Little Brazil Vs. Nightbird tonight; Matthew Sweet, So-So Sailors, Juan Wauters (The Beets) Saturday; Tweedy Sunday…

Category: Blog — Tags: , , , — @ 12:43 pm March 27, 2015
Matthew Sweet at fabulous O'Leaver's, July 30, 2014.

Matthew Sweet at fabulous O’Leaver’s, July 30, 2014. Sweet and his band play Saturday at the 1200 Club in the Holland Performing Arts Center, a benefit for Hear Nebraska.

by Tim McMahan, Lazy-i.com

Who needs to go to SXSW when Omaha has the line-up of shows it has this weekend? Suck it, Austin.

It all starts tonight with a rock ‘n’ roll nuclear war at the 1 Percent Complex (i.e., the buildings that house The Waiting Room and Reverb Lounge).  Little Brazil headlines at The Waiting Room. Expect new material along with old favorites. LB is one of Omaha’s most overlooked bands. If you haven’t experienced their onslaught, do it tonight. Opening is Lightning Bug and Low Long Signal. $7, 9 p.m.

Meanwhile, Omaha’s grisliest, grungiest stoner-rock band Nightbird will be trying to fry Reverb’s delicate sound system. They’ll get some help with opener Pro-Magnum. This is destined to be loud as f***, so bring your earmuffs. $7, 9 p.m.

One Percent should offer a single $12 ticket that gets you into both shows, and then open up their secret back passage that connects both rooms. Come on, guys!

Saturday night it’s all about Matthew Sweet, who’s playing a special rock show down at the 1200 Club in the Holland Performing Arts Center. Opening is So-So Sailors, who haven’t played anywhere in ages (and it’s about time). Your $45 ticket benefits Hear Nebraska – that alone should be enough to get you down there. If you really love Matthew Sweet, get a VIP ticket for $100, which lets you hang out with the ’90s indie rock idol. Show starts at 8. Get your tickets here. See you there.

Before Sweet Saturday night check out a special in-store performance by Juan Wauters at the Saddle Creek Record Shop. Wauters, who is opening for Tweedy on Sunday, used to be in a pretty awesome indie band called The Beets. The in-store begins at 6 p.m. and is absolutely free.

Finally Sunday is that aforementioned Tweedy concert at Sokol Auditorium. Tweedy is, of course, Jeff Tweedy of Wilco and his son Spencer on drums. It’s the closest thing you’re going to get to a Wilco concert in Omaha this year. Opening is Juan Wauters. $28, 8 p.m.

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

 

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Live Review: Ritual Device, Cellophane Ceiling, Nightbird…

Category: Blog,Reviews — Tags: , , , , , , — @ 8:11 pm December 27, 2014
Ritual Device at The Waiting Room, Dec. 26, 2014.

Ritual Device at The Waiting Room, Dec. 26, 2014.

by Tim McMahan, Lazy-i.com

I’m surprised to this day, 20 years after they were really a band, that Ritual Device continues to divide the music community.

On one hand, you have those who think the band not only was the ultimate product of Nebraska during its day in the ’90s, but think Tim Moss and Co. may be the best band that ever emerged from the Good Life State. I was told last night that people had made exoduses to The Waiting Room from as far away as Minneapolis and, of course, Kansas City, where Ritual Device played often back in its heyday. I even traveled down I-29 one summer in the ’90s and saw them tear apart a used record store somewhere on the edge of Westport. Unlike local bands today who seem to play every weekend for reasons I’ll never understand, Ritual Device shows were something of a rarity back then. I can remember the band playing only a few times in Omaha, usually at The Capitol Bar & Grill. So rare were their shows that they became events.

On the other hand, there are those who never “got” Ritual Device, who felt they were a “performance thing” or a gimmick, Tim Moss being little more than a circus geek who instead of biting heads off live chickens showered his crowds with pig ears and other raw meats, a demented circus barker tied up in microphone chord, spitting vitriol and mucus into an adoring crowd that could never get enough of either. I talked to a half-dozen people inside and outside the club last night who planned on leaving after Cellophane Ceiling’s set. Strike that — there were a few who wanted to see “what the fuss was all about,” who could barely remember Ritual Device in their later years but never bothered to see them at The Capitol or wherever they were playing.

I have never been on the fence when it came to the band. Those who malign Moss have their reasons — either they were turned off by the violence of the songs or the crowd that followed them. So be it. But even the most cynical who viewed the band as “an act,” who also have a modicum of interest in punk or metal, have to acknowledge the band’s talent. Strip away Moss’s histrionics and you still have some of the most memorable rhythms and riffs from an era in Nebraska music defined by rhythms and riffs. Mike Saklar was — and is — a top-notch guitarist; Jerry Hug, a genuine groove master, and then there was the preppy-looking guy behind the kit, the secret engine that made the band what it was on stage and on recordings — Eric Ebers — who gets lost in the conversation even though his throbbing drumming is the guidepost to every Ritual Device song.

Anyway… We got there early last night because Teresa didn’t want to stand up for three hours, and we weren’t alone. At 8:15 p.m., an hour and 15 minutes before any band would take the stage, all the tables already were taken by folks who looked older than me, all apparently with the same idea of finding a place to sit down for what would be a long night. Like a bloodhound Teresa found two stools along the ledge 10 feet from the soundboard squeezed behind a table of people that was a mix of biker-looking dudes and their soccer-mom wives. All around us were late-middle-aged couples and overweight guys in 20-year-old concert T-shirts. It didn’t so much seem like a wedding reception as a reunion of retired Hell’s Angels who long ago threw away their leathers.

Nightbird was joined by Pat Dieteman, center, for a handful of Cactus Nerve Thang songs.

Nightbird was joined by Pat Dieteman, center, for a handful of Cactus Nerve Thang songs.

Nightbird didn’t make it on stage until 9:30. By then the entire back end of the club was a mass of boozed up AARP members who clearly were not prepared for what they were about to hear. Nightbird is a stoner-rock band in the Sabbath / Sleep vein, maybe not that plodding but certainly not exactly an uplifting listen. As frontman Lee Meyerpeter ripped into the first song, backed by bassist Jeff Harder and drummer Scott “Zip” Zimmerman I leaned over and yelled into Teresa’s ear, “This one will last 20 minutes.” The set? she asked. No, the song.

And sure enough, it did — 20 minutes of exquisite, plodding, riffage broken into stanzas and brazen guitar solos and Meyerpeter’s raspy, guttural vocals that recalled Kurt Cobain if Cobain could hold a note without shrieking. Nightbird’s debut last July at The Sydney was hit and miss, almost experimental in its take on stoner rock. Last night they sounded like a stadium stone-metal band thanks to The Waiting Room’s far superior sound system and five months’ worth of gigs that honed their sound.

That first 20-minute song was followed by a second, pushed along in the same plodding, stoner pace. And then Meyerpeter welcomed former Cactus Nerve Thang drummer Pat Dieteman to the stage to join the band on some Cactus numbers for what would be a two-thirds reunion. Original CNT bassist Brian Poloncic apparently has hung up his bass for good, refusing to step away even for one night from his current life as a fine artist and author (btw, a large Poloncic print hangs proudly on the wall in Teresa’s home office).

No matter, Harder handled the bass and Dieteman joined in on guitar and vocals for a handful of CNT songs including “High” and “Sunshine” off their infamous Sloth CD recorded in ’93 at Junior’s Hotel in Otho, Iowa, and released on Grass Records. I’d forgotten how many good songs were on that record. The band sounded better than the last time I saw them play, which I think was on a sun-drenched deck outside Sharkey’s for a one-day music festival sometime in the mid-90s.

Meyerpeter is something of a sonic chameleon. I’ve now heard him play in punk, country, heavy-metal, post-punk and now stoner rock bands. He is one of the more versatile and prodigious musicians and songwriters Nebraska has produced in the past 20 years. I was told one of his electric guitars – one he played with Cactus Nerve Thang 20-odd years ago – was being retired after last night’s show, to be displayed in The Reverb Lounge “until they find something better to hang up there” — though I can’t imagine what that would be.

Cellophane Ceiling at The Waiting Room, Dec. 26, 2014.

Cellophane Ceiling at The Waiting Room, Dec. 26, 2014.

Next up was the main attraction for a large part of the audience, the reunion of Cellophane Ceiling. I scoured my memory for the last time I saw the band. During the interview a week or so ago, I mentioned to frontman John Wolf that it was probably at The 49’r and he just shook his head. “We rarely played there,” he said. “You’re probably thinking of Bad Luck Charm.” At one point BLC, a band that also included Meyerpeter, was practically the house band at The 49’r, playing there what seemed like every weekend. If I had seen Cellophane it was probably at the Howard Street Tavern or maybe the Capitol, two other long-lost bars in the annuls of Omaha music history.

I also have no copies of Cellophane recordings. It appears the band pre-dates my interest in Omaha music, and when Wolf and his band took the stage, the only song I recognized was the single “Don’t Play God,” and only because the video on YouTube. But there was a familiar quality to Cellophane’s music that would pop up in Bad Luck Charm and, with the heavier numbers, could be traced as influences to Ritual Device.

What makes Cellophane stand out from the rest of the late-’80s early-’90s punk rock bands is Wolf’s vocals, which have a sort of trucker slur to their delivery, almost a forced, ironic twang as if to say “We’re hicks from Nebraska, you got a problem with that?” It’s a style that would live on in BLC.

Wolf is anything but a hick. He looks, sings and plays exactly as I remember him in BLC. One old Cellophane fan told me his guitar work sounded better than it did back in the day. An ageless precision attached to an ageless rock fury. But maybe not ageless after all. Wolf displayed evidence of his age in the form of his 14-year-old son who joined the band on a half-dozen songs, looking like a well-dressed young punk in his shirt and tie, and more than able to keep up with his old man.

Why Wolf isn’t in a band these days, I do not know. Maybe his life and his family and job keep him too busy to play in bands on the weekends. It’s our loss.

Ritual Device's Moss and Hug center stage, The Waiting Room, Dec. 26, 2014.

Ritual Device’s Moss and Hug center stage, The Waiting Room, Dec. 26, 2014.

Finally, Ritual Device. Tim Moss climbed on stage in an untucked long-sleeved dress shirt, jeans, boots and a ZZ Top-style beard, ready for action. Maybe not ZZ Top. Moss with beard looks more like an R Crumb comic-book hippie, a middle-aged San Francisco Mr. Natural but with shoulder-length hair, neither foreboding nor threatening as he briskly strolled around the stage pulling microphone cords in various directions, grabbing the front stage mic and announcing, “We’re Ritual Device from Omaha, Nebraska” as the band kicked into the first number.

I had pushed my way up toward the front, near stage right, just a dozen steps from what would turn into a pseudo mosh pit and launching pad for Moss’s relentless stage dives that were more like stage lurches, leaning forward onto extended hands that pulled him into and above the crowd while he continued to speak-howl lyrics about serial killers and bizarre sex. Midway through the first melee the older and more timid members of the crowd began peeling off and heading toward the sides or back to their tables with frightened smiles pressed on their faces.

Moss’s stage thing hasn’t changed at all in 20 years. He continuously lurched at the crowd as if begging them to hurt him before he hurts himself… or them. During the second song he pulled out a brown paper grocery sack and began flinging raw pigs ears into the crowd; fans either kept them as souvenirs or threw them back at the stage — all except one Manson-esque looking dude who leaned against center-stage shaking a pig’s ear in his teeth, wagging it at the band.

The rest of the guys looked down at their instruments and smiled while old man Moss continued to get groped in the crowd. Saklar, urban chic in black dress shirt, leaned over his Fender in focused concentration while across the stage was Hug, dressed in a black T-shirt looking like a cross between a fitness instructor and hip Loyola English Lit professor as he shredded his bass. Behind them was the ageless Ebers dominating the sonic landscape with relentless, frenetic yet precise drumming — drumming that, when combined with the riffs and breaks and Moss’s insane mumble-howl, created the tense energy that defines this ageless band.

Ritual Device is indeed the band that time forgot, except of course for Moss, whose crazy beard and shoulder-length Jesus hair has turned him into an angry, crazy grandpa complete with weird, black tiger-stripe tattoos up and down his forearms. Even when he was a clean-shaven lad in the ’90s there was something sinister about his stage presence, a far cry from the person he is in real life.

For those keeping score, the band played all the favorites including “Charlie Jones” and “What You Got.” They did, indeed, sound as good as I remembered them sounding 15 or 20 years ago. And while the frenzy in the middle of the crowd continued until the end, it never got out of hand. There are few modern-day local (or national) bands that bring the level of energy to the performance that Moss does (The closest that comes to mind for sheer weird chaos is probably Worried Mothers).

Reunion shows are precarious things. By their very nature they distort fans’ memories of who the bands were and what they sounded like the last time they played, which may have been decades ago. The risk is that whatever climbs on stage will be a weaker, sloppier and obviously older version of their former selves. That was not the case last night. All the bands did their legacies proud.

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Last minute reminder about tonight’s Good Life show at The Waiting Room. It’ll be butting up against the Huskers playing in the Whatever Bowl, so who knows what kind of crowd will be there. Opening is Oquoa and Big Harp. $13, 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 © 2014 Tim McMahan. All rights reserved.

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Live Review: Little Brazil, Ladyfinger, See Through Dresses, Nightbird; Planes Mistaken for Stars tonight…

Category: Blog,Reviews — Tags: , , , , — @ 12:43 pm July 21, 2014
Little Brazil at The Waiting Room, July 19, 2014.

Little Brazil at The Waiting Room, July 19, 2014.

by Tim McMahan, Lazy-i.com

What a birthday bash for Sara Bertuldo. Something like 150 people (guess-timate) were there to celebrate Sara’s successful journey around the sun and to hear one of the strongest local line-ups in a long time.

See Through Dresses at The Waiting Room, July 19, 2014.

See Through Dresses at The Waiting Room, July 19, 2014.

Sara kicked it off with her band, See Through Dresses. All this talk about a shoegaze revival with bands like Slowdive once again touring. Forget all that and check out this band, which combines the best droning shoe-gaze elements with the tunefulness of Dinosaur Jr. and Pixies. Bertuldo has grown not only in age but in voice, sharing the vocal chores with Matt Carroll, who’s no push-over himself. Post mammoth June tour, they were razor sharp.

As reported, Little Brazil swapped out half its personnel, and the difference was indeed noticeable. Matt Bowen brings a throatier style to the kit, somehow managing to work his way through Oliver Morgan’s intricate lines while adding his own unique voice to the proceedings. Mike Friedman’s lead guitar lines were altogether different not only from what Greg Edds used to contribute to the band, but from what Friedman does as a member of The Lupines. His Lupes’ style is sheer shredding, whereas his ornate touch on LB tunes recalls Layla-era Clapton (Yeah, I said it, I compared him to God). You had to pay attention, though, as Friedman is more musician than showman — playing (at times) with his back toward the audience.

It all came together on the third song of LB’s set, a new tune unlike anything I’ve heard them try before, a hook-laden rocker that separates itself from LB’s standard indie fare thanks to a unique vocal melody and amazing harmony guitars between Landon Hedges and Friedman that recalled the best of Thin Lizzy. This one has “hit” written all over it (too bad there ain’t no such thing as a hit these days). Hedges, btw, was in top vocal form, and bassist Danny Maxwell’s bass continued to be the bedrock it’s all built upon. Where can these guys take this next?

Ladyfinger rounding out the July 19 show at The Waiting Room.

Ladyfinger rounding out the July 19 show at The Waiting Room.

Finally, Ladyfinger framed the evening with its usual bombast. It was a greatest hits set, with no new material (that I recognized, anyway). Here’s yet another band of local legends that has me scratching my head, wondering where they’re headed next.

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Nightbird at The Sydney, July 18, 2014.

Nightbird at The Sydney, July 18, 2014.

Friday night I slipped into The Sydney to catch Nightbird’s debut performance, and it was pretty much as I expected — a set of sludgy, mid-tempo long-form rock songs inspired by your favorite stoner bands. Gerald Lee Meyerpeter howled over his guitar’s feedback as drummer Scott Zimmerman and bassist Jeff Harder provided the foundation. We used to call this “drug music” when I was a kid, and though I don’t do drugs, I can imagine (or maybe I can’t) what it would be like to trip out to this stuff in a smoke-filled bedroom surrounded by black-light posters and halter-tops. Nightbird is all about style rather than songs — if you’re into their kind of dirty sludge, a heavy heaven awaits. PS: Rumor has it they may be adding another guitar, someone from Omaha rock’s not-so-distant past…

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Big show tonight at fabulous O’Leavers — the return of Planes Mistaken for Stars. These guys have been coming through since the late ’90s playing an angular style of post-hardcore punk. Not to be missed. Opening is New Lungs (Little Brazil’s Danny Maxwell in the lead position) and Chicago post-hardcore band All Eyes West. $5, 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 © 2014 Tim McMahan. All rights reserved.

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Maha sales, schedule; Nightbird debut, Man or Astro-Man tonight; Little Brazil, Ladyfinger, Derby Birds, Omaha Girls Rock! Saturday…

Category: Blog — Tags: , , , — @ 12:52 pm July 18, 2014

by Tim McMahan, Lazy-i.com

With their Aug. 16 concert less than a month away, the Maha Music Festival social channels began gearing up the hype machine yesterday. Maha Board member Tre Brashear tweeted that Maha tickets sales are running “50% ahead of last year, so a sellout is possible.”

A sell-out of $50 general admission tickets indeed would be a real coup. Maha tweeted VIP tickets sold out July 1. One assumes this year’s headliner, Death Cab for Cutie, is driving those sales. That said, last year’s headliner, Flaming Lips, wasn’t exactly a pushover (though Maha seems to have gotten the Lips during an era when they are producing their most depressing, uninspired music).

Maha also posted their official schedule yesterday. The Both at 4:30? I would have pushed that back to 8:50 (I know people who are coming only to Aimee Mann and Ted Leo together), but who knows what drives these decisions?

On the other hand, if they really wanted to be ballsy and get people in the park all day, have one of the nationals go on at 1. I know, I know, that just isn’t done, but it sure would raise the crowd level for the locals who have the early slots. It’ll be a shame if Domestica is playing to an empty field.

Here’s the schedule:

mahasched2014

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Lots of shows going on this weekend.

Tonight at The Sydney in Benson it’s the debut of Nightbird, a new trio fronted by Filter Kings’ Gerald Lee Meyerpeter. Joining him is Scott Zimmerman on drums and Jeff Harder on bass. Lee said expect heavy, hard rock bordering on ’70s sludge with a distinct stoner vibe. Bring your earplugs. Also on the card is Old Bones (Rymo lives) and headliner Civicminded. $5, 9 p.m.

Also tonight right down the street at The Waiting Room, it’s ’90s indie-rock instrumentalists Man or Astro-Man? with Portland rockabilly act Sallie Ford. $15, 9 p.m.

The Barley Street is hosting a Bob Dylan tribute tonight with a handful of locals playing their favorite Dylan tunes. $5, 9 p.m.

And lest we forget fabulous O’Leaver’s, where tonight they’ve got Two Shakes, The Broke Loose and Naked Sunday. $5, 9:30 p.m.

Tomorrow night (Saturday) the marquee event is, of course, Sara Bertuldo’s birthday party at The Waiting Room. The celebration includes a performance by Sara’s band, See Through Dresses; the debut of the reformatted Little Brazil (read the deets on the new line-up here) and headliners Ladyfinger. Huge. $8, 9 p.m.

Also tomorrow night, The Derby Birds play at O’Leaver’s with difficult-to-pronounce bands Illium and Ojai. $5, 9 p.m.

Aaaand… Start your Saturday off early at The Slowdown, where it’s time once again for the Omaha Girls Rock! showcase. This is the fourth year for the event, with proceeds going to support the Omaha Girls Rock! project (find out more). One of the funnest shows of the year and a chance to see tomorrow’s stars today! Show starts at 5:30, $5 (but you can add more if you want).

That’s what I got. If I left anything out, put it in the comments section. Have a good weekend.

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Read Tim McMahan’s blog daily at Lazy-i.com — an online music magazine that includes feature interviews, reviews and news. The focus is on the national indie music scene with a special emphasis on the best original bands in the Omaha area. Copyright © 2014 Tim McMahan. All rights reserved.

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