Pete Yorn

Pete Yorn: Let’s Get Lost

Indie rock’s golden child returns to the Heartland.

by Tim McMahan, Lazy-i.com

It’s late in the day; the sun barely blinks over the horizon. The familiar bleached light bounces off the pavement and through the dirty windshied while white stripes flicker below like a busy signal on the highway. The man behind the wheel is lost.

That man is Pete Yorn, his trademark Prince Valiant mane tossing in the wind blowing through an open window. He wears the same T-shirt and jeans he wore earlier that day in ARC Studios, where he stood behind a microphone, “cans” on head, singing, while producer Mike Mogis listened and twisted the dials atop the massive control board, glancing up occasionally to watch Yorn through the window.

It was 2008 when Yorn found himself in Nebraska only a few weeks after finishing recording sessions with producer and living legend Frank Black of Pixies fame for Yorn’s self-titled rock record, which has become known by some as “the Black album.” Between those Frank Black sessions and the release of the “Black album” in September 2010, Yorn released the Mogis-produced Back and Fourth (in June 2009), along with a collection of duets with Scarlett Johansson called Break Up, recorded two years earlier but released in September 2009.

It is only now that Yorn has had a chance to really perform the songs on the “Black album.”

“Ever since I recorded those songs I’ve been excited about the opportunity to play them live,” he said from his home in Santa Monica, California. “I haven’t been out touring in a bus in a year. I’m ready to play some good rock shows again.”

Pete Yorn, self titled (Vagrant 2010)

Yorn recalled the contrast between Frank Black’s recording style and working with Mike Mogis. “They’re both guys who I really respect a lot and enjoy working with,” he said. “Mike is more detailed, more layering and I knew that going in. I also knew with Frank that I’d only have five days (in the studio) to capture something fast and not be too fussy about it. It was the antithesis of what we did in Omaha. That said, it’s all rock and roll, and both have different energies.”

The final products also couldn’t be more different. Yorn’s eponymous album, which will be the center point of Saturday night’s concert at the Whiskey Roadhouse, is barebones and abrasive, a rough ride that, on songs like “Velcro Shoes” and “Badman,” sideswipes garage rock without losing any of Yorn’s songwriting depth. Black’s influence saturates every track, from the chugging guitars to Yorn’s gravelly vocals.

In comparison, Back and Fourth is downright ornate; a soulful, personal album with the subtle touches that Yorn — and Mogis — are known for. Instead of five days, Yorn spent two and a half months in Omaha working on Back and Fourth. Over that time, he became immersed in the Omaha scene, hanging out at a wine bar in Dundee, eating at a Middle Eastern restaurant downtown, becoming involved in the spiritual center of Omaha, and going to rock shows. Maybe you were at one of the clubs on a night when someone leaned over, pointed and whispered: “Pssst… Look. Pete Yorn’s here tonight.”

“I never go out when I’m home; it’s very rare that I go to bars,” Yorn said. “But when I was there, I wanted to take it all in. I went to a number of shows at Slowdown. I remember going to see The Notwist after a group of kids told me about the show. I’d never even heard of them. That night I ran into the guys in Cursive and a bunch of other people I’d met. I started to realize that there was a cool group of really creative people that made up the scene, a tightly knit scene, and from an outsider’s perspective, it was refreshing to see.”

But just as memorable about his months in Nebraska were the times Yorn spent exploring the highways alone. “After we laid down tracks, there was a lot of down time,” Yorn said. “I like to go on drives. I had a car and drove around for hours, exploring the area.

“One time I was driving in the middle of the day and heading south. I was on my cell phone talking to someone in New York and became distracted. I looked around and thought ‘Where the hell am I?’ I was surrounded by cornfields. I love getting lost in cornfields.”

Yorn said for Saturday night’s show, expect to hear not only songs off the “Black album,” but from his full catalogue, including his landmark first album, musicforthemorning after. “When I go see a band and they play 20 songs I’ve never heard before, I think, ‘What the fuck is this?’ I’m not interested in doing that. It’ll be a balanced show. I’m excited to see what the catalyst in every room will be. There are always different people yelling different shit. I love it when people yell at me.”

Pete Yorn plays with Ben Kweller & The Wellspring, Saturday, Feb. 19, at Whiskey Roadhouse at The Horseshoe Casino, 2701 23rd Avenue, Council Bluffs. Showtime is 8 p.m. Tickets are $25. For more information, visit horseshoecouncilbluffs.com.

* * *

Some extra copy that didn’t make it into the Pete Yorn feature:

Just the night before our interview, Yorn stood alone on stage at Carnegie Hall in Manhattan playing a solo acoustic version of “Rockin’ in the Free World” at a Neil Young tribute concert that also featured, among others, J Mascis, Glen Hansard, Jakob Dylan, Shawn Colvin and Patti Smith.

“Evan Dando and Juliana Hatfield did ‘Cinnamon Girl,'” Yorn said. “Both played Gibson SG electric guitars, it was really cool.”

What made Yorn’s performance particularly special was the song choice. “(Rockin’ in the Free World) was the first song I ever really sang in front of a band,” he said, adding that prior to that he sat behind a drum kit. “They coaxed me out front to sing. I was 15 years old in a talent show in New Jersey where I grew up. So it was coming full circle.”

Yorn also talked about what he’s been doing since finishing his last record: “I’ve been working on something loose over at a buddy’s house, a covers record,” he said. “It’s a palette cleanser for me to explore other songs and reinterpret them. We got 10 songs worked out. I don’t know what I’m going to do with it, but it’s fun.”

And he talked about his flight from Omaha after the Mogis sessions ended. “I drove cross country back home on  Halloween,” Yorn said. “I listened to The Shining book all the way through Colorado. I was driving through the mountains listening to The Shining.” It doesn’t get much spookier than that.

* * *

Everything points to strong opening-week numbers for Bright Eyes’ The People’s Key. Mike Fratt, who runs Homer’s Music, said his stores sold a total of 76 copies of the recording yesterday — 45 CDs and 31 LPs. Fratt also said the The People’s Key was the No. 1 seller at indie retailers yesterday. A glance at the iTunes Store shows The People’s Key charting at No. 7 on its albums list. And yesterday Amazon began offering an mp3 download of the album for just $3.99 — a price point that helped catapult Arcade Fire’s The Suburbs to the No. 1 spot on the Billboard charts for its first week of sales.

Hurting Bright Eyes’ quest for the top Billboard spot, however, are strong sales by artists who performed on Sunday night’s Grammy broadcast. “The grammy spike is REAL big this year,” Fratt said. In fact five of the six spots above The People’s Key on the iTunes top-sellers list are all Grammy performers (Mumford and Sons currently sits at the top).

* * *

Tomorrow: Tennis

* * *

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 © 2011 Tim McMahan. All rights reserved.

by Tim McMahan, Lazy-i.com

Some odds and ends on this groovy Tuesday…

I hereby declare today, Feb. 15, 2011, as Bright Eyes Day, as the band’s new album, The People’s Key, officially “drops” at stores near you. No, there will be no parades, no fireworks, no turkeys thrown from helicopters, just lots of people buying lots of CDs (hopefully). If you live in the tri-state area and don’t want to be disappointed by arriving at the store only to find that they’re out of stock, go to Homer’s Records, who is absolutely guaranteeing that they’ll have plenty of CDs and vinyl on hand at competitive prices.

And just so you know that today is extra special, it’s also Conor Oberst’s 31st birthday, so roll by his Fairacres compound and wish him all the best (even though he probably ain’t there as he’s playing a show in Stockholm tomorrow).

* * *

It’s been two days and the smoke has cleared and now it’s time to contemplate this year’s Grammy’s and Omaha Entertainment and Arts Awards (OEAAs).

First, the Grammy’s. I watched the whole thing unfold on my plasma Sunday night, one performance after another after another, remembering fondly when The Grammy’s was just an awards show. You have to admit, it was a stellar combination of musical talent that hasn’t been pulled together since the last Live Aid-style charity festival. On top of the legends sheet: Bob Dylan, Mick Jaggar, and, of course, Babs, followed by the next tier — Lady Gaga, Eminem and Arcade Fire.

So I’m thinking to myself — why is so much of the telecast being spent on performances this year? The only thing I could think of was that the artists and bands have closely examined the writing on the wall. The days of living high on the hog from CD sales are quickly coming to an end. These days the real money comes from ticket sales, and if you can get inside John Q. Slob’s living room and properly swing your moneymaker enough to convince him that it’s worth it to shell out the $75 to $100 per ticket when the caravan rolls into his local arena, you’ve done a helluva lot more than sell a few thousand CDs. Or maybe I’m wrong…

Anyway, the evening’s biggest Gee Whiz moment was Arcade Fire winning Album of the Year for The Suburbs, beating out a slew of major label bozos. Just how significant was the win? If it results in above-ground radio airplay and million-unit sales, it could spark interest in indie artists by majors in a way that hasn’t been seen since the Nirvana land-rush days. Or it could just be one giant head-scratcher by all those kids who bought or stole the latest Ke$ha/Katy Perry/Ga Ga record. Only time will tell.

As for the OEAAs, I followed the results as they were tweeted by hearnebraska.org. No surprises and most of my predictions were on the mark. It was a big night for It’s True, who won the Artist of the Year award.  But as much as I like the band, they didn’t deserve it, especially when you consider they announced their breakup shortly before the MAHA Music Festival, and then spent the rest of the year doing…nothing, while other artists (specifically Saddle Creek artists) were busy touring, making new albums and bringing the attention of the country right back here to Omaha. Oh well, it’s all just for fun, right?

* * *

Speaking of festivals, someone posted some information about the Middle of the Map festival on the ol’ webboard, and the event looks promising. To be held April 8 and 9 in venues throughout Kansas City, the festival will feature 25-30 local and national acts, including Cursive, Appleseed Cast, Daniel Johnston, Dosh and The Life and Times.

“The festival is brought to you by Ink Magazine and The Record Machine. Ink magazine and inkkc.com are Kansas City’s premier lifestyle and entertainment publication and website,” said MotM organizers. “Owned by The Kansas City Star, it is one of Kansas City’s largest publications and the only one produced by and for people in their 20s and 30s.” The only one? Really? Whatever happened to Pitch Weekly? Regardless of the politics, the festival sounds like a good time, with two-day passes selling for a mere $25. Find out more at middleofthemapfest.com.

* * *

Finally, there’s an odd little show going on tonight at a venue off the beaten path. The Hideout at 320 So. 72nd St., a place known mostly for hosting local metal shows, is hosting Brooklyn-based funk trio The Pimps of Joytime. Check out their myspace page and get ready to get weird. Opening is DJ Brent Crampton and SpenceLove. $7, 9 p.m. More details at the Facebook event page.

* * *

Tomorrow right here: Pete Yorn. Thursday: Tennis. It’s a busy week…

* * *

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 © 2011 Tim McMahan. All rights reserved.

Best Coast at The Waiting Room Feb. 11, 2011.

by Tim McMahan, Lazy-i.com

In the battle last Saturday night between Wavves and Best Coast at a sold-out (and packed) Waiting Room, it was Wavves that walked away the victor (at least in my humble opinion).

Both bands are sharing headlining chores over the course of their tour, and both bands are smoking hot right now, though I have to admit having heard little of either of their music before this show (I did hear snippets of Best Coast on NPR).

Wavves rolled out of the gate sounding like a morph of modern post-punk, low-fi, garage and So. Cal surf music. I was reminded of The Pixies, The Ramones, Descendants, Nirvana, Buzzcocks and Jay Reatard. One guy mentioned Dead Milkmen, another mentioned British ’80s punk. The trio blazed through its set with frontman Nathan Williams burning like a San Diego skate-punk. While there was an obvious similitude to their short, sharp, shock numbers, there also was an undeniable knack for melody that kept the set from becoming ho-hum. Certainly the throngs of Omaha youth were enthralled as they leaned against the stage while all the older folks (and there was a surprisingly large contingent of them) watched from the back of the room. Loud, fast, fun.

Best Coast had better songs, but were a downshift energy-wise. Cutie-pie frontwoman Bethany Cosentino’s sweet girlie voice rang out like Belinda Carlisle meets Liz Phair, backed by another guitarist and a drummer (and no bass). While the music was forcibly low-fi with tinges of surf and garage, there was more depth below the surface melody-wise, but not so lyrically, as the songs leaned toward banal Go Go’s rather than confessional Phair. Cosentino made a point of saying she had roots in Omaha, even calling out her family who were standing somewhere in the mob off stage left, presumably near Congressman Lee Terry who I’m told was in the house.

The fact that the kids (a lot of the staged-pressed crowd looked under 21) are getting into faster, funner, punkier music is a sign of hope, especially after the last few years of droning, lifeless schlock like Animal Collective. Too bad they just stood there and stared at the bands like hypnotized cows. I saw only a couple young groovies doing a shag in the back of the room. Nothing wrong with letting loose once awhile, kids…

* * *

Be the first in your neighborhood to own a copy of Bright Eyes’ The People’s Key by attending tonight’s pre-release party down at Slowdown. Copies of the CD will be on sale for $10; vinyl for $18. They’ll be spinning the disc starting at 8 p.m. and giving away pizza.

And then tomorrow, the bomb goes off…

* * *

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 © 2011 Tim McMahan. All rights reserved.

Column 309: Here it comes, that heavy love…

CD Review: Bright Eyes, The People’s Key

by Tim McMahan, Lazy-i.com

Bright Eyes, The People's Key (Saddle Creek, 2011)

Bright Eyes’ new album, The People’s Key, comes out Feb. 15 on Saddle Creek Records. Conor Oberst’s publicist tells me that the band, which had just started rehearsals, has put all press inquiries on hold for the time being. Maybe when Bright Eyes gets ready for his June 4 show at WestFair we’ll get Conor’s perspective on the album, but until then, you’ll have to settle for mine in this review.

NPR.org, who has been streaming the album in its entirety for the past few weeks, came right out of the gate declaring it the “best record Bright Eyes has ever made. In fact, it’s the best record the band’s frontman, Conor Oberst, has ever been a part of.” Only time will prove if NPR is right, though I don’t know how you could declare any album as being an artist’s “best.” It might be your favorite, but “best”? Come on…

I will say this: I like The People’s Key much more than Oberst’s last solo album and his Monsters of Folk material, and that’s somewhat concerning to me as I’ve always said that all this talk about this being “Bright Eyes final album,” was pure silliness since Bright Eyes at its core is Oberst. However, there’s no denying that Oberst is a different man when it comes to Bright Eyes. From both a musical and lyrical standpoint, Bright Eyes records just hold together better, like reading a great novel as compared to a collection of short stories. The thematic essence of Bright Eyes albums is more consistent and, well, satisfying than what he’s produced under his solo banner.

The album keeps with the Bright Eyes tradition of starting with a spoken-word audio clip. For Cassadaga, Bright Eyes’ last album, it featured a (presumably) big-haired southern woman talking about spiritual centers that attract “believers,” like the Florida town the album was named after. This time it’s “Shamanic” vocalist Denny Brewer of the band Refried Icecream doing an L. Ron Hubbard-esque spiel about spaceships and lizard men at the beginning of the world. Brewer occasionally sticks his head in between songs, sounding like Will Ferrell imitating Harry Caray. For long-time fans, this eccentric touch is part of what you come to a Bright Eyes album for, though later on you’ll find yourself figuring out ways to cut out those opening two and a half minutes so you can get right to the first song.

In this case, that song is “Firewall,” a simple melody draped in dread built upon a sinister, circular electric guitar line. Oberst spits out his vision of talking ravens and artificial theme parks before getting to his own artificial reality and his escape from it via jump ropes and slit wrists. Breaching the “firewall” opens the melody to the glorious heavens, before it comes back down.

If there’s a theme that ties the album together its Oberst’s dwelling on the inevitability of death. Every song has an allusion to death or dying, a theme approached now with resignation, though it’s something (based on earlier Bright Eyes material) that Oberst figured out long ago.

That theme is most obvious on the album’s ultimate downer number, “Ladder Song,” with its subtle opening lines:

No one knows where the ladder goes

You’re gonna lose what you love the most

You’re not alone in anything

You’re not unique in dying

Mournful piano and Conor at his most quivering. In the old days, this would have been a song about a broken heart or a strung-out night spent in Manhattan. My how things change as you get older. And unlike, say, Prince’s song about a ladder, there’s no salvation or hope at the end of this one. About to turn 31, Conor seems too young to be dwelling on death, but then again, there were those who wondered if he’d even live to see 30.

The People’s Key might be Bright Eyes’ most consistent album from a songcraft perspective. There is a straightforward quality here that is undeniable; everything seems self-contained, pulled together and kept from going on tangents. The end product is an even line from beginning to end. Predictable, and for a lot of music-goers, that can be very satisfying.

But there is something missing. On every other Bright Eyes album, there was one perfect moment that jumped off the disc, unique and demanding a rewind, the perfect song for the mix tape. From I’m Wide Awake, It’s Morning it was “Lua.” From Cassadaga it was “I Must Belong Somewhere.” From Lifted, it was “Nothing Gets Crossed Out” and “Lover I Don’t Have to Love” and “Bowl of Oranges” and  “You. Will. You. Will? You. Will? You. Will?” and “Waste of Paint” — a song that you can’t turn off or skip over after it’s begun.

I’ve been listening to this album for a couple weeks and that song hasn’t jumped up and waved its arms at me yet. Maybe it will later, I don’t know. Maybe it’s more than I should expect.

That’s the thing about Bright Eyes albums. Those of us who have followed the band since the days when Conor wore glasses expect every release to be a masterpiece. And maybe that’s what separates Oberst’s solo work from his Bright Eyes efforts — that he and cohorts Mike Mogis and Nate Walcott also approach each album as if it were something more than just a collection of songs.

Time will tell if The People’s Key was a just a collection of songs or a “masterpiece” or a “best” or just a favorite. Right now it’s just a good album.

* * *

So my rating for The People’s Key is a firm “Yes.” Let me echo Omaha World Herald music guy King Kevin Coffey and ask, “Will it top the Billboard charts when it’s released next week?” I don’t see much standing it its way. There are new ones coming out by Sonic Youth (Hey, MAHA, now there’s a band to consider), P.J. Harvey, Mogwai and Drive-By Truckers, none of which are a threat to Conor and Co.

It doesn’t take much anymore to top the charts. Decemberist’s awesome The King Is Dead was a Billboard No. 1 only needing to move 94,000 copies during its debut week to mount the summit. It helps when the mp3 download is only $7.99 at Amazon (or in Arcade Fire’s case, as low as $3.99 during its release week). How low will The People’s Key be offered on Amazon (or iTunes)? If it’s a $3.99 download, look out.

But what do I know about the music business? When it comes to these sorts of discussions, I always turn to Mike Fratt, who runs Homer’s Records. Mike is more skeptical. He doesn’t think The People’s Key will top the charts. “Because the Soundscan week includes the Valentine’s weekend (historically a good week for music sales) and the week post-Grammys (2/13) I don’t think Bright Eyes will hit No. 1,” Fratt said. “I do think it will achieve top 5, but at a lower number than 2007’s Cassadega.”

He thinks Arcade Fire, Mumford & Sons, Eminem, Taylor Swift and Katy Perry all will chart higher than People’s Key, helped along by Grammy performances. “Looking at this week’s Soundscan, Conor & Co. may have to generate at least 30 to 35(000) to make top 5,” Fratt said. “I’d be surprised if they make that, although the album sounds good.”

Cassadaga logged in at No. 4 on the Billboard charts with first-week sales at just slightly north of 58,000. And 11,000 of those sales were digital downloads — around 19 percent. If Amazon offers The People’s Key at $3.99, you could see downloads grab a bigger percentage this time ’round.

Fratt predicts total first-week sales to be around 27,000, and he hopes a ton of those are bought at Homer’s, where they’re guaranteeing the album will be in stock through Feb. 27. “We bought a lot, but if we run out (Saddle Creek) will drop some off vs. us having to reorder through ADA or a one stop.  CD = $9.99  LP = $19.99! through 2/27.” Get your ass to Homer’s, people.

* * *

Pitchfork reported yesterday that Titus Andronicus has been added to a few Bright Eyes dates, which should make for an entertaining evening considering how Titus frontman Patrick Stickles’s vocals are forever being compared to Conor Oberst’s vocals. Here’s what Stickles told me last September when I asked him about the Oberst comprisons:

“I’ll tell you because you rep the Omaha readership,” Stickles said. “I think it’s a little short-sighted. The constant comparisons to anyone gets old, even if it’s Jesus Christ. Doesn’t everyone want to be themselves? Don’t we all want to blaze our own trail, though I know this is rock and roll, and there’s not too much under the sun? But it seems kind of like, uh, cheapening slightly to say that if you’ve heard one guy you can pretty much guess what this guy is going to sound like. After awhile it feels like a feedback loop, a house of mirrors, like sometimes (reviewers) get these things to sound so similar that I’m reading reviews of other reviews. But maybe that’s me being a self-righteous, entitled type. Even if it were true, is it helpful? Who’s to say? It’s not in my control. As I put my art out into the world, it’s out of my hands. History will judge.”

It will indeed.

* * *

It’s going to be cold outside but oh so hot inside The Slowdown tonight for Interpol. Opening is School of Seven Bells, who came through The Waiting Room last September. Here’s the review from that show:

The best moments came when guitarist Benjamin Curtis was allowed to run wild run free. His tone was amazing; it reminded me of every great soaring guitar solo of ’80s post-New Wave/dream rock era. The Deheza sisters sounded like what you’d imagine Azure Ray would sound like fronting a dance band. Unfortunately, too often the vocals were buried in the mix and sounded limp, like an afterthought. As with the opener, the sound would have benefited from more bottom end (no bass again). The 70 or 80 people on hand spent the night huddled by the stage, but few if any danced, except for one girl who spent the evening with her arms in the air. Maybe that’s why they didn’t come out for an encore after their 45 minute set concluded. A pity. I could have listened to them for another hour.

Get there early and get out of the cold. See you at the show…

* * *

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 © 2011 Tim McMahan. All rights reserved.

Interpol's Sam Fogarino

by Tim McMahan, Lazy-i.com

Here’s some extra credit that didn’t make it into last week’s Interpol feature.

So where exactly was Interpol drummer Sam Fogarino when I spoke to him a few weeks ago over the phone?

“I’m in my studio in Athens, Georgia. I’ve been working with a band called Twin Tigers that hails from Athens as well. We took them on tour with us this past summer, and I’ve been helping them track and mix their new EP.”

Twin Tigers started in 2007 when Matthew Rain and Aimee Morris were working at Grit, Michael Stipe’s restaurant in Athens. Athens must be a small, small town because everyone there seems to have run into Stipe at some point in their lives (Six Degrees of Michael Stipe?). Anyway, the band has released its previous material on Old Flame Records; and I remember seeing them at SXSW last year at the temporary tent club known as Emo’s Annex (across from Emo’s, of course). The four-piece all wore white T shirts and sounded like soaring indie rock, with an undercurrent of shoegaze and an extra helping of Jesus and Mary Chain.

“Twin Tigers were friends first,” Fogarino said of their relationship. “My wife discovered them on Myspace and turned me onto them.” It was only a matter of time before Fogarino ran into the band. “Athens is the size of a dime. I met them just before we decided to take them on the road (with Interpol). Matthew (Rain) approached me outside of a record store. He had a copy of The Cars’ Candy-O under his arm that he was buying for a friend.”

After the tour, Twin Tigers were invited into Fogarino’s private studio that he shares with a business partner. “The challenge is to capture their live essence on recording when there’s really nothing live about about the recording process,” Fogarino said. “I thought I could tap into that energy and abandon, and bring a sense of empathy to the process.”

Plus he wanted to help out the starving artists. “They’re a young band and they don’t have a budget to record,” Fogarino said. “They’re friends and we have respect on a musical level. So the proverbial clock isn’t ticking during these sessions; they don’t have to worry because they only have an hour left.”

But that said, Fogarino doesn’t want to turn the sessions into a “My Bloody Valentine-type thing. It’s a four-song EP. We’ll get back from touring at the same time and spend a week together and get it done.”

So how does working on a project like Twin Tigers translate to Interpol? Fogarino, who has also played with Swervedriver frontman Adam Franklin in the band Magnetic Morning, said it’s impossible to not bring something back to the table. “There’s always a new recording technique or just an observation on how something is done,” he said. “It kind of makes going back home, let’s say, a lot more refreshing. You got a chance to stray for a little while and then return when you’re comfortable.”

With Twin Tigers “they don’t feel that I’m being this bigshot that’s telling them how it is,” Fogarino said, adding that his role as a sort of mentor involves passing along anecdotes about his early days with Interpol. “Interpol has a great sense of integrity in terms of how we handled our success, so to speak” he said. “But every now and again you find yourself bitching about superficial shit and I think back to Twin Tigers, working in a vegetarian restaurant and having to find someone to cover their shift. It provides an interesting sense of reality.”

I don’t need to tell you that Interpol’s show tomorrow night at The Slowdown has been sold out for weeks. It’s worth it to try to scrounge up some tickets if you have a chance. They’ll be bringing their arena show to one of the smallest venues they’ll be playing on this tour, and it’s bound to be spectacular.

* * *

Bright Eyes announced that it’s playing at WestFair Amphitheater in Council Bluffs June 4 with Jenny and Johnny. The $25 tickets go on sale this Saturday. I thought for sure Bright Eyes was going to be the MAHA Music Festival headliner, but not anymore… Now what, MAHA?

Speaking of Bright Eyes, the new issue of Rolling Stone arrived at my doorstep today, and The People’s Key is the featured CD review. The 3-1/2 star review by Jon Dolan concludes with: “He manages to be everything at once: folkie and punk, old soul and eternal boy, high-plains drifter and hipster heartthrob. He’s busy being born again every time he strums a chord.” Read the whole thing online here.

So far the album has received a rating of “90” from review-site aggregator Album of the Year (here).

My review of The People’s Key goes online tomorrow.

* * *

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 © 2011 Tim McMahan. All rights reserved.

The Show Is the Rainbow at The Waiting Room, Jan. 28, 2011. Photo by John Shartrand.

by Tim McMahan, Lazy-i.com

Friday night, to an audience of fewer than 100 at The Waiting Room, Darren Keen, a.k.a. The Show Is the Rainbow, had a message he delivered just before launching into a set of all new material from an album that’s yet to be recorded. The message boiled down to this (and I’m paraphrasing here): The best work Keen’s done was when he was doing it for himself, and the worst work he’s done was when he was trying to impress all the wrong people. Well, now Keen’s through trying to impress anyone, as he hits the road for eight months on a self-booked tour with his girlfriend in tow.

Keen sounded like a man who had come to some sort of self-realization that no matter how hard he tries to control his future, his life, his career, he’s powerless in the face of a world, of an industry, that never knew and never cared. Which is a long-winded way of saying that now he’s doing it for himself. And that’s a pretty good message.

And with that, he tore into a set of abstract, art-damaged polyrhythmic “songs” that examined his view of the world around him. The themes: paying the cover, faux indie angst, learning how to think, learning how to (literally) grow, his love of dope, and his love of love. It sounded like hippie stuff, and maybe it was. As a one-man act, he sang the tunes over prerecorded keyboard tracks that were a dizzying kaleidoscope of circus arpeggios and electronic beats. Did I say sing? Most of the songs featured Keen doing a sing-song rap delivered from the floor instead of the stage while he performed an interpretive dance bare-chested, pants-sagging, sweat glistening off his fat rolls.

When TSITR first started all those years ago, Keen was criticized for being a home-grown version of Har Mar Superstar by people who had never actually listened to or heard Har Mar or Keen. The only thing those two had in common were a love of dance music, a willingness to take off their shirts and ivory white bellies. These days, thanks to his ginger beard and habit of improvising at the keyboard (and his “keen” wit), Darren could be compared to a young Zack Galafianakis, though only the most demented minds like my own would ever come up with that comparison.

The other thing that went through this demented mind Friday night was that Keen may be onto something. His set was fun and “in your face,” with just enough edge to be considered subversive. There is an aggression boiling just below the surface, a strange unnerving tension that could erupt at any moment. And though the music is less “dancy” than his earlier material (which may change after he fills it out in the studio), it’s no less engaging. Let’s face it, it’s impossible to be bored at a TSITR show, which is more than I can say for 90 percent of the indie bands that come through town. And for those folks who will stumble onto Darren by accident as he and his girlfriend criss-cross the country over the next eight months, he could be a revelation or at least one helluva conversation piece.

Opening the evening was Machete Archive, who has steadily become the most interesting instrumental-only band I’ve seen on stage since Mogwai (who they in no way resemble). Beyond the music, which is borderline metal balladry, is the headbanging performance itself. In addition to having insane dance moves, bassist Saber Blazek is a marvel on the fretboard, maybe the best bass player in Nebraska. But the only way that claim could be proven is if Hear Nebraska or Omahype or The Reader hosts another long-needed “bass off” among the state’s best four-stringers. The gauntlet has been thrown.

* * *

You can now stream Bright Eyes’ new album The People’s Key in its entirety at NPR.org. Here’s the link. My first impression is that the biggest by-product of the Monsters of Folk tour is that Conor now writes and records music that sounds like M. Ward tunes. You be the judge.

* * *

People are already rescheduling things in the face of what could be one of the more brawny storms to hit the city since… last year. Something tells me even if the storm gets here before 9:30, tonight’s show at O’Leaver’s will carry on as planned. The headliner is the amazing Dim Light, with Nature Boys and The Prairies. $5, bring a shovel…

* * *

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 © 2011 Tim McMahan. All rights reserved.

by Tim McMahan, Lazy-i.com

Re: Yesterday’s Special Comment: I humbly and proudly stand corrected.

* * *

Tim Kasher has the honor of being the subject for the debut of Pop Matters new video interview series. “Backstage at Chicago’s historic Vic Theatre, Kasher was candid and open with us, discussing why he chose not to write two more Ugly Organ‘s, how he deals with the frustration of those who feel somewhat betrayed by his songs not being autobiographical, and—after coming clean with some of his regrets—how getting to open for The Cure was one of the highlights of his life.” It’s a nice five minutes. Check it out.

* * *

Bright Eyes’ new free mp3 from the upcoming The People’s Key, “Halle Selassie,” is a real grinder. It chugs along on top of a 6/8 electric guitar riff that provides a strangely formal structure for Conor’s heavily delayed vocals. If someone asks me what is one of the threads that runs through classic Saddle Creek artists’ music, I tell them it’s a penchant for waltz-time arrangements, and in that context, this is sort of a throwback. You can get a download key for the song delivered to your email box through the widget below.

* * *

Meanwhile, Azure Ray is giving away an 3mp of its new single, “Silverlake,” recorded with their friends in Sparklehorse. It’s a non-album track from the Drawing Down the Moon sessions, and as such, isn’t much of a departure from the usual AR fair, which means pretty harmonies and melodies and everything else you expect from Maria and Orenda. The two-song single includes ”Silverlake” and ”Silverlake (demo),” and is available via iTunes and the Saddle Creek Online Store. Download widget below:

* * *

Finally, there’s this story from USA Today, which could have a major impact on the Omaha’s Red Sky Music Festival.

Buffett’s in stable condition, btw…

* * *

Tomorrow, the story behind what makes hearnebraska.org tick.

* * *

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 © 2011 Tim McMahan. All rights reserved.

by Tim McMahan, Lazy-i.com

More interesting than yesterday’s announcement that Bright Eyes has added dates to his seemingly endless tour for The People’s Key is the list of opening bands that Conor and Co. are bringing along for the tour. Saddle Creek bands always have been generous when it came to helping their friends out by offering opening slots on national tours. In this case, it not only helps the bands, it helps the label.

Maybe more than any other instance, adding Mynabirds to this tour will have a quantum impact on growing that band’s following, even if it’s only for a week (March 10-16, Boston to Champaign, IL). Fact is, Mynabirds’ frontwoman Laura Burhenn will be along for the ride anyway as a member of Bright Eyes, so it made sense to find a way to add the rest of her band when possible. Adding Cursive to four dates (March 3-6) makes this a sort-of Saddle Creek “Supertour” (Who remembers the Bright Eyes / Faint tour all those years ago?).

So why doesn’t Bright Eyes simply fill the rest of this tour with these and other Creek bands? Certainly the bands’ fans know and love fellow Creek artists, and having them along for the tour is like surrounding yourself with family. Everybody wins.

* * *

BTW, just like I figured, Bright Eyes has announced its first appearance at South By Southwest since 2000. The date is March 19 — the last day of SXSW — at Auditorium Shores as part of  The Ground Control Touring showcase, which also featuries The Felice Brothers, Middle Brother and Man Man.

Still no word whether Saddle Creek is hosting a showcase at SXSW this year.

* * *

Eli Mardock can now add “ex-Beauty in the Beast” to his “ex-Eagle Seagull” name description. He e-mailed his Facebook fans Saturday saying, “I’m no longer performing as Beauty in the Beast or Eagle Seagull, but instead just as ELI MARDOCK.” In addition to having a new glamour photo, Mardock has posted a new song to his fan page, “The King of Crickets.” I dig it. Check it out.

* * *

Tomorrow: 2011 Predictions, Pt. 2 — get ready to be astounded.

* * *

Lazy-i Best of 2010

Your entry into this year’s drawing for a copy of the Lazy-i Best of 2010 sampler isn’t going to send itself. It’s up to you  click on this e-mail link: tim@lazy-i.com and compose a small message that includes your name and mailing address. It’s pretty frickin’ easy, and it’s free. Tracks include songs by Arcade Fire, Jenny and Johnny, Ted Leo and the Pharmacists, Belle and Sebastian, Titus Andronicus, The Mynabirds, A Weather, Zeus, The Black Keys, Pete Yorn and more. Full track listing is here. If you’re lucky enough to win, you’ll also get the new limited edition Lazy-i Sticker to stick on something. Deadline is next Tuesday, Jan. 18. Better do it now. These things sneak up on you…

* * *

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 © 2011 Tim McMahan. All rights reserved.

by Tim McMahan, Lazy-i.com

The Omaha World-Herald plastered its front page this morning with this in-depth report on the flamboyant activities of one Lady Gaga. Investigative reporter Jose Loza blew the lid off the story, providing minute-by-minute details of everything from Gaga’s adventures in scallop shopping to yesterday’s tawdry private bowling romp. No stone was left unturned in this comprehensive expose. This is the kind of gritty journalism that you just can’t get from local television news… The only question left unanswered: Where to now, Gaga…? I suspect she’s aboard her silver dart headed back to Gotham City with her Nebraska lover in tow… God bless us, everyone.

* * *

Looks like Saddle Creek Records is playing whack-a-mole with websites posting leaks of two more tracks from the upcoming The People’s Key. Tracks “One for You, One for Me,” and “A Machine Spiritual,” were posted on Consequence of Sound yesterday and YouTube as early as this morning (as well as Kevin Coffey’s awesome Rock Candy blog), but all have been yanked. Something tells me they’ll be “in the wild” shortly anyway.

* * *

It’s the first of two nights of the Return of Mousetrap tonight at Lincoln’s Bourbon Theater. Joining the masters of mayhem are fellow veterans of Nebraska’s first Golden Age of punk, Mercy Rule, and future heroes Dim Light. $5, 8 p.m. Do not miss this.

* * *

Tomorrow, what you’ve all been waiting for: The Year in Review.

* * *

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

It was only a matter of time before we got the first Bright Eyes song from the new album, The People’s Key, and here it is, “Shell Games.” In various interviews over the past few days, Conor Oberst has been saying that he’s walking away from the played out indie/Americana/folk sound of his past two solo albums for a new rock sound, and for the most part, that’s exactly what he’s done. You’d never mistake this song for Americana. But then again, it isn’t exactly a “rock song,” either. It does, however, sound distinctively Bright Eyes-like, and that’s a welcome sign of things to come. The song feels like something that could have come from Cassadaga, but with the heavy synths toward the end of the track, there are some overtones of Digital Ash in a Digital Urn (an album that got lost beneath the shadow of I’m Wide Awake, It’s Morning and marketing that stressed its “modern sound.” But with songs like “Take It Easy (Love Nothing)” and “Gold Mine Gutted,” Digital Ash still holds up as one of Bright Eyes’ better albums). This Pitchfork link also includes the album art for The People’s Key, and unless my eyes deceive me, it’s the work of Zack Nipper, who took home a Grammy for the Cassadaga album sleeve. The paper cut-out-style design and color scheme is reminiscent of the gorgeous art Zack did for the Every Day and Every Night EP.

* * *

Tonight at The Barley St., it’s a different kind of Space Oddity when Kyle Harvey hosts the First Annual Merry Christmas From Outer Space. Join Kyle and his fellow space aliens as they celebrate the release of his new holiday album. Songs include “Crop Circle Christmas,” “Happy Birthday Baby Jesus, Merry Christmas Alf,” and “Baby, It’s Cold In Space.” “Come dressed as spacemen, astronauts, aliens, men in black, Santa Claus, or any other galactic or holiday themed gear and receive free admission!” How can you beat that? Show starts at 9.

* * *

Kudos to the fine folks at Silicon Prairie News for today’s shout out. No one in town covers Fast Company-style, next-generation entrepreneurial business quite like those guys. Keep it up, gentlemen. (And yes, Kurt Anderson would call this “logrolling in our times,” but at least it’s heartfelt).

* * *

Tomorrow we take another trip down memory lane with a feature on Slowdown Virginia and Polecat, just in time for Thursday night’s big reunion show…

* * *

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.