No update yesterday because I was too busy writing this week's column, which will (most likely) be online tomorrow. Local promoter and boy genius MarQ Manner says the the new O'Leaver's MySpace is completely updated, with 29 shows listed. That said, somehow MarQ didn't list this Saturday's show featuring The Third Men, Tomato a Day and Anonymous American. But it's a little early to start talking about next weekend when I'm still recovering from last weekend.

A glance at Mick's schedule shows that The Song Show is tonight with Kyle Harvey and Reagan Roeder (The Ointments). Reagan told me last Friday night that he's moving to Wichita sometime this week. Apparently his girlfriend got a new job out there. Regardless, you'll still be seeing and hearing from Mr. Roeder and The Ointments on a semi-regular basis.

In other news (and there's not much of it today), while digging through information about the Sundance Film Festival I ran across this item -- scroll down to the Jan. 24 (4 p.m.) entry and you'll see a listing for a "musically inspired reading" by Tim Kasher and Nik Fackler of their "collaborative film" Lovely Still. It goes on: "Recently, Kasher adapted his gift for narration to suit the big screen with his screenplay Help Wanted Nights for which he has written the accompanying soundtrack." Is someone trolling for financing? Better yet, how does one get a copy of the scripts?

MTV online is reporting that Mr. Oberst is being honored in April by the Gay and Lesbian Alliance Against Defamation, during the organization's annual Media Awards. "GLAAD picked Bright Eyes as the recipient of its Special Recognition Award; actor/director John Cameron Mitchell, who helmed the band's video for 'First Day of My Life,' will share the honor," MTV says. "The video features straight and gay couples sitting on a couch, listening to the track for the first time. The GLAAD Media Awards will air on Logo on April 15 and VH1 on April 16."

That's it for now...

--Got comments? Post 'em here.--

Trend alert: The piano is back, at least judging by how the bands at Sokol last night relied on keyboards. And these keyboards weren't synth-tones or organs, they all were set to "piano." Which makes this some sort of trend in my book, at least among indie bands.

Eagle*Seagull sounded as good as you would expect on Sokol's stage with its superior sound system and room to roam. This was the first time I really noticed the violin (though barely) on a couple numbers. Their sound seems to continue to evolve, as this set was dramatically different than the O'Leaver's set a few months back -- fuller, more well-bodied, just like a good beer. Imagine how they'll sound after they tour for a few months. A glance at their myspace account shows that the band will be heading out for a month and a half of dates starting Feb. 9 at The Replay Lounge in Lawrence, traipsing throughout the south, southeast, east coast and back through the Midwest, returning home to Duffy's March 19. They are arguably the hottest band out of Lincoln right now, on the verge, and will likely be the first Lincoln indie to achieve a Saddle Creek-level of success.

Next up was Ghosty. The Lawrence four-piece played a tight set of poppy indie rock with shades of Pavement and Dismemberment Plan. Pretty. Interesting. Very radio friendly thanks to a frontman that can belt it out like a real pro.

Then came Landing on the Moon sounding the best that I've ever heard them, better than I thought they could sound, better than they sound on their EP. The first two numbers made me doubt the comments I'd written in my feature about the band, the ones where I said their music has a '60s flair to it. Those first two songs were decidedly modern-sounding, very Wolf Parade/Arcade Fire-esque, except for the keyboards that were front and center. Megan Morgan only uses a "grand piano" tone on her keys, and the effect adds a warm wash over their electric edges. LotM has a distinct advantage in that they have three vocalists, each handling leads on one of the first three tunes, and each adding harmonies throughout -- those harmonies make all the difference, especially in these days when so few bands know how to harmonize at all. That said, vocalist/guitarist John Klemmensen was the standout, with a gorgeous, brassy style that easily cuts through the arrangements. The fact that drummer Oliver Morgan could sing leads at all while providing his classic stickwork is impressive enough; his harmonies, however, are where he really shines. Then there's Megan, clearly the crowd favorite -- every intro where she was mentioned was met with hoots. In addition to playing the songs from their EP, they unveiled two new ones that they'll regret not having recorded for this release. One was a Klemmensen song that had a pop edginess, while the other featured Megan and reached back beyond the '60s to the '50s, glowing with Shawn Cox's Honey Drippers-style slide guitar. Central to every number was Morgan's drumming -- crisp and bouncing or deep and throbbing and exactly what it needed to be. Unlike the other three bands on the bill, LotM doesn't have well-defined tour plans. They'll have to figure out a way to build on this show's momentum to keep moving forward.

Finally, on came Minneapolis' Clair de Lune, drawing the biggest crowd reaction (though by midnight at least a third of the 165-paid had left). You could call them Cursive with keyboards, but that wouldn't be quite right. Their keyboard parts are so distinct and interesting that it makes the band stand apart. Again, using mostly an acoustic-piano tone, the keyboards were simple but added a layer of coolness echoed by the lead guitar. I can see why people dig this band, though they seemed almost too regressively indie to me, especially their vocals, which had a Victory Records tint to them.

--Got comments? Post 'em here.--

When Joyner played the opening chords of "747" from the Golden Age landmark album, 1994's The Cowardly Traveler Pays His Toll, I was transported back to the last time I heard Joyner play the song, standing on stage at the old Howard St. Tavern with a drummer behind him, an electric guitar slung around his neck instead of the usual acoustic, and a head of curly black hair. That night was Joyner's '65 Newport performance, the first time I'd seen him "electric." And it was electric. It was a perfect moment that I never heard repeated again, until last night.

Every Joyner performance is a unique journey that could just as easily drift into dissonant chaos as splendid order. Last night's O'Leaver's gig was the latter. Backed by the Wind-up Birds, a band that includes guitarist/keyboardist Dave Hawkins, keyboardist/guitarist/pedal steel player Alex McManus, bassist Mike Tulis and drummer Chris Deden (at least I think that was him), Joyner found himself in the middle of solid rock, albeit with its fair share of rustic twang. This incarnation of Simon Joyner casts off the dark-blue Leonard Cohen frock for a well-wrinkled straw hat and western-cut shirt. No, the new music isn't C&W or alt-country, it's Joyner backed by The Band circa Blonde on Blonde. Equal parts folk, country, blues and rock, Joyner's new material sit atop a bed of broken-glass guitar noise, thick meaty bass and plenty of feedback. Joyner seems to have found the proverbial sweet-spot where melody and dissonance meet to form a beautiful, soulful noise that burns going down.

I don't know the names of the songs and couldn't tell you what he was singing (the vocals, though plenty up front, were still lost in the mix). I can tell you they were heartfelt and that I hope he includes a lyric sheet with the new record. The highlights included a song performed toward the end of the set where Hawkins switched to keyboards, pounding out Ray Manzarek-style keyboards atop one of Tulis' simple bass lines. As the song ground toward its inevitable conclusion, the band put itself and the crowd dead center deep within a trance-inducing riff that repeated itself like a throbbing headache (in a good way). Moments later, they followed it up with "747," a song that everyone in the ass-to-tea kettle crowd seemed to know even though you'll never find a copy of that record anywhere (even the folks at AMG don't list the album on their Joyner discography). It was a perfect fit for this band -- the best collection of musicians that I've heard Joyner perform with. It begs the question as to how tightly sewn this conglomeration of talent is. Would they tour with Joyner if he wanted to tour? Could they? Would they? Who knows. I know that if they did hit the road together, they would gouge a permanent mark across stages throughout this country and others. I wonder if Joyner wants that. He could have it all right now.

Just another quick reminder of tonight's marquee gig: Landing on the Moon with Ghosty, Eagle*Seagull and Clair de Lune at Sokol Underground. Get there early...

--Got comments? Post 'em here.--

The annual winter lull in shows is slowly ending, based on this weekend's schedule. Take a look:

Friday Night:

Simon Joyner and the Wind-up Birds is at O'Leaver's with Iowa City's Miracles of God. Joyner and his band, as everyone knows, recorded a new number of new tracks recently for an upcoming album on Jagjaguwar Records. Word has it that it's some of the best stuff of his career. Here's a chance at a sneak peak. I've been spending a lot of time with Joyner's just-released B-sides and singles collection Beautiful Losers -- an excellent introduction to his early work (though nothing beats The Cowardly Traveler Takes His Toll, which remains out of print. Perhaps Jagjaguwar will step up and make it part of their Joyner rerelease campaign). Miracles of God is a low-fi indie/garage four-piece that reminds me of laid-back Neil Young. Good stuff. I suspect that this will be a very packed show, as Joyner shows usually are at O'Leaver's. $5, 9:30 p.m.

Madison, Wisc.-based Charlemagne is playing at Mick's with David Potter. Charlemagne records on SidCho Records, the same label as Neva Dinova. As a result, there's been some confusion as to the band's home town, with the good folks at SXSW accidentally reporting that they're from Omaha. There's a funny retelling of the blunder online at the Isthmus (read it here). Charlemagne plays jangly, acoustic-folk indie clearly influenced by Simon and Garfunkel and the Beach Boys. $5, 9 p.m.

Meanwhile, down at Sokol Underground, Sarah Benck and The Robbers are playing with Anonymous American and The Scott Severin Band. $7, 9 p.m.

Saturday Night:

A huge show at Sokol Underground with Clair de Lune (Deep Elm Records), Lawrence band Ghosty (Future Farmers Records), Lincoln's Eagle*Seagull (Paper Garden Records) and Omaha favorites Landing on the Moon, who are offering their brand new EP for sale that night. You'll never have a better chance to see these rising stars all on one bill. $7, 9 p.m. Get there early.

--Got comments? Post 'em here.--

Column 61: Parsley, Sage, Rosemary and Grey
Now boarding, the new Holland Center

I don't know if it's fair to compare and contrast the brand-spanking new Holland Performing Arts Center with antiquated Orpheum Theater. After all, you could argue that they're two completely different species of birds. Apples and oranges, as it were. But it's impossible not to think of one while contemplating the other, especially when their fates seem to be so intertwined.

I got my first eye- and earful of the Holland at the Art Garfunkel Omaha Symphony pops concert last Saturday night (Yeah, I know it's not very indie, but give me a break. Garfunkel and his other (more creative) half have influenced just about every indie-folk act going these days. Now get off my back!). What were my first impressions of this gleaming multi-million dollar venue? Here's the run-down.

The show's start time was 8 p.m., so we left our Dundee-area home abruptly at 7:30 p.m. Parking was a breeze -- for $6 you can pull into the garage right across the street. Everyone balks at the $6 fees for Qwest and most Old Market parking, but hey, that's the way it is when you live in the big city, especially if you're going to show up 15 minutes before curtain or not wear a coat over your suit jacket.

The venue's lobby was less than breath taking. With its straight lines, neutral colors and enormous windows, it has all of the charm of an airport terminal. Even the wet bars situated here and there look like little ticket counters. The only thing missing were traditional airport-style uncomfortable chairs. Instead, tiny Ikea-like benches were hidden along the windows that look out over an unlit, unkempt Central Park Mall. The perfect finishing touch -- a recorded cattle-call announcement piped through the lobby proceeded by electronic chimes signaling that the show was about to begin. I halfway expected a voice to tell me that all unattended baggage would be confiscated.

Of course in the onslaught of humanity I was completely lost. Thankfully, one of the many helpful Symphony volunteers directed us up the stairs where those with orchestra-circle tickets (price $60) enter the concert hall. And what a hall it is. It looked like a Scandinavian designer's wet dream -- blonde wood chairs on blonde wood floors accented with tasteful touches of brushed aluminum. The room seemed futuristic with its creme-colored acoustic tiles and massive light panels hanging over the stage like the Close Encounters spaceship.

As I took my seat I thought about how new and clean it all seemed. The place smelled like a just-moved-into house or a furniture showroom doused in fresh lacquer. It reminded me of that smell that comes from cracking open a brand new book, wondering where you're headed over the next few hundred pages. The Holland smelled like possibilities. It certainly didn't smell of memories. Not yet.

First up was conductor Ernest Richardson and the Orchestra warming up the crowd with a selection of pop tunes from the '60s, starting with the theme from the James Bond movie Goldfinger, which was followed by the theme from Mission Impossible and whitest version of the Otis Redding's "Respect" that you'll ever hear -- completely devoid of a drop of soul. The crowd ate it up anyway, along with the Beatles' medley (featuring mostly McCartney numbers. What did I expect?).

Then on came Art Garfunkel looking, well, like he looked in all the movies I've seen him in. Maybe a little older. Same hair, though more brown (and gray) than red. At 64, I expected Artie's countertenor to be a bit worse for wear, but nothing could be further from the truth. Other than the high note at the end of "Bridge Over Troubled Water," he was spot on throughout the entire performance, charming the crowd with stories about his sordid past with Paul. There were a few quibbles -- it was a mistake to switch the words "Joe DiMaggio" with "Cornhuskers" on "Mrs. Robinson" even if the crowd loved it.

So how was the sound?

Perfect. Even the amped vocals sounded great on top of the orchestra. "Well, you've built yourselves a real nice hall," Garfunkel said to a round of applause, adding what a pleasure it was to play in a venue with such good acoustics.

But I couldn't help but wonder what Artie would have thought of performing in The Orpheum, with its dust and must, its ornately carved and painted balconies and ceiling, its huge old stage, its long, velvet drapes, its ghosts of a thousand performances past. The Holland may have state-of-the-art acoustics, but the Orpheum echoes with something even louder, something that won't be heard inside the Holland for another 80 years.

The Landing on the Moon piece went online this morning (read it here). The band is playing a star-soaked show this Saturday night at Sokol Underground with Clair de Lune, Ghosty and Eagle*Seagull. All six of us talked for a couple hours at Blue Line last Sunday morning. It's remarkable how long these guys have been playing together in various projects dating back to Blenny, Revilo and Reset. Topics that really didn't get covered thoroughly enough included how Oliver Morgan will coordinate his time between LotM and his other band, Little Brazil. Their schedules appear to be in sync, though, with LB going back into the studio in March and then going out to SXSW as part of the Mt. Fuji showcase. There should be plenty of time this summer for a LotM tour. That said, LotM's trial by fire will take place next month when they play O'Leaver's on the 24th, either Denver or Boulder on the 25th and then Duffy's on the 26th (They also have a March 13 gig at O'Leaver's with Mt. Fuji band Slender Means). Though he didn't come out and say it, Oliver indicated that Little Brazil is Landon Hedges' project -- Landon, after all, writes the music, Landon is the frontman. LotM is "five members each with a 20 percent stake." That said, guitarist John Klemmensen was quick to say that Oliver was the band's leader, while Oliver said he loves both bands equally for different reasons, adding that he's learned a lot being in Little Brazil. It'll be interesting to watch the two bands evolve and see how he juggles the responsibilities. If anyone can do it, it's Oliver. So far, Landing on the Moon has sent their EP to Deep Elm Records with plans to send it to the usual suspects (Creek, Mt. Fuji, etc.). Only labels with distro are being considered, and in return, LotM will essentially guarantee touring. Stay tuned.

--Got comments? Post 'em here.--

Both Jenny Lewis and Chan Marshall a.k.a. Cat Power are duking it out today as their releases hit the store shelves. Lewis strikes first with Rabbit Fur Coat and has a decided edge both because of her local connections -- the CD is being released on Conor Oberst's Team Love Records -- and in the press, easily outscoring Cat Power in the imaginary Google power ratings. There's a shit-ton of stories online about Lewis, about half of them still getting it wrong that she's from Omaha.

Marshall, on the other hand, has been around a lot longer than Lewis, she's sort of a legacy artist who released music on Matador back when Matador was "the label" to be on. These days, Matador is just another indie powered by those legacy artists, including Yo La Tengo, Stephen Malkmus (Pavement) and Belle and Sebastian (There are a few significant new adds to their roster, not the least of which is The New Pornographers, Mogwai and Interpol, but they're getting fewer and further between).

At the end of the day, it comes down to the music, of course. Rabbit Fur Coat, recorded with The Watson Twins, is easily the best thing Lewis has produced since The Execution of All Things back in '02. The focus has been on the CD's more-rural tracks, like the twangy "The Big Guns" and the intro "Run Devil Run" that seem to channel June Carter Cash. Fact is, once you get past those two tracks, the CD turns into an Azure Ray-style indie outing with plenty of uptempo numbers and the distinctive Mogis touch (on the numbers he helped produce).

That said, however, Rabbit Fur Coat doesn't stand a chance against The Greatest, the new one by Cat Power. This is the first album that Chan has produced that I've enjoyed from beginning to end. She's sanded down the rough edges, added the necessary accompaniment and written the most heartfelt and tuneful songs of her career. Sure, she's sounding even more like Mazzy Star with her sleepy, slurred vocals and warm mid-tempo dream-melodies, but she's also reminding me more and more of Joni Mitchell and Rickie Lee Jones, especially when she jazzes it up with horns (like on the centerpiece, "Willie"). Maybe she's just getting older, and wiser, and better.

Both CDs are worth the price of admission, but Chan wins this one in a knock out. Now if we could only get these two in a real ring...

--Got comments? Post 'em here.--

Tuesday-Jan. 31-Record Hop-Birth To Burial (Denton Texas)
Friday Feb. 10- Mi and Lau
Friday-Feb. 17--Missing Zori
Saturday-Feb. 18-Sarah Benck and The Robbers
Friday-Feb.-24-Landing on the Moon
Sunday-Feb. 26-Bring Back The Guns and The Dead Swing
Tuesday-March 7-Shuttlecock (tentative)
Thursday-March 9-Chris and Aura-Monday
Monday-March 13-Life After Laserdisque/Landing on the Moon
Tuesday-March 21-The Black Swans
Saturday-April 1-Lovekill-hooked up national touring band (tentative)
Monday-April 10-Headlights-Someday Stories
Saturday-April 15-Bloodcow/The Nerds
Tuesday-April 18-Voodoo Organist/Life After Laserdisque
Saturday-April 22-City On Film

That's a not-so-veiled reference to the Art Garfunkel concerts this weekend, which will be my first foray into the new Holland Center. Even though it's not very indie, I'll be reviewing the performance (and experience) the following morning (Sunday) on the blog. I so rarely get to wear a sportcoat these days (and I have a humdinger).

So what's going on tonight? Glancing at the various online calendars, the answer is: not much. Tomorrow night, however, is a different story.

At The 49r Saturday, perennial favorite The Third Men are playing with The Pendrakes. $5, 9 p.m. Should be packed.

Meanwhile, at Sokol Underground, The Atlas headlines a show with Kite Pilot and Luminoso Lashkar. $7, 9 p.m.

That's all I got, folks. If you know of any other notable shows, drop me an email.

--Got comments? Post 'em here.--

Bring on the Major Leagues
SXSW is the Indie World Series of Rock

The fine folks at Austin's South by Southwest Music Festival have announced this year's participating bands for the four-day event that begins March 15. If the current list -- available via the Internet at www.sxsw.com -- is true, than this year's fest will be one of the least-represented by Nebraska artists in quite a while.

The only bands I recognize from our neck of the woods are Saddle Creek acts Broken Spindles and Criteria (Saddle Creek's latest signing, San Francisco's Two Gallants, also made the list as part of Creek's SXSW showcase). But if you read the fine print, you'll notice that the current online list (which already exceeds 850 performers) may not be complete. The final list won't be online until mid-February, so fear not, local bands whose dreams are tied to this hype-filled spectacle. There is still hope… but only barely. Something tells me this is pretty close to the final cut.

Interesting bands that caught my eye upon a cursory glance: Aloha, Arab Strap, The Brunettes, Centro-matic, Goldfrapp, Her Space Holiday, Damien Jurado, Ladytron, Ted Leo/Pharmacists, Mogwai, Metric, Willy Mason (once of Team Love Records, now of Astralwerks), The Silos, Stan Ridgway, Robert Pollard, The Twilight Singers, World Party (now there's a name I haven't heard in a couple decades) and X.

(Over)Hyped bands on the list include Clap Your Hands and Say Yeah (Who've just been booked to play at Sokol Underground March 31), Brazilian Girls, The New Pornographers, Death in Vegas, Earlimart, Erase Eratta, Flogging Molly, The Go! Team, Susanna Hoffs & Matthew Sweet, Juliette (Lewis) and the Licks, Morningwood, Beth Orton, Radio 4, The Secret Machines and The Willowz.

And then there are all those familiar bands from days gone by. Mary Lou Lord, Eleventh Dream Day, The Apples in Stereo, The Brian Jonestown Massacre, Mates of State, The Starlight Mints, Tristeza, (the horrible) Dashboard Confessional and Echo & The Bunnymen come to mind.

It's interesting that SXSW quotes UK newspaper The Guardian regarding its origins: "In its 19-year history, it has grown from being a jolly spring get-together for a few hundred U.S. indie labels and musicians in search of a deal, to an international gathering that is the most important date in our music industry calendar."

In fact, SXSW doesn't claim to help unsigned bands at all, instead boasting that the event "presents new opportunities to make your vision reality. Musicians and the companies they work with have used SXSW as a cost-effective way to promote themselves since 1987. They come back year after year because SXSW works!"

*Gag*

Look, it's easy to bag on SXSW. Yes, the event's glory days were in the '90s. Yes, they've strayed from their original intent -- almost all the bands listed already are signed to some sort of record label. In fact, I'm not sure exactly what the point of the showcase is anymore other than to give music industry wonks a vacation after a long winter's nap. Everyone argues that the CMJ (College Music Journal) Festival in New York is more important these days, but the only way to get invited is to be part of a label showcase, which means all you unsigned bastards are out of luck.

No, there's another reason why SXSW still reigns as the king of festivals. We live in an era when major labels -- already on creative life support -- are starving for artistic sustenance. Like head-trauma patients waking from a decade-long coma, they're just coming around to the idea that there might be something to this whole "indie rock" thing. After all, just look at the popularity of movies like Garden State and Teevee shows like The OC. Hell, nowadays every TV commercial sounds like an instrumental track off the last Postal Service album.

The best way for the big labels to get in on the trend is to steal some indie for themselves. As a result, SXSW could become a big feeding ground for majors looking to pluck bands out of indie obscurity.

The talked-about deals after this year's SXSW won't be centered on needy unsigned bands and needy indie labels, but hot indie bands stolen by needy major labels. SXSW is a virtual Minor League World Series of Rock, where the home run hitters will be bestowed with tour buses, music videos, Clear Channel airplay and, of course, plenty of signing-bonus money.

What's a lowly unsigned band to do?

Instead of bemoaning your omission from the invitation list, get a gig at one of the many non-SXSW-sponsored venues the week of (or the week before) the big showcases. Sometimes the only Field of Dreams is the one you make yourself. Build it and they will come.

Spanish for 100, Metric (self-release) -- A friend of mine has a band that he vehemently denies is alt country even though their twang is undeniable. I bet Spanish for 100 holds that same denial. Though their rhythms are straightforward, mid-tempo fare, the vocals are Wilco-esque and the guitar roar is only missing a pedal steel. In fact, the guitar work here is the most riveting part of the recording. On any given song, the guitar counters the vocals in a preordained sloppy approach, just banging into whatever feels right, off the beat or just behind it. There are a couple songs where the guitars seem to wander off in their own strange angles, pulled (eventually) back into the fold by the rhythm section. The final result is that Spanish has a tightfisted jam band essence about it, especially on "See Now (Live at the Crocodile)" that pulls together all the elements into a crowd-pleasing roar. Go ahead and clap. Produced by the Phil Ek. Rating: Yes

Thanks to everyone who entered this year's Lazy-i Best of 2005 compilation CD giveaway. As always, a highly scientific procedure was used to determine the winners: Tiny scraps of paper with each entry's name were placed in a ball cap. My dog, Sam, was then forced to sniff out five "winners," which were, in fact, stuck to her rather wet nose. It doesn't get any more random than that. So without further ado, the winners are:

Adrian Mejorado, Weslaco, TX
Bob Longmore, Minneapolis, MN
Caitlin Adams, Marriottsville, MD
Brendan Walsh, Omaha, NE
Jessica Gentile, Poughkeepsie, NY

Your CDs will be dropped in the mail tomorrow (and they better not wind up on eBay!). Thanks again, everyone, for entering.

Tonight at O'Leaver's Providence, Rhode Island, band Get Him Eat Him takes the stage with localites Civic Minded. GHEH's Geography Cones was released last year on Absolutely Kosher Records -- home to such acts as The Wrens, Frog Eyes, and The Swords Project. I like this band -- they sound like quirky indie pop, with a fine mix of guitars and synths -- and had originally intended on writing a feature on them, but the logistics didn't work out. 10 p.m., $5.

--Got comments? Post 'em here.--

Today is the last day you can enter to win a copy of the Lazy-i Best of 2005 Compilation CD. The last day! I've been told that this year's collection is among the best of the series, which goes all the way back to 1994 (Just imagine what that cassette could fetch on ebay...). Tracks include songs by Of Montreal, Eagle*Seagull, Iron & Wine, Mercy Rule, Teenage Fanclub, Okkervil River, Sufjan Stevens, Maria Taylor, Orenda Fink, My Morning Jacket, Spoon and more. The full track listing is right here. To enter, send an e-mail to me (tim@lazy-i.com) with your name and mailing address. Your odds of winning have never been better. I'll announce the winners in tomorrow's blog entry.

I only hit one show this weekend -- the Hot Shops Lincoln artist/Eagle*Seagull shindig. They must have been pleased with the draw -- very crowded indeed. The sound was what you'd expect in an artspace, however -- very boomy -- and the band was playing on the floor, which means you couldn't see them. So while I like Eagle*Seagull, bad sound and nothing to see but people's backs drove me away after only a couple songs. Never fear, though, because Eagle*Seagull will be playing in Omaha again Jan. 28 on a showcase the features Clair De Lune, Landing on the Moon and Ghosty.

Tonight is a big-ticket show at Sokol Auditorium -- Big Head Todd and the Monsters with The Nadas. I remember BHTatM from their 1993 alt-rock hit "Bittersweet" off the Sister Sweetly album. I have no idea what they've been up to since. Nor do I know anything about The Nadas other than they sound like The BoDeans and have a similar following. $25, 8 p.m.

--Got comments? Post 'em here.--

Before we get to what's cooking this weekend, though, let me pass along various email and online articles that have been burning up my mailbox:

-- Saddle Creek has followed Merge Records' lead and is now offering free one-time digital file downloads to buyers of vinyl releases. Downloading record albums has always been the scourge of vinylphiles. I use a software called PolterbitS that takes a signal from my stereo fed into an input in my PC and allows me to record as the record plays. It's a pain in the ass. With Two Gallant's What The Toll Tells, slated for release Feb. 21, buyers will for the first time have access to a code that's printed in the album sleeve that can be used to access the album in mp3 format for download onto their PC/Mac/iPod. They only get one shot at the download, but that's all they need. There's a brief article about it at Aversion (read it here). "We are fans of both vinyl and listening to music on our iPods, and the two don't work very well together," says label guy Jason Kulbel in the article. A smart move that shows Creek's commitment to a format that reigns for its undisputed cool.

-- Speaking of Saddle Creek, the company's Slowdown project got kudos in Mayor Mike Fahey's State of the City Address Wednesday. Fahey was listing examples of where city government served as a catalyst for new development. "A perfect example is Omaha's North Downtown," he said. "The area is becoming Omaha's newest urban neighborhood and will be the home of the nationally known and locally grown Saddle Creek Records. Their project, which includes a concert venue, housing, a restaurant and independent movie theater symbolizes the energy and opportunity of this area and will provide an impressive link between the Qwest Center, Creighton University, our North Omaha redevelopment and downtown." Meanwhile, from my crow's loft perspective over the project site, I can report that the bulldozers have not moved on the Slowdown site for a couple weeks. Not a good sign. What's the deal?

-- Another wave of press for Criteria is hitting the internet shores, including this piece from The Boston Globe where he talks about signing with Saddle Creek. ''As good a friend as I was, and am, with these people, I never had an expectation that they would release my music," Pedersen said in the article. ''And they didn't for many years. . . . I had given them previous records when I was in North Carolina, and they were just not interested. They were not feeling it." Meanwhile, The Riverfront Times has declared Criteria "Omaha's best rock band" in the lead-in to this piece (scroll down to find it).

-- Drowned in Sound is reporting that Mike Mogis is in Stockholm working on the new Concretes album.

-- Saddle Creek says it'll host a showcase at this year's SXSW music fest in Austin in March. Among the Creek acts to perform (so far): Criteria, Broken Spindles and Two Gallants. Omaha could have a large presence at SXSW this year. More info on confirmed acts as I get it.

Now the weekend: Actually, it's all on Saturday night:

For starters, there's the Jason Anderson / Love Letter Band / Fizzle Like a Flood gig at Sokol Underground. All three acts will be performing solo acoustic sets. 9 p.m., $7.

Punk band Jaeger Fight is playing a gig at The Mosaic Center, 1258 S. 13th St. $5, 8 p.m.

And the area's hottest buzz band, Eagle*Seagull, is playing as part of The Tugboat Group Show at The Hot Shops Art Center, 1301 Nicholas St. The event is sponsored in part by Saddle Creek Records, Hot Shops Art Center, and Yia Yia's Pizza Beer and Wine (which is a clue as to what pizza shop will be housed in the new Slowdown facility). More info about the event is here.

--Got comments? Post 'em here.--

Column 59: On (and off) The List
The final word on '05…

Why do critics find it necessary to put their thumbprint on the year gone by with their list of "the best" records, films, books, everything? Why can't they let go of the past without somehow defining it in their own beady little eyes via a ridiculous numbered testament carefully considered for your benefit (certainly not theirs)? End-of-year lists are the very definition of critical egocentricity.

They're also a lot of fun to read (and write).

Now knee deep into January, seems like every music publication -- both online and off -- continues to create these endless lists. They go on and on and on, constantly looking over their shoulders in introspection while the rest of us gaze courageously into the future searching frantically for the music, film and literature that'll wind up on our best-of '06 lists.

Before putting '05 to bed, I considered compiling a convenient compendium (that's a lot of alliteration) of all these lists, coming up with the most-common 10 "best releases" of the pack. But that's way too much work. That said, after reading every single one of them (or at least, most of them), something tells me the list would have looked kinda like this:

Sleater-Kinney's The Woods -- Easily one of the most lauded indie rock releases of '05 that I've never been able to enjoy. Sorry folks, I'm not hearing it.

M.I.A.'s' Arular -- A hip combination of electronica, hip-hop and dancehall that's risen to the national consciousness strictly through word of mouth and NPR.

My Morning Jacket's Z -- An homage to a macho lifestyle that went away with sideburns and muscle cars, drenched in reverb it only gets better and better with each listen.

Kanye West's Late Registration -- An MC who's unafraid to give the president a piece of his mind, Kanye is universally accepted (and revered) by the indie elite.

The Hold Steady's Separation Sunday -- These guys have made more than one trip to the heartland, and I admit to still having never heard a note from them.

Beck's Guero -- What can I say, it made my "best of" list, too.

Antony and the Johnsons' I Am A Bird Now -- Try as I might, I can't get over the Tiny Tim vocals. Didn't this originally come out in '04? Guess not.

New Pornographers' Twin Cinema -- More of the usual retro-pop a la The Shins and Elephant 6 bands. This style has held on longer than anyone expected.

The White Stripes' Get Behind Me Satan -- Despite being hailed above ground for its under ground appeal, the husband/wife/sister duo still screams novelty to me. Blame them for the rise of guitar-and-drum bands.

And, of course, Bright Eyes' I'm Wide Awake, It's Morning. But one of the more whispered-about surprises around town was how Wide Awake -- along with the rest of the '05 Saddle Creek releases -- didn't make it onto Pitchfork's coveted top-10 list. Heck, they didn't make into the top-50. The lack of inclusion is significant when you consider that Pitchfork is easily the most important online music publication in the indie universe. Some point to Pitchfork for single-handedly breaking acts, like '04 best-of list fodder The Arcade Fire.

So was the lack of inclusion on their year-end list a mere oversight? Unlikely. Pitchfork, along with most of the above-ground press, threw bouquets at Wide Awake when it was released last January along with Digital Ash in a Digital Urn. Wide Awake received a staggering 8.7 on Pitchfork's 10-point scale, saying the record "was made to be loved, to be obsessed over by some but remembered by everybody…" LCD Soundsystem, No. 8 on Pitchfork's list, received a mere 8.2.

But a year later and Bright Eyes seems to have been pushed off Pitchfork's cool-kids' bus along with the rest of the Creekers, replaced by haughty acts like Wolf Parade (You're good, sir, but you're no Arcade Fire), Sufjan Stevens (who deserves the back seat with the rest of the rowdies) and the usual clutter of obscurities (Cam'ron? Animal Collective? Huh?).

Somehow it feels like Bright Eyes is being treated with the same disdain meted out to bands that have bolted to major labels. Death Cab for Cutie comes to mind (though DCFC's latest album does, in fact, sound like it was pasteurized for radio play by order of The Suits in Charge). Say what you will about his music, but Oberst never sold out in the face of ever-rising popularity and visibility.

Meanwhile, I've already begun to draft my '06 list, which will include the new one by Rilo Kiley's Jenny Lewis, Rabbit Fur Coat, slated for release Jan. 24. If it's any indication, this could be a very good year, indeed.

Why the shift in direction with The Wreath?

New England was recorded completely live -- even the vocals -- with all the players -- some of my best friends in the world -- sitting in a circle. Two of the songs on the album were even written during the session, and my friend Phil -- who produced -- even threw in one of *his* songs. The entire experience was a perfect snapshot of where we all were at the time, and for that reason it is very, very special to me. I realized, in the wake of its release, that it would certainly be easy -- and comfortable -- to go back into a studio and make New England, Part Two, especially since haphazard, slightly-country sounding, rag-tag folk music is making such a comeback right now. But that wouldn't inspire me, since I felt like with New England, that I had made my Neil Young record, and I wasn't going to do it any better. Also, even though 'NE' is intended to be an ultimately hopeful record, I noticed that some of the reviews -- albeit very positive -- were putting me into the "shy, sad singer-songwriter" category.

At times, The Wreath reminds me of early Freedy Johnston, at other times Will Johnson of Centromatic or even Silkworm -- bands you probably never heard of (and are probably waaay off base). What did you grow up listening to (or are listening to now) that influenced your music?

You're right, I haven't heard those bands, but now I really want to! Like most everyone, my parents brought me up with amazing songwriter stuff from the '60s and '70s: The Beatles, Elton John, Billy Joel's The Stranger, James Taylor, etc. And, like most everyone, throughout middleschool and highschool I moved from Guns 'n' Roses to Nirvana to Green Day to Weezer to the kind of indie rock that got me through college: classic stuff like the Pixies and the Smiths, and '90s stuff like Pavement and Guided by Voices.

Now I just listen to everything, with an emphasis on passion and sincerity. Not in a contrived emo way, of course; rather, I'm referring to legends like Bruce Springsteen and Stevie Wonder -- two of my all time favorite songwriters -- and contemporaries like Ted Leo. For the record -- on an Omaha tip -- I'd like to passionately add that I think the Good Life's Blackout and Son, Ambulance's Key are two of the greatest -- and bizarrely, unfathomably underappreciated -- albums that have come out in recent memory. Those albums are deep, dense, emotionally epic and just plain amazing. Everyone should own these!!

Your songs are personal without being cloying, I think because you add little pieces of yourself in the lines. Ferinstance, Our Winter. "The heating bill's so goddamned high / I wear this pea coat all the time / My mom says I need snow tires bad / But man I just assume spend that money on records and sit /with friends /in living rooms / and sing the songs we know / by heart / they start / one two three four five six seven EIGHT!" The songs are snapshots of (your) life captured in the glare of fast-food road signs seen through windshields. It feels like journal entries. Is that where the lyrics come from?

You're spot on with the lyrics! Totally! My entire goal, as a writer, is to write songs about incredibly -- and almost embarrassingly -- personal events -- real life stuff! -- that, even though the details are specific to me, deal with emotions and situations that *everyone* has dealt with. So, more simply, using the minutely private to connect with the shared public.

Who are Rachel and Jeremy Jensen? Are they related? Where'd you find them and how did they get involved in making the record? Will they be touring with you?

They are siblings, from Boise, Idaho. We just met and became friends through touring and hanging out after shows and around the northwest. Jeremy is an excellent producer, and we decided to make a record together in his living room. It was recorded in three days, and completed even BEFORE New England was released. And one of my most favorite songs, 'My Balancing Act,' was written in a spurt of inspiration after lunch one day, and then recorded minutes later. It was a very, very special experience. Unfortunately, we haven't been able to make live music together, yet, but I know we will soon!!!

I know you have friends in Omaha (and so does anyone who's heard "When Will You Say"). Who are they and how did you become friends with them? How is Omaha and the friends you have here important to you? And while we're at it, who is in The Legend of Zelda? Does it still exist?

Omaha is very important to me. I lived there -- off and on -- for almost a year, and every time I go back I wonder -- "WHY DON'T I STILL LIVE HERE???" I love Joe (Knapp, of Son, Ambulance). As I said above, he is an amazing songwriter and his albums need to be heard by everyone; he also is a brilliant Scrabble player, but -- it should be noted -- has yet to beat me.

I think one of the greatest bands -- anywhere, period -- right now is Tilly and the Wall, and getting to know them was one of the most wonderful joys of calling Omaha home. They are incredible musicians, performers, and the nicest people ever. I hope we can tour some time. I don't want to make this a name-drop fest because that seems cheap, and would be a disservice to friendships. Suffice to say, I love my Omaha friends, and miss them a lot. Oh yeah, and Legend of Zelda was me and Chris and Andy. That band was awesome and we only played two shows, but they were the absolute best. I will try to get you a copy of our tape. It's lovely.

It's a slow news day. So... this:

A colleague of mine at The Reader pointed out a piece that appeared in the Jan. 6 issue of The Lincoln Journal Star with the banner headline "Lincoln music scene far outpaces Omaha's." Accompanying the piece was a life-size photo of Matthew Sweet looking like a street guy. The story is here. Apparently it's part of a series that compares and contrasts Lincoln and Omaha, sort of like sizing up two football teams. After reading the piece I considered responding somewhere. Maybe my column? But what's the point? Yeah, Lincoln has The Zoo Bar. Lincoln has Duffy's. Lincoln's always been a better place to bar hop -- you can walk from one tavern to the next, whereas Omaha's venues demand that you drive. The writer points out that Matthew Sweet and Maroon 5 are from Lincoln, then says Omaha counters with 311, then goes on to say Lincoln trumps because its bands have sold more merchandise (*Gotcha!*). I don't think you'll find anyone in Omaha who wants to claim 311, anyway. You can have them, too.

Then the guy goes on to diss Saddle Creek. Instead, he should have pointed out that Creek's roots also are firmly in Lincoln (along with Presto's). Everyone points to the Creighton Prep ties, but really, a lot of these guys also went to school together at UNL. The question of who has more talented local indie bands isn't worth arguing. Since when is music a frickin' sport? I don't get the Qwest Center argument. I guess it's nice to have an arena here, but I generally don't go to arena shows. Too expensive and the seats are too far away. I prefer my Rolling Stones on my iPod or the radio. The writer's comments about One Percent are nonsensical. "1% Productions brings cool shows to the Sokol Auditorium’s basement but has trouble developing a strong audience for its offerings." They have? He then goes on to say that it's disappointing that Omaha gets all the cool indie shows but "That, however, is off the point to some degree." It is? I guess it depends on how you define your local music scene.

He goes on: "It has long seemed to me that Lincoln is culturally equal if not superior to Omaha, with more films shown here, thanks to the Ross Media Arts Center, the programming at the Lied Center for Performing Arts that has been unmatched in Omaha, and an internationally acclaimed art museum in the Sheldon Memorial Art Gallery." And Omaha will have Filmstreams, has The Holland Center and Orpheum and The Joslyn, but who's counting?

The conclusion: "When it comes to cultural offerings and the music scene, Lincoln is just cooler than Omaha, period." If you say so. I like Lincoln and its bands. Though I don't get down there as much as I wish I could. As I told my colleague, I have met a few people from Lincoln who insist on making these arguments, as if it really matters to anyone. The cities are only 50 miles away. When I have one of those Lincoln guys poking a finger in my chest about how much better Lincoln's scene is than Omaha's, I usually respond with "I guess you're right. How about them Huskers?" as we order another beer from Sokol's or O'Leaver's or The 49'rs bar...

Tomorrow morning: Jason Anderson interview. Be there.

--Got comments? Post 'em here.--

Saturday night's Sokol Underground show was the first live music outing for me in a couple weeks. In fact, the last band I saw was Virgasound back before Christmas at O'Leaver's. The funny thing about O'Leaver's -- despite the sound system, it really is a great place to see live music because it's so damn small (that can also be a drawback, depending on who's playing). If you pull in 40 people, the place seems packed and edgy. Well, there was probably only 50 or 60 people at Saturday night's show at Sokol, and as you might have guessed, it seemed rather empty -- that's the disadvantage for upstart bands that play there that aren't supporting big-draw national or Creek bands. The advantage, however, is the venue's premium sound system. And Virgasound took full advantage of it. They never sounded better... or louder. Probably because it's been a few weeks since I've been to a show, but man, they sure seemed loud. I've written about these guys a number of times (for example), so I'm not going to go into too many details, other than to say the stage spacing and the sparce crowd seemed to have had an impact on the energy coming from the band. Cocky frontman Chris Esterbrooks told me afterward that he cracked his guitar before the set, which dampened his mood (He even said so a few times from the stage). Regardless, they sounded as good as ever, and proved once again that they're one of the best live bands in Omaha.

Next came The Third Men. Like I've said before, these guys are the epitomy of '90s sunshine So. Cal indie rock reminiscent of bands like Matthew Sweet and The Feelies -- in fact, I wish they'd add a Feelies cover to their arsenal. Instead, they added a cover of The Kinks' "Victoria" as an encore (apparently replacing crowd favorite, Wings' "Jet," which a small group of girls were screaming for at the end of their set). The Third Men is the type of band that you could imagine playing in the background of an early (good) Jonathan Demme film, the perfect feel-good wedding band for a very hip couple. Seek them out. You won't regret it.

No idea on shows this week other than Lifeafterlaserdisque Wednesday at Sokol Underground and Jason Anderson this coming Saturday -- look for an Anderson interview online Wednesday. If you know of any other gigs going on this week, drop me a line.

--Got comments? Post 'em here.--

This will be sort of a stream-of-consciousness entry as I only have 10 minutes to write it. There's actually quite a few shows to mention going on this weekend (three to be exact):

Brian Poloncic wrote to tell that Tomato A Day is playing tonight at Shea Riley's, 320 So. 72nd. St. In addition to Brian, the band features Dude Wyoming on bass and Doug Wray on drums (former drummer Abigail Fishel apparently moved to Cleveland yesterday). Also on the fight card is Mourning At Sea (formerly Orions Belt) and The Sleeper Hits. No idea on the price.

Also tonight, Anonymous American is gigging out at The Redeye Tavern on 84th and Center. I used to drink there years and years ago. I think this may be their first foray in original music, so go out there and support, people.

The crown jewel of shows this weekend is The Third Men with Virgasound and Cruisin' Rosie at Sokol Underground Saturday night. In these dark days of winter, we could all use The Third Men's brand of warm, sunshiny West Coast rock to brighten our lives. Virgasound, on the other hand, is an angry shove of cocky, brute force (very cocky). I'm in the dark about Cruisn' Rosie, however (Mile T, give it up on the webboard, please). $7, 9 p.m.

--Got comments? Post 'em here.--

Column 58: Fear of Cool
Don't be afraid of the art

As I sat down to write this week's column, I received this prime directive from the publisher:

Happy Old Year, TMac. Next week's issue is New Year's resolutions in culture, life, etc… things we're encouraging the readership to do in 2006, based on our eternal wisdom and experience, with a dash of "You haven't lived in Omaha until you've done this..." If you could write a column in this direction, that would be grand.

Beyond merely giving thrill-seekers a list of untried vices to feed their insatiable appetite for awkward situations, this topic instead highlights the unfortunate divide that exists between the "arty" and "artless," the "cultured" and the "mob," or simply, the line that divides those who go out and see stuff from those who stay home and watch lots of television.

What keeps people from venturing out to original music venues, art galleries and live theaters? Certainly not the cost or inconvenience -- these are the same folks who will lay down hundreds (or thousands) of dollars to see an over-the-hill U2 or Paul McCartney at that hollowed-out, echo-filled, dead whale called the Qwest Center. No, it's something else: Fear of pretentiousness. Not their pretentiousness, yours.

These folks are most comfortable watching a bowl game at a sports bar or going to a movie at the AMC. They prefer herd activities where they can blend in with everyone else, unnoticed. Doesn't mean they wouldn't love viewing some fine local art, watching a good play or hearing a local original band that rocks better than anything on MTV. But the thought of wandering down to a mid-town or downtown venue makes them squeamish. They don't think they'll fit in.

Look, I know those of you who live in a loft in the Old Market or are "working on your screenplay" don't buy any of this. Why would you? You rarely venture west of 72nd St. You not only don't mind getting noticed -- you want to get noticed. Hell, you pretentious bastards are the problem! You assume there is no culture west of Crossroads, and you're partially right. But I'm not talking about the unwashed masses that are already brain dead from too much bad radio music and reality television. I'm talking about people we all know who crave something different, but are afraid to venture outside of their warm, safe little cubby holes.

They suffer from "I'm-not-cool-enough" phobia. And who can blame them? Gallery openings conjure up visions of giddy, half-drunk half-stoned art-school drop-outs wearing wonky hand-made clothes flittering around the room giggling with everyone… except you, who they figure is probably a cop.

Then there's the indie music scene. I know a lot of people who would enjoy seeing Omaha's stellar cadre of nationally known bands, but fear they'd stick out at Sokol Underground or O'Leaver's or even Mick's among the bed-headed, too-small-T-shirt-wearing, angst-ridden hipster youth. If they only knew…

Those of us who actually go to art openings and rock shows at indie clubs know just the opposite is true. There is no uber-pretentious Andy Warholian "It Crowd" in Omaha (except in their minds). Most people involved in the local arts and music scene are struggling just to get by. Most aren't super cool, they're super insecure. They desperately want people from the suburbs to check out their art, acting and music. Unfortunately, these same people also make fun of the throngs who gush over poorly crafted wind chimes and elaborate God's Eye yarn art at the Summer Arts Festival.

So here's my proposal for '06: This year, find that person or persons with a willing but fearful heart and bring them to an art opening, play, indie rock show or even dinner at a small, independently owned restaurant. Arrange everything. Find them a sitter if you have to. Pick them up and drive them downtown. Do whatever it takes. And for god's sake, once you're there, don't leave them hanging. Introduce them to people you know. Show them that there's nothing to be afraid of except maybe missing out on all the things they're too afraid to try.

Who knows? Maybe they'll tell all of their friends. And the next time you have an art opening or CD release show, those truly pretentious bastards who are killing the scene will be stuck waiting outside in the hold line.

Even though it's Jan. 4, everyone is still winding up '05 with their "best of" lists, which seem to be going on and on and on. I considered doing a compendium of all these lists, coming up with the most common 10 amongst them. But that's way too much work. I have, however, read all of them and if I were to have compiled something, the list would probably have included Sleater-Kinney (I'm still not hearing it), MIA, My Morning Jacket (an album that gets better and better), Kanye West (accepted by the indie elite), The Hold Steady (I haven't heard a lick from this), Beck (which actually made my list), Antony and the Johnsons (Try as I might, I can't get over the Tiny Tim thing), New Pornographers (more retro pop), The White Stripes (pure novelty)…

And, of course, Bright Eyes. But one of the more talked-about surprises around town was how the Wide Awake not only didn't make it onto the coveted top-10 from Pitchfork (easily the most important online music 'zine in the indie universe), but also how no Saddle Creek releases were mentioned on their list, either. Was it an oversight? Unlikely. Pitchfork, along with most of the above-ground press, threw bouquets at Wide Awake when it was released last January along with Digital Ash. Back then it seemed ambitious to the point of bravado for Oberst to release two full-lengths simultaneously -- and it was. A year later and Bright Eyes seems to have been pushed off Pitchfork's cool-kids' bus along with the rest of the Creekers, replaced by Wolf Parade (good, but Arcade Fire did it better), LCD Soundsystem (very 2002, guys), Sufjan Stevens (who deserves the coveted back seat with the rest of the rowdies) and the usual clutter of obscurities (Cam'ron, anyone?).

In some ways, it feels like Bright Eyes is being treated (by some) with the same disdain meted out to bands that have bolted to major labels. Death Cab for Cutie comes to mind (though DCFC's latest album does sound like it was pasteurized for radio play by order of the Suits in Charge). Say what you will about his music, Oberst has never sold out despite the fact that his popularity and visibility continue to be on the rise.

Anyway, tomorrow I'll be posting the second-to-last "year-end" related piece on my site -- this week's column, which lays down a suggestion for all of us in '06.

One suggestion that's sure to please in '06 is entering the drawing to win a copy of the Lazy-i Best of 2005 Compilation CD. Just lift your weary fingers and type an e-mail to me (tim@lazy-i.com) with your name and mailing address and you'll be dropped into the hat. Tracks include songs by Of Montreal, Eagle*Seagull, Iron & Wine, Mercy Rule, Teenage Fanclub, Okkervil River, Sufjan Stevens, Maria Taylor, Orenda Fink and more. Details and track order are right here. Enter right now! Deadline is January 16.

--Got comments? Post 'em here.--

Shows are becoming harder and harder to find these days, unless you know where to look. This site is one of those places, but I can't know everything. For example, yesterday afternoon word leaked out of a free Ladyfinger show at O'Leaver's last night, apparently a warm-up of sorts before the band heads into the studio to record their next album on Saddle Creek Records' dime (No, they haven't been signed to Creek. The label is paying for the recording and will decide if they're interested after they hear the final product). Last Friday night Simon Joyner played with The Bruces at The Antiquarium -- another show that wasn't listed on the usual online calendars (You would have found out about it had you checked out the Webboard, though). So it pays to be sharp. O'Leaver's, which lately has hosted a lot of interesting gigs, no longer updates their website or sends out weekly schedules. Unless their shows are One Percent productions (a rarity these days -- there are no O'Leaver's shows currently listed on the One Percent calendar) or Someday Never productions, you're not likely to find out about them too far in advance (It must be some sort of marketing ploy to get people to come into the bar every night.).

Just glancing at the calendars, January and February are going to be unusually slow months for shows. One Percent only has 14 shows currently scheduled, almost all booked on Fridays and Saturdays at Sokol -- quiet a contrast to the huge number they were doing a few months back. While Someday Never only has two shows slated through February. This draught happens every year -- last year, One Percent only hosted 16 shows in the first two months. Driving across country in a shitty van is hard enough for bands without ice- and snow-covered roads and below-zero temperatures. Bands prefer to stay home. Fewer tours also reflect fewer releases this time of year, when consumers are licking their wounds after the holiday credit card binges. There is, however, no excuse for local bands to take a holiday. Fewer shows mean a rare opportunity to draw larger crowds to your gigs... because nothing else is going on.

That said, if you hear of a last-minute show, drop me a line. I'll update Lazy-i on afternoons when new gig info hits my email box. It's yet another reason to click to lazy-i.com multiple times a day!

--Got comments? Post 'em here.--

I stayed home last night and watched stroke victim Dick Clark count in the New Year in a warbly voice while a few million tons of munitions exploded in and around my neighborhood. There's something about New Year's Eve that prompts people to take up arms and shoot them in the air. I remember watching my big brother do this a hundred years ago, back when I lived with my folks. I stood off to the side, watching flames shoot out the barrel of his handgun, knowing that whatever comes up must comes down. Where were all those bullets landing? Could one return to earth and lodge itself in my tiny little head? And what about those hundreds of other revelers who were taking advantage of this one day a year when they can proudly take out their guns and squeeze off a half-dozen shots? Should I be standing under a tree? So far I've managed to avoid all the random bullets. Hopefully, you have, too. So as we enter the new year, let me take this moment to thank all of you for reading Lazy-i. More to come...

If you're home reading this now, perhaps doctoring a hangover, why not take a moment to enter my drawing to win a copy of the Lazy-i Best of 2005 Compilation CD? Just lift your weary fingers and type an e-mail to me (tim@lazy-i.com) with your name and mailing address and you'll be dropped into the hat. Tracks include songs by Of Montreal, Eagle*Seagull, Iron & Wine, Mercy Rule, Teenage Fanclub, Okkervil River, Sufjan Stevens, Maria Taylor, Orenda Fink and more. Oh my, how can you not enter? Details and track order are right here. Enter right now! Deadline is January 16.

--Got comments? Post 'em here.--