets surrounded themselves with some new blood that represent some of the best talent in the region, but you’d expect nothing less from this band. It was special.

As Andrew Stellman highlighted in this Hear Nebraska story last week, we’ll be getting more of Femur. Focht said the new album will be coming out late this year. But is it possible to keep all that talent together for a support tour? Doubtful. But if you’re kicking yourself for missing last night’s show or last Friday night’s Lincoln Calling gig, put the boot away. Focht said the band will reunite again Dec. 23 at The Waiting Room. Make your plans now.

Also keep your eyes and ears peeled for Head of Femur’s Live at O’Leaver’s session. Sound engineer extraordinaire Ian Aeillo says the recording of last night’s show sounds awesome.

Speaking of awesome (and new records) Dan McCarthy and James Maakestad played a humdinger of an opening set last night before Femur. McCarthy mentioned on stage that he’s wrapped a new album as well. Can not wait…

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The October issue of The Reader is on news stands now. Pick it up, as it’s the very special Music Issue. More about that later. In this month’s Over the Edge column, my take on Trump and why you’re going to miss him when he’s gone (and believe me, he’ll be gone… eventually). Check it out in print or read it online right here.

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It’s a night of doom metal at O’Leaver’s tonight with Seattle sludge/doom trio Serial Hawk. Opening is Super Moon and Processions. $5, 9:30 p.m.

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Read Tim McMahan’s blog daily at Lazy-i.com — an online music magazine that includes feature interviews, reviews and news. The focus is on the national indie music scene with a special emphasis on the best original bands in the Omaha area. Copyright © 2015 Tim McMahan. All rights reserved.

Gordon at The Sydney, Sept. 25, 2015.

by Tim McMahan, Lazy-i.com

Nice turnout for the Sidney Buchanan art show at The Little Gallery Friday night. You can check out the show anytime this week before 5 p.m., just swing by the gallery. It’s located right across the street from The Sydney in Benson. Sidney’s work is amazing, and affordable. Maybe too affordable.

I spent Friday night hanging out with Sidney’s son, Patrick, who you may remember from the classic ’90s punk band Mousetrap. Patrick lives in Miami these days. We talked about music, what’s been going on in Omaha over the past few years and how Benson and the rest of the city’s changed.

As the art show came to a close at 9, I mentioned that I was headed to The Sydney later that night to see Gordon, a band I thought he’d like, and to my surprise, Patrick said he’d meet there at midnight. After I left the art show I began to feel anxious about Gordon. Did I oversell the band? Just that sort of thing has happened to me in the past — I talk too highly of a band or compare them to another band and inevitably, the person I’m talking to sees them and they either 1) suck, or 2) sound nothing like what I compared them to.

I got to The Sydney just before midnight, as A Ferocious Jungle Cat was still doing their set. Patrick had already arrived. It’s safe to say The Sydney has the worst PA I’ve heard since, well,  I saw bands play at the old Down Under last November. The Sydney’s PA is on par with what you’d find at a typical house show. Overblown, flat, noisy. Pretty awful, and much worse than I remembered the last time I saw a band play there. My anxiety grew.

Arm Wrestling during Art Bazaar at The Sydney, Sept. 25, 2015.

Friday night’s event at The Sydney was a fundraiser for Benson First Friday, which recently attained a 501(c)3 non-profit status. A pair of super-tall drag queens strolled around in wigs and high heels, having performed earlier in the evening.  After Jungle Cat finished a table was set up for the Finals of the evening-long arm wrestling content. Fun. After that, the hosts announced a number of raffle ticket winners of lovely gift baskets.

And then Gordon came on. I’ve seen the four-piece a few times, most recently playing outside behind The Sweatshop Gallery as part of Sweatfest this past summer. Despite the PA, Gordon did not disappoint, though their set did start off rather tenuous, sounding different than I remembered them, with two guitars playing laid-back indie stuff.

Things really got rolling when frontman Aaron Parker put down his guitar and walked off the front of the Sydney’s small platform stage with microphone in hand and did his best Ian Curtis impression on songs that sounded clearly influenced by Joy Division. Buchanan asked me if I thought Gordon knew who they were, and I said I didn’t know, but that the music’s resemblance couldn’t have been a coincidence.  But then again, another of their songs reminded me of a Mousetrap tune, a band that likely played its first show before Parker was born.

Leaning over, yelling into the mic while patrons strolled past to and from the bathroom, Parker pushed as hard as he could, making the most out of that crappy PA, looking up and following people with a bug-eyed stare as they walked back to their tables while has band continued to shred from the stage. I glanced over at Buchanan and could tell he liked what he heard. These guys were making Nebraska proud, having no clue that they were performing in front of one of the city’s Golden Age legends.

Buchanan gave the ultimate compliment after the set: “I’d definitely see them again.” No band can ask for anything more.

Your next chance to see Gordon is this Sunday when they open for Cheap Girls at Slowdown Jr.  along with Eric in Outspace and The Lupines. Do not miss it.

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Speaking of things not to miss, there’s a no-miss show at The Brothers Lounge this very night. Chicago punk bands The Funs headline. Formed in 2009, the duo released their first LP, S/T, in 2013, and have opened West Coast dates for The Breeders. Opening is Nathan Ma & The Rosettes and Dumb Beach. $5, 10 p.m.

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Read Tim McMahan’s blog daily at Lazy-i.com — an online music magazine that includes feature interviews, reviews and news. The focus is on the national indie music scene with a special emphasis on the best original bands in the Omaha area. Copyright © 2015 Tim McMahan. All rights reserved.

Digital Leather at O’Leaver’s, Sept. 19, 2015.

by Tim McMahan, Lazy-i.com

I have little to add to what I’ve already said about O’Leaver’s new beer garden. It will be a game changer for the club if this past weekend’s crowds are any indication. I think the word is just starting to leak out about how nice it is. It was shocking how the main club emptied between bands, and how quickly the room filled once the music started. To give people more room tables were removed in front of the “stage,” allowing for more people to throw their devil horns right in bandmembers’ faces.

Dumb Beach sounded brutal as ever. Looks like they’ve had a personnel change since the last time I saw them (Ian Aeillo was back at the soundboard instead of playing guitar). When will we get a formal recording from these boys?

The Lupines at O’Leaver’s, Sept. 19, 2015.

Lupines played their usual stellar set, throwing in a couple new songs that frontman John Ziegler said will appear on a upcoming 7-inch single.

Finally (for me anyway, since I left before M34N STR33T) Digital Leather crushed the place, playing a heavy dose of songs off their new album, All Faded. The band will be opening for a string of Desaparecidos dates in late November, a tour that’s bound to see their fan base grow, especially if they play with the ferocity heard Saturday night. For this performance the band had three synth players — I’m not sure who joined Todd Fink and Ben VanHoolandt behind keyboards. They closed as they always seem to do these days with a blistering version of “Studs in Love.” I’ve heard them play this live at least a dozen times — no two performances sounding the same. It never gets old. I’d love to see how the Desa crowds react when Foree pines about his love of hairy asses and Wrangler butts.

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Last minute news just hit my in-box from Simon Joyner.

Joyner has a book of selected lyrics coming out (yes, book) called Only Love Can Bring You Peace from Magic Helicopter Press. The publisher is taking pre-orders through today and anyone who orders gets their choice of a broadside of one of the “Blues” titled songs for free. There’s also a collector’s edition, which is signed by Mr. Joyner and comes with all eight broadsides, plus an mp3 of an unreleased outtake from his latest album, Grass, Branch & Bone. More details and pre-order info here.

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It’s back to O’Leaver’s tonight for Philly psych band Ecstatic Vision. The band counts Hawkwind, Aphrodites Child, Olatunji, Can and early Amon Duul ll among their influences, though Pitchfork mentions Sabbath and Zeppelin in this 7.6 rated review of their new album, Sonic Praise (Relapse, 2015). Swampwalk and Megaton open. $5, 9:30 p.m.

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Read Tim McMahan’s blog daily at Lazy-i.com — an online music magazine that includes feature interviews, reviews and news. The focus is on the national indie music scene with a special emphasis on the best original bands in the Omaha area. Copyright © 2015 Tim McMahan. All rights reserved.

by Tim McMahan, Lazy-i.com

The Mynabirds, Lovers Know (2015, Saddle Creek)

In this month’s Over the Edge column in The Reader, an extended review of The Mynabirds’ new album, Lovers Know, which was released last month on Saddle Creek Records.

The record is a rather massive step forward for Laura Burhenn and her band, tackling subject matter that might have added meaning to folks familiar with the local music scene. Or as I said in the review:

“….the true meaning behind the record might have been too damn hard for Burhenn to talk about. It only takes one spin of Lovers Know to realize that it’s a devastating portrait of a broken heart — one of the best breakup records since Joni Mitchell’s Blue.”

Read the whole review here. Buy the record here. Stream it here. Then get tickets to tomorrow night’s show at The Slowdown. It’s only $10 and High Up opens.

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It’s a super-busy night for a Tuesday.

LA skate/surf punk band FIDLAR headlines tonight at The Waiting Room. The band comes through after playing the main stages at both Reading and Leeds festivals this year. Their new record, Too, was released Sept. 4 via Mom+Pop Records. Dune Rats open. $15, 9 p.m.

Mike Schlesinger returns to tonight to fabulous O’Leaver’s. He has some of the most listened to tracks on the Live at O’Leaver’s website. Check them out below. Also on the bill are Sam Martin and CJ Mills. $5, 9:30 p.m.

And finally, Lighthouse and The Whaler headlines at Slowdown Jr. tonight. The band’s new album, Mont Royal (Roll Call Records) was produced by Marcus Paquin (Local Natives, Stars, Arcade Fire). Opening is Born Cages and State Disco. 8 p.m. $12.

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Read Tim McMahan’s blog daily at Lazy-i.com — an online music magazine that includes feature interviews, reviews and news. The focus is on the national indie music scene with a special emphasis on the best original bands in the Omaha area. Copyright © 2015 Tim McMahan. All rights reserved.

Oquoa at Farnam Festival, Sept. 12, 2015.

by Tim McMahan, Lazy-i.com

Had a great time at the Blackstone / Farnam Festival Saturday night. It was kind of like a big, cool block party with live music, very much like Jake’s Block Party in Benson. They closed off 40th Street up by where Mula is located near Farnam, set up a beer tent and away they went. Hear Nebraska curated and organized the bands.

We hung around for Oquoa, which did their usual take on slacker/shoe-gaze — big, plodding, and even more intimidating on an outdoor stage, though I still can’t understand a word guitarist/vocalist Max Holmquist is singing. It never mattered with Conduits; I don’t suppose it matters here (though it really does).

My only gripe about the festival was that it didn’t showcase the quality restaurants located in the Blackstone District — Mula, Noli’s, Night Owl. If you wanted their food, you had to leave the compound. In all honesty, I don’t know how they could have provided their vittles, anyway. Instead, four food trucks provided grub. As least we could enjoy some fine craft brews from Scriptown and Infusion. If they do this again next year I’d love to see them to figure out a way to feature the local restaurants’ fare.

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Atlanta power punk trio The Coathangers (Suicide Squeeze Records) headlines a show tonight at Lookout Lounge. Also on the bill are No Thanks, Bien Fang and Tiananmen Squares. $8, 8 p.m.

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Read Tim McMahan’s blog daily at Lazy-i.com — an online music magazine that includes feature interviews, reviews and news. The focus is on the national indie music scene with a special emphasis on the best original bands in the Omaha area. Copyright © 2015 Tim McMahan. All rights reserved.

Desaparecidos at The Waiting Room, Sept. 10, 2015.

by Tim McMahan, Lazy-i.com

In this awkward political season when President Trump (roll that one around in your head for a few moments) is making headlines while stealing music from the likes of R.E.M., Desaparecidos punched back at ol’ Teflon Don by playing some (likely unauthorized) Trump audio as an introduction to last night’s SRO show at The Waiting Room.

There was Trump’s blather at its most boob-tatstic presumably “introducing” the band during the audio pre-roll, right before Omaha’s own took the stage and proceeded to blow the place up with their cynical brand of spirited, punk-fueled political discourse, spewing a world view that couldn’t be further away from The Donald’s own.

If last night truly was the last time we see this band on an Omaha stage, they certainly went out with a massive thunderclap. Easily the best set I’ve seen them play — on edge, angry, musically precise. They performed all the best stuff off their two full lengths in what Oberst said was a record-breakingly long set, even though it only clocked in at just over an hour.

The differences between the band’s two albums never stood in more contrast than they did last night. Payola is a more guttural record, more intense and straight forward than Read Music, Speak Spanish, which we forget was written during Oberst’s creative peak, right around the time of Lifted and just before Wide Awake.

Payola songs are all power and political invective reflecting a specific time and specific political issues, while Read Music provided broader social commentary, certainly more subtle and poetic. Oberst was more apt to scream the lyrics of Payola songs, while for tunes like “Man and Wife, The Latter (Damaged Goods)” (which probably could have been a Bright Eyes song) he pulled back and sang with a focused clarity. It was that contrast that gave last night’s show added depth.

The entire band was on point. Bassist/guitarist Landon Hedges’ role as a second voice never sounded more vital to the overall sound. Denver Dalley’s guitar solos were raw and majestic, and Matt Baum proved once again he’s one of the area’s most powerful drummers. Balancing it out was Ian McElroy, a bobbing head of hair slouched over his keyboard.

Between-song patter was kept to a minimum, except toward the end of the set when Oberst introduced “Marikkkopa” by underscoring the racial divide in Omaha and the rest of the country. Oberst said (and I’m paraphrasing here) just when he thought things were getting better, along comes Trump (“I shouldn’t even say his name.”) or another story about a black kid getting shot by cops for doing nothing more than buying Skittles. But at the same time, there’s Obama “who’s been a good president” and the liberation of South Carolina from its hateful Confederate flag. For a brief moment, Oberst sounded hopeful. Right before the band blasted into a song about one of the most vile people in the history of these United States.

I don’t know if the show ultimately sold out. They were selling tickets at the door when I arrived at 10. That said, I can’t remember the last time The Waiting Room was so packed — butt-to-belly from stage to back bar, a youngish crowd, with a handful of old folks like me standing in the corners, watching the crowd-surfing from a safe distance. Was it their last hurrah? Something tells me we haven’t seen the last of this band on an Omaha stage.

Joyce Manner at The Waiting Room, Sept. 10, 2015.

Opening act Joyce Manor, who released music on seminal indie punk label Asian Man before signing to Epitaph, played a brief set of brief songs clearly influenced by Weezer. They were at their best during the moments they strayed the furthest from CuomoLand and into their own emo-pop-punk territory. Loud, fun, but very much a retread of everything we’ve heard before, from The Get Up Kids to You Blew It. Still, the kids loved them.

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Let’s get to the weekend.

I’ve always thought The Slowdown (specifically Slowdown Jr.) would make an amazing jazz club. Tonight you’ll be able to see how Slowdown’s big room works for jazz as one of the most critically lauded new jazz performers takes the big stage. Kamasi Washington has pushed beyond the jazz world with his latest recording, The Epic (Brainfeeder, 2015). And part of the reason for that extended reach is an 8.6 review in Pitchfork, where the album was honored with Pitchfork‘s “Best New Music” classification. And there’s also the fact that Kamasi is playing venues like The Slowdown on this tour. Delve Trio (formerly Luke Polipnick Trio) opens. $25, 8 p.m.

Here’s a taste of Kamasi’s latest album:

Also tonight, Omaha alt-country band Clarence Tilton opens for Iowa City indie band The Olympics at fabulous O’Leaver’s. Eklectica also is on the bill. $5, 9:30 p.m.

Local hip-hop hero Buck Bowen headlines at Reverb Lounge with bIXill & A Ferocious Jungle Cat. $8, 9 p.m.

The weekend’s BAE (Big Ass Event) is Saturday at the new Farnam Street District. The Blackstone Farnam Festival features food and booze from the fine establishments located in this happening now part of town, along with music from Digital Leather, M34N STR33T, Oquoa, Huge Fucking Waves and producer/DJ Kethro. It all takes place on 40th Street between Farnam and Dodge. Starts at 5 p.m., runs to 11, and is absolutely free.

Later that night, it’s back to Benson for what will be one of the last (if not thee last show ever) at Sweatshop Gallery. The line-up: headliner Palehound, Uh Oh, Low Long Signal and Strawberry Runners. $8, 9 p.m. Someone needs to save Sweatshop’s iconic zebra zig-zag stage backwall design.

Look out for motor scooters in Benson Saturday night as the Hell On Wheels Scooter Rally 2 will be in full effect, with a concert at The Sydney featuring The Bishops. $5 or free if you’re a registered rally rider. Starts at 8 p.m.

Back at O’Leaver’s Saturday night Red Cities headlines with The Broke Loose and Once a Pawn. $5, 9:30 p.m.

Sunday night, Japanese punk band Mugen Hoso plays at The Lookout Lounge with The Big Al Band. The show is listed as starting at 6 p.m. and is $5.

And finally, it’s once more back to O’Leaver’s for the homecoming of New Yorker Darren Keen. Joining him is Channel Pressure (Todd from The Faint and Graham from Reptar) and Giant Claw. $5, 9 p.m.

And that’s all I got. If I missed your show, put it in the comments section. Have a great weekend.

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Read Tim McMahan’s blog daily at Lazy-i.com — an online music magazine that includes feature interviews, reviews and news. The focus is on the national indie music scene with a special emphasis on the best original bands in the Omaha area. Copyright © 2015 Tim McMahan. All rights reserved.

Twin Shadow at The Waiting Room, Sept. 8, 2015.

by Tim McMahan, Lazy-i.com

The last time Twin Shadow came through The Waiting Room (almost three years to the date of yesterday’s show — Sept. 10, 2012), the band performed as a trio in front of around 150, playing their urgent dance songs to a darkened, smoke-filled stage.

Last night’s performance at The Waiting Room showed how much the band has grown in three years, though their core sound has changed little. At the center of Twin Shadow is George Lewis, Jr., the songwriter and vocalist and guitarist, surrounded by three musicians who spent most of the time on synths, though two of them picked up guitars for a few harder numbers. Nary a drum was scene as most of the rhythm tracks were pre-programmed, with one player adding a few manually created electronic drum fills, and Lewis himself crashing down on cymbal that towered behind him like a slam dunk.

The music was dense, gorgeous electronic rock that leaned more toward classic FM than New Wave or post-punk. In fact, there were times last night when the music came dangerously close to (Dare I say it?) yacht rock territory. The slower, shoulder-pad ballads sounded like something pulled from a John Hughes or early Tom Cruise film. Other times I was reminded of Escape-era Journey and even, yikes, Toto.

Lewis has a rich, soulful voice that Michael McDonald would nod toward with admiration. We’re talking American Idol-quality tonsils, not the usual warbling indie-rock mewing I’m used to. And the few times he picked up an ax proved that he’s one helluva guitar player. The upbeat dance numbers were Twin Shadow’s sweet spot. Songs like the infectious “Old Love/New Love” off the new album got the zombie-eyed crowd of around 100 bouncing, as did set closer and Twin Shadow staple “Five Minutes” off breakthrough album Confess. Unfortunately, slower ballads outnumbered  dance moments three to one last night.

On the whole, it was a solid 45-minute set — a much better set than the droll half-hour I sat through at SXSW this past April when the band played under a giant scrim that looked like a mosquito tent. And while there were plenty of strobes and smoke last night, the best special effect was still Lewis’ own Ya Mo B There voice.

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Read Tim McMahan’s blog daily at Lazy-i.com — an online music magazine that includes feature interviews, reviews and news. The focus is on the national indie music scene with a special emphasis on the best original bands in the Omaha area. Copyright © 2015 Tim McMahan. All rights reserved.

The Blind Shake at O’Leaver’s, Aug. 31.2015.

by Tim McMahan, Lazy-i.com

Another night spent at O’Leaver’s. It’s becoming a habit, thanks to their bookings, which lately have been outshining just about everyone else in town. If you’re looking for rock music, O’Leaver’s is (once again) becoming your go-to choice.

Certainly the rock was a-rollin’ last night, and the turn-out of 30 or so was impressive for a Monday. Things started off with a film by White Mystery shown on the plasma TV that hangs behind O’Leaver’s “stage” (Just when I was about to suggest to grandmaster sound-guy Ian Aeillo that they should take down that flat panel or move it to a different wall — there’s nothing quite as tacky as having a blank plasma TV in every photo taken of bands at O’Leaver’s). The video was like a found-footage collection of road-trip video mashed with a pseudo-psycho-sexual horror film that concluded with a pick-up basketball game where-in some guy won with a granny shot. Coming to a theater near you?

DJ Dave Goldberg spun old-time wax between bands, the next up being Minneapolis power-punk trio The Blind Shake. Riveting straight-forward guitar chops and pounding rhythms backed bark vocals from the dueling guitarists of Jim and Mike Blaha. Brittle and brutal stuff in sort of Thee Oh Sees-meet-The Night Marchers vein. Great stuff.

The blurring red heads of White Mystery at O’Leaver’s, Aug. 31, 2015.

Then along came the brother and sister team of Miss Alex White and Francis Scott Key White a.k.a. White Mystery. The Chicago duo is becoming old-timers in Omaha. They just played here a few months ago at Reverb, and decided to pass through again after playing Riot Fest in Denver. Their stripped-down guitar-and-drums attack defines a style of garage that is uniquely their own. Now one shreds and screams quite like Miss Alex.

* * *

There was some chit-chat on the patio last night about the demise of The Sweatshop Gallery as a music venue. The art garage in the heart of Benson’s last show is Sept. 12, headlined by Speedy Ortiz-connected band Palehound. Casey Logan at the Omaha World-Herald got the scoop last week, here. I’m told the folks taking over the space aren’t interested in hosting rock shows. A pity, as Sweatshop was gaining momentum after this year’s Sweatfest, becoming recognized as an alternative venue for cutting-edge bands that are flying just under the radar, as well as a few clearly on the grid, like Ceremony, Speedy Ortiz and Parquet Courts, all of whom have played shows there.

* * *

Speaking of The Sweatshop, the ol’ garage is hosting a show tonight headlined by Canadian acts Homeshake and Sheer Agony, with Lineman’s Rodeo and Little Ripple. $7, 9 p.m.

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Read Tim McMahan’s blog daily at Lazy-i.com — an online music magazine that includes feature interviews, reviews and news. The focus is on the national indie music scene with a special emphasis on the best original bands in the Omaha area. Copyright © 2015 Tim McMahan. All rights reserved.

Giant’s Arrow at O’Leaver’s Aug. 29, 2015.

by Tim McMahan, Lazy-i.com

Fun night of music at O’Leaver’s this past Saturday.

The consensus (even voiced from stage) was that Lincoln band Giant’s Arrow carries on the tradition of mid-’90s emo bands like Boys Life and Caulfield bands like Christie Front Drive. Their style is angular indie bordering on prog, soaring, complicated rhythms, and scream/yell vocals that lack a central melody, with ferocious guitar licks that are jittery and spastic. There also were moments of melodic lucidity. I jotted down At the Drive-in and early Husker Du. At times they reminded me of local boys The Stay Awake or even Fromanhole, though without the those bands’ precision.

The performance brought on a discussion (again) of what “emo” means and how the term evolved from its original label used to describe Rites of Spring-style punk bands. Giant’s Arrow’s sound is one-generation removed, to the pleading/angular style of emo that would later evolve into the poppier punk style of Promise Ring. At least that’s my take on it.

That said, I liked them. The four piece flailed around stage so much I thought they were going to slam their guitars into each other. Lots of kicking and jumping and wagging of heads in time with the music’s energy. They don’t play songs as much as proggy rock constructions.

Wagon Blasters at O’Leaver’s, Aug. 29, 2015.

It’s a distinction that separates Giant’s Arrow from the other bands on the bill Saturday night. Wagon Blasters and Domestica write and perform rock songs. Gary Dean Davis may not “sing,” but there’s no denying the musicality of a Wagon Blasters’ tune. Tractor punk indeed. There is not now, nor has there ever been a band that does what Gary Dean Davis bands do.

Domestica at O’Leaver’s, Aug. 29, 2015.

The same can be said about Domestica. Heidi, Jon and Pawl create punk anthems about everyday life that feel like rooting for the home team. Taylor’s guitar work remains somehow both raw and pristine, brutal riffs hone to a razor’s edge.

The whole evening felt like it could have taken place sometime in 1995. But then again, isn’t all great rock music timeless?

BTW, O’Leaver’s improved its sound system again. Sound engineer Ian Aeillo said they upped the wattage so the sound is cleaner not so much louder. I don’t know how much more that room can take. They’ve also added a booth in the back so that Ian or whoever is running sound can now look down over you as he twiddles dem knobs… as it should be.

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I watched the VMAs last night. What? What’s wrong with that? Alright, it does sound a bit creepy that a guy my age would watch a program clearly targeted toward teen-aged girls, but hey, as a music critic, you have to keep up with the trends.

There was a time — a loooong time ago — when MTV broadcast culturally cutting-edge content. That time has long passed. Last night’s VMAs showcased R&B, hip-hop and pop music. Notice I didn’t mention rock? That’s because today’s pop music has nothing to do with rock music, which is one of the distinctions about the VMAs of today and the VMAs from 25 or so years ago. Rock music used to have a place in popular music culture. That’s really no longer the case. Rock ‘n’ roll isn’t dead, just sort of hiding in plain sight…

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Speaking of rock music, there’s a big rock show going on tonight at fabulous O’Leaver’s.

White Mystery is playing a set as well as screening their new film That Was Awesome. Opening is The Blind Shake and a DJ set from the uber talented Dave Goldberg. $5, 9:30 p.m. What a way to kick off your week!

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Read Tim McMahan’s blog daily at Lazy-i.com — an online music magazine that includes feature interviews, reviews and news. The focus is on the national indie music scene with a special emphasis on the best original bands in the Omaha area. Copyright © 2015 Tim McMahan. All rights reserved.