Deerhoof at The Waiting Room, June 25, 2010.

by Tim McMahan, Lazy-i.com

Deerhoof was amazing last Friday night at The Waiting Room — an explosion of music that fused rock, jazz, prog and noise into one throbbing, powerful sound. While frontwoman/bassist Satomi Matsuzaki provided her share of cheerleading energy, jumping and kicking while chirping in Japanese, it was drummer Greg Saunier who fueled this rocket, with his drum kit set up right along the front of stage right (reminiscent of that crazy drummer for John Vanderslice oh so many years ago). Saunier is one of the best drummers I’ve heard on TWR stage (or any stage, for that matter). The band was rounded out by John Dieterich and Ed Rodriguez both playing what appeared to be 12-string electric guitars, while behind them was projected a nightmarish pastiche of old film — most of it purposely damaged and/or deranged. As a live band, Deerhoof eclipses their restrained, measured recordings with sheer ferocity, transforming from an art band into something that more closely resembles punk. Ironically, their one cover was a spot-on version (minus flute, of course) of  Canned Heat’s “Going Up the Country,” featuring Saunier on vocals and Matsuzaki on drums. A top-five show of the year? Yes. Opening was Athens band Southeast Engine (on Misra by way of The Wrens), whose subtle folk rock and two-part harmonies sounded like Two Gallants crossed with The Delta Spirit.

If Only He Had the Power, a new five piece from Lincoln, played for a small gathering (20?) at the Barley Street Tavern Saturday night. Their rough, aggressive, noise rock was helmed by a female vocalist who began the night with her hands in her pockets but ended it unrestrained, flailing, lost in the moment. The band’s keyboard and bass anchors its sound — the guitar was barely audible, and the drums sounded more like an afterthought. What would they sound like on a larger stage with a real PA? Keep an eye on this one…

* * *

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 © 2010 Tim McMahan. All rights reserved.

Midwest Dilemma at The Waiting Room, 6/24/10.

by Tim McMahan, Lazy-i.com

The wagering was hot and heavy at last night’s MAHA showcase at The Waiting Room – a winner-take-all battle-of-the-bands cage match to determine who will play the MAHA Festival’s second stage. With his ongoing support from a certain Omaha World-Herald music writer, I put all my money down on Tim Wildsmith to get the most “votes.” But after I got to the show at around 10, I began to have second thoughts. Midwest Dilemma had a nice-sized crowd listening to their set, and I remembered hearing somewhere that it was Justin Lamoureux’s birthday that night. Add to that the fact that there must have been nine musicians on stage with Justin — if each one brought nine friends, that would equate to, well… a lot of votes, from a crowd of around 225. Others I talked to thought that the close-out band, Matt Cox, would draw all the last-minute voters. My personal faves — Landing on the Moon and Honey & Darling — went on at 8 and 9 p.m. — way too early to make a dent in the voting bloc.

So imagine my surprise when they announced that Landing on the Moon — the band I reviewed in my column a week ago — got the most votes. They’ll be joining Round One winner, Betsy Wells, on the second stage, along with whomever gets the most votes at the upcoming OEAA showcase July 16 and 17 in Benson.

Speaking of the OEAA Summer Showcase, guess how many Saddle Creek, Speed! Nebraska, Slumber Party, Bocca Lupo, and Doom Town acts are playing the two-day event. Go on, guess. How about 0, as in none. Does anyone need more evidence that the OEAA program has eroded into a Benson-only event?

* * *

There are two great national shows fighting for your music-going dollar tonight. At The Waiting Room, Deerhoof will take the stage along with Southeast Engine and Broken Spindles (Joel Petersen of The Faint). 9 p.m., $12. Meanwhile at Slowdown tonight it’s Mates of State with Thunder Power and the X-Medic. Mates of State is on the road promoting a CD of cover songs titled Crushes (The Covers Mixtape) that features songs by Deathcab for Cutie, Fleetwood Mac, Nick Cave, The Mars Volta and Belle and Sebastian, among others. $15, 9 p.m. And if that weren’t enough, Bloodcow is playing at O’Leaver’s with Kentucky Beltfight and The Yuppies. $5, 9:30 p.m.

O’Leaver’s also is doing a show Saturday night, with Traveling Mercies, Cat Island, The Low End and Adam Robert Haug. $5, 9:30 p.m. Also tomorrow night, Henry Rollins does his stand-up shtick at Sokol Auditorium. $25, 8 p.m.

Sunday night is the big Back When reunion show at The Waiting Room with Noah’s Ark Was a Spaceship and Lightning Bug.  This one will be loud. $7, 9 p.m.

* * *

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 © 2010 Tim McMahan. All rights reserved.

Deerhoof: In the Headlights

The influential SF band launches tour in Omaha.

by Tim McMahan, Lazy-i.com

I don’t know if Deerhoof’s Greg Saunier, the mastermind behind the art-damaged band that has stoked the flame of indie’s more adventurous musicians, is telling the truth or bullshitting when he responds to the question: “Who have you always wanted to collaborate with?”

His answer: “Keith Richards!”

But it’s not such a surprise when you consider — like Richards and the Rolling Stones — how influential Deerhoof’s music has been.

Odd, quirky, adventurous and never boring, Deerhoof’s sound melds rock, jazz, classical and noise to create a hybrid that’s as disturbing and unusual as it is catchy and beautiful. The band has been cited as aninfluence by an army of today’s most creative musicians, including Sleigh Bells, Dirty Projectors, Grizzly Bear, Of Montreal, The Flaming Lips, Fiery Furnaces, Sufjan Stevens and St. Vincent. Locally, Deerhoof’s influence can be heard shining through on UUVVWWZ’s debut album. It’s the San Francisco band’s habit of taking a melody in the most unpredictable directions that has made it a touchstone for other artists searching for their own voices.

Saunier said he doesn’t mind when Deerhoof is name checked. “Are you kidding?” he said. “Flattery will get you everywhere. We never thought we’d be a touchstone for anything. And anyway, it’s not just journalists – I’ve had musicians tell me that Deerhoof has been an inspiration to them, and I’m so moved by that. It means the world to me.”

Deerhoof - Offend Maggie

Since its formation in ’92, each Deerhoof record has taken a slightly different sonic path. That shift in sound sometimes also reflected a shift in their lineup, but in the past few years, the band has settled on core players Saunier, John Dieterich, Ed Rodriguez and Satomi Matsuzaki. Their latest album, 2008’s Offend Maggie released by Kill Rock Stars, could be their most accessible, thanks to its infusion of heavy-metal guitar riffs, traditional rock rhythms (or as close to traditional as they ever get) and Matsuzaki’s cooing vocals.

In fact Matsuzaki’s voice is as much an instrument as a way of conveying the songs’ meaning; especially considering that half the lyrics are in Japanese. On the jumpy, childlike song “Basketball Get Your Groove Back,” Matsuzaki can be understood chirping the triplets “Basketball, basketball, basketball” followed by a syncopated “Rebound rebound rebound.” Does it matter if anyone knows what she’s singing?

“Satomi writes most of the lyrics, but not all,” Saunier said. “John (Dieterich) and I both (write a lot). For us the words are a big deal and we spend a lot of time on getting them just right, putting all our themes in place. We put all our lyrics in all of our CDs or LPs, although I guess that doesn’t really help anyone who is downloading the album.”

There’s little doubt that Deerhoof’s music can be an acquired taste. But despite their challenging sound, the band has cultivated an intensely loyal following that continues to grow.

“Oh we were so obscure in the mid-’90s,” Saunier said. “We lost money when we made a record or went on tour, let alone making a living. There’s no comparison (to today). What’s been great about the change is how gradual it’s been. We never had an overnight success. I guess it must be a thrill, but it can backfire so easily. Our listeners have been so loyal to us.”

Saunier said the band is in the middle of recording a new album. “Even though we are really excited about (the new songs), I don’t know if they’re going to be ready for the stage by the time we leave (on tour),” he said, adding that The Waiting Room audience might get “a little taste” of the new material Friday night.

He said it was no accident that Omaha was chosen as the first date on this latest tour that will take Deerhoof north to Canada through the PNW and California. “We just loved playing in Omaha the last time – both the venue and the audience were just tops,” Saunier said. “I have a real strong memory of it. We decided right then and there that we have to come back whenever we can.”

Which makes me wonder if he was bullshitting me again.

Deerhoof plays with Southeast Engine and Broken Spindles, Friday, June 25, at The Waiting Room, 6212 Maple St. Showtime is 9 p.m. Admission is $12. For more information, visit waitingroomlounge.com.

* * *

A trio of shows are happening this evening. First, the Burger Records Caravan rolls into The Hole, 712 S. 16th St., tonight at 7 p.m. Burger Records is a label and record store based out of Fullerton, CA, that started out releasing cassettes from bands such as Nobunny, Black Lips and Harlem. These days they’re also releasing music on a new-fangled format called “the Compact Disc.” This time, the caravan features low-fi garage punkers Todd C, Audacity, Cum Stain and The Cosmonauts. Also on the dance card are locals The Prairies and Baby Tears. 7 p.m., $6.

If you decide to continue hanging out downtown after the show, swing by The Slowdown for the Benefit for Nebraska Friends of Foster Children featuring Simon Joyner, Outlaw Con Bandana, S.A.M., Sean Pratt, and Conchance. $8, 8:30 p.m.

Last but not least is the 30 Days ’til MAHA Showcase at The Waiting Room, a “battle of the bands” competition where the audience votes for their favorite performer. The one with the  most votes will be invited to play on the Kum & Go second stage at this year’s MAHA Festival July 24 down at Lewis & Clark Landing. The five contestants tonight are  The Matt Cox Band, Midwest Dilemma, Honey & Darling, Tim Wildsmith and Landing on the Moon. If I had a vote in the talent show I’d cast it either for Honey & Darling or Landing on the Moon, but it’ll be Tim Wildsmith that will walk away the winner. Show starts at 8 p.m., and admission is absolutely free.

* * *

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 © 2010 Tim McMahan. All rights reserved.

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Gary Coleman Has a Posse, spotted in the wild.

by Tim McMahan, Lazy-i.com

You may ask “where’s the connection to music in this column?” The answer is that the “posse” is ensconced in the Omaha music scene. If you go to a lot of shows, you’ve seen the man behind the stickers before. And that’s all the clues I’m going to give you. Here’s a more typical example

of the infamous Gary Coleman posse sticker “in the wild.”

Column 276: Gary Coleman’s Posse

Omaha’s outlaw street artist strikes again…

There’s a terrific movie that opened last weekend at Film Streams called Exit Through the Gift Shop. The documentary explores the guerrilla street artists of the past decade — guys like Shepard Fairey, who now is famous for the iconic Obama campaign poster, and the film’s director, the elusive, mysterious artist known as Banksy, whose satirical pieces of stenciled street art on topics such as politics, culture and ethics have adorned walls throughout London and beyond.

I saw the movie last Friday and left the theater excited about Bansky and Fairey and street art, and wondered why something like that doesn’t happen around here. And then I remembered that Omaha had its own version of Fairey’s “Obey Giant” art sticker campaign — the ubiquitous Gary Coleman Has a Posse.

For a time in the early part of the 2000s, you couldn’t go anywhere around Omaha without finding a sticker or 8 x 10 print of Gary Coleman’s cherubic face plastered to the back of a street sign, light pole, stop light, park bench or any other public spot. The stickers were everywhere, but the large Colemans — sometimes wheat pasted in 2 x 2 arrays — were less common. One of those big 8 x 10 Colemans survived for years on a giant electrical box on Underwood St., weather and time unable to pry it off the green paint.

There had been rumors as to who the mastermind was behind Gary Coleman Has a Posse, whispers that it was someone with ties to the Omaha music scene. Motivated by the film, I began sniffing around and asking questions until I hit paydirt Sunday night. Via cell phone, I finally made contact with the culprit, whose identity remains a secret, at least for now.

He told me that he started the Gary Coleman Posse back in 2001. “I always followed street art and was a fan of Banksy,” he said over the phone. “I got the idea from Shepard, the guy behind Obey Giant, who encouraged people to start their own posses. I thought about who I wanted to pick as an icon. I grew up watching Gary Coleman on Diff’rent Strokes, and knew people would immediately recognize the face.”

The first 3 x 5 stickers were portraits of Coleman in a striped sweater; later versions simply focused on his round, pumpkin-like face. “I bought sheets of sticker paper from Office Depot and cut them out myself and started posting them,” he said, adding that there was no rhyme or reason as to how spots were chosen, they just had to be places with lots of foot traffic. “I never actually put them on anyone’s building or ruined anything, and the first stickers would come off with the rain, so I wasn’t too worried about long-term damage.”

Eventually, he switched to more durable vinyl stickers. “I probably placed a few thousand easily,” he said. “I always kept them with me. I didn’t go out dressed up all in black and sneak around the neighborhood. I did it in daylight, right in front of people.”

Gary Coleman Has a Posse sightings began to spread to Lincoln, Kansas City, Oklahoma, Texas and beyond, thanks to garycolemanhasaposse.com, where fans from anywhere could request stickers. Next came the large-format wheat-paste posters, which the artist said were surprisingly durable. “That wheat paste is like Krazy Glue.”

The campaign began winding down in 2006 after another street artist — Yuppie Takeover — was busted for slapping his posters on private property. It made Gary Coleman’s Posse think twice. “I never got caught,” he said, “but I kind of grew out of it.”

And that, it seemed, was the end of the Gary Coleman Posse. But then last month Coleman unexpectedly died, after taking an “accidental” blow to the head during a fall. In their mourning for the Diff’rent Strokes star, people fondly remembered that Gary Coleman had a posse, and they wanted it back. And that’s just what they’re going to get.

“I’ve made a couple new designs,” the outlaw said moments before hanging up. “I just got back from placing a new sticker in Benson. Tonight was my starting point. I want to keep his memory alive.”

And with that, the only question left to ask is “What’chu talkin’ ’bout, Willis?“

* * *

Tonight at O’Leaver’s, Portland band System & Station takes the stage with our very own Well-Aimed Arrows and a new band featuring John Klemmensen (Landing on the Moon) on drums, Matt Hall (The Party) on bass, and Bret Vovk (Underwater Dream Machine) on guitar and vocals. Maybe, if we’re lucky, they’ll let the audience name their band… $5, 9:30 p.m.

* * *

Tomorrow: An interview with Deerhoof.

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 © 2010 Tim McMahan. All rights reserved.

by Tim McMahan, Lazy-i.com

By now you’ve already heard the news: The Omaha City Council this afternoon voted unanimously in favor of extending the city’s bar hours until 2 a.m. beginning July 15. So now all you stinkin’ drunks who used to make that desperate run to Council Bluffs for last call can comfortably sedate yourselves from your favorite Omaha bar stools. This has got to be a dream come true for O’Leaver’s (Cha-ching!

). But according to this story on KETV.com, a number of bar owners who “served an older, more mature clientele,” said they “have no intention of staying open until 2 a.m.” Huh?

My only question: How will the extended hours impact rock shows? Marc Leibowitz of One Percent Productions and The Waiting Room  (who books almost every decent indie show in town), said most shows will be unaffected by the new hours, especially those with a touring headliner. “Weekend shows will go later since those are mostly local,” he said. “We will not be marketing 10 p.m. shows or anything like that.  So most shows won’t change.”

I personally would be pissed if I had to wait until 1 a.m. for the touring band to finally hit the stage, especially during the week with my alarm clock set for 6 a.m. In fact, I’d welcome a shift of start times from the current 9 p.m. to 8 p.m. for shows during the week — something that’s unlikely to ever happen…

* * *

Tomorrow: The return of Gary Coleman’s Posse. Seriously. Be here…

* * *

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 © 2010 Tim McMahan. All rights reserved.

The Sleepover at O'Leaver's, June 18, 2010.

by Tim McMahan, Lazy-i.com

Friday night boasted two CD release shows — the highlight of the weekend — and thanks to fortunate scheduling, I managed to catch parts of both.

The first was Lincoln band The Sleepover at O’Leaver’s. The four-piece, fronted by Cory Kibler, played spot-on versions of songs off their new CD Oceans of Ice, Island of Terror. Nice stuff. If there’s a quibble, it’s that Kibler seemed a bit vocally restrained, but maybe that’s his natural style. In last week’s CD review, I compared Kibler to Mark Kozelek and there were moments on O’Leaver’s non-stage that kept me from sounding like a liar, but Kibler’s timidity and the overall thinness in the vocal mix made the comparison a stretch most of the evening. Add to the quibble list Kibler’s guitar — I wonder if he could find it in his heart to rough up his rather formal guitar tone to something a bit more… dirty, or angry. The contrast between a feedback-drenched guitar and Kibler’s shy, mewing voice would be startling, and fun. And while I’m making suggestions, I’d love it if the band could take the leap and draw out a couple of the songs to extended-play length on stage. I guess I’m just trying to turn them into Red House Painters, which ain’t gonna happen.

Scott Severin and the Milton Burlesque at The Waiting Room, June 18, 2010.

I left before The Sleepover finished their set and headed across town to The Waiting Room (a longer drive than you think) to catch Scott Severin and The Milton Burlesque. Here again, I only caught part of their set because by the time I got there, Severin and his band of seasoned professionals were already on stage belting out songs from Birdhouse Obbligato. These guys sounded like they’d been playing these songs together for 30 years. Tight, heavy, completely on point. Despite all the press, the show only drew around 75 — very disappointing. Maybe there was something to that theory that the CWS would draw fans away from shows.

Listening to the band, it got me thinking that in addition taking the show on the road, The Milton Burlesque (just like The Filter Kings) would make the perfect house band in the right club, playing a couple nights a week every week for fans who just want to let go for a night of unpretentious blues-flavored rock. Is there a bar out there willing to give these guys a shot?

* * *

Tonight at The Waiting Room, it’s London-based four-piece One EskimO. They signed with Shangri-La last year — the record label run by a zillionaire that counts Monsters of Folk among its roster. They say they’re shoegaze, but really they’re just straight-up laid-back indie pop. Mitch Gettman opens. $12, 9 p.m.

* * *

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 © 2010 Tim McMahan. All rights reserved.

by Tim McMahan, Lazy-i.com

What’s this? A rare Saturday blog entry? That’s right. No, this is not a review of last night’s CD release shows. Those will be online Monday. Instead, I told Homer’s clerk and fellow music journalist Chris Aponick that I’d hype the Old Market Homer’s annual sidewalk sale going on today, which he called “pop culture’s forgotten treasures on the cheap.” That probably means bins and bins of cheap CDs and vinyl that the store wants to clear out to make way for this year’s models. Actually, I have no idea what it means, but it should be fun if they don’t get rained on.

Adding to the excitement: Aponick says that starting at 11 a.m. today (Saturday), Homer’s will be giving away free scoops of  — get this — Pabst Blue Ribbon-flavored ice cream. It’s a new flavor sensation/experiment by your friends at Ted & Wally’s that, quite frankly, sounds disgusting. Needless to say, I’ll be the one in line asking Frank Booth if they have any Heineken ice cream (Aponick said they considered making Rolling Rock ice cream, but that I would be the only person in line).

Incidentally, if you thought I forgot to mention what’s going on tonight in yesterday’s blog entry, you’re wrong. This evening is a virtual an indie music desert. TWR has a cover band (Secret Weapon), Slowdown has a Warped Tour band (Attn: polo-shirt wearing jarheads), and Big Al is playing at The Barley Street. There’s always the College World Series, which one person told me will “eat into shows for the next two weeks.” I’m not so certain, though next year’s CWS will certainly have an impact on The Slowdown, which will be ground zero for sports fans when the new stadium opens. Will it stay a rock club for those two weeks or become a Nike Town? Cha-ching!

Speaking of Slowdown (Jr.), there’s a noteworthy show there Sunday night when traveling troubadour Paleo rolls into town, opening for Simon Joyner and The Parachutes along with Bear Country. $7, 9 p.m. Ask the guy behind the counter for a scoop of Old Style. You won’t regret it.

* * *

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 © 2010 Tim McMahan. All rights reserved.

by Tim McMahan, Lazy-i.com

Scott Severin and I got into an online discussion via Facebook about his new album recorded with his band, The Milton Burlesque, called Birdhouse Obbligato, the disc that’s being celebrated tonight at a free show at The Waiting Room. Severin insisted that the CD is an excellent example of indie music, while I argued that there was nothing indie about it.

Scott Severin and the Milton Burlesque - Birdhouse Obbligato

Upon reflection Severin was right and I was wrong. Birdhouse is an indie album — it’s not associated with a major record label, which is “indie” by its most generic definition. In fact, the album is really indie in that it’s not associated with any record label as Severin paid for its recording (with Joel Petersen at Enamel Studio), mixing and mastering (by Tom Ware), pressing and, conceivably, its distribution. The term is “self-released,” which sounds like a euphemism for being “born again” or having reached a higher mental state — “I’ve been self-released.” We need a better term for projects like Severin’s, since more and more music — whether created by MTV stars or van-imprisoned bands — is going to be self-released as labels erode and provide fewer reasons for anyone to use their services.

So, Birdhouse Obbligato is indie from a business perspective, but from a music perspective — how indie has become defined as an aesthetic — it doesn’t quite fit, at least not in my opinion. Instead, the record falls under a more conventional rock ‘n’ roll definition. It rocks just like the rock music I remember from the ’70s and ’80s; it has an old-fashioned, comfortable FM radio vibe.

I wouldn’t call it “retro,” since that would imply that the artist was purposely targeting a specific style from a bygone era. Only Severin — or a guy who’s lived a life in music like Severin — could write and record an album that sounds like this. There is a matter-of-fact honesty in the approach — a modern band of teen-agers or 20-somethings who grew up with indie music simply could not pull this off without sounding kitschy or phony or “ironic.” But then again, it’s unlikely that someone from that group would want to write this kind of music to begin with. Severin’s sound harkens back to a simpler — arguably better — time when verse/chorus/verse/key change/chorus was the modus operandi. A song like “I Don’t Know,” with its heavy metal chops, Jerry Lee Lewis piano riffs, and cock-rock guitar solo, predates the dawn of grunge, and something tells me Severin wouldn’t want it any other way.

And then there’s the more mellow “Farshtaist,” one of those songs that — after hearing it for the first time — you wonder if it always existed. It’s timeless in the same way that songs we grew up listening to on FM radio seemed to have always been there, and will likely be there after we’ve all gone deaf and senile. The best track on the album, it could easily fit onto any MOR playlist — MOR, as defined in Wiki, is “broadly popular music, but not technically avant-garde; generally, it is strongly melodic and often features vocal harmony technique and orchestral arrangements.” The modern equivalent is the “Soft AC” format.

Severin is not breaking new ground with this album, and I doubt that he wanted to. Instead, Birdhouse Obbligato is a collection of rockers and ballads by a man that is content simply getting his ideas and melodies recorded for all time. In the end, this is who Severin is, and he should be proud of that.

* * *

So tonight’s marquee draws are two CD release shows. The biggest is Scott Severin and the Milton Burlesque at The Waiting Room with Big Wheel (Sarah Benck) and Platte River Rain. 9 p.m. and absolutely free.

Meanwhile, over at O’Leaver’s, it’s Lincoln’s The Sleepover, with Techlepathy and Fortnight. $5, 9 p.m.

Also tonight, Lawrence indie band Cowboy Indian Bear is playing in the Stir Lounge at Harrah’s Casino in Council Bluffs with the one and only Jake Bellows. $5, 9 p.m.

* * *

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 © 2010 Tim McMahan. All rights reserved.

by Tim McMahan, Lazy-i.com

There are two CD release shows tomorrow night. The one with the most pre-show hype is the Scott Severin and the Milton Burlesque show at The Waiting Room. Severin has managed to nab big write-ups today in the big three media outlets: The Reader, The Omaha World-Herald, and Shout! Weekly. I have no doubt that all of his media work will pay off.

The Sleepover - Oceans of Ice, Island of Terror

At the same time tomorrow night over at O’Leaver’s, Lincoln band The Sleepover will be celebrating its CD release show for Oceans of Ice, Island of Terror, one of the best locally produced indie albums I’ve heard this year. Fronted by guitarist/singer/songwriter Cory Kibler and released on Lone Prairie Records (Ember Schrag, Loup River Band, the label is run by Lincolnite Eric Wickizer) it’s recommended for anyone who digs melancholy, brooding bands like Bedhead/The New Year or Red House Painters/Sun Kil Moon. Kibler has a soft, mewing voice that at times is a spot-on match to Mark Kozelek, especially on songs like “Island of Terror” and “Glowing New-Century Town.”

Not surprisingly, Kibler references none of these bands on his one-sheet, and told me he is only vaguely familiar with Kozelek. I’ve heard a lot of bands purposely reach for this sound and fail because they don’t understand how to write these kinds of hooks and return to them over and over (There, indeed, is joy in repetition). But unlike Kozelek, who can drone on and for more than 10 minutes per song, Kibler keeps these at pop-song length (nothing over five minutes) without losing any power. Like Bedhead’s Kadane brothers, Kibler’s arrangements are deceptively simple and lean. But he strays from their formula with his bouncier, more upbeat and slightly fey songs — I guess a guy can’t be depressed all the time (though when it comes to Bedhead (especially on What Fun Life Was) you never want to wake from the stupor).

Still, there is a Midwestern darkness to the best of Oceans of Ice that reflects a coming-of-age sense of futility. “I will say that the most inspiring recurrent theme on the record is that, as a guy in my late 20s, I have shit WAY less figured out than I thought I would,” Kibler told me in an email. “I thought after grad school (I got an MA in philosophy, ha-ha), I’d have started a really solid career by now, but I’m still getting shit figured out.  Add that to the fact that many of my friends are doing really well because they planned ahead and were more realistic than I was, and there’s some residual bitterness.  Directed at myself, not my friends.” Live and learn, Cory.

The album was recorded last fall by Chris Steffen (www.steffonicrecording.com), mixed and edited over the winter by Eric Medley (www.ericmedley.com), and mastered this past spring by C. Howie Howard (www.mrfuriousrecords.com). “For what it’s worth, it’s awesome that Eric agreed to mix/edit the record remotely from his home in South Carolina,” Kibler said. “He’s an ex-Lincolnite who has been recording for years and years.  He’s worked with a ton of amazing bands including Mercy Rule, The Millions, Bright Eyes, Cursive, Her Flyaway Manner, Happy Dog, Lullaby for the Working Class, and many more.”

Backing Kibler is James Tucci, bass; Bradley Kester, drums, background vocals, and Sarah Korf, piano/keys and background vocals. Steffen is the guy providing the trumpet on a few tracks.

On the surface, the album is somewhat plain-jane, yet I never found myself bored listening to it, which is something I can’t say about most of the music being released locally these days. That said, this is merely an interim step for Kibler and Co. With the clear split in this record’s style between mope and lilting pop, we’ll have to wait and see which direction he ends up going or if, like Bedhead and Kozelek, he can refine a style that turns down into up, black into white, and desolation into power. You can hear four tracks off Oceans of Ice and order the album online here.

The only way this record could be more opposite from Severin’s is if it incorporated a gay choir and an orchestra of vuvzelas. Needless to say, neither CD release show will bite into the other’s draw. More on Severin’s disc tomorrow.

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A couple housekeeping items concerning yesterday’s blog entry: Darren Keen wrote in to say that Bad Speler isn’t going to compile its mixes onto an album, but instead is going to use the money raised from the mixtapes to release an album that will “be a little more focused and produced” then the mixes. Mike Tulis wrote to say that the Soapbox Riot is being brought to you by O’Leaver’s, not Speed! Nebraska (though the press release says both are involved in the event).

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Tonight at The Waiting Room, San Diego Americana band The Delta Spirit (Rounder) performs with Chicago’s Ezra Furman and the Harpoons (Minty Fresh) and LA’s The Romany Rye. $12, 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 © 2010 Tim McMahan. All rights reserved.

by Tim McMahan, Lazy-i.com

First off, Column 275 (printed in this week’s issue of The Reader) combined the Landing on the Moon and Mountain Goats reviews posted here last week, along with the Workers Takeout closing mention. Among the comments posted on the MG review was someone pointing out that not only will bands cover the Hold Steady, but that the Mountain Goats covered Hold Steady’s “Positive Jam” late last year. So take that, mofo.

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Darren Keen (The Show Is the Rainbow, High Art) emailed last week to say that his laptop project, Bad Speler, just got signed to Illegal Arts Records, the home of Girl Talk (among others). Keen said Bad Speler will record everything digitally and put it online using a pay-what-you-want model that Radiohead pioneered and performers like Jeremy Messersmith continue to use. Keen plans to produce a free mix tape every four to six weeks, (edit) each 40 to 60 minutes long. “We are going to use the money raised from the mix tapes to release an album that I’m gonna put together that will be a little more focused and produced then the mixes,” Keen said.

I get the feeling that the “free” or “pay-what-you-want” approach to music distro is going to become more and more common as the industry continues to slowly erode. Is there an easier way to get your music out there and heard? Then there’s the approach that everyone’s favorite new wave band, Devo, has taken — write and record songs on commission. In a recent interview on APR’s Marketplace (recording and transcript here), Devo’s Gerald Casale talked about how “Watch Us Work It,” off their new album, was commissioned by Dell for a series of PC commercials.

(host) Kai Ryssdal: Did I read some place you actually prefer your music to be commissioned, that’s the way you like to do it?

Casale: Well, at this point, what’s happened is, artists no longer make a living by selling music. They only make a living by tour grosses, merchandising receipts and having their songs licensed to commercials video games or films. That’s it. Trying to make a living as a recording artist, that’s the only way you’re going to survive.

Amazing how the concept of “selling out” has turned 180 degrees over the past decade.

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For all you backyard mechanics, here’s a head’s up about Speed! Nebraska’s second annual Soapbox Riot, Saturday July 17. Like last year, the adult soapbox derby will he held at Seymour Smith Park, 72nd & Washington. To take part, just drop by O’Leaver’s Pub and register. Then start building your chariot. If I remember correctly, Mercy Rule’s Jon Taylor won last year’s derby, but paid the price when he took a header along the course and ripped open one of his arms. This is, indeed, a blood sport. After the festivities (at 9 p.m.), O’Leaver’s will host a Speed! Nebraska after-race showcase for the survivors, featuring Mercy Rule, Ideal Cleaners, Wagon Blasters, The Mezcal Brothers, The Third men and Techlepathy. Fun!

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Tonight at Slowdown Jr., it’s a punk show featuring Phoenix folk-punkers Andrew Jackson Jihad along with Destroy Nate Allen, Thunderbolts and Hoof Hearted. $10, 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 © 2010 Tim McMahan. All rights reserved.