Back in May (here, to be exact) I wrote about how Kite Pilot was bidding Omaha a fond farewell as Todd and Erica Hanton headed for better climes in Portland. Final shows were scheduled; people said goodbye. Only a few weeks later, while enjoying some ice cream at the Dundee Ted & Wally's, Protoculture's Koly Walter informed me that the couple had already returned to Omaha. What? Within a few weeks, Kite Pilot was gigging around town again, this time with a visiting original guitarist Austin Britton, home for the summer from the West Coast.

"We went out there in June to find a place to live," Todd said. "We did a lot of research first -- the rental market, areas of town that we would or would not like to live in. After five days of driving around the city, looking at houses and apartments, waiting for call-backs, this is what we found. Compared to Omaha, you will pay about 30% more in rent for about 30% less in the quality of living. Anything worth renting was snatched up immediately."

The frustrating search to find affordable housing resulted in the couple reevaluating the reason why they were moving to Portland in the first place.

"We had another sit down, each of us writing a list of pro's and con's of living in both cities, what we wish we could do in Omaha that we weren't already, what we wanted to get out of Oregon," Todd said. They discovered that they weren't willing to compromise their standard of living without a good reason. "If we were to move for an awesome job or for the benefit of Kite Pilot, that would be another story. Neither of those were reasons why we wanted to move," he said.

They'd also miss their music. "We missed playing even before we left Omaha. We have the contacts, the players and the music right here, so why start all over again? True, we might have more success in the long-term by playing in a larger market and not having the Saddle Creek (Records) hanging over our heads like every other local band, but success is what you make of it, where you make it."

Saddle Creek hanging over their heads? Did he mean that he feels there's a stigma being from Omaha and not being on Creek? "That is a real good way of saying it," Todd said. "Everyone that is not from here thinks, 'Hey, you guys are great! Why aren't you on Saddle Creek?' They don't have any idea of the social dynamics that goes into something like that."

Todd said he and his wife realized that the real changes they wanted to make were within themselves and not dependent on location. "Living in Omaha can often feel like you are in the movie 'Groundhog Day,'" he said. "We all want new and exciting. We all look for it in different place. We were looking in Portland. But you know what? After a certain amount of time, the allure of a new city wears off, no matter what city. We feel that we have to change our attitude about Omaha, instead of changing where we live."

Now for some points of clarification:

--Kite Pilot will continue as a trio after Austin moves back to the West Coast later this year, with Jeremy Stanosheck on drums. Todd said the band will probably start writing new songs.

--Erica will no longer perform in The Protoculture. "The whole reunion was to put out all of their songs in one compilation," Todd said. "Now that that is complete, she is done. The guys want to continue, though. Erica wants to focus on KP only."

-- The couple got their house back, and Todd even got his job back with Elan. Erica, on the other hand, didn't return to her government job. "She actually started a company called Saque," Todd said. "Right now the only product she has are handmade purses and shoulder bags. She just got them into her first store -- Crane Coffee on Cass St. Having her business started, she is currently looking for a new job."

You can check out Kite Pilot with special guest Austin Britton tonight when they open for Art in Manila at The Waiting Room with The Ladybug Transistor. Show is $7, starts at 9 p.m.

Unfortunately, I'll likely miss that show as one of the most gonzo shows in recent history is happening down at Sokol Underground tonight: The Cloven Path CD release "party" with Dance Me Pregnant, The Shanks and The Little Nastys. I expect mayhem the likes of which haven't been seen on any stage since the days of GG Allin, or at least plenty of drunken debauchery. $7, 9 p.m.

This is a busy weekend: Tomorrow at the Waiting Room it's Eagle*Seagull, Spring Gun and Michael Morris (9 p.m., $7). Also Saturday night, The Shanks play again, with Mosquito Bandito ($5, 9:30 p.m.). Sunday night it's Against Me! with Two Gallants, Gaslight Anthem and Cobra Skills (8 p.m., $14). Also Sunday night, The 4th of July play at O'Leaver's with Thunder Power!!! and Midwest Dilemma ($5, 9:30 p.m.).

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Here's part 2 of the Two Gallants interview that began yesterday. Missing is mention of the guy who took all the video footage of the incident that ended up on YouTube (the videos are still online, here and here). He also got arrested and went through the court process with Tyson Vogel. I do not know his fate, however. Vogel said, beyond June's return engagement, the band would play at Walter's again.

According to their Myspace page, Noise FM cancelled their appearance tonight at Sokol. One Percent still lists them on their site, however. Doesn't matter, because everyone's going to that show to see Bazooka Shootout anyway. Also on the card, Ric Rhythm and the Revengers and Anatomy of a Riot. $8, 8 p.m.

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Last Saturday afternoon I chatted with Two Gallants' Tyson Vogel from his apartment in San Francisco. His cohort, Adam Stephens, was somewhere in Paris visiting his girlfriend while the band enjoyed some much needed time off the road. "When we have some down time, we're on opposite ends of the world," Vogel said. "This has been the longest break in the past three months. We finally got two weeks off, and we're both reveling in it."

We spent most of our interview talking about the Walter's on Washington incident and the aftermath. That part of the interview will go online tomorrow as this week's column.

The rest of the time was spent talking about Saddle Creek, the band's new EP and opening for what would seem to be oddly matched bands, like Against Me! and Les Claypool. Vogel and Stephens bring an interesting perspective to working with Saddle Creek Records. They're really the first band signed to the label that didn't have direct personal ties to anyone in any of the other Creek bands (read about how they got signed here). How happy are they with the label?

"The reason that we stay with Saddle Creek is we enjoy working with them," Vogel said. "We do get frustrated with how hands-off they are. They always have good ideas and opinions, but they really want to keep the artist in control of the art, and we both admire that. That's why we enjoy working with them. They're respectful of our ideas and have a good sense on how to get things done. They also have good distribution and work with the industry without pandering to it -- that's a great thing. They stay true to their nature; they enjoy music and want to keep it that way. It's been really good working with them."

When I pressed him on the frustrations, Vogel clarified his comments. "It's not frustration," he said. "We don't know about this music business stuff. We just know how to play music. One of the reasons we like working (with Saddle Creek) is that they put a lot of consideration and thought into things."

The band's new EP, the 5-song The Scenery of Farewell, was released in June and though it's a departure instrumentally for the band, their signature sound is still there.

"I would hope that (the EP) would have the same feeling," Vogel said. "In the end, it's not that we're purposely trying to do anything different. What makes it different is the songs come from a slightly different place. These songs demand more than the electric bass songs. We're putting this out because it's just as important as electric or loud songs. It's more stripped down in the sense that the songs aren't that complicated and demand a different kind of playing. At the same time, they're just as full or even more so, since we have these other players playing with us and adding other layers."

The band just finished a 3-week acoustic tour of Europe with additional support players -- and it may be the last time they play songs off the EP live. They're going back to their two-piece configuration for the Against Me! tour. "The acoustic shows can be heavy and dark at times. It's not for every night.," Vogel said. "The songs on the EP have opened up both of us internally to let go a bit more, so we can keep on writing songs."

Songs for the new self-titled LP, slated for release Sept. 25, were recorded at a completely different session than the EP. "Originally, the EP was supposed to be a full length, but we took three songs off -- we didn't like how they came out, and it would have been a long, heavy record. One of those songs will be on the new full length. I would say this record is really significant because we never recorded songs without playing them live."

Vogel said the band traditionally spends a year playing songs before putting them down on tape. "For this next album, we haven't played the songs for anyone yet. Not to be too lofty, (Adam and I have) come separately and together into the music more. This next album represents a change for the better, it'll be different than What the Toll Tells and more similar to The Throes."

Combining Two Gallants with Against Me! for a tour seems odd. Against Me! plays relatively straight-up FM alt rock -- quite a contrast to Two Gallants' more traditional sound. Vogel said he and Stephens invited the contrast.

"The Les Claypool tour was a weirder mix," he said, adding that he grew up with the early Primus records. "One night we ran into each other, and Les and I talked and had a good conversation. I admire him for his creative judgement and ideal in life. He invited us to come on tour. We knew it would be a very different audience. With Against Me!, people have told us for a long time that we should tour with them, and we have mutual friends. We thought it would be fun because they always seem to pop up in the periphery. I hope that we're not too much of a downer. The first band (Gaslight Anthem) is more of a punk band. Actually, it's more involved than punk, very melodic and kind of anthemic alternative, I guess.

"The last tour broke us in. The Les Claypool fans are pretty intense. There's a story about Rasputina going on tour with him and getting pennies thrown at them. If the music is so different but comes from a similar place, it can still come off. People there to see Against Me! might find something they can relate to in our music. I'm a proponent for an eclectic show if the mood or energy is right. There are too many shows where the bands are too similar. It's good to be pushed to look at different things."

I told Vogel that, on a certain level, Two Gallants' style seems more mature, more sophisticated and certainly more literate than typical rock music. It seems to have a new classic American style that stands on its own beyond that genre. Did they ever look around at their environment and ask if they're reaching the right audience with their music?

"I don't think he or I really try to think about it that way," Vogel said. "I think if you become too concerned about it that you will always be unsatisfied. And that's not the point. If the honesty and integrity comes off, if certain people are drawn to that, then great. Music is a necessity for us. We'd be doing it anyway. We're honored to be in front of this many people. All we have to focus on is doing it right."

Tomorrow's column: Two Gallants and Walter's on Washington.

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The first time I heard "Lazy Eye" by Silversun Pickups I naturally thought it was a new Smashing Pumpkins song. I mean, it sounds almost identical to "1979" right down to the bouncing bassline and Brian Aubert's Billy Corgan impersonation. The rest of Carnavas is just as Pumpkinesque, which is great, I suppose, if you're a big Pumpkins fan. I never liked the band (other than "1979"). I find it odd how something so derivitive of another band could become so popular unless the kids picking this up never heard Mellon Collie (released in '95) or Siamese Dream ('93) before, which is very, very possible. Anyway, Silversun is playing at Slowdown tonight with Dangerbird Recording artist Sea Wolf, and it's SOLD OUT. Also tonight, at Saddle Creek Bar, it's Lucia Lie, Paper Owls and Civic Minded. $5, 9 p.m.

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I can't tell you how many people told me that I absolutely can't miss Neil Hamburger at The Waiting Room tonight. They go on and on about how drop-down side-splitting funny the guy was at O'Leaver's last year. And I have no doubt that they thoroughly enjoyed themselves. Yet, after watching Hamburger on YouTube (like right here) I have a hard time thinking he's anything but a poor man's Andy Kaufman/Tony Clifton. I'm sure he's much funnier live. Or not. With Daquiri, $8, 9 p.m. Meanwhile, tonight down at O'Leaver's, it's Outlaw Con Bandana and Theodore. $5, 9:30 p.m.

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Before I get to last Saturday night, a quick review of the Built to Spill show at Slowdown July 18. What's that? Wasn't I in Cape Cod the night of that show? Well, yes, I was indeed, good reader. But through the magic of bootleg technology, I was able to relive the moment. A friend of mine sent me a link to the Blasé Blogspot, which posted a link to this divShare page that allows you to download the entire Slowdown performance, presumably recorded off the soundboard. It sounds pretty marvelous indeed.

I've never been a collector of bootlegs. My only foray into bootleg acquisition was picking up a cassette from a friend of a friend of mine of an old Led Zeppelin concert titled "Mudslide." The quality was piss-poor, but at the time (back in the '80s) I was so hungry for anything Zeppelinesque that I cherished the tape, which included a recording of a (then) unreleased Zeppelin track. These days there are entire web networks dedicated to nothing but bootlegs of live shows -- not just the usual boring, pointless Phish or Widespread head-shop noodling sessions, but everything from Prince to Morrissey to last week's Built to Spill concert. Who knows which of the recordings are authorized by the artists and which aren't. I assume the person listed in the accompanying BTS text file (strangely identified only as "DB" -- who could that be?) had permission from Martsch to record.

My take on the concert: Martsch's vocals continue to sound more and more like Neil Young's, to the point where the recording got me wondering if Young would ever consider covering a Built to Spill song (Martsch certainly has covered enough of Young's songs). Sounds like the band had a few problems with their gear, but that didn't stop them from putting on a solid night of rock that dipped extensively into their back catalog. Seems ol' Doug was a man of his word, and rock won out over jams, though he ended with a 16-plus minute version of "Randy Described Eternity" that devolved deeply into jam territory. Among the highlights were roaring versions of "Time Trap," "Stab," and a cover of Brian Eno's "Third Uncle." The recording includes all the between-song banter, including Martsch asking (after "Time Trap") "Anyone know what happened to Mousetrap?" Silence (a testament, I guess, to the number of people in the audience who don't remember the band). Moments later, he said"Chicago?"

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File this under "eerie" and "sad": Yesterday while doing some "research" on personal writing hero Harlan Ellison, I spent a couple hours watching old Tom Snyder interviews on that ultimate internet time-waster, YouTube. After Ellison, I went to an old Wendy O. Williams interview, and -- just like opening a bag of potato chips -- couldn't stop watching interviews with The Clash, Iggy Pop, and PiL (specifically, Johnny Rotten, who is as famous for being a prick during interviews as he is for his music -- and what a prick he was to Snyder).

Then this morning on my drive into work, NPR reported that Snyder died yesterday after a long battle with leukemia. Strange, sad coincidence. I didn't grow up watching the Tomorrow show; I only caught it a few times during the '80s. It was on way past my bedtime -- if I was up that late it was because I was either studying or partying. The times I did catch it, however, I loved. It. Snyder's interview style seemed off-the-cuff, as if he did little or no research before strolling onto the set each evening. He was the first guy I ever saw regularly talk to the folks behind the cameras and control board during a broadcast -- it felt like he was letting you in on something you weren't supposed to see, and as a result, you felt like you were part of the show. He was no fan of punk and New Wave -- he simply didn't understand it. Despite that, he knew it made good television, and often invited punks onto his show, providing exposure that they'd get nowhere else. Unfortunately, more people remember Dan Akroyd's impersonation of Snyder than the man himself. YouTube, of course, could change all that.

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My only show attendence this weekend was Shiver Shiver and Sleep Said the Monster at O'Leaver's Saturday night. Opening band Donnelly is a new project by Satchel Grande member Ben Zinn. I missed them. Shiver Shiver is a keyboard/drum duo whose impressive recordings on MySpace drew me to the show. In fact, they were probably the main draw of the evening as half the crowd left shortly after their set. Live, their sound was muddy and off-balance, moreso due to the limitations of O'Leaver's sound system. O'Leaver's is a fine venue for punk and hard rock sets, not so much for more laid-back keyboard or acoustic-driven music. That said, Shiver Shiver sounded as good as they could, though nowhere as good as on their recordings. The formula is simple: Jordan Elsberry belts out loungy, jazzy ballads a la Todd Rundgren or Ben Folds on keyboards, while drummer Chase Thornburg fills in the rhythms and adds harmony vocals (For whatever reason, I couldn't help thinking of Flight of the Conchords). Again, maybe it was the venue, but the set seemed hollow. I'm told Elsberry handled bass lines on one of the keyboards, but that didn't compensate enough for not having a real bass (Why are bands so reticent these days to bite the bullet and bring on a bassist?). Elsberry's keyboard tones also seemed locked in a mid-tempo, mid-range rut, and lacked some much-needed variety. Some songs seemed too long. Still, there's no question these guys know how to write music, and no one is doing anything like Shiver Shiver around these parts. They slated to play at Saddle Creek Bar Aug. 17 with Seymore Saves the World. Check them out.

Sleep Said the Monster sounds different every time I see them, and last Saturday was no exception. They've evolved into a hard-rocking indie band that plays run-of-the-mill indie music -- which is a nice way of saying the band never sounded better, but their music was far from unique. I'm not sure fans of this style of music care, as long as it rocks, and it certainly did.

Tonight at Slowdown Jr., Coyote Bones opens for Blitzen Trapper. CB, one of the best new bands in the area, has a split 7-inch with Flowers Forever coming out eventually on CoCo Art. $7, 9 p.m. Also tonight, Oakland stoner metal band High on Fire (Matt Pike, formerly of seminal stoner band Sleep) plays at The Waiting Room with Omaha band Back When. $10, 9 p.m.

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It's kind of a quiet weekend show-wise, at least compared to the past few weeks.

The feature event is tonight at The Waiting Room -- Omaha twang-punk masters The Filter Kings with The Mercury's. The Filter Kings is Lee Meyerpeter (Bad Luck Charm, ex-Cactus Nerve Thang) and his team of highly trained cowboy-hat-wearing knife fighters ripping apart alt-country-punk and reassembling it in their own image. I enjoy this band immensely, especially when they play at The Waiting Room (where they should be the house band (I'll keep saying it until it happens)). The only thing that would make their performance better would be if two drunks had a broken-bottle fight in front of the stage while Lee and Co. provided the sound track. In fact, if these guys ever release a CD, there's the perfect premise for their first rock video. $7, 9 p.m.

Meanwhile, over at O'Leaver's, trippy Virginia space-rock band Gifts from Enola sneaks into town. They call themselves "experimental" on their Myspace page. Their recordings sound more proggy/shoe-gazer than experimental to me. Opening is Paper Owls, and something tells me they're going to give a sneak preview of their new album, which they'll be celebrating with a CD-release show Aug. 11 at PS Collective. Also on the bill, The Slats. Waitaminit, SLAM Omaha says not the Slats but I Hear Sirens are playing tonight. The Slats' Myspace page, however, shows them at O'Leaver's. Find out who's right by showing up at 9:30 and doling out $5.

And don't forget Film Streams grand opening tonight. I was talking Wednesday to one of the guys who works there about the choice of screening the Seven Samurai (Shichinin no samurai) on opening night. He pointed out that it made sense if only for the fact that opening night will bring in people who otherwise wouldn't sit through a 3-plus-hour black-and-white Japanese film with subtitles. And if you're lucky Alexander Payne will provide a half-hour spoken introduction. Two showings, 5 and 9 p.m. Also playing (in the small theater) is La Vie en Rose (see yesterday's review) at 4, 7, and 9 p.m. Film Streams also is having an open house tomorrow from 11 a.m. to 5 p.m. Free popcorn!

Saturday night is all O'Leaver's, with Donnely, Sleep Said the Monster & Shiver Shiver. No idea who Donnely is and can't find anything on the 'net about them. SStM play laid-back indie pop. Shiver Shiver is the duo of keyboardist/vocalist Jordan Elsberry and drummer/vocalist Chase Thornburg. A friend of mine pointed me toward their Myspace site a few weeks ago and I dug what I heard. Their demos remind me of early Squeeze or laid-back Ben Folds. $5, 9 p.m.

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First an apology for the extreme length of this entry. I'll get to the column in a minute, first a look at last night's show at Film Streams. How exactly do you review a movie theater? I guess you consider the environment, the seating, the picture, the sound, the whole experience. Taken as a whole, Film Streams gets four stars.

The facility has a classy, simple elegance, with its gorgeous lobby designed in the same concrete-glass-and-steel modern-Euro style as Slowdown. Clean lines, big windows that look out to the street. I didn't get a chance to test the ticket window as entry was handled entirely by a guest list. Instead, the ticket booth was being used to film "testimonials" about the facility and the concept of Film Streams (Interestingly, Slowdown also has a ticket window, but I've never seen them use it). No idea on concessions as complimentary popcorn and soda were handed out. I didn't see anything unique in the candy counter, but really, I'm not looking for anything beyond Milkduds. Eventually, the theater is supposed to also offer Blue Line coffee and baked goods. I'm not sure how that'll work (actually, I'm not sure where Blue Line will be located in the new complex, I just know it ain't open yet).

Onto the important stuff: The auditoriums. They were pretty much what you'd expect from a new, modern theater -- high-back seats with drink holders, plenty of leg room (though, like every theater I've been in, still a bit tight for me, which is why I always sit in an aisle seat). Picture and sound were, of course, immaculate.

If I have a quibble, it's with the large auditorium. The seating is done in typical "stadium style" -- rows climbing up at a steep angle -- a welcome innovation in theater design. The problem is that the screen seems hung too low. The best seats are in the middle rows. If you go too high, you feel like you're looking too far down to the screen. If the auditorium were my living room, I'd either get a taller screen (probably not possible due to the theater's width and aspect ratio issues) or move it up about 10 feet (there's plenty of room to do that). The smaller auditorium has more traditional (non-stadium) seating, and feels more intimate. I kind of like it better, actually. The screen seems huge, and as a result, the best seats in that aud are in the last row (though, because the narrow slope of the rows, you my have a problem if you're sitting behind someone with Marge Simpson hair).

Film Streams is doing another Alexander Payne presentation tonight for special guests, then tomorrow is opening day, with Seven Samurai playing in the big theater (Payne might introduce it?) and La Vie en Rose in the small theater. The long-term plan is to have the first-runs in the big aud and the retrospectives in the small room.

So how was La Vie en Rose? I knew next to nothing about Edith Piaf before going to this. I still don't know much about her afterward, other than she lived a rather horrible, painful life that started drenched in illness and poverty and ended drenched in illness and loneliness. Along the way, there was plenty of great music and lots of morphine. Since the film is non-linear in nature, you don't get a sense of story so much as a sense of being -- not for who Piaf was, but what she was like. Great performances, especially by Marion Cotillard as Piaf (though she doesn't do the actual singing in the film). Ultimately, it was an utterly depressing two hours of film, as you watch Piaf experience one personal horror after another, ending with her death at age 47 of liver cancer (which isn't explained in the film). In French, with subtitles. If I were a movie reviewer, I'd give it three stars.

Speaking of reviews… I got out of Filmstreams at around 10:30 and high-tailed it to The Waiting Room in time to see St. Vincent. My take: She's going to be as big as PJ Harvey. Maybe bigger. I was under the impression she'd be playing solo, but instead, had a three-member band in tow -- a violinist, bass/keyboardist and drummer. Frontwoman Annie Clark impressively handled the lead guitar herself, with a tone reminiscent of Jack White's work in White Stripes (though she varied between hard-edged fuzz and a gentler sound). When she ripped into the heavy stuff, the music was cathartic. I stand by my earlier opinion that her voice is similar to Carly Simon's, especially on the more laid-back tunes, while it became chipped and PJ-like on the hard numbers (To give her vocals more dynamics, she switched between two different microphones -- a standard mic and one piped through an effect's pedal). After finishing her set, she came back alone to do a cover of Nico's "These Days" sitting on the edge of the stage with an acoustic guitar, surrounded by fans bent close to hear her quiet voice. A star is born. See for yourself when she opens for The National at Slowdown in September.

Now onto this weeks column. Like I said earlier this week, I didn't listen to a lot of music in Cape Cod, but I did on the flights out there and back.

Tonight at Slowdown Jr. it's New York's Vampire Weekend and Omaha's own Landing on the Moon along with special guest Sad Sailor, a new 7-piece improvisational, psychedelic, group featuring Brian Poloncic of Tomato a Day. Get there early to check them out. $7, 8 p.m.

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I'll let you in on a little secret: I go to as many movies as I do rock shows, maybe more. I see everything, not only the high-falutin' indie and foreign flicks at The Dundee (Once, After the Wedding, etc.), but also the popcorn fluff at the cineplexes (Harry Potter, Fantastic Four, Ratatouille). And I love them all, except for the shitty ones, which -- just like shitty bands -- are plenty and hard to avoid.

Anyway… tonight is special for a non-musical reason: It's the press opening of the Ruth Sokolof Theater down at the Slowdown complex -- i.e., the grand opening of Film Streams. Actually, one of the first screenings was last night for city big-wigs and the high-end donors who are making the whole thing possible. Tonight is the press screening. Tomorrow is yet another event (I'm not sure who's invited) and Friday is the hoi polloi opening. Watch for the spotlights.

When Rachel Jacobson told me about the project back in 2005 (for this story), I thought it was a no-brainer -- it was an even better idea than Slowdown, quite frankly. The only theaters screening indie films at the time were that grand old dame The Dundee, and its ghetto twin, the $2 Westwood Cinema 8. Now two years later, the AMC Oakview has dedicated a couple screens to indie films, and theaters in the new Mutual of Omaha and Aksarben developments also are likely to screen a few indie films. That's more competition, but if the Film Streams' auditoriums (two of them -- 209 seats and 96 seats) are as state-of-the-art and comfortable as originally planned, it won't matter. Film Streams is more of an arts organization than a movie theater anyway, a non-profit that depends on the kindness of strangers for its financial well-being. And there are plenty of strangers in Omaha willing to lend a hand if it means getting quality films shown in this town. I bought my membership weeks ago. You can too, right here. $50 is a small price to pay to get access to films that I only used to read about in my subscription to Time Out New York. And, yeah, you can always Netflix them, but really, there's no comparing watching a film at home on a plasma to a movie theater experience.

Tonight's screening emphasizes a problem with Slowdown that I've mentioned before -- their 8-sharp start time for rock shows. Because I'll be walking the streets of France via the Sokolof Theater this evening, I'm going to miss Handsome Furs and Latitude Longitude at Slowdown Jr. The bands will just be leaving the stage when the final frames of La Vie en Rose burns on the virgin screen. A pity, because the new Handsome Furs disc, release by Sub Pop, is Neil Young meets Arcade Fire, with lead vocalist Dan Boeckner (also of Wolf Parade), providing the lonesome moan over the Crazy Horse-style guitars. $10, 8 p.m.

Well, the movie should be over in plenty of time to make it out to the other hot shows tonight. The sleeper is Winter Sounds at The Saddle Creek Bar with The Lemurs and Hyannis. In its more laid-back moments, Athens Georgia's Winter Sounds is like Minus the Bear fronted by Bob Welch (who remembers "Ebony Eyes"?). They're at their best when trying to be dreamy and psychedelic vs. when they're doing the usual indie stutter-step guitar stuff we've all come to know and yawn over. Hyannis just finished recording the final two tracks of their upcoming EP, Off the Reels. $5. 9 p.m.

The other prime show is St. Vincent at The Waiting Room with Scout Niblett, and Omaha's Bear Country. St. Vincent is singer-songwriter Annie Clark, a veteran guitarist for both The Polyphonic Spree and Sufjan Stevens. Her new album, Marry Me (on Beggars) is stunningly beautiful, mixing upbeat ballads with a voice reminiscent of (this is really gonna date me) Carly Simon. She works with a number of accompanists on the record, including Bowie pianist Mike Garson and a horn section. But tonight I believe she'll be doing it solo, probably with backing tracks. I fear it could be more of a PJ Harvey 4-track Demos-style presentation than what we get on the record. If you've never seen Scout Niblett and her wig before, you're in for a weird treat. The first time I saw Scout down at Sokol Underground, it was just her, her drum set and her boyfriend from Swearing at Motorists. The next time, a year or so later, it was her, her drum set, and her electric guitar (Though Ryan Fox lent a hand on one song). Scout looked like a spooky, stoned-out Chan Marshall with adult ADD. It's weird stuff that borders on beat poetry and often includes crowd participation (you'll likely be prompted to help with a few cheers). $10, 9 p.m.

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I haven't kept track of Don Caballero for years. In fact, I thought they'd broken up earlier in the decade. So when I saw this show slated for The Waiting Room tonight, I was a bit surprised. In fact, according to the all-knowing Wikipedia, Don Cab did break up in 2000, shortly after American Don was released. Says Wiki: "To equal parts surprise and criticism, (drummer Damon) Che reformed Don Caballero in 2003 with an entirely new lineup consisting of members of Pittsburgh's Creta Bourzia, a band that bore clear marks of influence from Don Caballero. The new members are Jeff Ellsworth on guitar, Gene Doyle on guitar, and Jason Jouver on bass. (Original members Mike Banfield and Pat Morris were invited to participate but both declined)." Che apparently vowed never to work with original second guitarist Ian Williams again. So Che is the only original member in tonight's line-up, according to Wikipedia. The band, who recorded for Touch and Go for years, now records for metal label Relapse Records. I have to assume they sound somewhat like they used to, but I haven't heard any of their recent recordings. Opening the show is Omaha's own math rock/noise rock masters Fromanhole -- who alone are worth the $10 admission. Show starts at 9 p.m.

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I'm back from Cape Cod, where I spent seven days on a beach with virtually no music whatsoever except for oldies stations on the car stereo -- Boz Scaggs, Dr. Hook (does every one of their songs have to sound like it was written by a pervert?), Gerry Rafferty, ELO, Orleans, Ambrosia -- you get the picture, it was a week of FM Gold. Boston stations barely reach the Cape, and those that did only played hip-hop or retro. Indie music as we know it didn't seem to exist. But hey, you don't go to Cape Cod to sniff out hot local clubs brimming with introspective indie bands. You go there to get away. When you do find a club with live music, chances are you're in for an evening of Jimmy Buffett covers or a Doobie Brothers tribute band... and you wouldn't want it any other way.

So, not a lot to write about. Looks like there was some news while I was gone. Saddle Creek Records signed Tokyo Police Club, a deal that's been rumored for months. I'm not sure how they fit into the Creek roster, but I don't think the label execs care all that much about things fitting these days. TPC is a band that's going to support their debut release in classic Creek style -- by constantly touring, which is what they've done for the past year. Their sound clashes no more awkwardly with the old-line Creek stable than, say, Georgie James or Two Gallants. Two Gallants seemed like an odd addition when they climbed aboard the S.S. Saddle Creek a couple years ago. Over time, the signing made more sense if only weighted on their music's lyrical content. Georgie James was more of a question mark, though some people pointed toward drummer John Davis' Q & Not U connection and his relationship with other Creek bands. Who knows. None of these new signings except for maybe Art in Manila are going to be big earners for the label in the vein of The Big Three or Jenny Lewis, who was a veritable home run for Team Love. Does it matter? Maybe not. Anyway, look for TPC's debut in early 2008.

I dropped in on The Terminals at O'Leaver's last night, they were headlining a show with a couple touring bands. Their set started rough and only got more brutal as the night wore on (in a good way). They sounded about as heavy as I've ever heard them (but nowhere near as distorted as Forget About Never). Fans and followers crowded the "stage," standing on railings, forming a standing circle around the band. You had to press up close to see what was going on. Strangely, after about a half dozen songs -- and just when it was getting really interesting -- the band called it a night. The set seemed half-finished and it was only 12:30.

Tonight at The Waiting Room, it's Cary Brothers with Stars of Track and Field and Mother Mother. Cary Brothers plays adult alternative (a more horrible term I can't think of) in the vein of The Fray, and just like that band, they've had some of their tracks played on TV shows like Scrubs, Grey's Anatomy, ER and a couple lame Zach Braff flicks. Inoffensive, probably boring, but likely well-played. Stars of Track and Field are Radiohead replicants (OK Computer era). Opening band, Vancouver's Mother Mother is the most interesting of the three -- think Tegan and Sara with a guy added to the mix, though their music is weirder, almost proggy in an indie sort of way. Quaint and clever, Mother Mother has an identity of their own making, which is more than you can say about the two "big bands" on this bill. $10, 9 p.m.

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Yup, it's that time of year again when Lazy-i takes a week off to enjoy some well-deserved R&R. What will you do without me? Anyway, here's what I'll be missing (but hopefully you won't be) in my absence:

-- Tonight and tomorrow is the continuation of the Mavradio Benson Local Music Festival. Tonight at The Foundry it's Tea Ceremony, Scott Severin, Mike Harvat and Goodbye Sunday. $2, 7 p.m. While over at PS Collective it's Talkin Mountain, Electric Needle Room and Family Unit. $5, 9 p.m. The festival's highlight comes Saturday night. First, at Barley Street Tavern, it's Ric Rhythm and the Revengers, Reagan and the Rayguns, and the Southpaw Blues Band. $2, 8 p.m. and then at The Waiting Room, the long-awaited return of Son, Ambulance. Chatting with Joe Knapp last weekend at Slowdown, it sounds like they'll be playing some stuff off Key and maybe some new material. This isn't just a one-off reunion. Knapp sounds ready to put the Ambulance back on the road. I'm sorry I'm going to miss this one. Also on the bill is Ladyfinger and Little Brazil. $5, 9 p.m.

-- Also tonight, Satchel Grande opens for The Balance at The Waiting Room. SG is one of the funnest (and best) bands going these days. Should be a riot (if they can get people to loosen up and dance). $7, 9 p.m.

-- Monday night, Box Elders (that's Dave Goldberg and them McIntyre brothers) open for Quintron and Miss Pussycat at The Waiting Room. $8, 9 p.m.

-- Wednesday, of course is the big Built to Spill show at Slowdown with The Boggs. Tickets are still available for $17. I figured this show would sell out fairly quickly, but BTS didn't sell out the last time they came through until the night of the show, and this venue is a bit bigger than Sokol Underground. Will it be a jam-band fiesta or just a solid rock show? I think it'll be the latter. It'll certainly be something you won't want to miss. Show starts at 9.

-- Thursday, No Blood Orphan and Capgun Coup open for Drakkar Sauna at The Waiting Room. NBO's new album, Robertson Park, is a solid effort, and Capgun Coup continues to be dead-set on world domination. Also the bill, Dim Light. $7, 9 p.m.

-- Friday, the second big show at Slowdown this week that I've been dying to see but will, alas, miss. Tokyo Police Club plays with Dappled Cities. TPC is a favorite of the Saddle Creek Records crew. They play pretty, peppy indie punk, lively and fun. Imagine Cursive with hand-claps and you're starting to get the picture. $10, 8 p.m.

See you when I see you.

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One of the more surprising things I heard when I talked to Chris Y and Amy Drake outside of The Saddle Creek Bar Sunday night was that they'd been advised not to play at O'Leaver's. The duo had never actually stepped foot in the club before. To me, playing O'Leaver's has become almost a rite of passage for local indie bands (and a few touring bands, as well). Sure, Slowdown and The Waiting Room remain at the top of the food chain, followed by Sokol Underground (which used to top the list). While a great place to play, Sokol is too big for most up-and-coming bands, especially if they're not filling an opening slot for a big-name national show. As everyone knows who frequents the place, playing in front of 50 people in Sokol Underground is like playing in front of an empty room, and looks disastrous. While playing in front of 50 people at O'Leaver's is like performing in the middle of a mob scene. Sure, the club has a sub-par PA. Sure, the place kinda smells like a wet ashtray and has the ambiance of someone's rec-room. But some of the best shows I've seen in Omaha have been performed there. Odd that someone would tell the band to avoid the place. Drakes did manage to play at The Waiting Room while they were here, as well as Sokol and The Saddle Creek Bar (four times!).

Tonight kicks off the 3-day Mavradio Benson Local Music Festival, with shows at two venues -- Vago, It's True, Thrift Store Clerk and Stephen Monroe at Benson Grind ($2, 7 p.m.), and Paper Owls, Pictures of Lily and Midwest Dilemma at Mick's ($5, 9 p.m.). Serious festival goers can purchase an $8 wristband at Jake's, The Pizza Shoppe or Benson Grind that will get them into all three days-worth of shows -- a bargain.

I wrote about this festival in my column a couple weeks ago. Mavradio is UNO's campus-only radio station. Proceeds will go to buying new equipment that will allow the station to once again stream its programming at mavradio.org, with the long-term goal of purchasing a new sound board and radio tower to broadcast on the entire UNO campus.

Wouldn't it be great if you could hear the station off campus in our cars? Considering the politics and costs involved with radio broadcasting, that likely will never happen, especially with KVNO being UNO's official broadcast radio station. But you can always dream.

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I think it's fair to say that Doug Martsch of Built to Spill was slightly agitated and slightly amused at my line of questioning for our interview (online here). Fact is, BTS hasn't released an album in over a year other than the limited edition vinyl and reggae songs mentioned in the story. The real burning question on everyone's mind is whether or not BTS will rock next Wednesday or jam all night. I don't know if I got a definitive answer other than the denial that they excessively jam in the first place. Well, I was there last time, and I can tell you it was one long solo after another (relive the evening here). At one point during the discussion, Martsch said something along the lines of "We'll now be sure to do lots of jams when we get there." Uh-oh. We also discussed the fact that this is the first big touring show on the Slowdown stage, and how it also was the first Slowdown show announced prior to the venue's opening. Martsch said he'd heard something about it and was pleased to be the band picked to break the place in. Too bad I'm going to miss the show as I'll be out of town that evening...

A couple shows worth mentioning tonight: Those crazy kids from Gravy Train!!! are at The Waiting Room tonight with SSION (who remembers when they opened for Yeah Yeah Yeahs in March 2004 dressed as chickens, a lion and a cow?) and The Flamboyant Gods. $8, 9 p.m.

Meanwhile, over at O'Leaver's, it's those crazy punk rock kids from The Shanks with Thee Almighty Handclaps and Ric Rhythm and the Revengers. Mayhem shall ensue. $5, 9:30 p.m.

Tomorrow in Lazy-i, Drakes Hotel.

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Forgive the lateness of this post as I'm suffering from a lingering head cold. Not good. Don't catch it.

Moving on…

This past March I went to a show down at Sokol Underground featuring Capgun Coup, Baby Walrus and Whatever Happened to the Dinosaurs? Easily the best band that evening was Baby Walrus (ex-Le Beat). The worst was Capgun Coup (Whatever Happened… bordered on being a Bright Eyes tribute band). My comments from that show: "Finally there was Capgun Coup, who I really came to see. I was told by someone who has heard them before that it wasn't their finest moment. The set was sloppy and out of sync, and I have to wonder if it wasn't just an off night. That said, the crowd of around 80 didn't seem to mind. In fact, the whole evening had a house party feel to it and you could tell that the crowd consisted mostly of friends having a good time."

Fact was, they were terrible. This was just a few weeks after Conor Oberst had name-checked the band during an interview I conducted with him, focused on Cassadaga. Oberst had said he loved Capgun. After this show, I went back and reread my notes. Surely he couldn't have been talking about this band. But there it was. Oberst name-checked the band again a few weeks later in a Rolling Stone interview. For better or worse, Capgun was on its way.

Needless to say, I wasn't expecting much last Friday night when I headed down to Slowdown to check out their new "small" stage. I got there late -- they don't mess around at Slowdown -- shows start at 8 p.m. sharp. Owner Robb Nansel even told me that evening that nary a note will be heard from a band in Slowdown past midnight. That's a harsh timeframe for those of us used to heading to shows after seeing a 7 o'clock screening. By the time I rolled in around 10:30, The Family Radio had long finished their set and David Vandervelde had just left the stage. Last up that evening -- Capgun Coup.

First, an update on Slowdown's service. Remember that blog item where I said it took 24 minutes to get a beer (here)? For whatever reason, it got a lot of attention, judging by the number of people who have come up to me to also complain about Slowdown's service. Misery loves company, I suppose. Well, bar captain Ryan Palmer seems to have gotten things under control by throwing sheer numbers at the problem. There were at least five people hustling drinks Friday night at what I was told was a capacity show for the "small bar setting" (i.e., when they have the divider in place, blocking off the big stage). I was able to get my Rolling Rock ($3) in less than five minutes. Not bad. I even had a bartender ask me "how ya doing" all night from my roost at the far end of the bar. The real test will be next Wednesday's Built to Spill show (which, alas, I won't be in town for).

The small-bar stage located just inside the door is overhung by a set of amps that provide pretty good sound without overpowering the room. Capgun was a good test of this -- they sounded frenetic (and loud), but I was still able to talk/yell at people standing next to me. In retrospect, I don't think the band had "an off night" down at Sokol in March as much as they didn't know what they were doing on that huge stage. They've gotten a helluva lot better, thanks to playing all the time. Their show Friday night certainly came closer to the sound heard on their CD, and Sam Martin's yelp (at its most ragged) even brought back memories of a young Pat Buchanan. Capgun sounds nothing like Mousetrap though, and though their energy is similar to Desaparecidos, they don't sound like those guys, either. I guess you'd have to call their sound house-party-punk. The style is ragged and out of control, what you'd expect from a band weaned on uninhibited house shows. Now Capgun is trying to translate the party to a bigger stage, and for the most part, is succeeding, at least in their hometown. Ah, but how will it translate when they hit the road and get away from their hordes of followers?

Rumors of their Nebraskafish debut being reissued on Team Love are true. I'm told promos of the Capgun Coup reissue were available from a T-L rep who was in the house Friday night (I didn't grab one). That same rep told me that Flowers Forever also will see their debut released on Oberst's label. Will Capgun and Flowers tour together? Time will tell, but the combination seems like a natural (actually, Capgun would be better suited touring with Tilly and the Wall, a band that shares the same youthful exuberance).

Capgun is part of the "Next Wave" of Omaha bands, a wave that includes The Family Radio, Bear Country, Baby Walrus, Coyote Bones, Sleep Said the Monster, Flowers Forever, Art in Manila, Hyannis, and Drakes Hotel (though Drakes no longer is with us here in Omaha). The bands all seem to be drawn together, either through their style or their social network. Most play the same house parties, and when they perform together on a regular stage, they tend to turn the room into a house party.

* * *

A couple Conor items to pass along from the Interweb… Seems the folks at Shepherds Bush Empire (in bonny ol' UK. Tut-tut! Cheerio!) got a glimpse of the old Conor during their July 3 show. According to a report in Uncut (here): "Technical hitches at the end of the show, which had been elaborate with live projections of swans, candles and jigsaws in the background, saw front man Oberst snap, with the singer picking up and throwing a stage amplifier half-way across the stage. He also flung fellow Bright Eyes band member Mike Mogis' guitar in a pique of anger." I have this vision of Mogis looking down at his hands where he had just held his guitar. Upon reading this, I wondered if the reporter was just misinterpreting the usual end-of-show fracas that takes place nightly during "Road to Joy"?

In other Conor news, Polydor has commissioned five directors to create videos for Cassadaga, according to Digital Arts (here). Each director and video is described in the story, which also includes a link to the videos online. One would think that the videos cost Polydor a shitload of money, and that Saddle Creek will get all the benefit in the U.S.

This week, look for an interview with Doug Martsch of Built to Spill (probably Wednesday morning), and a piece on Drakes Hotel leaving us just after being discovered...

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Busy night last night. And I missed it, thanks to a head cold. Or maybe it was just allergies. Don't know. All's I know is that I couldn't breathe. Tell me you've been there before. Come on!

Tonight should be just as busy. The feature show is at Slowdown -- David Vandervelde and the Moon Station House Band. The Chicagoan, who records for Secretly Canadian, sounds like he just stepped off a tour bus with Norman Greenbaum. That is, when he rocks. When he's acoustic, he sounds like your typical indie-folk ballad guy. The music is tweedy and urban at the same time, like a hipster dressed in a western-cut suit. Opening are local heroes Cap Gun Coup (Conor Oberst's favorite local band, in case you didn't know) and The Family Radio (featuring filmmaker/videomaker/full-time genius Nik Fackler). $7, 8 p.m. (I've been told that Slowdown's 8 p.m. shows are routinely starting at 9, though).

Meanwhile, over at The Waiting Room, it's Prospect Avenue, No Action and Landon Hedges' other band, Fine, Fine Automobiles. $7, 9 p.m.

Also in Benson tonight, over at The Barley Street Tavern it's a reunion of Such Sweet Thunder. No idea on the cover, but the show starts at 9 p.m.

Saturday night's feature event is Little Brazil at O'Leaver's with Noah's Ark was a Spaceship, Cloven Path and Gertie Fox. While over at The Waiting Room, it's '90s rockers Secret Skin (remember them?) with Old Boy Network. $7, 9 p.m.

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There are a handful of good shows going on tonight, the biggest being Har Mar Superstar down at Slowdown. It's being promoted as a "GOO" event, which would imply that Sean Tillmann will be spinning discs all night from stage. Not likely. I have to assume that we'll also get plenty of Har Mar sexiness in the form of a performance. Tillmann has adopted Omaha as a second home, and the Saddle Creek crew as a second family. I suspect this will be a huge show. $5, 9 p.m.

Meanwhile, over at The Waiting Room, it's Fort Worth band Black Tie Dynasty, a group of guys who dress in black dress shirts and play music drenched in their influences, which include The Cure, Psychedelic Furs, The Smiths, etc. Opening is Civic Minded and Sleep Said the Monster. $7, 9 p.m.

Finally, at O'Leaver's it's Thunder Power!!! featuring new members Alex Boardman and Kacynna Tompsett. The gig is a warm-up for the band's mini Midwest tour that will take them to Lawrence, Chicago, St. Peters, Minneapolis and Des Moines, winding up at The Saddle Creek Bar July 13. Opening are Jon Crocker and It's True. $5, 9 p.m.

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Thanksgiving Eve. Christmas Eve. July 3rd. And so on. These are all perfect nights for shows, since almost everyone can sleep in the following morning. And yet, historically there are very few shows on the eve of holidays in Omaha. I guess that's to the venues' advantage, since they're all going to be packed tonight with or without bands performing on their stages.

That said, Slowdown is taking advantage of this holiday eve to christen their new "small stage," located along the north side of the bar. The space is designed to host less-popular bands that would have a hard time filling the venue's "big room." Doing the honors is Flowers Forever (Derek Presnall of Tilly and the Wall) and Fourth of July (Adrianne Verhoeven of Art in Manila). The 8 p.m. show will run you $5, with all of it going to charity. With a capacity of around 100, I bet this one will be packed.

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The iPhone odyssey will be recapped in Wednesday's column. I will say this: I got one… eventually. More later.

After my late-afternoon iPhone fiasco, we headed to Memorial Park for KC and the Sunshine band. It was the usual crowd of fun-loving suburban white folks, mostly families, lots of kids. Almost no black people whatsoever. The crowd seemed larger than last year's 4th of July celebration-in-the-park (certainly larger than the Bright Eyes concert). KC and his entourage came on at around 9:15, and though I thought the whole thing was disappointing, I don't know what I was expecting -- some sort of hip disco show that highlighted the grooves of the band's best songs? Dumb on my part. Instead it was your typical Vegas/Branson-style medley/revue performance. Bombastic. Lots of bad dance routines. A handful of covers from the disco era that should have been left out. KC could easily have played 45 minutes of nothing but his own material. Instead, we got disco's greatest hits and even a couple obscure KC numbers along with ones we all know and love. The band was good, but the sound was particularly bad for an outdoor show -- shrill, with too much high end. No bass at all. The Sunshine Band, specifically the brass, was first rate, and KC's voice was good enough to pull it off despite having to run around stage like an elderly aerobics instructor. Most people around us weren't watching, anyway. They were too busy making sure their kids weren't lighting things on fire or spilling Kool-Aid on their blankets. A small handful of women in their 40s did some good-time rump shaking, hiding their Busch Lights beneath foam coozies. KC finished at around 10, and the fireworks followed. Funny how these fireworks shows always use the same music. Get ready for Lee Greenwood, Neil Diamond and the requisite Louis Armstrong "It's a Wonderful World." Teresa wondered what it would be like to see a fireworks display backed by indie rock songs -- Spoon, Death Cab for Cutie, Bright Eyes. The crowd would hate it. Actually, I'd probably hate it, too. It seemed like the shortest fireworks display I've seen at Memorial Park since the '90s. People around us actually booed. I guess they didn't get their money's worth.

Saturday night was Dan Deacon at The Waiting Room. A friendly Lazy-i reader saw the show listed on my blog and pointed it out as something I shouldn't miss. I'm glad she made the effort. She said Deacon is part of a Baltimore art / theater / music collective called Wham City. I knew he was a one-man band sort of thing, but other than that, didn't know what to expect. His shtick is similar to The Show Is the Rainbow's -- Deacon sets up on the floor instead of the stage, surrounded by samplers and lighting gear and a big green skull on a stick that lights up during the high points. Before he started, a couple guys taped white bedding sheets from the beam that divides the stage room from the rest of the bar, effectively creating a barrier, forcing people to come inside the stage area and surround Deacon and his gear. Smart move. It made the room more intimate and enclosed. Deacon's music is almost entirely prerecorded tracks played on an iPod Shuffle, augmented by keyboards and his vocal effects. Hyperactive, frenetic, big-bass dance songs sung by squirrels playing Casio keyboards, melodies reminiscent of A Clockwork Orange and The Faint and TSITR and video game soundtracks.

The biggest difference between Deacon and TSITR is how Deacon forces crowd participation. Sure, Darren Keen gets out in the audience and gets them involved, but Deacon makes almost every song a sing-a-long, includes a pseudo dance contest, even passes out lyric sheets and stinky plastic robes for a few unfortunate fans to wear during his final song (a rapacious version of "Wham City"). With the crowd of 50 or 60 packed so tightly around the front of the stage, with the red, green and white floor lights, Deacon's show felt more like a weird religious event rather than a rock concert -- a psionic cult happening, a throbbing dance ritual where you halfway expect grooving onlookers to begin floating in the air, trying their hardest to "renew" Logan's Run-style. Instead, Darren Keen picked up one hearty soul and lifted him over his head and passed him around the crowd before he was set down in front of high priest Deacon. A religious experience indeed.

One last music note from the weekend: Went to see the film Once at The Dundee Theater Saturday night. I thought it -- and its music -- were terrific. Glen Hansard, the leading man, sounds like an Irish version of Cat Stevens, with music that at times is nearly as good. Hansard also is in the Irish band The Frames, who have released a handful of albums, including a couple on Anti Records. The Frames are opening for Bob Dylan in New Zealand and Australia in August. Once is a simple film filled with so much music and performances that it borders on being a musical (maybe technically it is). It isn't a love story as much as a fable about a singer-songwriter making the record of his life. Check it out before it leaves.

Tonight at The Waiting Room it's Suicide Squeeze artist Page France with Bear Country and Scissors for Lefty. France plays twee acoustic indie-folk songs that are always pretty, sung in frontman Michael Nau's charming nasal croon. All Music said the press compares them to Bright Eyes or Jeff Tweedy. I don't hear that at all, but you be the judge. Scissors for Lefty are the brothers Garza (three of them) and the brothers Krimmel (just two), singing upbeat indie rock songs in a style similar to Eagle*Seagull -- vocalist Bryan Garza even sports an affected rasp similar to Eli Mardock's (at least on the tracks I heard online). The show starts at 9 p.m. and costs $8.

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Yes, you read that headline correctly. I'm one of those idiots who will be trying to purchase an iPhone today. Actually, my girlfriend will be buying it for me as a belated birthday present (I'm still waiting for my presents from all of you to arrive). I highly doubt I'll be able to snag one this evening, but we're going to give it a try. The effort is newsworthy in the fact that I'm the last person in America who doesn't own a cell phone.

Our failed effort will hopefully be concluded by 7 or 8, in plenty of time to weave through the angry traffic that will be clogging my neighborhood -- van-loads of people making a pilgrimage to Memorial Park for the free KC and the Sunshine Band concert. I love KC. Always have. I can't say the same for The Little River Band, though, who will be opening the show.

Once all that nonsense is over, I'll likely be heading to PS Collective for Coyote Bones, Baby Walrus and NYC's Chairlift. You already know about CB. Baby Walrus is another up-and-comer that's on the top of my list of new local bands. The show starts at 9, which means I'll probably miss them as I'll still be stuck in Dundee traffic hell. That shouldn't stop you, however.

Elsewhere this evening:

-- The Nadas, Matt Whipkey and Anonymous American and The Only Children are playing a marquee show at The Waiting Room. The Nadas have a huge following (though I admit to never having heard them before). Should be crowded. $12, 9 p.m.

-- Hot local underground MC Articulate will do everything he can to burn down O'Leaver's tonight. Holding the matches and gasoline will be Bobby Dangerfield, Carnage, Capaciti, & Concentrate. $5, 9:30 p.m.

-- Finally, the patron saint of Omaha hip-hop, Surreal, will be hanging up the mic for the last time tonight at Shea Riley's as part of his CD release show. $6, 9 p.m. Brett Wertz writes about Surreal's last show in this week's issue of The Reader (story here).

Saturday night it's The Stay Awake (Steve Micek's band) at The Saddle Creek Bar with This Alibi and veteran Omaha noise-rock band Fromanhole. $5, 9 p.m. Baltimore electronic music artist Dan Deacon takes the stage at TWR with Video Hippos. Weird fun for only $8.

If I don't see you at one of the shows, I'll give you call...

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I probably received more mail for last week's column than anything I've written since last year's "Fun City" piece. The comments this time were mixed -- half disagreed and called me a prickly doomsayer, half said I was on target. Verbal feedback was just as mixed. I should have added to the column the fact that all the club owners that I've talked to say attendance is down at shows, especially smaller shows, and that everyone seems a little worried.

CORRECTION: onight at Sokol Underground, The Show Is the Rainbow opens for Japanese noise rock act Melt Banana. This should be one of the last Darren Keen shows around here for awhile, as he says he's moving to sunny Orlando July 1 (details here). Also on the bill is LWA. $10, 9 p.m. Meanwhile, over at The Waiting Room, laid-back Canadian indie folk-rock band Great Lake Swimmers (Nettwerk) plays with Madison band Southerly (on Greyday) and Omaha's own Kyle Harvey. $8, 9 p.m.

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Here are some news blips for ya:

-- Aversion is reporting (here) that The Faint are making a remix of a track off Nine Inch Nails' Year Zero album. No idea what Trent will do with it. The story concludes with news that The Faint will be heading into the studio to record the follow-up to Wet from Birth. No word on who will be releasing it, however. Speaking of The Faint, I discovered this dance interpretation of "Posed to Death" on YouTube yesterday, featuring UNO professor Dr. David Corbin. It concludes with a serious message about plastic shopping bags that will make you think the next time the cashier asks that timeless question: "Paper or plastic?"

-- Remember that column about my night spent at Crossroads Mall with Dev Hynes of Lightspeed Champion (read it here)? Well, according to DiS (here), Domino is about to release his new record. Lightspeed also will open for Bright Eyes at a couple London dates early next month, and then Tilly and the Wall in early September.

-- Eagle*Seagull's Eli Murdock e-mailed to let me know his band just finished recording their next record in Seattle with producer Ryan Hadlock (The Gossip, Blonde Redhead). Don't look for it until early 2008, though. "We're right in the middle of negotiations with a number of labels and after that's finalized it'll be at least another four to five months until release," he said. Anyone who's been to an Eagle*Seagull show in the past year probably has heard a few of the new songs, and is as eager as I am to have it in their hands.

Tonight, Justin Lamoureux of Midwest Dilemma celebrates his birthday at The Waiting Room with Jake Bellows (of Neva Dinova), Salt Lake City's Drew Danburry, It's True and Chandler Arizona's Iji. $5, 9 p.m.

Tomorrow morning, your letters in column form.

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Friday night, for the first time in years, I did some actual bar-hopping. That's right, I went to two different bars to see two different shows. It was like being in college again (except back then, we bar-hopped for reasons that had nothing to do with the bands…). I popped into The Waiting Room to see how well Sarah Benck's show was drawing, knowing that it would probably "sell out" -- that is, if they had actually sold tickets. Who knows why they decided to do the show for free when they could have pulled in the same crowd charging $5 to $8. Maybe because Benck and her band do so many free outdoor festivals and "events" that she wanted to keep with the theme. Or maybe she just wanted to pack people in to get them to buy the new CD. So -- no surprise -- the place was "at capacity." To give you some perspective, it looked like more people were there than at TWR's Cursive and Faint shows.

The size of the crowd brings up a point I've been trying to make about TWR -- even when they're at capacity, you can still freely move around that club -- I've never felt uncomfortable at a TWR show. Prior to the club's opening, I thought parking could be a problem -- it is Benson, after all, and TWR doesn't have a designated parking lot. But I've never had a problem finding a spot for my Mini within a few blocks of the place. Jim and Marc have something special with this club -- good capacity, great sound, great booking, plenty of parking and good service. What more do you want?

Anyway… so I slipped in around 10 just as Benck and her band began to tear into their set. Benck was wearing the same get-up she wore in The Reader photo -- leather skirt, high-heel boots, etc. You notice in a live setting just how talented her band is -- all of them are poised, seasoned musicians with the confidence to lean into a solo whenever they want, just like any good road-hardened touring band. The crowd whooped it up between songs, and I gotta believe Benck sold plenty of merch that evening.

I listened to three or four songs, then high-tailed it to O'Leaver's for Life After Laserdisque's CD release show. Landing on the Moon had just began their set, where they revealed a handful of new songs that are dramatically different than their old material. It's not a completely different sound, but rather a better one, thanks to arrangements that take advantage of their melodies and guitars. A few of the new ones ended with lengthy repeated (heavy) grooves that never went too long or became boring. The band says they're getting ready to enter the studio to lay down the new stuff.

Next up was Life After Laserdisque. It's been about a year since I've seen these guys, before Shawn Cox took over the vocals. Since then, LAL has evolved into some sort of super-pop-rock band, complete with call-and-response choruses (Where did she go? I don't know…) and tight guitar solos. Cox may be one of the most underappreciated guitarists in the scene (though he seems to play in everyone else's band). Before the set, he told the sound guy (Little Brazil guitarist Greg Epps) to put plenty of delay in the vocals. The effect transformed Cox into an indie Elvis, minus the swagger. It was a hot set, played to a happy, drunken crowd. No matter how nice all these new venues are -- TWR, Slowdown -- they can't beat the old-home, where-everybody-knows-your-name reality that is O'Leaver's. It's like drinking at a private club where everyone becomes a member (or a regular) by merely walking through the door.

I don't know what was in the air Saturday, but something definitely was, and I spent a good part of the afternoon convulsed in rapid-fire sneezing. By the time the evening rolled around, my head had closed shut, except for my nose, which drip-drip-dripped all night long. Luckily, TWR has plenty of dark spots where no one could see me wiping snot from my upper lip with the back of my hand (In fact, I probably could have done the ol' stick-a-Kleenix-up-the-nose trick, but that would have been too unsettling for passersby). I got to the club just in time to see the last half of All Smiles, a rootsy indie band with a frontman whose voice resembled Neil Young's (but without the twang). That said, there was a rural feel to their guitar-powered rock and I wish I had seen more.

Though not nearly as crowded as the prior evening, there was a large draw to see Menomena (pronounced Men-Naw-Men-Naw -- like phenomena -- not as I stupidly pronounced it, Men-Oh-Meen-uh). The trio featured a drummer/vocalist, keyboard/guitarist/vocalist, and frontman/vocalist/guitarist/saxophone player. Huge sound for a trio. Everything seemed keyed off the drums, which were big and brawny, the kit set up at the front of the stage so all three members could watch each other throughout the set. Trying to think of what they sounded like, the guy next to me said, "Man, it's like early Peter Gabriel." Bingo. Especially when the drummer sang the leads, the keyboards were in loop and the frontman added harmonies or played an odd line on baritone sax, it was 1980 Melt-era Gabriel all the way. Other times, when the keyboardist held the vocal spot, Menomena resembled early Death Cab or a more conventional indie band. They were at their best when being unconventional, however, which was most of the evening

Tonight at O'Leaver's it's Fromanhole with Knoxville, Tennessee bands Mouth Movements and Gamenight. $5, 9:30 p.m.

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Tomorrow night, Western Electric featuring Scott Roth of Such Sweet Thunder celebrates the release of their new CD, State Line, at The Saddle Creek Bar with Pendergast and Brother Trucker. $5, 9 p.m. Also Saturday night, Cloven Path plays with Lincolnites Ideal Cleaners and Strawberry Burns at O'Leaver's, $5, 9:30 p.m.; while Barsuk Records band Menomena plays The Waiting Room with All Smiles and Stephanie Drootin (The Good Life). $10, 9 p.m.

Sunday, Reagan and the Rayguns (featuring Reagan Roeder and Kyle Harvey) burn up The Waiting Room stage with Lindsay Donovan, Amy Cooper and Ether Bunny. $8, 9 p.m.

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The Associated Press article referenced below for which I was interviewed is here. The quote attributed to me is 180 degrees different than the response stated in my column below (I can hear every person who ever thought they were misquoted by me chuckling to themselves, thinking "Now you know what it's like, TMac."). I don't think Slowdown will draw new and different indie bands to Omaha. It could, however, impact where you see those bands when they come here, that is, if you get off your ass and actually go to the show.

There are quite a few shows happening around town tonight. Five bands I've never heard of before are playing at Sokol Underground, headlined by Hymns, a New York band by way of North Carolina who record on Blackland Records, and who are disciples of Pavement and Neil Young. Among the openers is Thrift Store Clerks, a new local band that plays feedback-drenched slacker indie rock, judging by the one mp3 file that they sent me. $8, 8 p.m.

The 49'r is hosting a rare Thursday night snow with Dallas band Brickfight! and Omaha's own Fonzarellis. $3, 10 p.m.

Continuing a week filled with jazzy rock, The Waiting Room is hosting The Jazzwholes with Shiver Shiver & Thousand Houses. $5, 9 p.m.

And the Saddle Creek Bar is hosting five bands, including Tie These Hands. $5, 9 p.m.

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