Black Rebel Motorcycle Club leaves an impression

Black Rebel Motorcycle Club's true garage-rock talent was on display in Omaha on May 17.

The concert was the first in an outstanding array of late spring and summer concerts at the venue of the night, the Slowdown. Watch the blog for reviews of at least two more coming shows there: Gary Numan and the Buttertones.

BRMC got an assist from opening act Pete International Airport, the Dandy Warhols' guitarist Peter Holmstrom's other band (which is also named after a song off "The Dandy Warhols Come Down"). The band played a brief set before making way for an extensive one from the headliner.

Pete International Airport's latest album, "Safer With the Wolves," features guest vocalists like the Black Angels' Alex Maas and BRMC's Robert Levon Been, who joined the band onstage for "Flowers of Evil."

Been's command of the stage was apparent with the opening act, as well as when his band stormed out with back-to-back songs featuring his vocals. From there, he and Peter Hayes seamlessly traded off vocals, and sometimes bass and guitar.

Throughout 22 songs, BRMC showcased the band's biggest tracks and ones off of its latest album, "Wrong Creatures." Especially enjoyable among the newer tracks were opener "Spook," "Question of Faith," and "Circus Bazooko," which despite the fact that it does sound like circus music, works live.

Despite an often-grungy feel to most of its faster songs, BRMC also manages to sound downright tender on tracks like "Echo" and "All Rise." This incredible range was evident by mid-set, when Been and Hayes each played an acoustic song on their own, "Dirty Old Town" by the Pogues and BRMC's own "Complicated Situation."

BRMC did it all: Been played piano, Hayes smoked a cigarette while playing (and singing), and drummer Leah Shapiro dutifully kept the beat (and also joined Pete International Airport during its set). The band also included in its set list a cover of “Let the Day Begin” by ‘80s band The Call, Been’s late father, Michael’s group.

In a time when musical acts often rely on backing tracks or even offstage musicians, it's refreshing to see a three-piece band with a huge sound playing a small venue with little, if any, help in that department. BRMC put on just that type of impressive show.

Been on piano. All photos by Christopher Windle.

New record reviews: Duran Duran, the Buttertones, the Damned

Duran Duran: "Budokan"

Duran Duran spent most of the past few years touring behind its last album, "Paper Gods.” "Budokan" (Warner Brothers) captures the band live at the iconic Tokyo venue at the end of the tour last September.

The nine-track album was an exclusive release for April's Record Store Day. Although the tour's core setlist was well-worn by this point, there still is plenty on the record to please the average Duranie.

As a relatively late addition to the setlist, the blistering "Hold Back the Rain" is a highlight. "Paper Gods" closer "The Universe Alone" is also welcome here.

But one can't argue with the classics. "A View to a Kill" sounds fresh, and "Save a Prayer" is always beautiful.

And the crowd at Nippon Budokan also couldn't argue. Their excitement is right there in the mix. It will be nice to see as well as hear the full experience in the hinted-at upcoming Blu-ray release of the show.

Until then, Duranies will have this album, and the memories, of course.

The Buttertones: "Midnight in a Moonless Dream"

It's another year, but not just another album for the Buttertones.

Fresh off Coachella, the Los Angeles five-piece has released its fourth album, "Midnight in a Moonless Dream" (Innovative Leisure), which signals that the band has definitely arrived.

Through 11 thrilling tracks, the Buttertones' songwriting is more sophisticated, its playing even tighter. At one moment, singer Richard Araiza sounds like he's channeling the manic energy of the Cramps' Lux Interior. At the next, his voice is deeper and sultrier than ever before.

The band uses London Guzman's saxophone to full effect. The instrument wails on lead single "Baby C4," and even lends an '80s touch to a trio of tracks further into the album.

On those deep tracks, the band delves into a new wave side that it hasn't shown before. The divine "Darling, I Need Time but Don't Really Know Why" hints at Spandau Ballet at its best moment. "You and Your Knife" slinks along, while "Brickhead" comes out of the gate sounding a bit like Blondie, with Dakota Böttcher’s guitar positively '80s-inflected.

Still, the band hasn't turned its back on its roots. "Old Nick's Still Got It" and "Winks and Smiles" sound like they'd be at home on the Buttertones' previous release, "Gravedigging."

But mostly, "Midnight in the Moonless Dream" is a leap forward for the Buttertones. It's the sound of a young band at a peak, fully enjoying the moment.

The Damned: "Evil Spirits"

The Damned is more than 40 years and 11 studio albums into its career. But the recent release of "Evil Spirits" marked the punk/goth band's first visit to the top 10 of the U.K. albums charts.

"Evil Spirits" (Spinefarm Records) made its debut at No. 7, thanks to a successful Pledge campaign, Bowie producer Tony Visconti's deft touch, and the band's most infectious collection of tunes since 1979's "Machine Gun Etiquette."

The album's 10 tracks are also possibly the most upbeat songs about the state of the world today. On "Standing on the Edge of Tomorrow," Dave Vanian, the song's writer, sings about leaving that world entirely behind. It's one of the only songs on the album not to mention lying, whether it's by heads of state or by the media. By the album's second track, "Devil in Disguise" ("You build your walls / And empires fall"), it's clear just who the main target is.

But the underlying message that the album sends, whether it's on the gorgeous ballad "Look Left" or the Motown-flavored "Daily Liar," is not to be complacent.

Complacency certainly doesn't have a place in the Damned. Vanian's voice is better than ever, Captain Sensible's guitar is blazing, and the playing of '80s-era bassist Paul Gray is good to have back in the fold. The album is also a showcase for the songwriting chops of newer members, keyboardist Monty Oxymoron and drummer Pinch.

"Evil Spirits" proves that a creative rejuvenation is possible at any point in a band's career, even a legendary one like the Damned.