RAF at The Waiting Room, May 17, 2014.
by Tim McMahan, Lazy-i.com
Rough crowd at the Punk Rock Reunion show Saturday night at The Waiting Room. An example of just how rough:
While standing at the bar waiting to buy my usual Rolling Rock, a big fat biker-looking dude about my age tapped me on the shoulder and said, “Thanks a lot for cutting in line.” I looked over at him and his two big fat biker buddies and said, “Sorry, didn’t see you guys standing there,” at which point he gave me a “What the fuck?” look, and then said, “Don’t worry man. What’s your name?” I said it was Tim, and he said (while shaking my hand), “My name’s Jack, as in Jack Miyoff — haw haw haw.” His fat pals rolled at that one. I just rolled my eyes and moved along, feeling like Luke Skywalker during the Cantina scene of Star Wars, hoping Obi Wan would show up and cut the fat biker’s arm off.
Strange crowd. Lots of bumping and jostling. Lots of angry old people. Lots of drunks. But I guess it’s what you’d expect from a punk rock reunion. The only thing worse than angry young punks is bitter old ones. But at least they have good taste in music.
As evidence, I give you RAF. The band put out a few cassettes back in the ’80s, including one that spent a lot of time in the tape deck of my Ford Fiesta. The band consisted of guitarist Paul Moerke, drummer Tim Cox, bass player Dereck Higgins and frontman Matt Miller, who formed the band. For Saturday night’s reunion gig, Kelly Callier, formerly of Jimmy Skaffa, took over the frontman role and did a yeoman’s job pushing the crowd to match the energy on stage. The break-neck performance was matched by a break-neck mosh pit, just like the old days.
Mousetrap at The Waiting Room, May 17, 2014.
Mousetrap followed. Their set felt more realized and steady than the last time they played at The Waiting Room about a year ago. There’s always been something disturbing about the band’s music. When they were just kids, you chocked-up the music’s pain and violence to energy and youth. Now that they’re older, the songs take on a more sinister quality. Or maybe it seems more dangerous because it seems real, like these guys could actually do whatever it is frontman Patrick Buchanan is singing about. Scary.
In case you’re wondering, local hero Matt Bowen pulled it off behind the drum kit, supplying the necessary bombast to keep the action rolling.
Cordial Spew provided a hardcore ending to what turned out to be a hardcore night. They played a set that was much more together and professional than the band I saw play at Our Lady of Guadalupe Social Hall in the ’80s. The show back then was a brutal mess, while Saturday’s show was simply brutal, and a reminder (along with the night’s earlier sets) that some things do get better with age, just ask Mr. Miyoff.
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Conor Oberst, Upside Down Mountain (Nonesuch, 2014)
Breaking with the usual Tuesday release-day schedule, today is the official drop day for Conor Oberst’s new solo album, Upside Down Mountain (Nonesuch, 2014), and the reviews are coming in fast and furious. They are arguably the best reviews he’s had for one of his LPs in years.
Not the least of which is the all-important Pitchfork review, which gave the album a slightly better than mediocre 6.5 rating. The review’s conclusion: “It’s gorgeous to the point of near gaudiness, a ‘return to form’ after a strange decade evolving from wildly prolific, heartbreak soundtracking, Winona Ryder-dating enfant terrible into a domesticated Americana bard no longer interested in why to be young is to be sad. Hopefully, Oberst will find a way to make ‘older and wiser’ just as revelatory.”
Rolling Stone was more laudatory with its 4-Star review. None other than David Fricke weighed in with: “But like Neil Young’s Harvest and Jackson Browne’s Late for the Sky, this is dreaming stalked by despair, then charged with rebound. ‘There are hundreds of ways,’ Oberst sings in that song, ‘to get through the day. . . . Now you just find one.’ Here’s a good place to start.”
All Music gave the record 4 Stars. Stephen Thomas Erlewine’s review concluded with: “Oberst remains an eccentric — he’s not one for obvious hooks, or even insistent melodies — but of all his albums, Upside Down Mountain feels open-hearted, measured, and bright, the kind of record that opens up a new chapter in a career and possibly wins over new listeners.”
The Guardian also gave the record 4 stars, concluding “…melodies emerge strongly from these simple musical settings and there’s little to distract from his lyrics, which explore solitude and regret – those hoary old staples of US road music – in rich and inventive ways.”
Drowned in Sound gave the record 8 out of 10, saying “...the new album is bathed in a Laurel Canyon glow, but it’s by no means a throwback. It comes on with a rootsy, sure-footed poise far removed from the dense electronics of Bright Eyes’ 2011 release The People’s Key, though the bigger difference here is the nature of the lyrics found within.”
Consequence of Sound gave the album a grade of B, concluding with “...Oberst at least has his first good album in years, and the songwriter’s narrative has a ways to go before we can judge whether he fulfilled all those expectations put on him 20 years ago when he was still a child.”
To counter all the raves, Pretty Much Amazing gave the record a grade of C-, stating: “…the very distance between the album’s mellow, casually lovely sonic maturity and Oberst’s thematic arrested development results in an eerie, unintended detachment.”
As for what Lazy-i thinks, I’ve only had the album for a couple days so I’ve yet to come to a conclusion other than to say it’s the most overly produced Oberst album I’ve ever heard, and that it seems to be an obvious reach for a larger audience.
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Tonight I’m off to Lincoln for the Morrissey concert at Rococo Theater. We have general admission balcony seats, which means we may or may not be able to actually see the performance. This one’s been sold out for a long time.
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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.
Well, the Pitchfork review of The Faint’s new album, Doom Abuse, just came out. Those arbiters of all things hipster gave the record a mediocre 6.1. To his credit, critic Ian Cohen spent a lot of time in his review trying to dissect the album’s lyrics, which is good and all, except no one listens to Faint records expecting some sort of lyrical revelation. They listen for the beat, the color, the energy. I mean, how many times have you contemplated the meaning behind “Going to the Hospital” or “Erection”?
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