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Here’s the rundown from last night at The Waiting Room: John Klemmensen (along with his band, The Party) took the evening to exorcise his personal demons.
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Lazy- i » 2. 00. 8 » October. Here’s the rundown from last night at The Waiting Room: John Klemmensen (along with his band, The Party) took the evening to exorcise his personal demons.
Backed by a large- ish band that included all the usual instruments plus a two- man horn section and keyboards, Klemmensen, with his trusty acoustic guitar, divulged a set full of his private confessions, snapshots of a man lost and struggling along a crossroads that is wholly his own. The indie rock songs weren’t so much somber as downcast, with a tendency to build to a theatrical climax. Klemmensen has a voice tailor- made for soul and funk, though last night the style was similar to what he does in Landing on the Moon — arty self- referential acoustic rock.
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Covers included songs by Iggy and Maria done up in Klemmensen style. Good crowd response.
The contrast with Dance Me Pregnant was, well, bracing. DMP is sort of a supergroup of indie punk featuring some familiar faces from other local bands including John Vredenburg and Jeff Ankenbauer from The Shanks, Cory Broman (Art in Manila) and Chris Machmuller (Ladyfinger). The end product was cleaner than The Shanks (no surprise there) but heavier than The Dinks. All eyes were on Ankenbauer, who stood center stage, wrapped the microphone cord around his head and screamed. It’s as turbulent as you’d expect.
Unfortunately, their set was cut short when Vredenburg broke a bass string. The opening bands’ bass players apparently had already left the building to grab some dinner, and of course there is no bass in 1.
Club. Without a replacement (or a replacement string) Dance Me Pregnant called it a night, a true case of coitus interruptus. I only hung around for the first few songs by 1. Club. A four- piece — drums, guitar, keyboards, violin — their style was sometimes pretty, sometimes slightly dissonant low- key indie rock heavy on drama.
Not bad, though by the time they played, half of the 3. There are about one million things going on this rare Friday night Halloween. I’m not a Halloween kind of guy, which means I don’t dress up in costume, which means there’s a high likelihood that I’ll be staying home tonight instead of going out to mingle with the drunken masses. As I say every year, when did Halloween become New Year’s Eve become St.
Patrick’s Day? The bars have got to love it, as do the cops. It’s only a matter of time until Easter and Columbus Day also become just another reason to tie one on. Thank you, East- da Bunny.)So anyway, here are the highlights as I see them: Tonight at Slowdown Jr., it’s Rig 1 a. Team Rigge headlining a show featuring Little Brazil, Dim Light, and Fortnight. My pseudo survey of last night’s crowd indicates that this is where most of the music folks will be hanging out.
Over at The Waiting Room, The Song Remains the Same headlines a show that also features Satchel Grande and The Lizard King — a Doors tribute band. This being Halloween — when people just want to unwind/get drunk — expect a large, rowdy crowd. The Barley St. has a big line- up with Thunder Power, Sleep Said the Monster, Brad Hoshaw and the Seven Deadlies, Malpais and Kid Theodore. If all these bands show up at the same time, there won’t be any room for anyone else. Cover band Secret Weapon will be tearing it up over at The 4.
While The Saddle Creek Bar is featuring a night of metal with a bunch of bands I don’t know, along with a costume contest. No idea on the cover. The good times just keep on rolling Saturday night — expect to see people eking out every last bit of “hilarity” from their costumes. There’s a rare show over at The Brothers featuring The Coffin Killers and The Dinks. Cover is $5, with all money going to help pay the bills of a young woman in need of a lung transplant. It’ll be a good time for a good cause.
Meanwhile, over at O’Leaver’s, Coyote Bones is playing with It’s True. Rumor has it this could be the last- ever Coyote Bones show. Finally, on Sunday, it’s The King Khan & BBQ Show, this time at The Waiting Room with Women and Box Elders. Slowdown Jr. it’s Margo & the Nuclear So and So’s with Wild Sweet Orange and Skypiper. Happy Hallow…–Got comments? Post ’em here.—Tonight at The Waiting Room it’s Billings Montana indie band 1. Club with Bay Area singer/songwriter Michael Zapruder (Sidecho Records), and locals John Klemmensen & The Party and Dance Me Pregnant.
You might remember Klemmensen from Landing on the Moon and Satchel Grande. His new project involves material he’s been writing for awhile backed by an all- star band that includes Mike Deages, Ben Zinn, James Cuaato, Jason Ferguson, Matt Hall, Meg Morgan, Eric Harris and more. Also tonight, Iowa City’s Samuel Locke- Ward (Miracles of God) and Las Vegas act The Bassturd are playing at The Attic, 3. Harney St. (Note, this show is listed on Locke- Ward’s and Bassturd’s Myspace pages but isn’t listed on the Attic page, so buyer beware. Got comments? Post ’em here.—The Rig 1 recording just seemed to come out of nowhere about a week ago, as did the Rig 1 CD release show slated for this Friday night (Halloween) at Slowdown. Ian Mc. Elroy is living in New York these days, specifically Bushwick, Brooklyn, where he says he’s making a living as a prop assistant for fashion shoots.
It’s a hustle, but he says it pays the bills. As mentioned below, he’ll be following in the footsteps of Mars Black, another Team Love MC, who went on the road opening for a Conor Oberst project. Will that valuable opening slot translate to new fans and CD sales? Time will tell. But one thing’s for certain, Mc. Elroy has his work cut out for him. I’m assuming Conor will be playing on stages as big or bigger than the one he performed on at The Anchor Inn last month. That’s a lot of space to fill for one guy with a microphone (backed by two musicians).
The only way Rig 1 is going to work on such a large stage is if Mc. Elroy can get the crowd “into” his set and his music — a challenge for even the most seasoned MCs. Column 1. 96: Rig 1 Rising. The return of Team Rigge. These days, Ian Mc. Elroy’s hip- hop crew goes by the name Rig 1. It used to be called Team Rigge, the secret endeavor of Omaha’s indie rock elite, a project that remained secret to everyone but the few in on the joke.
It all began almost 1. Mc. Elroy and a handful of Creighton Prep juniors that included his cousin Conor Oberst. We used to clean the Rigge Science Center,” Mc. Elroy told me from somewhere in Brooklyn. We were really bad workers.
Our first raps were about cleaning the halls.”Rigge became a sort of side project, whose first recording was heard as a pretrack on Criteria’s 2. The only way to find it was by dropping the CD in the player and hitting the “rewind” button to discover — voila! At the time, Oberst lived next door to Criteria’s Stephen Pedersen in a small house just north of Dundee. The two shared recording equipment along with a copy of Pro Tools.
That (recording) was me and Conor, and the girl was Jenny Lewis,” Mc. Elroy said. “Conor was the last verse; the first two are me.”Oberst and Mc.
Elroy had already emerged in an above- ground rock project called Desaparecidos. But quietly and in spare time, Rigge lived on with a crew that included everyone from fellow Desa member Denver Dalley, Little Brazil’s Dan Maxwell, Son Ambulance’s Joe Knapp and The Faint’s Clark Baechle.
It was with Baechle that Team Rigge appeared on stage for a one- off gig opening for Broken Spindles Oct. Sokol Underground. The two- man crew’s rapping over prerecorded tracks was stiff, suburban and downright goofy, with Mc. Elroy telling the crowd, “You can bob your heads to the beat if you want to.” A few did. Mc. Elroy and Baechle ended up doing some recording, which showed up as mp. Team Love website in 2. And then Rigge disappeared.
Baechle became too busy with The Faint, and the duo parted ways. Mc. Elroy said his life also got too crowded for Team Rigge. I would still mess around with songs and stuff on my own in the basement,” he said. And then I just kind of started realizing, ‘If you’re going to do this, do it now.'”So a couple years ago, Mc.
Elroy found new collaborators including Mike Bloom, a. Caveman, who played in The Elected and Rilo Kiley; a guy called Nez Beat, and finally, Andy Lemaster, the Athens, Georgia, wunderkind whose projects include Now It’s Overhead. I’ve known Andy for over 1. Mc. Elroy said. “He would be in town and I got to hang out with him. I trusted his ear and he told me he wanted to do a hip- hop project.”Though A. J. and Mike Mogis worked on the recording, it was Lemaster who put his signature production on Tree Line West of the Periodic, the 1.
Oct. 7 on Team Love Records — credited not to Team Rigge, but to Rig 1. With its dense production, the CD sounds atmospheric, layered in cinematic drama. Mc. Elroy’s flow is urgent and nearly rhythmless, like someone being chased by the cops trying to leave a desperate message on an answering machine before the noose drops over his head. There is rhyme, there is alliteration, there is emphasis on certain words that hit atop the beat. But unlike, say, Beastie Boys or Eminem, Mc. Elroy’s style doesn’t swing as much as spit. Birmingham MC The Streets comes to mind in comparison, a guy known for his stilted, sometimes- funny rhymes laced in British brogue.
But while The Streets’ lyrics deal with everyday class struggles in bonny ol’ England, Mc. Elroy’s messages are more cryptic, even quasi- spiritual. Take “Dirty Little Sica” with its free- verse opening lines, “The filthy glittering doubling of helixes / The crossbred orbits marriage among flesh fluids,” and then add the chorus, “You slimy, grimy, dirty little sica / You scum- ridden, soiled, no- good piece- a / Should have had a shower seven times over / Unzip the epidermis, I’m out of my body…” The last line floats away in a ghostly echo. Sica? I hit Wikipedia first. Maybe it was Latin for “whore” or “thief; ” maybe it was a street term.
The answer was not so sinister. I had this car, this Corsica, it became the ‘sica,” Mc.