by Tim McMahan,  Lazy-i.com

Clearing out the ol’ inbox…

Looks like Bright Eyes is back and they’re bringing some close friends with them on the road. The band announced additional North American dates, but no make-up date for the cancelled Omaha show (due to Conor Oberst’s “voice issues”). Will the resched happen? Who knows. 

The band also announced that Cursive will be joining them on the road in April for 18 gigs, including an April 26 show at Val Air Ballroom in Des Moines. In addition, Grrrl Camp 2024 stand-out band, Hurray for the Riff Raff, is touring with Bright Eyes in late February and most of March. 

Now we all wait to see if this tour actually happens….

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Don’t get me wrong. It still rates a “Yes” on the Lazy-i scale, but you have to be in the mood for it…

The Cure, Songs of a Lost World (2024, Universal) — It would be a shame if this winds up being The Cure’s finale as Songs of a Lost World is mostly a dismal rehash of the dense, drone, downer music the band invented with Disintegration. But unlike that landmark album, Songs has no contrasting “Pictures of You” or “Lullaby” or “Lovesong” to counterbalance the endless thundering murmur. 

The closest thing to a deviation from the drone-goth recipe are the crack-bounce “Drone:Nodrone,” which could have been the album’s biggest single, and buzz-saw rocker “All I Ever Am,” which would have been a better album closer than “Endsong,” a 10-minute black-draped snooze that highlights the biggest problem with this record – these songs just seem to crawl on and on. Whereas the 9-plus-minute “The Same Deep Water as You” from Disintegration never bores thanks in part to its sweet, playful lyrics. 

Don’t go looking for anything playful in these odes to doomsday, with lines like “We toast with bitter dregs, to our emptiness” (opening track “Alone”), or “As you hold me for the last time / In the dying of the light” from “And Nothing Is Forever” or “It’s all gone, it’s all gone I Nothing left of all I loved” from album closer “Endsong.” You get the idea. Someone’s feeling old.

So who is the audience for this album? Certainly long-time Cure fans desperately looking to relieve their personal dread from 30 years ago will be satisfied as this is their best effort since 1992’s Wish. And then there’s the new, young fans who will discover The Cure for the first time. For those sad young goths, this may become their Disintegration… Rating: Yes.

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Way back in October, The Red Pears reached out for support for their show at The Waiting Room (reviewed here). I offered the Ten Questions survey. Unfortunately, they didn’t get around to filling it out until after the show had come and gone. I sat on the interview, mainly because the responses were less than forthright, but their publicist keeps asking “where is it?” so here you go, for your reading pleasure:

Ten Question with The Red Pears

These 10 questions inspired by the Pivot Questionnaire (you might remember this from Inside the Actors Studio):

1. What is your favorite album?

The Red Pears’ Jose Corona: There are many to choose from. Something we all definitely agree on are those early releases from the early 2000’s garage/indie bands. The Strokes, Arctic Monkeys, Interpol, and even things from earlier eras like Pixies and Black Sabbath. I wouldn’t say it was one album that changed everything and is above the rest. But it’s a culmination of albums. 

2. What is your least favorite song?

I don’t think there is a least favorite song. I think every song and art is admired in its own ways for its own reasons. And that can change on a day-to-day basis. It’s all in the mood of things. 

3. What do you enjoy most about being in a band?

I think just being able to play music with your friends. Creating art. Sharing that art. And being able to do that across states and regions and countries. And meeting other bands and people that are doing the same thing. I suppose it’s our “job,” but it honestly doesn’t feel like one. Maybe it’s a very cheesy thing that is said, but it’s true. When you love what you do, it doesn’t feel like a job. 

4. What do you hate about being in a band?

I wouldn’t say hate. Hate is a strong word, haha. Things can be tiring and stressful and frustrating, but what isn’t, you know? I feel like when you encounter obstacles and problems with things that you’re not passionate about, it feels like a real chore. That’s when you hate it. But when it’s something you’re really passionate about, you find ways to overcome those obstacles and problems. 

5. What is your favorite substance (legal or illegal)?

Water! Haha, it’s been saving our lives. 

6. In what city or town do you love to perform (and why)?

Hometown shows always hit differently. But it’s also nice to receive warm welcomes when we’re far from home. 

7. What city or town did you have your worst gig (and why)?

I wouldn’t say there’s been a worst gig. Even ones where things go wrong or don’t go according to plan aren’t the worst. They end up more so becoming lessons to learn from. Things can always be worse. 

8. Are you able to support yourself through your music? If so, how long did it take to get there; if not, how do you pay your bills?

We fortunately are able to. It took a lot of years and risks and sacrifices. It still requires risks and sacrifices and just smart financial management. It’s honestly a great feeling to say that this is what we do for a living. That is something that we really cherish. 

9. What one profession other than music would you like to attempt; what one profession would you absolutely hate to do?

Hmm…nothing really comes to mind. There isn’t a path that one would say is better. And if the path isn’t the path we’re on, then those are probably the paths that would bring unhappiness and dissatisfaction. 

10. What stories have you heard about Omaha, Nebraska?

Nothing really! I think a nice part about touring is the traveling aspect of it. I believe this is our second time coming to Omaha. The people have been very welcoming and supportive. It’s nice to see sights and meet people that you normally wouldn’t have the chance to if it weren’t for music.

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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 © 2024 Tim McMahan. All rights reserved.

by Tim McMahan, Lazy-i.com

I showed up at Reverb Lounge Saturday night at around 9 figuring I’d missed the opener when, in fact, there were two opening acts. The door guy said High Curbs already played, and Ultra Q was up next for a short set before Red Pears. 

I always try to catch opening acts when possible, at least half their set, anyway. I’d never heard of Ultra Q and was surprised at the crowd’s size (around 100) and enthusiasm. As well as the number of older folks flecked among the kids. 

On came Ultra Q. Their website has no bio information, so I was flying blind. In the old days, you’d call their sound “power pop,” just bordering on the edge of emo, but with more straightforward – at time straight-4 – rhythms. The drummer was ultra clean and economic in his approach and drove the whole band. In fact the entire band was well-honed.

Ah, but the vocalist… while his voice was fine, he had an affected style that clearly sounded as if he was aping Billy Joe Armstrong from Green Day (with the lead guitarist dropping in a few out-of-place hardcore growls). 

Looking at the notes I wrote that night: “Bay Area band, great energy, great drummer and guitarist, but… Green Day vocals.” Well, the vocal similarities can be forgiven, because it turned out the lead vocalist was Jakob Armstrong, son of Green Day’s Billy Joe Armstrong. You get a pass if you sing like your dad. Interestingly, the band’s music had more in common with early Cure than Green Day. No songs stood out, but with that talent it’ll be interesting to see where they take their sound.

Maybe that explained the crowd’s demographics (and why all the chairs had been removed from the club)?

The Red Pears had been advertised as a trio, but there were five dudes on stage at 9:40. Listening to their latest album, Better Late than Never (2024, Daycare Records), I couldn’t figure out where the “Latin tinged” came from in the one-sheet, other than the guys’ names (frontman Henry Vargas, bassist Pat Juarez, drummer Jose Corona). 

Their sound certainly wasn’t Latin-tinged, more like indie post-punk a la The Strokes, bordering on White Stripes’ psych-rock. Actually, they reminded me of Sheer Mag (“Expect the Bayonet”), and vocalist Vargas even sported a masculine version of Christine Halladay’s snarl. 

After a couple songs, one of the five musicians left the stage and the Pears played the rest of the set as a four-piece. And then, four or five songs or so in, Vargas sang some Spanish lyrics. Latin-tinged indeed. Great band.  

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It’s back to Reverb Lounge tonight for Advance Base, a project of Chicago singer/songwriter Owen Ashworth of Casiotone for the Painfully Alone. His latest EP, The Year I Lived in Richmond (2024, Run for Cover), is a lonely, sparse collection of quiet, keyboard-accompanied memory songs. Pretty. Joining him is UK singer/songwriter Katie Malco, who has worked with the likes of Laura Stevenson and SOAK in the past. Our very own Jim Schroeder opens this show at 8 p.m. $15.

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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 © 2024 Tim McMahan. All rights reserved.

by Tim McMahan, Lazy-i.com

While undoubtedly indie in nature, MJ Lenderman and his band, The Wind, really have embraced the whole classic rock persona. On stage last night at The Waiting Room they looked like they could have walked right off the back cover of a ’70s-era rock album by your choice of Laurel Canyon superstar. Why, that guy on rhythm guitar looks like he was in Buffalo Springfield! That guy on keyboards and maracas, didn’t he play with Den Felder? 

All six musicians were super talented, and I like just about all of Lenderman’s songs, especially off his new album, Manning Fireworks, which will go down as one of the best of 2024. There’s an honesty to his personal lyrics as they lean back on a layer of subtle rock that’s just shy of alt-country (thanks, in part, to that pedal steel, played by a guy who looks like he could have been in the Flying Burrito Brothers). 

Lenderman and his band rifled through their hits, and as I stood back by the bar, a guy I know leaned over and yelled, “I thought they’d be more lively than this.”

I responded, “Have you ever heard their albums?”

Lenderman’s music is best enjoyed while driving on a long road trip, the kind of music you can get lost in and sing along to (after you’ve heard it a few times). But on stage it was kind of dull. Ocassionally Lenderman would go into a feedback-driven accoutrement at the end of a song (that went on too long). In a way, he reminded me of Tom Petty, a guy whose music I love, but, live, bores the piss out of me. Or maybe I’m just jaded after last week’s Fountaines D.C. show…

That said, the near-capacity crowd soaked it in, with many up by the stage singing along. But the further back you went, the chattier the crowd became, with people having full-blown conversations back by the bar (actually, I saw a couple women carrying on about their day right up front, yelling at each other over the band). 

Much more lively was opening act Ryan Davis and the Roadhouse Band. I arrived late, not feeling in the mood for a set of southern or “blues” rock, and ended up kicking myself for it, because Davis and his band had more in common with acts like Silver Jews. 

Davis closed out his set with a killer version of the opening track from his 2023 album, Dancing on the Edge, called “Free from the Guillotine,” which I’m listening to right now; an album I’ll likely be listening to all weekend long…

Onto the weekend (and it’s a non-Husker weekend at that!).

Tonight on Slowdown’s big stage Provo folk-rockers The National Parks headlines. The band has grown its fanbase over the years; they’re on the road supporting their latest, Wild Spirit, another album of hand-clap-stomp folk (I’m sure there’s another name for the genre). Elias Hix opens at 8 pm. $25.

Also tonight, ’70s-style heavy-metal punkers Psychotic Reaction plays at The Sydney. Local electronic act Benjamin Gear X opens at 8 p.m. (and remember, this is The Sydney, where 8 usually means 9… or 10). $10.

As mentioned, the Huskers have a by-week, which makes for good timing for Farnam Fest. Running from 3 to 11 p.m. in the parking lot behind Scriptown in the Blackstone District, the live music line-up is:

• – 4 p.m. – Minne Lussa
• – 5:30 p.m. – Velvet Velvet
• – 7 p.m. – Cowgirl Eastern
• – 8:30 p.m. – Clarence Tilton
• – 10 p.m. – DJ Herricane Cole

$10 entry this year; with food trucks and booze, etc. 

Saturday night, Reverb Lounge is hosting garage-rock trio The Red Pears. Hailing from El Monte, California, that band calls their sound “Latin-tinged” and I guess I can hear that, though they have more in common with The Strokes, at least to my ears. They’ve played Coachella a couple time and are a good get for the tiny Reverb stage. Ultra Q + The High Curbs open at 8 p.m. $25.

Also Saturday night, The Sydney is hosting a 4-band bill headlined by Jeff in Leather with Ex-Lover, Public Circuit and Pagan Athletes. $15, 9 p.m. 

And (surprise!) there’s a show at fabulous O’Leaver’s Saturday night — metal band Living Conditions with FACE and Spurney’s Hawk. This one’s free and starts at 9 p.m. 

Finally, Sunday night it’s back to The Sydney (man, they’re booking a lot of shows!) for darkwave performer Dancing Plague. $12, 9 p.m. 

And that’s all I got. If I missed your show, put it in the comments section. Have a great weekend. 

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Read Tim McMahan’s blog daily at 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 © 2024 Tim McMahan. All rights reserved.

by Tim McMahan, Lazy-i.com

It’s the unofficial Halloween weekend at the bars and clubs — never a good weekend for live indie shows. This year is the exception. 

Tonight at Reverb Lounge, San Gabriel Valley band The Red Pears headlines. The trio has been kicking around since 2014 playing a sort of slacker-indie rock with jangly high-reverb guitar and simple beats. Their recent album, 2021’s You Throught We Left Because The Door Was Open But We Were Waiting Outside (Cosmica Artists) sounds like a garage version of The Strokes. l’d never heard of these guys prior to this show, but could be interesting. Opening is So Cal band Benches, who’s played in the past with iKNHOW and Foster the People among others. Very produced, with synths and smoothy vocals. Texas pop-punk-noise band Floats kicks things off at 8 p.m.  $15.

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Tomorrow night it’s back to Reverb for the grand finale from No Thanks. We’ve watched these folks grow into one of the best bands in the area over the past three or four years, so it’s tough to see them hang it up, but I guess they know what they’re doing. Come say goodbye along with their pals Cat Piss and Hussies. $7, 9 p.m. 

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And here’s an early head’s up about Monday’s Jeffrey Lewis and the Voltage show at The Sydney. I’ve seen Mr. Lewis before and love his stuff (and his comic books, which I’m sure he’ll have for sale at the show). The finest modern, indie, folk/anti-folk (in the Moldy Peaches vein). Check out this extended interview with Lewis (both parts linked from the article) conducted the day after Trump was elected in 2016 (Ugh!). Opening is the always awesome Nathan Ma. Again, this is Monday, Halloween, though I don’t see any sort of “costume requirement” in the listing (though it’s the Sydney so everyone will be wearing a costume because the Sydney is madcap). $15, 9 p.m 

So, a little extra. If I missed your show, put it in the comments section and have a great 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 © 2022 Tim McMahan. All rights reserved.