Chnnll Saturday; Nilüfer Yanya, Ada Lea Sunday at Slowdown…

Category: Blog — Tags: , , — @ 1:23 pm May 13, 2022
Nilüfer Yanya plays Sunday night at The Slowdown.

by Tim McMahan,

Well I was all set to tell you that “it looks like another O’Leaver’s weekend,” and then I get word that Saturday night’s Lightning Stills/Wagon Blasters show has been postponed! No word on the rescheduled date but hopefully it’ll be sometime in June, says Mr. Craig. Fingers crossed.

That really messed up my weekend, but whaddya gonna do? Here’s what we have left:

Saturday night, Chicago indie band Chnnll headlines at Reverb. Frontman Chris Davidson worked with producer Joey Waronker (R.E.M., Beck) on his 2020 debut full-length that included some help from Death Cab’s Zac Rae. Bach Mai and Bad Self Portraits open at 8 p.m. $12.

Sunday night night, London-based singer/songwriter Nilüfer Yanya headlines at Slowdown Jr. Her latest album, Painless (2022, ATO), received Pitchfork’s “Best New Music” designation (along with an 8.4 rating). Opening the show is a sort of recent addition to the Saddle Creek Records roster, Ada Lea, who’s on the road supporting her latest, One Hand on the Steering Wheel the Other Sewing a Garden. Also on the bill is Chicago’s Tasha. $25, 8 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 — 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 © 2022 Tim McMahan. All rights reserved.


Album Reviews: Crooked Colours, Alaskalaska, Prettiest Eyes, Ada Lea…

Category: Reviews — Tags: , , , — @ 12:30 pm September 5, 2019

by Tim McMahan,

I sometimes wonder if I’ve lost the ability to review recorded music. Reviewing live shows is easy, it’s like reporting a crime scene. Reviewing recordings is like studying pictures or paintings or trying to interpret poetry, which I never did very well in college. When it came my turn to explain a poem in class, I’d take the imagery too literally, describing the scene in my mind or the people or animals, and then the professor would say, “No, what the writer was doing here was expressing grief for his/her loss of innocence, not describing a hunting accident.” And so on. 

So as I was flying back from New York, I thought I’d tackle a handful of albums sent to me for review, albums I’ve been listening to for the past two or three months. No notes, no one-sheets, just nuanced opinions. Here we go. 

Crooked Colours, Langata (2019, Sweat It Out!)

Crooked Colours, Langata (Sweat It Out!) – Very clean, very crisp electronic dance music sung by a guy whose flat, atonal voice is cross between Robbie Robertson and Tricky. Immensely clean trip-hop beats, electronic handclaps lie beneath mainly talk/singing, rhyming whatever sounds best with the beat. “Just breath…” Easy to listen to; but somewhat forgettable. The kind of music you’d hear while shopping in an H&M.

Alaskalaska, The Dots (2019, Marathon Artists)

Alaskalaska, The Dots (Marathon Artists) – There was a band I used to love in the ‘90s called Hooverphonic. They played great big-beat electronic rock songs that quickly found a hook. I thought they sounded amazingly modern at the time, and wondered why they never blew up. Over the years, however, Hooverphonic songs would sneak up in commercials and soundtracks, whenever a director wanted to set a modern tone or give whatever was on screen a sense of motion.

Alaskalaska has that same quality both in sound and lyrics, a deceptively simple melody swaddled in layers of synths, beats and the occasional saxophone (When did the sax come back in vogue? or has it?). The woman on leads, Lucinda Duarte-Holman, reminiscent of Sarah Cracknell of Saint Etienne, is cynical, sassy, sometimes snotty, often too honest for her own good. Quick and quippy, she sounds like she knows more than you or me. And she probably does. 

Highlights: “Moon,” with its fantastic horn part; “Sweat,” sinister sexy, slow; and the bracing “Happyface” with its questions you don’t want to answer. 

This is my favorite of the bunch. Totally obscure. Find it. 

Prettiest Eyes, Volume 3 (2019, Castle Face)

Prettiest Eyes, Volume 3 (Castle Face) – Brad Smith at the late, great Almost Music pointed me toward these guys and their last album, Pools. I bought it on vinyl, of course. Funny thing about Brad, he’s always right. Pools was post-punk crunch; and while Volume 3 continues along that same path, it’s not as dirty. Songs like “It Costs to be Austere” are like a carnival ride gone out of control, big wonky organs and fuzz bass and drummer/vocalist Pachy García singing like a maniacal clown. By contrast, “I Don’t Know” sounds like a midnight lounge massacre and “Mr. Presidentis Gang of Four post-punk blare: “Mr. President / Say my name / It don’t matter / Where I’m from.” It’s loud, buzzing, in-yer-face synth rock that never lets up. Exhausting fun. 

Ada Lea, What We Say in Private (2019, Saddle Creek)

Ada Lea, What We Say in Private (Saddle Creek) – Of the recent Saddle Creek signings, this one seems to be flying the deepest below the radar (Well, maybe not as deep as Young Jesus), because it’s the most different of the recent bunch. Not straight-up singer/songwriter fare, Lea writes complicated, proggy art rock songs that aren’t afraid of odd time-changes or awkward key shifts. It’s the most experimental act Creek has signed since the old days. That said, Lea knows her way around a melody, and her voice is warm, breathy, velvet butter. Songs like the moonlit “The Party;” the evocative, shifting “The Dancer,” and standout “Wild Heart” often start simply, quietly before going everywhere at once, while Lea lets you in on one of her little secrets. Mesmerizing.

More reviews to come…

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Read Tim McMahan’s blog daily at — 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 © 2019 Tim McMahan. All rights reserved.


Saddle Creek Records update: Ada Lea joins the roster; new Stef Chura; Treadles gets Document(ed)…

Category: Blog — Tags: , , , — @ 12:45 pm May 14, 2019

Ada Lea is the latest artist signed to Saddle Creek Records.

by Tim McMahan,

It’s a quiet Tuesday so might as well catch up on some Saddle Creek Records news…

The label announced May 8 that it signed Montreal singer/songwriter and visual artist Ada Lea. A follower of Sylvia Plath and Nina Simone, Lea’s Saddle Creek debut, What We Say in Private (I added the capitol letters), “began with a need to document the ending of an important romantic relationship. Following a tormented period of staying up all night (sometimes days at a time), frantically painting or writing songs as a means of coping, she journalled for 180 days in the hope of finding herself again.”

Yikes. The first single, “The Party,” has already dropped. The rest of the album comes out July 19.

There’s not a lot online about Ada Lea. No Bandcamp; one song in Spotify. Methinks the Saddle Creek digital team scraped the usual sites of any tracks she might have lying around. There is one live set on YouTube from May 2018.

Here’s the single:

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Seems like we’ve been waiting for the new Stef Chura album for a 100 years. Titled Midnight, it’s slated to drop June 7. It wa produced by Will Toledo of Car Seat Headrest.

To keep you psyched, Stef dropped a new video for single “They’ll Never,” below. This one’s a kicker in the Angel Olsen vein. Chura could have a second career as a country crooner if this one doesn’t work out (but I think it will).

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And I forgot to mention that New Orleans band Treadles is the subject of the eighth installment of Saddle Creek’s Document singles series. Their 7-inch, “Cold” b/w “Iron,” comes out May 24.

This is an interesting statement that came with the press release for the Treadles single:

In the beginning, Saddle Creek was simply a way for us to highlight the music and art community in our hometown of Omaha, NE. Over the years, we have grown and our roster expanded to include artists from all over the world, but we never lost our love for the spirit in which the label was founded. While the scope of the label may have evolved over time, we know there are great music scenes all around the world that are in the same place we were in the beginning: a group of creators coexisting and collaborating within an artistic community that they know is special, but hasn’t quite gotten the spotlight it deserves.

I bring it up only because someone recently asked me if I consider Saddle Creek to be an Omaha label. I do. In fact, I would venture to guess that one of their biggest selling albums so far this year is the new release by The Faint, an Omaha band whose core members are scattered throughout the country, but still… an Omaha band (if you ask me).

Despite having offices in Los Angeles, Saddle Creek will always be considered an Omaha label, just like it continues to be referenced in reviews as “Conor Oberst’s label” even though Conor moved onto other labels years ago. It was Saddle Creek where Conor got his start and where he’ll forever be identified with…

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Read Tim McMahan’s blog daily at — 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 © 2019 Tim McMahan. All rights reserved.