I am the secretary

´Business Casual´ by Beep Beep

A few years ago, the mention of Omaha, Neb., wouldn't have elicited breathy sighs of contentment from indie kids across America. However, with the breakout of Omaha-based Bright Eyes and its label, Saddle Creek, the town that progress forgot has become a legitimate outpost of music literati.

Now, Saddle Creek has a diverse stable of artists, from the neo-folk Bright Eyes to '80s keyboard revivalists The Faint. With the addition of the electronic art-rock band Beep Beep, the label can claim to be something other than a Midwestern escape for artists trying to reinvent existing genres.

Nearly every member in Beep Beep's lineup has ties with the Omaha scene - bassist Joel Peterson plays with The Faint, vocalist Chris Hughes played with Conor Oberst in The Magentas, and drummer Mike Sweeney also swings sticks for Criteria, a side project with Cursive's guitarist Steve Pedersen. Only guitarist Eric Bemberger has no obvious links to the sometimes incestuous music scene that Saddle Creek cultivates, but collaborated with Hughes for two years before taking on Sweeney and Peterson to record "Business Casual." This cross-pollination between artists certainly yields impressive results on Beep Beep's freshman effort, and the influence of bands like XTC and Arab on Radar is clear in their sound and lyrical subject matter.

A driving attack of dense guitars and dark cymbals does its best to cover the post-punk wailed delivery that is Hughes' signature. It's a shame considering the band wades through cultural commentary of the most explicit nature. In doing so, abandoning the Desaparecidos' poetic take on suburbanites for more of a punch in the gut to sexual morays and office life.

While label-mates The Faint are probably the closest thing sound-wise to Beep Beep, the latter trades The Faint's keyboards for a dual guitar approach that makes for danceable art-punk that never lets up during the album's 27 minutes. In one sense, the fog of their recorded effort betrays the 12 days spent in the studio with AJ Mogis, and simultaneously promises a life sonic assault that will leave concert-goers with ringing ears and tired legs. None of the songs are much over three minutes, and like listening to The Locust, it's hard to imagine how the band will fill a headlining set with anything other than a dense wall of sound.

On "Business Casual," Beep Beep is at its strongest during tracks like "Misuse their Bodies" and "The Florescent Lights," which feature rhythmic guitars and Hughes at his best - stretching his voice in ways that would make any singer's throat hurt.

Instead of simply sticking to the punk guitar convention, Beep Beep mixes in organ and electronic distortion that keeps the music from ever becoming strictly derivative.

While Beep Beep clearly isn't for mainstream pop afficinados, fans of good music who turn out to their show Sunday night at New Brookland Tavern will certainly be treated to a music spectacle - the likes of which Columbia rarely sees.

Doors open at 8 p.m. for the $7 all-ages show. Local favorite Baumer opens.

And the truth is I have no faith in happiness

These are my words, as they usually are.

This week a jury in Charleston convicted 15-year-old Christopher Pittman of killing his grandparents three years ago, shortly after he began a prescription of the popular antidepressant Zoloft. While the jury was correct to reject the assertion that Pittman's actions were both caused by and excusable because of the drug, the defense's tactic of blaming the drug for his actions further clouds the real debate about the use of antidepressants among children. Following the FDA's move four months ago to put its most stringent "black box" warning label on prescriptions of the antidepressant class of S.S.R.I.'s, to which Zoloft belongs, pediatricians are left to reevaluate their reasons for prescribing such medications to young patients.

Public perceptions of antidepressants and those who use them have changed radically during the last 10 years as the sheer number of drugs and prescriptions has risen, but research into their effects on certain populations has not kept pace with this upsurge. The unfortunate consequence is that there are no clear studies about how children respond to neurotransmitter therapy, and thus lawyers employ defenses that distort science and give the public the wrong impression about mental-health issues. Instead of portraying Pittman as a confused boy who needed professional guidance in addition to his prescription, his lawyer Andy Vickery chose to build a case against the drug. Incidentally, Vickery is also involved in lawsuits against Zoloft's maker, Pfizer Inc. As a result, media organizations paint pharmaceuticals that help millions of Americans as dangerous and further negative stereotypes of fully treatable mental illnesses.

Pittman was brought to trial three years after the murders, which in itself is a miscarriage of justice. Along with a violation of his right to a speedy trial, his two concurrent life sentences, which will be served out in an adult prison after he turns 17, will only keep him from getting the help he needs. Zoloft might not be to blame, but the system that rushes drugs through the approval process certainly is.

Dear did you know that people love each other just like we do?

´Room Noises´ by Eisley

Some artists devote their entire lives to art despite a lack of critical or commercial success. Vincent Van Gogh died having only sold one painting, and it was only after his death that his innovative style was appreciated.

This is not the case with Eisley, the Texan pop group formed by the family DuPree in 1997. Comprised of sisters Chauntelle (guitars), Sherri (vocals/guitars), Stacy (vocals/keys), brother Weston on drums and bassist Jon Wilson, the group garnered critical acclaim from the Dallas Observer following 2003's EP release, "Laughing City." A critical mass of good reviews led to an opening spot on the American stretch of Coldplay's 2003 world tour. After a second release the same year, Eisley took 2004 off to record its first full length "Room Noises," released Feb. 8 on Warner subsidiary Reprise Records.

While Eisley's lineage from 1990s bands like Belly is clear, and a few of the tracks on "Room Noises" are culled from the independently released EP's, the album as a whole showcases a young band coming more fully into its own sound with more sophisticated writing and arrangements.

The band's sound is driven primarily by the sisters' harmonizing of introspective lyrics layered over piano chords and chiming rock guitars, the latter of which the band said in a news release it culled from listening to Radiohead. Instead of delving into the overproduction and artistic haze that was the hallmark of their obvious influences, like Sixpence None the Richer, Eisley remains in pop territory while reinventing their unique sound. Working with several producers during the course of the album, and turning the knobs themselves on two tracks, the end result nonetheless maintains continuity amid the opportunity for a piecemeal result.

The contrast between songs that appeared on the two EP's, like the single "Marvelous Things," along with "Telescope Eyes" and "I Wasn't Prepared," is readily apparent because of the inclusion of a more up-tempo, guitar-centric sound, as opposed to the earlier iteration that was more piano-heavy and lilting. "Golly Sandra" showcases the band's Texan roots via a prominent slide guitar line, while "Just Like We Do" belies Eisley's versatility with a stripped-down acoustic guitar melody and keyboards that complement the sister's harmonies.

Topically, Eisley wanders over terrain that is uncharacteristic of a band full of high-school students - the lead track "Memories" evokes love lost after a lifetime together, while the rest of the CD swirls around the usual issues of love and confused relationships. Eisley is at their strongest on the naked "Just Like We Do," when they declare "Dear did you know that people love each other/just like we do/just like they do/Dear did you know you're all I ask for so hold on to me."

With the backing of a major label, Eisley can certainly expect big promotion, and in return it is certain that Warner expects big things from the young group. Eisley is certain to hold up its end of the bargain for fans of sensitive pop harmonics, and since the oldest member is 22, they have many years of creative energy ahead of them. Though few people can imagine living on the road 24/7 with their family, it means there's little fear of Eisley breaking up over artistic differences

You can't stop kicking my heart out, and you're a practical mess

bushset, originally uploaded by lotifoazurri.

Did you miss me? Sure you did. It’s been two months since I touched this thing. Kudos to Steven F. for reminding me I had an adoring internet audience that await my every word. Now, to catch up on everything important that’s been going on in culture of late.

I promised myself that I’d do a best of 2004 music list. Then January came and went and I was still hoping I’d hear something from last year that would make the list and in comparison make Rilo Kiley look like three year olds with kazoos. So I propose a list of albums I fell in love with last year, most of which actually came out during 2004. However, I’m not restricting myself to a silly calendar year or anything. If I just now heard it or just now discovered its brilliance, you’re gonna hear about it – maybe it’s come out in the last two months and I can’t live without it. You’re just going to have to deal. Here goes:

Rilo Kiley – More Adventurous. I first heard this album on one of my favorite all time radio stations, KCRW Santa Monica, on Nic Harcourt’s excellent program Morning Becomes Eclectic. While the studio work really reflects the winter spent in Omaha with Mike Mogis, the brilliance of the album are the less scripted moments when Rilo Kiley’s stage show really shines through. Indeed, it was the live version of the title track that convinced me that I couldn’t live without the album. Other than that, it shows the band’s usual eclectic brilliance, and as a personal aside, is better than past albums in that it features less of Blake’s pointless filler songs that usual. Perhaps this is due to his new side project, the Elected, but the one song he sings on is actually bearable this time. RK was amazing live in Atlanta – go see them! More Adventurous wanders from the political ( It’s a Hit) to Jenny’s strength in singing about heartache. It’ll get you through those pensive times in life.

David Mead – Nashville. Writing an album about where you both record and grew up can’t be an easy thing, especially when you’re a resident of New York City. Mead wowed me and fifteen other people in an intimate little coffee shop setting this summer with his presence and command of an acoustic guitar. Nashville is the most accessible of his four (three?) studio recordings, and pairs his transparent songwriting with good use of production that never obscures the music or creates a standard that is difficult to live up to live. John Mayer made a huge mistake asking David to open for him back in 2002, since David is clearly the better musician. The title track Nashville is about the feelings of going home and remembering the loves you’ve lost there. Overall, David treads similarly emotive territory throughout, in the best folk singer-songwriter tradition.

Elliott Smith – From A Basement on a Hill. I’ve always had a soft spot for Elliott, but the final release from this tragic figure is both amazing and musically dense. It’s hard to know what he would have done differently if he had seen the project through to completion. Perfectly depressive, it’s easy in hindsight to see the thinking that led Smith to end his own life with a single stab to the chest, but hard to see where that line begins and the brilliance ends. Pretty (Ugly Before) gets my vote for song of the year for its simple, gemlike quality, showcasing Elliott’s mastery of making complex things seem simple in a song. I’m really not qualified to say anything more about Elliott. See also Earlimart’s new release, Treble & Tremble

Her Space Holiday – The Young Machines. It’s no Postal Service, but as far as glitch goes, this is about perfectly wrought. Too bad whatshisface gets way too caught up in how poorly women treat him and what the critics think. Speaking as someone who will readily admit to liking Paul Van Dyk and Oakenfold, this is a great release for driving or as background music. Listen closely to the lyrics of Something to Do With My Hands. Thanks Ashley. I have an affinity for the closing track, From South Carolina, for obvious and less obvious reason.

U2 – How To Dismantle an Atomic Bomb. I know I’m going to lose major indie points for this one, but I really don’t care. U2 have contributed volumes to the encyclopedia of music history and innovation, and other than the tiresome first single, Vertigo, the album is a mature statement from a band that has learned a lot about what it means to use the studio along with great arranging to produce impeccable pop. Coupled with the death of Bono’s father last year, a topic that shares top billing topically along with questions of romance and faith, this may be the band’s best writing. The Edge says that he finally stopped worrying about sounding like himself on this record, and enter stage left for his trademark chiming guitars that Bob Dylan once said assured no one else would be able to cover U2. However, despite using themselves heavily as influences (not a bad thing for a band that’s been together since 1979) U2 does branch off into new territory for themselves, and simultaneously created a record of singles. U2 detractors should shove it and listen to Pop on repeat 100 times until they get it.

Interpol – Antics. They’re from New York and are way cooler than you. Also, they’ve gone Top 40. Solid, but probably not as good and atmospheric as their debut on Matador.

John Vanderslice – MGM Endings. It’s available for free on his website, so you have no excuse for not hearing this remix of 2004’s Cellar Door and other assorted tracks. All you need to know is that this was done on analog tape in Vanderslice’s Tiny Telephone studio in San Francisco. He does all his recordings that way, but this is flipping amazing. He’s the best songwriter in America, hands down.

More to come when I feel like it, gosh.

If music is my lover you are just a tease

The best music effortlessly subsumes its influences into something altogether unlike them and yet tied historically to their roots. This, in a way, is a perfect description of Rogue Wave, a Bay Area band that will be headlining a show with Two Gallants and locals Cypress Knees tonight at New Brookland Tavern. Hailing from California, Rogue Wave weaves surf-pop reminiscent of the Beach Boys, songwriting more in line with the American folk tradition, and a smattering of glitch-pop techniques that keep the music from falling too far into nostalgia.

Rogue Wave front man Zach Schwartz is no stranger to the independent music scene. He left another Bay Area band, Desoto Reds, when the dot-com bubble burst, and he lost his job in 2002. Tragedy turned into opportunity, though, as Schwartz, who tours under the last name of Rogue, moved to New York City and recorded a demo version of the band's only release by himself. After moving back to California, Schwartz recruited drummer/sampler Pat Spurgeon, bassist Sonya Westcott and guitarist/keyboardist Gram Lebron through the San Francisco community Web site, www.craigslist.org. After forming through e-mail, the group geed and proceeded to re-record the songs that Schwartz had already fleshed out, adding the delicate harmonies, guitar and samples that are trademark Rogue Wave.

It was ultimately this collaborative effort that got the band noticed by independent record label monolith Sub Pop and launched the underground buzz that has led to their national tour and stopover in Columbia. While its only release, "Out of the Shadow," was initially pressed by a smaller label, it was kingmaker Sub Pop (which should be remembered as guiding the early career of Nirvana) that ultimately paved the way for a bigger audience for Rogue Wave's unique sound.

Fans of well-crafted, guitar-driven folk should rejoice at an opportunity to see Rogue Wave without having to buy a plane ticket to the West Coast. Doors open at 8 p.m. The show is $7 for all ages.

Hold on you could be perfect, slow down you might be worth it

´Treble & Tremble´ by Earlimart

On its fourth proper full-length album, California-based bedroom-pop group Earlimart refines its Elliott Smith and Grandaddy-influenced sound into an album worthy of a sun-streaked Sunday afternoon spent under the covers.

Earlimart front man and producer Aaron Espinoza has long been on friendly terms with underground luminaries Jim Fairchild of Grandaddy, producer Scott McPherson and Elliott Smith, who Espinoza said in a news release lived "about 20 feet from his house." It is clear that Smith's violent ending and turbulent life had a great impact on Espinoza personally as he wrote "Treble & Tremble," and Smith's influence courses through the 13 tracks nearly in the understated way that the late indie singer-songwriter honed his own artistic craft. Despite vocal styling and chord changes that immediately invoke Smith, Espinoza and company manage to guide Earlimart to its own voice, something that 2003's two releases, "The Avenues LP" and "Everywhere Down Here," hinted at but failed to fully deliver.

"Treble & Tremble" is essentially a record about love and loss. Like all good treatises on the agony of living, it has its lilting, up-and-down moments. Strangely, and undoubtedly intentionally, the lead track, "Hold On, Slow Down," is a hushed, piano-driven affair that mirrors Espinoza's spot-on vocal mimicry of Smith, and sets the overall tenor of the album. The band never allows itself to get caught up in the mystery of the themes it explores. Instead, the band lets the craftsmanship of its studio time slowly envelop the listener, a la emotional cold fusion. While evocative, Espinoza's vocals are neither obvious nor mired in overreaching artistic darkness. Conscious of the limits imposed by his singing abilities, Espinoza instead filters his voice to good effect instead of conceding defeat like The Mountain Goats' John Darnielle.

"Hold On, Slow Down" also showcases the unobtrusively compulsive production that is Espinoza's watermark, with distorted strings and tape noise filtering in from the top to lap over the hollow vocals. Ironically, the opening affair bookends nicely with the album's second and most accessible number, which any other band would have picked as an opener.

Not until the fourth track does Earlimart settle down to its recognizable formula of distorted electric guitar coupled with Espinoza's breathy delivery and acoustic guitar plus an effortless mixture of loops, synths and effects. This is not to say that Earlimart ever becomes predictable at any point during "Treble & Tremble"'s 43 minutes. Interludes like "808 Crickets" and "The Valley People" are not simply segue between disparate musical statements, but the mortar that holds an entire work together.

Fans of Elliott Smith can rest in the fact that his legacy isn't lost, but instead lives on in new and inventive ways so long as Earlimart continues to tour and record. "Treble & Tremble" is a decidedly slow-burner that takes a few spins to fully reveal it's beauty, but it could embarrass a record by Britney or Ashlee any day with its carefully wrought sonic textures.