Omaha rock makes its mark on nation

OMAHA, Neb. -- When the band Tilly and the Wall takes the stage, you're going to hear guitars, keyboards, hymn-like vocals -- plus thigh-slaps and a woman tap-dancing on hollow boxes and metal discs to create different tones.

Omaha, once known as the homeland of corn-fed beef, is now the nation's capital of idiosyncratic alternative rock. The youth-oriented sound often makes use of nonstandard rock instruments -- such as cellos, steel guitars or old, tired pianos.

Dubbed "America's new indie-rock capital" by Spin magazine, Omaha -- population 390,000 -- has made its way onto the "hot" lists of music industry magazines nationwide.

"There is so much talent and, sort of, genius just pouring out that whole little incestuous ... scene," said Jonah Bayer, music editor of the Alternative Press music magazine.

Being under the radar has helped bands like Tilly and the Wall thrive. Jamie Williams, 28, the band's chief tap dancer, called it "a supportive environment [where] you can experiment."

Within that support system is Conor Oberst, the mastermind and lead singer of the hit band Bright Eyes. On June 22, Oberst's new New York City-based label released Tilly's album, "Wild Like Children." Oberst helped record the project in an Omaha basement, which seems to be where much of Omaha's music scene was born.

Members of bands such as Faint, Tilly, Cursive and Bright Eyes first met years ago as they made their initial strides toward music making, often at basement performances.

"It just so happens that all these people that can write great music, all met a decade ago," said Jason Kulbel of Saddle Creek Records.

Created by Oberst and his brother Justin in 1993, Saddle Creek started out producing about 100 cassettes, distributed mostly to sympathetic family and friends, Kulbel said.

The label now handles the releases of a mix of bands from Omaha and elsewhere, and sold 153,000 of Bright Eyes' most recent album, "Lifted" -- all without any artist contracts.

"It's more of a friendly agreement. There haven't been any problems," said Kulbel.

Another indication of the local mutual respect and team spirit is the practice of mixing and matching band members, particularly Bright Eyes. Tilly's keyboardist, Nick White, 22, was on a late June tour of Europe with Bright Eyes.

"You can go to a Bright Eyes show and not necessarily know what you're going to get," Kulbel said. "A little bit strange, but people seem to like that aspect of it."

The success of Saddle Creek's bands has prompted large labels to offer "huge, ridiculous" sums to buy the label, but the company isn't interested, Kulbel said.

"We could just cash out right now and retire," he said. "But you have to have something to do for the next 30 years or whatever."

As established groups like Bright Eyes regularly play to packed auditoriums around the globe, local alternative rockers still get their start on the low-ceilinged basement stage of Omaha's Sokol Underground.

Housed in the lower level of a century-old Czech gymnasium, Sokol Underground and the more spacious auditorium upstairs have also recently hosted big-name rock acts including the Rapture, the Yeah Yeah Yeahs, Jet and the Stills.

Tilly and the Wall, meanwhile, are tough to classify. Their joyfully sung lyrics often speak of troubled relationships and times.

"We all try and write songs that are about living and actually doing what you love. And those things can be dark but they're also inspiring at the same time," Williams said.

Each song starts out with the seed of an idea provided by a single member. The band works out the final version together, but it retains the style of the originator.

The songs introduced by guitarist Derek Pressnall, for example, seem a little darker, while Williams' are a little more sweet-spirited, vocalist Kianna Alarid said.

"It's like knowing twins long enough you can tell them apart," said White, the keyboardist.

Alarid feels lucky that the band can access Omaha's supply of talented musicians who have risen through the ranks toward recognition.

"It's so cool because they deserved it so, so much," said Alarid. "They really worked. And -- you know -- they paved the way for people like us to be able to do what we're doing."

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On the Net:

Tilly and the Wall: http://www.tillyandthewall.com/

Team Love: http://www.team-love.com/

Saddle Creek records: http://www.saddle-creek.com/home.html