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.

The Black Angels and Black Lips

Two bands shared the stage with a mix of psychedelic and garage rock for the Birds and the Bees tour, which hit Omaha's Slowdown on March 22.

The psychedelic part of the pairing, the Black Angels, has been touring steadily since the release last year of the band's latest album, "Death Song." The Black Angels put on a great show last May in Kansas City, and its playing was even more well-honed in Omaha.

Black Lips opened the show with its anything-goes style. The band is a motley crew. Guitarist Cole Alexander, looking as if he belongs in a '90s grunge band, and bassist Jared Swilley, rocking an old-timey mustache, trade off lead vocals. But the group's wild card is Zumi Rosow — playing an at-times cacophonous saxophone, singing backup, or engaging in David Bowie/Mick Ronson interplay with Alexander.

Black Lips (All photos by Christopher Windle)

Black Lips has worked with Duran Duran producer Mark Ronson on 2011's "Arabia Mountain," and Sean Lennon produced its last album. For its next outing, the band said that it's planning a country-western album, "for Middle America." Though Alexander proclaimed that the crowd in Omaha didn't look like it was from Middle America, the audience did seem to enjoy the Black Lips' country-inflected songs best.

If Black Lips' live show was all about chaos, the Black Angels' was all about control. Perhaps because of accompanying visuals produced by the Mustachio Light Show, the Austin, Texas, band doesn't vary its setlist much from city to city. While the Black Angels are great at delivering the songs sounding exactly as they do on the albums, or perhaps even better, there's not a ton of spontaneity in the live show.

The Black Angels.

One slight change in the band's presentation over the past 10 months is the emergence of vocalist Alex Maas. While he still plays guitar, organ, and even bass in the band's live show, he now seems to be a bit more comfortable standing at the front of the stage.

The band took the stage to the song that inspired its name and the title of its most recent album, the Velvet Underground's "The Black Angel's Death Song." From there, it played songs the audience knew well, many off the "Death Song" and "Passover" albums. Highlights were "Young Dead Men," "Black Grease," and "Half Believing." Especially impressive is the band's hard-driving rhythm section led by drummer Stephanie Bailey.

The union of the two bands for this tour was like a showcase for the best of rock 'n' roll: the free-wheeling entertainment of Black Lips and the pure precision of the Black Angels.

Clan of Xymox puts on ethereal show in Denver

I'm in Denver, at a store called FashioNation, when Clan of Xymox walks through the door.

I put aside my goal of finding a pair of creepers to shake the hand of band founder, singer and guitarist Ronny Moorings. When I tell him that we drove all the way from Nebraska for the band’s concert, the Dutchman deadpans, “You drove too far.”

But the show later that night would prove him wrong.

Xymox played 19 songs from 11 of its impressive discography of 17 studio albums. The band started with "Days of Black," the title track from its newest album, which is also the title of the tour.

"Days of Black"

The sold-out crowd at the Oriental Theater on March 16 seemed to quiet down a little bit to become mesmerized by Xymox's ethereal sound. It kept coming in waves. And fueled by the reactions of the crowd, the band kept playing fan favorites like "Louise," "Emily," "Hail Mary," and "Jasmine and Rose," to name a few.

I found myself getting excited about some of my favorites, like "Back Door," "Cry in the Wind," and "Obsession," during which Ronny jokingly said the song was a remake (think Animotion's one-hit wonder, which it's not).

But the highlights for the crowd were the goth classics "Muscoviet Mosquito" and "A Day!" With everyone dancing and singing along (not loudly), the show kept going and going in such a good way.

"A Day!"

Ronny seemed unstoppable, joking with the crowd and almost even taunting them. At one point he was asking the crowd if the band was playing too long and if the audience members needed to get home to take care of their cows. LOL! Love it! But unfortunately, the show had to come to an end.

After 18 songs, Ronny must have felt that was not enough, and came out for a third encore. The band played its cover of Shocking Blue's "Venus" (from Xymox's remakes album "Kindred Spirits") during which the singer and the crowd danced together.

If you're not familiar with Xymox, you should give this great goth band a chance. The band's ethereal sound is at times soothing or exciting.

A quick shoutout to my niece, Lexi, for informing me about the concert. It was an amazing show.

Review and photos by Christopher Windle

‘The Wedding Album’ turns 25

Twenty-five years ago this month, Duran Duran broke into the 1990s with “Duran Duran,” its second self-titled release that became known as “The Wedding Album.”

Reflecting on the album’s 20th anniversary in 2013, bassist John Taylor described “The Wedding Album” as “one of the most important Duran Duran albums.” Keyboardist Nick Rhodes called it “a turning point for us.”

“The Wedding Album,” with Duran’s first hits outside the 1980s, returned the band to the public consciousness following a time of diminishing returns. The band’s previous release, “Liberty,” had been poorly received, and the band had become a four-piece after the departure of drummer Sterling Campbell. “Ordinary World” and “Come Undone” both hit the Billboard top 10, becoming two of the biggest smash singles of the band's career.

The album also served as an introduction of the band to a new generation of Duranies. Music fans who were just starting school when Duran was at its first career peak were graduating when Duran made its “comeback” with a sound that appealed to modern listeners.

Despite that modernity and the divergent sounds of the album (pop/rock, dance, world music), it fits perfectly into the Duran catalog.

The hit-laden first half of the album, opening with third single “Too Much Information,” is followed in classic Duran fashion. The funky “UMF,” tribute to glam-rock idols “Femme Fatale” ( Lou Reed), and perfect pop song “None of the Above” are capped by an epic album closer. “Sin of the City” fits in the Duran pantheon right alongside “Proposition,” “The Seventh Stranger,” and “The Chauffeur.”

I would be remiss in not mentioning that “The Wedding Album” is my favorite Duran album. It captures the energy within the band at the time and how it was harnessed in the studio by producer John Jones. It was an exciting time to be a Duranie, a time when the band was no longer overlooked but getting its due.

“The Wedding Album” era also was rich with B-sides like “Fallen Angel” and memorable shows like “MTV Unplugged.” Though the album is more than deserving of the deluxe re-issue treatment given to most of Duran's previous releases, it looks like its 25th birthday will sadly pass without one.

The album’s other key players are guitarist Warren Cuccurullo, a relatively new “official” band member at the time, who provided his home studio for the album’s recording, and singer Simon Le Bon, his voice at its strongest in years. Perhaps Le Bon summed up the album and its popularity best:

“The music itself makes the most powerful statement of all,” Le Bon told DuranDuran.com.

“We were looking out at a world of ‘holy war and holy need’ and reflecting it.”

Adapted from a February 2013 post

Duran Duran’s top moments of 2017 ... and a look ahead

Duranlive

The Duran Duran touring juggernaut rolled on in 2017, with the band hitting places like Asia and North America for scattered dates extending the “Paper Gods” tour. The band performed in Hawaii for the first time and also played before huge crowds at Lollapalooza in South America, a highlight especially for singer Simon Le Bon. Two of the highest-profile shows were once again in the United States, with the band playing a Sirius XM concert in Miami that could be heard on the excellent First Wave satellite radio station and a New Year’s weekend gig in Las Vegas.

Projects

With tour dates limited for the foreseeable future, it’s likely Duran’s attention will turn toward the studio. Though new Duran music is likely a ways off, in 2017, there were cryptic hints of a “top secret project” involving members of the band and performers like Izzy Bizu, Vanessa White, Aled Phillips, and John Taylor (of Young Guns). The possibility that the TSP is John Taylor (that JT) and Nick Rhodes’ long-talked about musical is good; John recently said the project is “really starting to come together.” Nick went as far as saying it’s nearly done.

Cultural impact

Duran popped up several places in pop culture in 2017. Patrick Nagel's "Rio" cover emblazoned an Urban Decay lipstick palette that sold out almost as soon as it was available. Duran was also the go-to shirt for a quick change in the latest "Thor" movie and the TV series "The Goldbergs." And Duran music finally appeared in the 1980s-set "Stranger Things" in the form of "Girls on Film."

Anniversaries

It was a big year for Duran album anniversaries, with “Rio” hitting its 35th, “Notorious” its 30th, and “Medazzaland” its 20th, among others. It was a good reminder of the lasting impact of “Rio,” the Nile Rodgers-produced grooves of “Notorious," and the groundbreaking “Medazzaland,” which heralded the future of the music industry with the first digitally sold single. More milestones loom: a 25th anniversary next year for “The Wedding Album,” and in 2019-20, Duran itself will celebrate its 40-year mark. Nick says the band will "start some new recordings in the studio" in 2018 and has "a lot of things we are planning" for Duran's 40th.

Photo by Christopher Windle

Top five live shows of 2017

1. The Damned

The heart and soul of the band, goth god singer Dave Vanian and lovable goofball Captain Sensible on guitar, are still touring in top form and visited the Summit Music Hall in Denver in April. The Damned managed to touch on nearly every era of its career, from the first punk single, "New Rose," to "Alone Again Or," a cover of a Love song that was a hit in the late '80s. In all, the band played 23 songs, several more than many acts years younger manage to play. But 40 years on, the Damned is not the typical band just rolling through the hits. A new album is coming soon; the band recently previewed new song "Standing on the Edge of Tomorrow" live.

All photos by Christopher Windle.

2. The Buttertones

The Buttertones, a sharp-dressed five-piece with a ton of musical talent, brought a riveting live show to Omaha's Slowdown in August. Although the Los Angeles group reminds one of a certain band in the '80s at times, instead of Chic and Roxy Music, The Buttertones' musical style has been described as Johnny Kidd and the Pirates meets The Gun Club. The band played a slick and energetic set of songs off current album "Gravedigging" as well as tracks from further back in its six-year career. The band proved with its live show that it's the next big thing, and it will be exciting to see what's next. The review of this show also had the honor of being our most-read blog of the year, thanks to Facebook likes from "The Butterdads." Our comparisons to Duran elicited a "Well done, boys!"

3. Blondie

Blondie, with an assist from Garbage, a fellow band that helped define music over four decades with its fierce, age-defying female singer, came to a steamy Stir Cove in Council Bluffs in July. Despite the new songs, the reason to see Blondie live are the timeless originals: "One Way or Another," covered and used in commercials to the point that it's forever in the public consciousness. "Dreaming," a slice of '50s-inspired pop perfection. "Atomic," a keyboard-driven opus that helped inspire new wavers like Duran Duran. And "Rapture," a tour de force live, during which Debbie Harry hit the high notes and strutted to the front of the stage for the first and best female-led rap. At 72, it's clear that Harry, and Blondie, have still got it.

4. Wilco

Wilco, led by original members Jeff Tweedy and John Stirratt, came back to Nebraska for the first time in a decade to usher in fall on a summerlike September evening in Lincoln. While there were songs left unplayed, "War on War" and "Bull Black Nova" especially missed, Wilco proved that it's no slouch. The band touched on nine of its 10 studio albums, playing 26 songs and two encores, connecting with the audience on every level, encouraging cheers, sing-alongs and even boos.

5. X

The seminal punk band played Omaha just a few months after John Doe and Exene were in town to open for Blondie and Garbage. But the show at the Waiting Room was all X, and the Los Angeles band impressed with an extensive set list and boundless energy. Though guitarist Billy Zoom now sits on stage, that’s the only clue that the band members aren’t a young and hungry punk outfit.

Honorable mentions:

Echo and the Bunnymen, the Black Angels, Combichrist (opening for Lords of Acid), Ohgr (opening for KMFDM), Revolting Cocks and Frontline Assembly