Foxing plays tonight at Slowdown Jr.

by Tim McMahan, Lazy-i.com

Last year Digital Leather released a digital-only collection called Whack Jam. Now a cassette version of the album is for sale via Bobby Hussy’s Kind Turkey Records. It’s all the same great tunes direct from Shawn Foree’s attic studio but now you can enjoy it with added benefit of tape hiss!

The cassette costs $5 and is available for pre-order at the Kind Turkey bandcamp page, here, where you can also hear Whack Jam streamed in its entirety. Get yourselves one before they’re all gone!

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This being Throwback Thursday, enjoy this column printed one decade ago in Lazy-i and The Reader about how to go to movies, restaurants and rock shows alone without feeling like a loser. Bonus: It includes some sweet 49’r memories…

Column 66: Being Alone Together
The art of flying solo.
Lazy-i, March 1, 2006

I was trying to put my finger on why I don’t like going to shows at The 49’r and finally figured it out last weekend.

I swung by at around 11 p.m. Saturday night to catch Past Punchy and the Present — the band I wrote about here last week — but they started early and I was too late and I only caught the last couple songs of their set (which I dug, by the way. Seek out this band whenever it pops its head out of its rabbit hole). A few minutes after they finished their set, I turned around and left. Total time at the Niner (after paying $5 cover and $5 for beer (with tip)) — 15 minutes. No, there’s nothing wrong with The Niner per se — in fact, I’m quite fond of the bar. The staff is first-rate, their PA has never sounded better, the vibe is laidback and fun. No, it’s something else, something ridiculous.

Look, I knew when I started listening to indie music 20 years ago that going to shows was going to be a problem. The genre is underground by its very nature. Friends who I grew up with listening to Zeppelin and Floyd aren’t interested in seeing bands they’ve never heard on the radio. And though my girlfriend likes indie music (almost) as much as I do, she’s physically incapable of staying awake past 11 o’clock (especially on school nights), effectively taking her out of the equation since most indie rock shows don’t start until 10. Add it all together and it meant that I had to get used to going to shows alone. It wasn’t easy.

There are three activities (not including those defined in the bible as “sins”) that just seem strange doing by yourself: Attending movies, eating at fine restaurants, and going to rock shows. Call it the “Loser Syndrome,” most people have deep-seated insecurities about being seen at social events without companionship. No one wants to be thought of as being friendless. But chances are, if you love indie music, indie films or adventurous dining, you’re gonna have to get over it or suffer a future of cheesy cover bands, knife-kill horror flicks and flavorless chain-restaurant dining.

Let’s start with the movies. You want to see “Transamerica” or “The Three Burials of Melquiades Estrada” or Film Streams’ indie movie of the week at The Joslyn. Your friends want to see “Date Movie” or “Saw VII” or whatever piece of shit Julia Roberts is starring in this week. It’s a dilemma; because you’re never going to talk them into seeing “your movie.” You either go alone or wait for it to come out on NetFlix. You’re better off just showing up at the theater about five minutes after the start time and taking a seat in the back. If you’ve never gone to the movies by yourself, it’s pretty weird the first time. But once the film starts, you quickly realize that it doesn’t matter if you’re with someone or not — you’re inside the film’s world now. And when the lights come up afterward, you’ll wonder why you ever cared about going alone in the first place.

Movies are easy. Dining alone, well, that’s another story. The Food Channel is creating a culture of “foodies” who want something more than the usual prefabricated pound o’ flesh served at the neighborhood Chili’s or Appleby’s or The Outback (where, for whatever reason, everything must be smothered in cheese). Good luck, however, getting your crew to eat at, say, an Indian restaurant or — god forbid — Thai. Everyone remembers the “Table for One” scene from Steve Martin’s “The Lonely Guy” where, once seated alone, the restaurant falls silent and a spotlight blares on Martin as a team of waiters clears the other three settings off the four-topper. His solution: Pretend to be a food critic on assignment. My solution: Forget about dinner and go to your restaurant-of-choice at lunchtime, when you’ll be surrounded by a sea of one-toppers. An added bonus: Entrées will cost about a third less.

OK, so what about rock shows.

Is there a comfortable way to go see a band by yourself without feeling like a dork? The task is daunting, but it can be done. Sokol Underground is so dark that once you get in and get your beer no one will see you. Most people at O’Leaver’s are so drunk that they can’t see anything at all. And just like at the movies, no one notices anything after the band starts. There’s really nothing to be afraid of.

It’s between sets that can be weird. At Sokol you can hang out in the back; at O’Leaver’s, just turn your attention to whatever game’s on the television sets. But the Niner, well, there’s simply no place to hide. Just like the guy at the party who doesn’t know anyone, no matter what you do you’re gonna feel like a freak as you stand in everyone’s way waiting for the next band to start.

That leaves you with two options: You can do what I did and just turn around and leave like a wuss, or you can just stand there and wait uncomfortably until the next band starts.

Actually, there’s a third choice. You could — god forbid — actually talk to someone — preferably someone else who looks as uncomfortable as you. Suddenly, you know someone else at the show. And then another, and another. And before you know it, you’re a full-fledged scenester!

On second thought, maybe you should just go home.

— Lazy-i and The Omaha Reader, March 1, 2006

* * *

Speaking of going to shows alone, I’ll be flying solo when Foxing plays at Slowdown Jr. tonight. The St. Louis post-emo band who records for Triple Crown Records (home of Weatherbox) dropped a new album last October called Dealer. Very earnest-sounding stuff. Opening is recent Triple Crown roster addition ADJY, who has a 4-song EP coming out called Prelude (.3333) that is anthemic to the core. This special 7:30 show also includes Lymbyc Systym and Tancred. $13.

Seems like there have been a lot of emo bands coming through towns or in the news lately. Then yesterday Rolling Stone publishes the “40 greatest emo records of all time” (Cursive’s Domestica came in at No. 25). It all begs the question: Is emo making a comeback?

* * *

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 © 2016 Tim McMahan. All rights reserved.

Son, Ambulance on a freezing midtown Omaha porch, circa 2005.

by Tim McMahan, Lazy-i.com

Crazy busy at the office this week. which is why I’ve been lax in doing updates. That, and the fact that nothing much is happening…

So this being Throwback Thursday, let’s take a stroll into the Lazy-i Wayback Machine to 11 years ago (almost to the day) to this interview with Son, Ambulance. As described in the lead paragraph, these were the sunny days of Saddle Creek Records when they could do no wrong, and lost in the hoopla was Son, Ambulance, who a year earlier had released what many consider to be their masterpiece, Key.

Son, Ambulance: Black Sheep Squadron

From Lazy-i, Feb. 16, 2005

Last year was a banner year for Saddle Creek Records. The label enjoyed its most prolific period, with major releases by The Faint, The Good Life and two chart-topping singles by Bright Eyes that would be a prelude to the band’s two full-length releases, the first-ever Saddle Creek CDs to crack Billboard‘s top 20.

Meanwhile, amidst all the excitement and national notoriety, Saddle Creek quietly released what was arguably one of the label’s best albums of ’04, Son, Ambulance’s Key, with little or no fanfare. There was no CD release show, no major U.S. tour, certainly no stories in Rolling Stone or the New York Times.

The lack of limelight was nothing new for Son, Ambulance, which has been Saddle Creek’s most under-the-radar band since their label debut, 2001’s Oh Holy Fools — a split-release with an emerging Bright Eyes.

Son, Ambulance frontman Joe Knapp was mum when asked about his black sheep status at the label. On an unseasonably warm January evening, he’s surrounded by his band — a rag-tag group of un-tucked slackers — on the porch of the Creighton-area house where they practice. Like a band of brothers, everyone speaks at once, each throwing in his two cents or finishing the other’s sentence. The discussion centered around their last tour and a drunken gig in Las Vegas on the 21st birthday of keyboard player Daniel Knapp, Joe’s brother.

“That was a wild night,” Joe says, smiling. “We drove to California to get to the ocean and watch the sun rise.”

“I just decided to get behind the wheel and drive,” said bassist Jesse McKelvey. “By the time everyone woke up, we were there.”

The birthday boy nodded in appreciation. “I had fallen asleep, obliterated. My ears popped as we drove through the mountains.” As the sun rose over the Pacific, they all fell asleep on the beach. It would be one of their last carefree moments on that tour. Days later, the broken-down ’87 Chevy conversion van that Joe had bought for $750 from an alcoholic gambler in Pacific Junction would begin to die piece by piece, beginning with the transmission in Oregon, forcing them to drive to Seattle in second gear. Afterward, the engine blew a seal and began “vomiting oil” before its last gasp somewhere along an Idaho interstate. They were saved by tour mates, Boston band Victory at Sea. At the very least, the experience made for a good story.

Rounded out by guitarist Dylan Strimple and drummer Corey Broman (who fortunately wasn’t along for the West Coast disaster) Son, Ambulance performs some of the most unrelenting and uncompromising music ever to come out of Omaha. How do they make it work? “It’s like going for a jog,” Joe says. “You just run and run and never stop.”

Key is a departure from Son, Ambulance’s restrained, folky debut full-length — 2001’s Euphemystic — thanks to the relentless urgency of its music. Knapp’s psychedelic ballads pound ever forward on Broman’s double-tap backbeats, Daniel Knapp’s ringing music-box keyboards and Joe’s breathy, pleading vocals that desperately try to convince us that everything will make sense if we just pay attention. Songs like the 7-minute “Sex in C Minor” and arch, dreamy “Chlorophyll” ruthlessly pedal forward, climbing steadily up a long hill with no peak in sight.

All that tension is balanced by laidback piano ballads like the Procol Harum-sounding “Case of You/Wrinkle, Wrinkle,” the mournful “If I Should Fall Asleep” with its Scottish highland violin intro, and the honky-tonkin’ rocker, “Taxi Cab Driver,” complete with a scorching blues guitar lick that would make Keith Richards blush.

The CD is launched by the dense, echoing opener, “Paper Snowflakes,” a track that captures all of the band’s best elements and rolls them into one tune that channels ’70s FM rock radio in all its brazen majesty. Despite the critics’ constant comparisons to Bright Eyes, Key and Son, Ambulance sound like nothing else on Saddle Creek’s varied roster.

Days after our porch discussion, Joe Knapp was more forthcoming when we talked privately via phone from his parents’ home in Ponca Hills, where he was spending time with his son, Neal, who inspired some of the music on the new album. Knapp doesn’t so much see Son, Ambulance as the label’s black sheep as much as the last remaining under-the-radar act that continues to struggle for attention while the rest of the Creek bands bask in a glow of appreciation.

“Saddle Creek is kind of like a big family, and in some ways we’re more of a distant cousin,” he said. “At least it feels that way. They appreciate our work and the music, but don’t give us a lot of help, really, other than, you know, great distribution and some help promoting the album. They’re getting used to Bright Eyes going gold. Why waste their time with us?”

But he quickly added that “that’s all business stuff.”

“That’s not what we’re in it for. We’re in it to make quality music and to express my soul to people. Our fans appreciate us, and that makes me realize that I’m touching people and being understood for what I do. In a sense, we belong on Saddle Creek because we’re a true underground kind of band.”

Maybe too underground. With a European tour slated for this spring, the band is struggling to merely acquire better equipment so that they can sound as good live as they do on disc. On top of that, Knapp says it’s time that they find a manager to take care of their day-to-day business. “Conor (Oberst) has a manager to turn down offers,” Knapp says. “In our case, we need someone to find things for us and raise interest in us.”

Should that happen, and should Key ever find a larger audience, Knapp says he could see Son, Ambulance go from being a part-time gig to a full-time job. Today he splits his time between the band, taking classes at UNO and working at Liberty Elementary School. “I could see it being a bigger part of my life,” he said. “I feel like it’s not ready to die yet, you know? I could see us doing this years from now, just quietly doing our thing.”

* * *

Well, they have been quietly doing their thing. Maybe too quietly, as the band hasn’t played live in quite a while. There was talk of a new album, but its status is unknown (to me, anyway). Son, Ambulance remains one of my favorite bands released on Saddle Creek Records, held like s secret among its fans. Here’s hoping some day a larger audience discovers the gold buried right under their noses.

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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 © 2016 Tim McMahan. All rights reserved.

A screen capture from Cursive’s 2004 video for “The Recluse,” starring The Faint’s Todd Fink back when he was going by the name Todd Baechle.

by Tim McMahan, Lazy-i.com

As we do on Thursdays when there ain’t a damn thing going on, I take you by the hand and tip-toe into the Lazy-i Wayback Machine to see what was shaking back in those fun-filled days during the peak of the Omaha indie scene…

From Lazy-i, Feb. 4, 2004: Cursive in front of the camera; Criteria at SXSW; Tilly in the Times…

Saddle Creek Records confirms that Cursive will be busy this week filming a video for “The Recluse,” a song from their last album, The Ugly Organ. It’s probably being done in support of a soon-to-be-released European single of the song. The fine folks at Malone & Co. are producing/directing/shooting the video. Mike Malone goes way back in the Omaha music scene, having photographed a number of local bands from the mid-’90s golden age, including Mercy Rule, Sideshow, Digital Sex, Mousetrap, Secret Skin and Ritual Device, to name a few. The video shoot will be taking place over the next few days at The Dubliner, Joy Club and Joslyn Castle.

Stephen Pedersen of Criteria wrote to confirm that his band has been formally asked to perform at this year’s South by Southwest Festival. No word on the venue yet. Pedersen was one of four bands recommended by The Reader for the festival.

Tilly and the Wall‘s rendition of OutKast’s “Hey Ya!” caught the attention of Kelefa Sanneh, the New York Times biggest Omaha booster. In the article Sanneh says: “But the definitive indie-rock ‘Hey Ya!’ has to be the clap-along version by Tilly and the Wall, an emerging band from Omaha that has a tap-dancer instead of a drummer; it’s the only one that might make André 3000 jealous.” Just another small step in Tilly’s plan for world domination. —Lazy-i Feb. 4, 2004

Whatever happened to Kaefa? According to Wiki: “In 2008, he left The New York Times to join The New Yorker as a staff writer. Sanneh now lives in Brooklyn.”

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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 © 2016 Tim McMahan. All rights reserved.

by Tim McMahan, Lazy-i.com

Celebrating Throwback Thursday…

Hard to believe this was 12 years ago. Dulli is still at it. He recently announced an “intimate solo tour,” which will see him make stops in 11 different countries for a total of 32 shows beginning on February 6, 2016, in Galway, Ireland and wrapping with a two-show engagement on April 1-2 at the Preservation Hall in New Orleans.

BTW, The Afghan Whigs are currently in the studio working on a new album for Sub Pop Records, which will be released later in 2016.

#TBT: Live review: The Twilight Singers, Marianas at Sokol Underground – Nov. 7, 2003

It will go down as arguably the best live show of 2003, and even more precious for the true Dulli/Whigs fans in the crowd (and there were plenty among the 165 on hand, judging by the age and the patter, the constant ongoing arguments over which was his best album, Black Love or Gentlemen or ’65). A handful of people had been there an hour earlier to hear the soundcheck, Dulli apparently was rife with comments about buying cocaine and playing pick-up cover songs. Afterward, Dulli and his band wheeled off to Gorat’s to get themselves a few platters of steak, prepping for a gut-wrenching night (I know those big fat steaks took their toll when, halfway through his set, Dulli said, “I need a nap.”).

While they were gone, Marianas played their set. The Lincoln 5-piece that prides itself on meticulously arranged ambient songs seemed a strange match for a white-knuckle gutter bluesman like Dulli and Co. It ended up being an interesting contrast. Marianas’ music is multi-layered, with two keyboardists, a guitarist, drummer and bassist/trumpeter. If they sounded like Tristeza on their debut CD, they sounded even more so live, like a blend with The Album Leaf and The Mercury Program. There were some obvious problems with their gear that the band must not have noticed from the stage — the guitar was either out of tune or (as one person told me) had a problem with its pedal. The low-end was overpowering, either from the bass or from the keyboard/synth/drum machine, occasionally drowning out the rest of the band. While the drummer did a good job keeping in the middle of everything, I so wanted him to let go and really punish his set. Their best songs featured the bassist on trumpet, and a unique cover of The Velvet Underground’s “Sunday Morning.” I like this band, and would love to see them open for someone like Low or Her Space Holiday.

TBT: Greg Dulli of Twilight Singers at Sokol Underground, Nov. 7, 2003.

Five minutes after their set ended, Dulli and his band walked in and within minutes The Twilight Singers lifted off.

Dulli looked like a lean, sweet, young Jake LaMotta, decked out black-on-black, his gleaming jet-black hair framing a face that is pure Italy by way of Greece, like a thin, fit John Belushi standing short beneath a microphone that was too high on purpose, forcing Dulli to squeeze upward with every note, while at the same time pulling down on his electric guitar.

There’s not much to say about the set other than it was as pure an hour and forty-five minutes as you’re going to hear from any performance. Dulli was in perfect voice; as if time had stood still since the day Gentleman was released 10 years ago. He was obviously having a good time, grinning at the crowd, at his band, at his guitar-tech who stood off to the side of the stage and poured him a plastic cup of Maker’s Mark, constantly feeding him cigarettes between songs. The whole band was tight as a tic, the drummer was especially flamboyant and acted as a perfect foil to Dulli’s wide-open front-man pose.

TBT: Greg Dulli of Twilight Singers at Sokol Underground, Nov. 7, 2003.

I’ve always liked the Afghan Whigs, and own Gentleman and Black Love, but I couldn’t tell you the name of one of his songs. I recognized a few old Whigs tunes, and the tunes off the most recent Twilight Singers CD, which blended seamlessly together, along with a barrage of covers inset within the songs themselves, covering everything from Prince to Derek and the Dominos to Skip Spence (Moby Grape) to The Zombies. Regardless, I knew the purist would be disappointed without a set list, so I swiped one from the stage after the band finished its encores. Here it is, copied letter-for-letter:

Esta Noche
Teenage Wristband
Twilite Kid
That Bird Sings
Cloud Busting
Decatur Street
Love
Annie Mae
Papillon
Dixie Peach / Ying for Yang
Martin Eden
King Only
Jail
Black is the Color/Time of The Season
The Killer/Rhiannon/Layla
________________________
Uptown
66
Faded

Throughout the set, Dulli referenced Council Bluffs at least a half-dozen times, asking the crowd to join him there for a drink after the gig. He deserved it. We all did after that set. I left thinking that Dulli has one of the most distinct and awesome voices in the history of rock, the perfect instrument that can make you cower or cry or stand up straight right alongside him, wanting to testify to love both good and bad and every which way, a dark love that Dulli has seen and wants you to see with him. — Lazy-i, Nov. 7, 2003

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Back to the present…

Kevin Coffey of the Omaha World-Herald just posted another interview with Dan McCarthy in support of tomorrow night’s album release show at O’Leaver’s. You can read it here, and if you haven’t yet, you can read my interview with Dan in The Reader, online here.

* * *

Speaking of fabulous O’Leaver’s, there’s a great show happening there tonight. Cursive’s favorite (recent) tour mates, Beach Slang returns to the club for what should be a rowdy night of rock. Also on the bill is Philly band Lithuania featuring Dominic Angelella and Eric Slick of Dr. Dog. Brooklyn punk band Worriers, whose debut full-length was produced by Laura Jane Grace of Against Me!, kicks things off at 9. This one’s $7.

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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.

#TBT: Tilly and the Wall on Late Night with David Letterman, Oct. 28, 2006.

by Tim McMahan, Lazy-i.com

This Throwback Thursday memory was jarred loose by something I read on Facebook. Apparently before the Cursive show at O’Leaver’s Monday night, the bartender turned down the sound and turned up the TV  so people could view the new Star Wars trailer. It reminded me of another time when the bartender at O’Leaver’s turned up the TV, nine years ago….

Lazy-i Oct. 28, 2006 — Last night at O’Leaver’s, Tilly on Letterman…

When I showed up last night at O’Leaver’s, Black Squirrels had already begun their set of fun, laid-back, folky acoustic songs, the kind that would sound perfect played on a ukulele. Pleasant and unobtrusive, it’s stuff that your mom would love. I’m surprised these guys haven’t played at Mick’s yet. The crowd was clearly there to see them, cheering for an encore, which the trio gratefully provided. Ten minutes after they were done, half the crowd of family and friends left. Looks like the poor Pomonas got Omaha’d.

Then to my surprise, while the Pomonas were setting up, I glanced up at the TV and saw that Tilly and the Wall were going to be on Letterman. I had no idea that they were scheduled for last night’s show. A small group gathered around the TV while the O’Leaver’s soundman wired up a microphone to broadcast the program’s sound over the bar’s PA. The Letterman stage featured the three Tilly girls all standing on plywood platforms like Barbie dolls, as if all three were going to tap dance instead of just Jamie. It’s hard to say how good or bad it sounded. They played “Bad Education” from the new album, which was probably the wrong choice (but which of their songs would have been the right choice?). Actually, it did sound bad, but everyone sounds bad on Letterman. Jamie, Kianna and Neely looked flashy and theatrical. The guy next to me asked if they were Prince’s latest project. “Who are they supposed to be? Vanity 6?” They did sort of come off as a label creation, like a quirky, indie version of The Dixie Chicks. Nick White was hidden on stage, and it wasn’t until about halfway through that the cameras panned away from all the tight close-ups of the tap shoes and hips to reveal Derek Pressnall off to stage right playing guitar and singing. No idea who the bass player was, apparently someone new to the band. If you missed it, I’m sure someone will put it on YouTube eventually. Getting on Letterman is quite an accomplishment, and you gotta believe it’ll result in moving at least an additional 5,000 units.

After all that, on came The Pomonas, playing their usual brand of Lawrence-sounding indie rock (I know, I know, what the hell does “Lawrence-sounding” mean… there’s something about KC/Lawrence indie bands of this vein that reminds me of all those mid-’90s bands from down there that I used to dig). It was a fun, sloppy set enjoyed by the few who remained. — Lazy-i, Oct. 28, 2006

* * *

Back to the present…

The Photo Atlas returns to O’Leaver’s tonight. The Denver band releases a new EP in August, Disregard, Disconnect, and has been touring ever since. I’ve seen them a few times before at the Club and can attest that you’re in for a high-energy event. Cincinnati band Leggy opens along with No Thanks. $5, 9:30 p.m.

Also tonight, Ft. Collins punkers Arliss Nancy headline at The Sydney with Anthems and John Klemmensen and the Party. $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 © 2015 Tim McMahan. All rights reserved.

Head of Femur at Sokol Underground, Sept. 11, 2003. #TBT

by Tim McMahan, Lazy-i.com

This week’s #TBT Moment (above) is Head of Femur at Sokol Underground, Sept. 11, 2003. From the review:

You have to see this band to believe it. People who really dug the Bright Eyes orchestra last year will be the most entertained, although I think this ensemble is far superior. Bright Eyes thing was to create this dense, rhythmic experience (there was something like three percussionist in Oberst’s orchestra). Femur’s is more about creating an almost vaudeville-ian noise. I talked about their sound in the article, but the guy next to me put it more concisely. He turns to me, smiling, and yells “They sound like a 21st Century version of ELO.” Not bad. In fact, pretty damn close. Not quite the same melodies, but a similar intensity. Everyone is on top of each other during the songs, bouncing off one another both physically and musically, creating these large-scale, intricate pop songs that wander from different time signatures and keys and dynamics. For added effect and chaos, two small bubble machines haphazardly made bubbles during a few songs, sending glistening bits of soap around the band a la everyone’s favorite waltzmaster Lawrence Welk.–Lazy-i, Sept. 19, 2003.

If you missed that show, no worries. Head of Femur is scheduled to play at O’Leaver’s Oct. 4, just 12 years after the above show took place. I’m sure nothing has changed.

* * *

You didn’t really think that was the last time you’d see Desaparecidos on an Omaha stage, did you? The band just announced one more gig, this time at fabulous O’Leaver’s Nov. 22 with So-So Glos and Digital Leather. All for a mere $20. I suggest you buy your tickets now to this very limited engagement.

* * *

Tonight at The Slowdown (main stage) it’s the return of The Mynabirds, performing songs off their new album, Lovers Know (reviewed here). Opening is Minneapolis band Bad Bad Hats (Afternoon Records) and the amazing High Up. $10, 9 p.m. Expect a crowd.

Also tonight, Rock Paper Dynamite continues its month-long residency at O’Leaver’s. Opening for them tonight is Matt Cox and Sidewalkers. $5, 9:30 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 © 2015 Tim McMahan. All rights reserved.

by Tim McMahan, Lazy-i.com

You’ve probably heard by now: Eagle*Seagull is getting back together, at least for one night.

Sayeth Ian Aeillo yesterday via FB: “Eli and I are getting back together to perform as Eagle Seagull again; October 9th at the club (which is fabulous O’Leaver’s, of course). Ten year anniversary of our album. So So Sailors headlining.” Little Brazil also is on the bill.

Aeillo said the lineup for Eagle*Seagull would be him, Eli and his brother Luther Mardock, Eli’s wife Carrie Mardock and Eric Nyffeler.

So just one show? “One show only,” Aeillo said. “And no plans for any new record because Eli and I might kill each other if we were to make another ES album.” Fair enough.

In recognition of this announcement and for Throwback Thursday, here’s an interview with Eagle*Seagull from nearly 10 years ago, written in conjunction with the release of that debut album.

Eagle*Seagull circa 2005.

Eagle*Seagull: Flippin’ the Bird

Lazy-i, Nov. 17, 2005

Indie band Eagle*Seagull doesn’t take kindly to being called “Lincoln’s version of The Arcade Fire,” even if it’s meant as a compliment.

“Comparisons like that make you sound less original, like you’re trying to catch a wave or something,” said the band’s guitarist Austin Skiles while two brethren band members — frontman Eli Mardock and drummer Britt Hayes — sipped tasty beverages next to him at Caffeine Dreams.

Skiles is right, of course. No band wants to be compared to another band, especially if that band is the hottest thing currently happening in the indie world. It’s sort of like being called “This year’s Interpol,” another band, incidentally, that Eagle*Seagull also resembles, along with classic acts Talking Heads and David Bowie.

Originally called The Good Looks when first formed in October 2004, the band changed its name to Eagle*Seagull in January while recording their debut CD at producer Ian Aeillo’s bedroom studio. “Ian made these noises that sounded like an evil seagull,” Mardock said. Too much alcohol transformed that description into Eagle*Seagull (The asterisk, apparently, is meaningless).

“We’ve been told that eagles and seagulls also are natural enemies,” Mardock added for irony’s sake or to give the name a little more weight than merely being a drunken misunderstanding.

Before the band completed its nine months (off and on) in Aeillo’s bedroom, they already found a label — Nashville’s Paper Garden Records. Never heard of it? Probably because Eagle*Seagull’s debut is catalog number 001. Upon seeing the band perform in Lincoln, former Nebraskan Bryan Vaughan made up his mind to launch the label with their debut. Vaughan, a former intern at both Sub Pop and Saddle Creek Records, now lives in Nashville where he attends Belmont University.

He made a smart choice. Eagle*Seagull’s debut, released Oct. 11, is one of the year’s best locally produced CDs, capturing the band’s sweeping, urgent, yet jittery energy. The ensemble is rounded out by Eli’s brother, Luther Mardock, on guitar and vocals, J.J. Idt on guitar and banjo, Mike Overfield on bass, and newcomer Carrie Butler on violin and keyboards.

So far, Skiles said, the CD has received good notices. “It’s done well for an album recorded for as little money as possible,” he said. “We’ve had a pretty good reception for a bunch of dorks writing songs.” — Lazy-i, Nov. 17, 20015.

By the way, Aeillo confirmed that Mike Overfield, J.J. Idt and Austin Skiles won’t be participating in this reunion.

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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.

by Tim McMahan, Lazy-i.com

What ever happened to Sorry About Dresden?

Turns out Let It Rest, which brought them to Omaha in 2003, would be the band’s swan song, though according to Wiki they released a 7-inch split with The Jaguar Drop in 2006 and contributed to a Guided by Voices tribute album in 2011. They also contributed to a 2004 Will Oldham tribute album. The last update at their official website is dated Feb. 19, 2008. And then there’s this YouTube video, also from 2008. The only member who appears to have remained active musically is James Hepler, who joined I Was Totally Destroying It. That band’s most recent EP, Blood on the Beach, came out in 2013 on Greyday Records.

Dresden’s more tuneful emo-indie style never caught on in a big way, though they’re among my favorites from the early Saddle Creek Records days. So on this Throwback Thursday, from July 9, 2003…

Sorry About Dresden takes flight circa 2003.

Sorry About Dresden: Rooting for the Home Team

July 9, 2003 – Lazy-i.com

“I don’t think you can ever really escape Omaha, and I mean that both in a good way and a bad way,” says Sorry About Dresden guitarist / vocalist Matt Oberst.

Somehow, the Omaha native has managed to escape the confines of the city itself, relocating to North Carolina seven years ago, along with former SAD bassist Matt Tomich (we’ll explain the “former” comment in a minute) to become a teacher as well as part of the then-burgeoning N.C. music scene.

Oberst says his Omaha roots influence his approach to music and the business. “People who leave Omaha still have this home-team ethic going for them, which is stronger than in any other community,” he said. “When they find out that a band has connections to Omaha, they just want to help them out.”

It was an Omaha connection that helped draw Tomich and Oberst together. The two first talked about forming Sorry About Dresden at a January 1997 Commander Venus concert (a band in which Oberst’s brother, Conor, sang lead) in Chapel Hill. Tomich introduced Oberst to drummer James Hepler and guitarist/vocalist Eric Roehrig, both North Carolina natives. Six months later, the four played their first gig at a local club.

So is Tomich’s recent decision to leave the band a shock? Not really, Oberst said. “Matt turned 30 and decided he’d rather do other things than drive around in a van and be in the same bar in a different city every night,” he said. “I’m telling people he’s pursuing a solo acting career.”

Oberst said Tomich felt that the timing was right for his departure. With the tour that brings SAD to Sokol Underground July 15, the band will have finished crossing the country supporting their most recent release, Let It Rest. “That means we’ll be taking a little time off to work on new songs,” Oberst said. “I don’t think we’ll be touring in earnest again until next spring.”

Stepping in at bass is Finn Cohen, an old friend of the band and former guitarist for The White Octave. “Hopefully he’ll want to become a full-fledged member,” Oberst said. “With his songwriting skills, he would bring a whole lot to the band.”

But can anyone ever really replace Tomich? Oberst says the band lost more than a bass player, they lost a figurehead. “He’s one of those people who knows someone in every city,” Oberst said. “We’d be in a subway in New York City and someone would walk up to him and say, ‘Matt, is that you?’ He’s the figurehead that everyone knows, and in that sense, it’s sad that he’s leaving.”

With Let It Rest, Tomich goes out on a high note. Released earlier this year as the follow-up to their Saddle Creek Records debut, the CD perfectly melds bone-jarring, over-the-top indie rock with the band’s fist-pumping anthem style. The sound is more-varied than earlier releases, constantly straddling that fine line between punk and pop.

“We do ‘abrasive’ very well, but we can’t do the Sonic Youth ‘interesting noise’ thing for very long. That’s not our strength as a band.” Oberst said. “You can sit and strum most Sorry About Dresden songs on acoustic guitar. They have that singer/songwriter structure. We take those pretty pop songs and, at times, tear them up. We destroy what we build. I like the freedom of having those sing-along anthems right along with the quiet songs.”

SAD also has the distinction of being one of the more uplifting acts on a label that has its share of stark, angry bands. Oberst says he and Roehrig approach songwriting like putting together a collection of short stories rather than the more thematic approach taken by bands such as Cursive.

“My perspective is very skewed,” he said. “The first band I was in was with Tim Kasher and Matt Maginn. I grew up with Conor and listening to Norman Bailer which became The Faint. I’ve watched as all the bands on the label have sort of grown into their voice. They are coming into their own to do what they do very well.”

He said being lumped in with such a group of high-quality song writers is a distinct advantage. “Being on Saddle Creek, you can call up a club and they will book you immediately. It’s great,” he said. “To some degree, we’ll always be the new band on Saddle Creek because we’re not part of that core Holy Trinity. In that sense, people’s opinions of us are stronger one way or another than they would be if we were on a different label. There’s a set of preconceptions people have about you due to the label and who you are. You’re constantly asked if you’ve lived up to your potential.”

But maybe the biggest advantage to being on Saddle Creek, Oberst said, is working with people you know and trust. “We have a record label we can call up and deal with as friends, not some monolithic organization,” he said. “It’s nice to be part of that family.”

–Lazy-i, July 9, 2003 http://www.timmcmahan.com/dresden.htm

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A few shows happening tonight.

SLC drug/surf-rock band Dark Seas headlines at Midtown Art Supply, 2578 Harney St. Joining them are local bands Black Finger Cult (Brian Tait among them) and Calm Fur.  This is listed as a 7 p.m. show, $5.

Also tonight Brooklyn’s Pony Farm opens for White Wolf T-Shirt and Buffalo Sex Change at The Barley Street Tavern. $5, 9 p.m.

And the Under the Radar Festival continues. Tonight it’s at The Joslyn, Bancroft Street Market and House of Loom. Details and schedule here.

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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.

by Tim McMahan, Lazy-i.com

On this Throwback Thursday, here’s another tumble into the past via a live review of three brand new bands on the scene… in 2003. BTW, is this the first documented use of the term “kill” in a live music review?

Live review: Criteria, Statistics, Tilly and the Wall — a night of pop – June 15, 2003

This was probably my favorite overall show of the year thus far, because each band complimented the other with its unique take on pop. For one night, melody reigned at the Sokol Underground with three unabashed lovers of pure rock smiling from the stage.

Tilly and the Wall at Sokol Underground June 14, 2003.

The show started later than normal at around 10:15, I’m told because they expected the sets to be short — these are three brand new bands here with a limited repertoire. Tilly and the Wall took the stage like a team of waiters at Grisanti’s making their way to a table to do a “happy birthday” chant — clapping and stomping their feet as they hopped into position.

Tilly is three girls (two of whom were in Magic Kiss) and two guys on guitar and keyboard. The drums were replaced with Jamie Williams’ tap shoes and plenty of hand claps, absolutely appropriate for these happy, peppy, fun-loving acoustic songs sung mainly by the women, with the guitarist adding some vocals here and there. Imagine Park Ave. mixed with an upbeat Azure Ray and you begin to get the picture. It was fun, and cute… maybe a bit too cute toward the end, but hey, everyone was having a good time.

I made this statement last night and I stand by it this morning with the fog of alcohol firmly lifted from my judgment: Tap-dancing will sweep the nation and UK as the primary form of rock percussion by this time next year. Who can deny its infectious nature and pure staging value? Williams’ feet cut through the noise crisply, thanks to what appeared to be a microphoned plywood amplification box. The downside (for Williams) is that there’s no way she’ll be able to do that on any sort of sizable tour, especially if their set ever grows beyond its current 20 minutes. She looked bushed by the end of the second song, and who can blame her?

Statistics at Sokol Underground, June 14, 2003.

Statistics, headed by Denver Dalley of Desaparecidos (I didn’t recognize the rest of the trio on drums and bass). The band played songs off their soon-to-be-released Jade Tree EP and they sounded pretty good, though Denver’s vocals were a wee bit off. Part of it was that his mic wasn’t turned up enough. But most of it was his uncertainty on stage. Watching from the side, Dalley seem a bit hesitant to belt out the vocals and as a result, they were thin and slightly off pitch. Chock it up to stage rust — his tour only just began a few days ago. I suspect as he gets more comfortable on stage and listens to the playback he’ll either get more confident. Musically, the compositions are as first-rate as they are on the CD, but more guitar- than electronically-driven. I liked the tone, and the girls seemed to like looking at Denver. Someone yelled “Take off your clothes!” from the audience. Denver shielded his eyes, gazing out through the crowd, and said, “Mom? Are you out there?” Funny.

Then Criteria came on and killed everyone.

Criteria at Sokol Underground, June 14, 2003.

With this performance, they immediately put themselves on top of the list as one of the best Omaha/Lincoln bands for pure-energy post-punk. Stephen Pedersen has surrounded himself with some amazing musicians, not the least of which is AJ Mogis on bass and backing vocals. Mogis, with his receding hairline, glasses and beard looked like a radio DJ or a ’70s-era Walter Becker standing next to the suave Pedersen all covered with sweat like a young Rock Hudson. Pedersen is a phenomenal guitarist, but second guitarist Aaron Druery is just as remarkable. Drummer Mike Sweeney topped it off with pounding precision — he would give even Clint Schnase a run for his money. The comparison is apt when you consider that Criteria’s music is clearly an off-shoot of early Cursive, right down to Pedersen’s Kasher-like vocals.

With such a prof line-up, the band is amazingly tight, and lord knows they have to be considering the intricacy of their music — time changes, syncopation and massive breaks abound. Beneath it all are some of the most hummable post-punk melodies you will hear from anyone in the business these days. Pedersen looked elated to be on stage again, and the whole band glowed with an energy akin to pride. They performed every song off their Initial Records’ debut, En garde, and what I believe was an early Cursive song — I’m bad with song titles. It was introduced by Pedersen saying, “This next one will show our age.”

The irony of Criteria is that there are no plans for them to play again in the near future. Pedersen told me during our interview that only this Sokol date had been set up — they hadn’t even lined up a Lincoln gig yet (though he acknowledged he’d like to do a show there, but didn’t know where or how). There are no plans to tour, though he’ll continue to play local shows. He said the band hopes to hit the road sometime this summer, when Pedersen can take some vacation time from his attorney gig. It’s a shame because this band is ready right now and would conquer any tour they could line up. They would be a sure crowd-pleaser on a Cursive tour — something that probably won’t be happening too soon as I’ve heard Cursive will take some time off when they finish this tour so Kasher can get to work writing the next Good Life CD. It could be a long time until out-of-towners get a glimpse of Criteria.

As for the crowd, it was a regular Who’s Who of the Omaha indie scene. Among the 300 on hand were most of the members of Bright Eyes (including Oberst), most of the members of The Faint, Azure Ray, half the Saddle Creek office staff, members of The Carsinogents, Little Brazil, Fizzle Like a Flood, The Movies, Bliss Repair, The Mariannes, Oil, and maybe most astounding of all, local legend Dave Sink, operator of The Antiquarium record store, who rarely attends shows these days. The last time was a Monroes show a month ago, before that, maybe two years since I’d seen him in a club.–June 15, 2003

Dave, we all miss you.

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Welp, good ol’ Conor Oberst returns to The Waiting Room tonight. Conor’s out supporting his most recent solo album, Upside Down Mountain (2014, Nonesuch). Alas, the show is sold out. And if you didn’t get tickets in time, you’re not alone. I also didn’t get tix in time. We snooze, we lose. Opening is The Felice Brothers. Starts at 9 p.m.

Also tonight, Oklahoma indie band Deerpeople plays at fabulous O’Leaver’s along with Lincoln’s Universe Contest and headliner Lightning Bug. $5, 9:30 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.

TBT: Spoon’s Britt Daniel at Sokol Underground, April 19, 2001.

by Tim McMahan, Lazy-i.com

With nothing else happening today (or tonight), here’s a little Throwback Thursday action, from the Lazy-i Wayback Machine, April 19, 2001. Looking forward to seeing The Good Life folks return to stage…

Live Review: Spoon/The Good Life

April 19, 2001

Sokol Underground, Omaha

There were two notable distractions the night of Spoon/The Good Life at Sokol.

Distraction No. 1 — Someone had “remodeled” the Underground since the last show I attended (only a few weeks earlier). Gone were all the rock posters from shows over the past 10 years or so. Gone were the band stickers and the markered graffiti. Gone was the flat-black paint job. All had been covered by cheesy faux-pine paneling, washed-out brown and grooved, hardly rock. I asked the promoter about the decor change, and he said it had been like that for a long time. It hadn’t, but he’s not one to notice the details.

Distraction No. 2 — the promoter decided to try a different sound system for tonight’s show. More streamlined and not as loud, I could actually listen in comfort with my earplugs kept cozy in my pocket. The promoter thought it actually sounded louder than the usual system (but he’s not one to notice details). Of the 200 who showed up, the ones I asked either gave the PA a thumbs-up or complained because they thought the drums sounded bad. You can’t please everyone. I thought it was the best sound the venue’s ever had.

Especially on The Good Life’s set. Tim Kasher’s Robert Smith-like vocals never sounded better, or maybe he’s been working on his annunciation, because I could understand every word he sang. They played a number of songs off their current Better Looking Records release (the dreamy Novena for a Nocturn), as well as a few what I assume were new songs that pretty much fit into TGL’s regular canon of moody, poppy indie songs of love and loss. The sound was remarkably full, thanks to a couple extra accompanists including a guy on accordion and woman (from Bright Eyes?) on keyboard. Vivid memory from the set: drummer Roger Lewis, sitting off the side of the drum riser, smoking a cigarette and looking almost forlorn while the drum machine provided the tick-tock accompaniment for one of the tracks.

The house lights were still up, the between-set music still on and people still getting beers, talking and generally mulling around when Spoon began playing their set. “Is he actually starting?” the guy next to me asked. We thought they were still tuning. But no, Britt Daniel had started playing what would be a string of intense rock songs, one after the other, with only the briefest of pauses between them.

Before the set, a guy I was talking with while standing by the entrance, trying to look inconspicuous amid the youngsters (I wasn’t alone — Spoon’s Daniel had also been skulking around during TGL’s set, sitting on the soundboard stage or leaning against a wall, chatting up the girls at the merch table, etc.), had said he came to see The Good Life and only knew about Spoon from what a friend had told him: That they sounded like The Pixies. I told him that their new CD Girls Can Tell, was actually much poppier, more Beatle-esque. As the set ran on, the guy must have thought I was an idiot or didn’t know who the Pixies were, because live, even those pop ditties from the new CD sounded Pixie-ish, certainly harder, faster and, well, modder than recorded. This four-piece version of Spoon were well-oiled and road hardened, tight as a unopened pickle-jar lid. Daniel and company sweated out almost the entire new album plus about a dozen “greatest hits” before leaving the stage, only to come back and do a 3-song encore — a rarity for any band at Sokol Underground.–April 19, 2001

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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.