Indie-List_V2_N31
"Cheek soft, heart warm, and sassier than ever in a collection of new
phenomenons..."
The Indie-List Digest
Volume 2, Number 31
Princeton - Seattle - Chicago - Raleigh
In this issue:
Message from the Moderator
My Dad Is Dead/Chanel No. 5/Uva Ursi/Regatta 69
Mazzy Star/Codeine/Johnboy at Club 930, W.D.C 11/7/93
akfjd;safkj
CMJ summary, new RVA stuff, name my GF's band, etc.
dambuilders review
Breed LP; ChumbaTsunFalletc.
Chicago Area Independent Record Labels
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"But first, these special announcements..."
Hi. It's me again, the dumb editor-type kid, to ramble a bit before
turning things over to everyone else. Not much to say - I hope everyone
enjoyed their Veteran's Day as much as I enjoyed mine, and I hope you
weren't inconvenienced by the lack of an Indie-List last friday.
(The numbering scheme at the moment is only sequential, so there's no way to
correlate list-with-week; you can only figure out the date of each
list's creation/mailing. If/when we switch to Volume 3, I'm thinking
about a numbering system which designates the first list of each week as
V3_Nx_a, and the second as V3_Nx_b...this might seem weird, but I'd like
to keep track of how often we send 2 in a week for some weird reason...)
A few obligatory reviews...
Heavenly - P.U.N.K. Girl 10" (K Records, P.O. Box 7154, Olympia, WA
98507? not sure about zip right now...that's why we have the big
label-list thingy...)
It's the new Heavenly record, with 5 more pop-sounding blasts from
Oxford in the UK. But appearances can be deceiving...there's a bite and
a punch to some of these tunes - "Atta Girl" could have come out of the
Stereolab song-book (chug-chug organ is the key), and "Hearts And
Crosses" is about date rape. I think it's wonderful, and am heartily
kicking myself for missing them this fall when they were in NYC. You
CAN be grown-up and child-like at the same time. **
Savage Republic - Live Recordings 1981-1983 (Independent Project
Records, P.O. Box 1033? Sedona, AZ - again, I'm not sure on the new P.O.
box in AZ for Mr. Licher - please send me info if you have it handy)
Whoa. Most of the tracks from "Tragic Figures" along with some
never-before-released material from one of the finest bands I've ever
heard from Los Angeles. The energy level is intense, as is the
percussion attack. Guests include Kendra Smith and Robert Loveless on
various tracks. A double 10", with the requisite snazzy I.P.R.
packaging and an amazing collection of fine songs. Find this and buy it
now if you ever wondered what tribal middle-eastern punk should sound
like. Raw in places, but I like the feel better than the studio sound.
**1/2
That's all for now...except one question - how do you go about
introducing someone to "indie-rock" who just heard half of Tiger Trap's
set last saturday and dismissed it as crap? (Granted, the sound man
mangled the sound...shows at Terrace are always too loud...I'm already
scared of what he's gonna do to Stereolab this saturday...) I have a
few mixes I used to "convert" my little sister, but I don't think
they'll work this time...Bricks, the Chills, Beat Happening, and
Codeine would all sound like crap to Corinne as far as I can tell...any
suggestions? (I'll compile a list for next week if anyone would like to
write to me privately - it's important to me that she understand some of
my music since we're really good friends, so I do want your
suggestions...)
Thanks...and enjoy the show.
Sean
skmurphy@phoenix.princeton.edu
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From: "K. Lena Bennett" <keb@u.washington.edu>
Message from the Moderator
Well, not too much to report. Picked up used copies of a Babes in Toyland
record and a Hole record for an experimental foray into angry-cunt-rock.
Went to the Sub Pop Mega Mart on 2nd Ave downtown (next to the Moore
Theater) -- enjoyable little place (little!), with all Sub Pop records and
posters and T-shirts, and a "try before you buy" listening headphone set.
See, we don't have good college radio anymore, so I read about bands in
the Rocket and stuff and have no idea what they sound like. So I listened
to Hazel's _Toreador of Love_ (good rock'n'roll, but still basic r'n'r),
Eric's Trip _Love Tara_ (interesting lo-tech hard/soft girl singer/boy
singer kinda stuff - may buy if I find it used), and the Spinanes Manos
(nice, interesting hard/soft guitar/drums duo with gal vox, good
clever/poppy songwriting, Lois meets Sebadoh or something). Remember
these comments are from hearing about 60 seconds of each song once, so
take 'em with a saltgrain. Anyway, everyone says Spinanes are better live
than on record and they are playing on the 27th at Velvet Elvis, where
I've never been before, so I may very well go. They are from wonderful
Portland. I like them because they look like nerds. The ad for Velvet
Elvis said it's a non-alcoholic space and I for one will be very happy to
see a show in a place that's not full of drunk people. I suppose I still
won't be able to avoid cig smoke, tho :(
Next weekend I am going to a show at the Croc by Cockpit, a california
band that Roberta Gregory did a 7" sleeve for, and she's on the guestlist
so she's taking me along, I guess coz even tho I'm not young enough to be
in the riot grrl crowd at least I'm younger than RG! So anyway this will
be my first foray into riot grrldom aside from reading Megan Kelso's
Girlhero comic. My, how adventurous!
The only comix news is that the new Dirty Plotte is out, and also I
believe the first Fantagraphics issue of Dame Darcy Megan Stanger's _Meat
Cake_ is now out.
Lena keb@u.washington.edu
"Why don't you tell me 'bout the mystery quiche
I wanna know about the mystery quiche
Why don't you show me coz I've tried and I've tried and I'm still mystified
I can't chew it anymore and I'm not satisfied...."
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From: jac15@po.cwru.edu
My Dad Is Dead/Chanel No. 5/Uva Ursi/Regatta 69
MDID (My Dad is Dead) with Chanel No. 5, Uva Ursi, and Regatta 69
at Freakin Pizza, Columbus, Ohio, Nov. 7 1993.
It was a pretty cold Sunday night in Columbus, which may partly explain
the lack of many attendees at this show. I'd be surprised if there were
more than 50 people there the whole night.
Regatta 69, a ska band from Harrisburgh PA, opened the show, and it seemed
like most of the crowd were there to see them! There were all these guys
in trim suits and skinny ties and buzz haircuts, all dancin that ska
jogging-in-place dance (which another audience member said reminded her of
a bunch of sperm swimming there way towards the egg!) --is there some kind
of new Ska revival that I'm unaware of?? Sure seems like it. They were
pretty fun, I guess, but after 3 or 4 songs, it all sounds the same to me.
Nice bass playing, cool old Farfisa organ, nice guitar sound. Pretty
authentic. But, like I said...it really ain't my cup of meat.
Next up was the grand debut of Uva Ursi, from Cleveland and Kent, Ohio,
with your humble reviewer playing bass. We only played for about a half
hour, which is really all the material we have with our new singer (who is
a fabulous singer by the way...her vocals are maybe along the lines of
Kate Bush, or someone a little more operatic... really pretty different
from anything I"ve heard.) People in the crowd seemed to like it ok, and
one guy who was wearing a dress really liked it and gave us his address
to send him a tape! Another audience member said we reminded her of My
Bloody Valentine, only not as fuzzy... she couldn't believe it was our
first show. More on this band as things develop.
Chanel No. 5 came on next, a 3 piece with more than a little K records
influence. They are from Columbus, and organized the show. They have
that kind of primitive, minimalistic sound, usually with the guitarist and
drummer drumming while the bass player sang (seems like she can't sing and
play bass simultaneously), or with all three playing whilst the guitar
player sang. The songs had titles like "Ketchup Girl" "Miss USA" and some
song with the word "Bikini" in it that was pretty cool. Someone put my
tape recorder on "pause" while they were on, so I didn't get a chance to
hear them again, unfortunately. I really like this kind of music. Real
homey! Nice people too. I think they have a 45 out of their "Bikini"
song.
By this time there were maybe 15 or 20 people left in the club to see the
great MDID, who has a new record out on Scat records called "Out of Sight,
Out of Mind." They had just come from playing the Knitting Factory at the
CMJ thing with Polvo and some other bands, to like 800 people. What a let
down, eh? Anyhow, despite seeming a bit tired from the drive, they
delivered a great set of songs from the most recent record and the last
few (there are like 7 or 8 MDID albums now). They have taken to putting
some longer "jamming" parts into some of the songs, and really do a great
job of it. Mark Edwards, the MDID mastermind, is a great guitar player,
with a real unique slant on guitar soloing...it never goes overboard into
self-indulgent mindless noodling...every note builds on others, creating
melodies on top of other melodies, etc... the solos all seem very
purposeful and somehow enlightening. The songs are pretty cool too.
Eventually, some of the people who had been there for the opening band
came back, and there were a few more people to see the last few numbers,
but I have to feel sorry for all the Columbusites who decided to stay at
home Sunday night!
--JC (Yeah, yeah, I'm still working on the Indie-x!)
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From: Mark Bunster <mbunster@hibbs.vcu.edu>
* Hi gang.
* Mazzy Star/Coedine/Johnboy at Club 930, W.D.C 11/7/93
[ed. note - should I correct the spelling mistakes in the future or not?
Seems that a lot of people have trouble with the name "Codeine"... :) ]
*
* I hadn't been to the 930 in a while, feeling as I lately have uncharitable
* towards places that charge $10+ for mediocre acts, 3 dollar beers and trendy
* people in black, not to mention the 2 hour drive from Richmond. However,
* having enjoyed the first Mazzy Star album since it came out, and also having
* drooled more than once over the tiny picture of singer Hope Sandoval on the
* back of the cd cover, it seemed worth it.
*
* First, the show was only $9, which I thought pretty reasonable actually,
* definitely so for 930. It also started around 8 o'clock, a fact that cause me
* to miss Johnboy entirely, and just by sheer luck of 15 Min not being open did
* we catch Coedine at 9:15 and not end up missing them while drinking elsewhere
* (see $3 beer noise above.) This is nice, especially when you have to work the
* next day and drive two hours to get home.
*
* Anyway, Coedine were well anticipated by the folks I went with, and warily
* anticipated by myself. I wasn't entirely impressed by what little I had
* heard, but went into it fairly open minded.
* Does anyone else think Coedine are basically Bitch Magnet at 16 rpm? They
* moved above coma level only twice, and those two songs were pretty darn good
* in fact, but the rest of it made we want to go chew my nails in a corner and
* wait for the apocalypse. I can give in that they might be worthwhile in your
* room, but standing on stage they're very very very boring. And the singer has
* a really tuneless voice, not good tuneless like Curt Kirkwood or even the guy
* from Bitch Magnet, just tuneless.
*
* Just to prove I wasn't prebiased against Coedine, I was really looking
* forward to the Mazzy Star set, and was kind of disappointed by them too. They
* had a little more life to them, but they all looked pretty strung out and not
* really into being on stage and doing their songs. Hope looked pretty much
* like Kelly McGillis in Drugstore Cowboy, only shorter and way more comatose
* looking. she needs some sleep, I think. She still has a beautiful voice
* though, one that is not diminished at all live. I just wish she gave a shit
* about performing. Dave Roback's guitar work was probably the bright spot for
* me--he had some swell delay and reverb effects going on his Les Paul (think
* it was), and reminded me that he really can play, he just prefers to rely on
* standard bar blues riffs for every MS song. Oh, Hope played guitar on one
* song--I think the chord was a D, and she played it very well, about 4 times
* per measure for every single measure of the song.
*
* Overall, they were nice to watch (although it was far too hot inside), but
* not so much so to make seeing them live a priority. Listen to the albums and
* imagine a wide awake Hope singing just to YOU.
*
*
* --
* Mark Bunster |Exchange conversation if you dare--
* Survey Research Lab--VCU |Share an empty thought or a laugh.
* Richmond, VA 23220 |
* mbunster@hibbs.vcu.edu |
* (804) 367-8813/353-1731 | -edFROM
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From: Steven Silverstein <cs141091@cs.brown.edu>
akfjd;safkj
Time to write again. I've just seen too many damn shows lately. Anyhow...
Boredoms/Von Ryan Express, Lupo's, 11/09, Providence. Yay! I see what
everyone talks about. The guy hung from a pipe near the ceiling for a
while, at one point by one arm. They were just amazing and incredible and
the music was consistent and the energy was sick. They kept climbing into
this amp cabinet and on to it. It wast just nuts. I liked it! Von Ryan
gave their usual solid 25-minute set, complete with flashing V-O-N sign.
I liked them.
Caspar Brotzmann Massaker/Cul de Sac, AS220, 11/08, Providence.
Brotzmann's guitar was excellent. He just pounded away the noise, and the
band kept up. Potent and solid. A bit redundant, but that just added to
the pounding. Cul de Sac were nifty with crazy instruments and stuff.
Plus Super 8 films that really went well with the music. I liked them a
lot.
Tiger Trap/Spinanes/Honeybunch, Last Call, 11/07, Providence. Tiger Trap
were excellent, catchy, all the stuff you'd expect. I liked the song the
bassist sang (Nommy?) a lot. Just really good show. Spinanes dragged a
bit toward the end, but they're just SO talented and catchy. They should
keep sets a bit shorter. Honeybunch were on, and quite good. Claudia from
Magnetic Fields still drums.
Slug, AS220, 11/06, Providence. Slug were the best hardcore band I'd seen
in a while. I missed both local openers sadly (Glazed Baby, Drop Dead),
but Slug were energetic and cool. The 7" I got, on PCP, was not as good,
though. 2 bassists, one playing normally and the other strumming. The
drummer had things like a pipe and a chair insteead of some of his
cymbals. Just a good, solid loud set.
I just picked up a split 7" from Aurora Paralysis/Young Love. I recall
not the label. The Aurora Paralysis song is long and great and amazing
and so ethereal and complex. I like it. It is "Stickman Waltz". Young
Love though are redundant and dull. Sorry, don't recall the label. Mail
me if you care. The Scarce 7" on Delmore (again, no address) just doesn't
match their live sets. Of course, having "Days Like This" on clear blood
red vinyl isn't something to complain too much about. It's one of the
worst things I've heard from Studio Red. If you haven't traded Doug Wolk
for his cool one-sided blue 7", do so. I won't spoil his secret, but I
like it. It comes with a unique Polaroid shot of someone in the band.
Mail dbcloud@panix.com for more info.
Oh, I forgot, the Slug show was 11/04, not 11/06, which leaves... Jane
Pow/Eric's Trip/Jale/Lorelei/Red Red Meat/Ropers, Last Call, 11/06, Pvd.
Wow! Too many damn bands. Jane Pow were a bit too distorted and are
better in the studio, plus did too much from State. Nonetheless, they're
just great. Oh, well. Eric's Trip had just plain lightbulbs on the stage.
Sort of like early Dinosaur. Really solid rock stuff. Jale were a more
stripped-down Tiger Trap. Really good, neither big nor lo-fi, with just
amazing harmonies on the vocals. Lorelei just sounded good. I liked the
complexity of the noisy parts. Red Red Meat were a tad dull. Oh, well.
Ropers were with a different lineup. Their drummer couldn't make it, so
they all shifted around instr (organ, no bass, no drums on one song
either). It still was solid and nifty.
I need to get other stuff done and sleep.
Oh, if you or anyone you know is looking to play Providence, do let me
know. The odds now are quite decent I'll be able to help out.
-Steve
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From: "Mark S. Cornick" <CORNICK@delphi.com>
CMJ summary, new RVA stuff, name my GF's band, etc.
Greetings once again from the state where f'ball coaches' sons now rule
the roost. (Ah well, George Allen used to be the US representative from
Charlottesville, and I know from experience that he's mostly harmless. All
bark and no bite.)
CMJ summary: I didn't go. No offense intended toward anyone on this list
who works for said organization, but CMJ are a bunch of mersh
Bolton-heads. That said, did anyone go to the Internet panel? I made a
deliberate effort not to be asked to be on it. :-)
The guide to starting yr own mailing list is coming along a little more
slowly than I planned, but should be ready by the end of the week.
Coupla new records from the Capital o' the Commonwealth:
Richmond's salsa legends Bio Ritmo have finally released a record after,
oh, 935 consecutive weeks of gigs. Given the traditional Cuban sound BR
are known for, and the somewhat diminished expectations I have for
recordings of Latin music -- like opera and Gwar, it's a music best
experienced live -- the 45, "Que Venga Toda La Gente", neither exceeds nor
falls short of their reputation. It's exactly as expected -- a fine salsa
record from a fine salsa band. No bullshit. So I guess this depends on
whether or not you like Latin music. I do -- I'm a percussionist, I have
no choice. :-) Play this and sorority chicks in sundresses will flock to
yr door, no matter what the weather's like. ** (Interesting -- this
record is on Tenderizer, to date best known for their recordings of quite
loud bands Sliang Laos and Kepone, and their Death Piggy [pre-Gwar]
reissues. PO Box 5242, Richmond VA 23220.)
The newest Tenderizer band is Hose Got Cable (or, more properly, Hose
(bullet) Got (bullet) Cable. If you have a Mac, replace (bullet) with
Option-8. I am nothing if not attentive to details.) Their Tenderizer 45
will be out next year sometime, but until then, we have their current 45
"Dittorush" on the Catheter-Assembly label (PO Box 4785, RVA 23220.) HGC
are one of my favorite Richmond hardcore bands -- there are a lot of HC
bands 'round here, and frankly most of 'em suck -- but not these joes;
sure they borrow from Fugazi but they borrow from Public Image too. The
results are quite good, especially "Dittorush" which galumps along loudly,
angrily and mechanically. I really like this here record. **1/2.
[Hey, mister...the Indie-List does not tolerate plagiarism. Please give
proper attribution for all phrases and depictions which are not your
own. :) (Mark's borrowing a phrase or two from the most recent TeenBeat
catalog...)]
Finally got a hold of a "Something Pretty Beautiful" CD -- waited until
somebody sold one to Plan 9 before I bought it. It's a little
disappointing. There are some good tracks from the likes of Small Factory,
Schwa (no H from Virginia), the Technical Jed, Twitch Hazel and Lid, but
most of the rest of this CD is either non-distinctive or available on
other records (as are the tracks from four of the five bands named above.)
It's a handy little introduction to the whole indie-pop thang, but
grizzled veterans such as myself can safely skip it. *. (on Brilliant,
PO Box 17116, RVA 23226)
Other stuff: The new Coral 45, "Boxtruck", is actually not all that bad.
(My dislike for Bob Schick's vocals is a matter of public record.) The
songs are good and Ol' Bob reins in the nasalness a bit. Check it out.
*1/2 (on Merge.) Also good is the first 45 from Richmond's (not
Burlington's) Hover, on their own label (4108 (?-blurry copy) Cary #6, RVA
23221). Pretty heavy HC sound, poignant emo lyrics, and a truly wonderful
multi-part sleeve. Nice little package. **.
Later: 45 from Mulch, 12" from Bent, and the second Richmond Music
Cooperative CD with Hegoat, Pleasure Astro, the Seymores, etc.
Hey, does anyone know when/why Small became Small 23? Also, what's the
deal with Alias's NC signings? Small and the Archers o' Loaf didn't
surprise me much, but Picasso Trigger? Unless they've really improved
since their last Jettison 45, I completely miss the logic in this one...
Finally: I joked many times that once I stepped down as editor, my love
life would suddenly reanimate itself. Little did I know that last week,
the only woman I've ever really loved would get back together with me. Are
these events related? I dunno. All I know is that I wish she wasn't at
school right now. Anyway, she's just started a band and they need a name.
I haven't heard them yet, but based on Elisa's talents and her taste in
music, I'd venture a guess that they sound something like a bastard child
of Sonic Youth and the Hafler Trio, with suitably operatic/Liz Fraser-ish
vocals. So, the best name I've been able to come up with so far (other
than the unfortunately-already- taken Big-Jesus-Trash-Can) is I (heart)
Slayer. (Once again, Mac users, replace (heart) with Option-G, in the
Symbol font.) So, anyone who can give me a cool name for this completely
mysterious band, that Elisa ends up liking, will win a prize or something.
Send those names to me and I'll filter 'em on down to Trasheville for her
to consider. Bonus points for creative usage of the number twenty-three.
(She was a PTV fan long before Small, dammit. :-)
[So, does this give me hope for when I finally pass the torch? Is it
the sorta thing where, when you can say "I used to edit the Indie-List,"
people just flock to your door? :) Seriously, though, it's more than
just a coincidence that my social/romantic life is absolutely
nightmarish at the moment just as Mark's had been... - Sean]
Ah yes. We did get our furnace going. It's self-lighting. Uh, okay George.
Whatta bunch of music geeks...
That's about it. Anyone with a mint second pressing of ... ah, hell, just
send all yr collectible records to Doug Wolk. (I have plenty, thank you.)
"Don't fuck with Foghat!"
--mark
Mark Cornick * cornick@delphi.com * looking forward to never looking back
"Good sex is better than good typography, depending on the font." - Lipgloss
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From: spaceboy <TROUTMAN@MIDD.bitnet>
dambuilders review
dambuilders @ middlebury college, middlebury, vt 11/5/93 (**1/2)
what can i say about one of the greatest bands putting out music today?
they're really nice folks and they do make beautiful music... and they
have this thing going, a sort of rock opera of which every song is one of
the fifty states of america... tres cool.
this was my second time seeing them and it just keeps getting better :).
they are all excellent musicians. the way the guitar and violin work
together, it definitely adds an overall tension/urgency to their sound
which i find very irresistible. the song-writing is amazing... they seem
to know what they're doing at all times... whether it's a heavier tune
like "louisianna" or a delicious pop number like "candy guts". i really
can't say enough positive things about them. is this love? :)
highlights (for me) included: "new jersey", "smell", that song about jeff
that i don't know the name of :) and of course "candy guts".
after the show, i talked with eric masunaga (guitar) and it seems we share
similar tastes in music as far as new stuff goes: flying nuns, helium, the
halo bit, versus, et. al. ... he recently did some production work for one
of these bands but damned if i can remember which one... also a high point
of the evening was finding out i'm from the town next to the town where
joan wasser (violin) grew up: norwalk, ct.
as for their releases, i only have three singles and the spinart ep but
_geek lust_ is in the mail!!!! would some kind soul who might be more
knowledgeable about what they've put out be able to email me... or anyone
interested in trading live recordings? this is a band that i know i want
to fall head first for...
thanks for indulging me. now onto other things...
michael.
troutman@middlebury.edu, troutman@midd.bitnet
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From: James Nash <CCX020@raven.coventry.ac.uk>
Breed LP; ChumbaTsunFalletc.
More wheat for the grist of indie-list...
I've bought so much stuff lately that I feel a bit lost trying to work out
what to play next but here's one I had no trouble motivating myself to
review... (plus some more bits 'n pieces at the end)
Breed - Violent Sentimental (Clawfist - Hunka LP 4)
I've only heard this album twice but I know it's going to be a classic.
OK, I've cheated because I've already got 3 tracks on previous tapes and
I've heard the John Peel session. Those of you with medium-term memories
will remember my very non-committal rveiew of Breed live. To say the
least, I have changed my opinion. Throughout this review, remember the
word "grower"; I'm just glad I gave them a chance.
Ten proper songs with brilliant lyrics, excellent vocals and superb
musicianship is a rarity these days of post-grunge and techno, so savour
what you get here. Imagine, if you will, Neil Young on guitar, Nick Cave
as artistic director and Cathal Coughlan (yes, him out of Microdisney and
Fatima Mansions) as vocalist, add a genius way with words and a sense of
poverty and desperation - those rainy day bastard blues - and you approach
the sound of Breed.
Where do I start? Maybe the bluesy shuffle of "The Greatest Story Never
Told"? Or the Gallon Drunk-ery of "Hard Cash". Do I eulogise the slower
"Faithless, Broke & Powerless" for its bass-guitar interplay? Or do I
acclaim track 9 "Woah, Woah, Woah" (more aptly Woe,...) as the kind of
magnificence most bands would only consider putting side 1, track 1? And
these aren't all the best songs!!
The vocal themes seem to be pity, money, sex, despair, frustation and lost
love (our old friends again - 'so all you factory women, come tear me limb
from limb' is a typical example!). The guitars never enter histrionic
territory for the sake of it and that warp arm gets plenty of use; the way
they just build and build before the musical punchline is breathtaking.
The breathy "real" drum sound leads me on a merry slow dance and nothing
is mixed too low nor too high. And hey, this Simon Breed can sing a bit,
reminiscent of Matt Johnson at his soulful best.
None of the songs outstay their welcome, maybe even departing the eardrums
a tad early but that's the secret - leave 'em wanting more and humming
those tunes in their heads. "Pendulum" (another great song) staggers and
sways its drunken way off the turntable, neatly closing an excellent (if
not exactly 100% original) LP that deserves to be in any music lover's
home. For a debut album from a Nottingham trio, this is something else.
One for the dispossessed and broken-hearted. *** (and I don't give that
very easily; even Pram didn't get that accolade!).
News and views...
Honourable mention of the week goes to ChumbaWumba whose new single is an
excellently rendered version of the Buffalo Springfield classic "Timebomb"
('Stop now, what's that sound?...' also recently covered by Oui 3 who are
a talentless soul group and hence very successful), all done in their
usual sassy style. The John Peel session this comes from also had "Give
the Anarchist a Cigarette", "The Rain it Raineth" and "Love Me I'm a
Liberal". Tsunami (sp?) also did a session on Saturday: "460" (sounded
identical to the album version), "Newspaper" (similar style; not heard it
before though) and "Water's Edge" (slower version).
[Excuse the intrusion, but that Buffalo Springfield song is called "For
What It's Worth" and it's a good one even if it is overplayed. One heck
of an under-rated band as far as I'm concerned...there's a reason that
lots of people have covered "Mr. Soul."
And, "Love Me I'm A Liberal" is a Phil Ochs tune. Seriously political
folkie stuff from about 1965. He also wrote "Tape From California"
which SquirrelBait covered.
Also, "Newspaper" is one of the new Tsunami songs which should appear on
the LP which was recorded last month in Chicago...haven't had a chance
to beg for a tape yet, but I trust it will be good, probably darker than
"Deep End" but still wonderful. - Sean]
Also heard the new Fall single "War" which was quite techno-y but sounded
really good. Who knows about Flying Saucer Attack? JP played a track of
their eponymously-titled LP but didn't say what it was. It sounder very
Lilys-ish Yo La Tengo-ish. And finally, I've worked out that the new
Eleveate EP should be played at 33rpm not 45. Unless someone wants to
correct me! I can see that e-mail flying already :-)
I posted to a.m.a. about a copy of "Sir Henry at Ndidi's Krall" I found by
Viv Stanshall. If this means anything to you and/or you have info on where
I can find more, e-mail me!!!! (but not Bonzo Dog Doo-Dah Band records)
--James Nash <ccx020@raven.cov.ac.uk> and a slice of cake... over there!
{}{}{}{}{}{}{}{}{}{}
From: Marianne Pyra <mpyra@mcs.com>
Subject: Chicago Area Independent Record Labels
[This is an article written for a Chicago area magazine about the world
of Indie-Music, both in Chicago and around the world. We (the
Indie-List) are part of a nice side-bar article which follows this. One
little question/complaint/whatever: WHERE'S TOUCH AND GO? Or Ajax? But
I digress...the article is quite nice... - Sean]
Chicago Area Independent Record Labels
What is an `Indie Label'?
There are as many different definitions of an Indie Label as there
are Indie Labels and musicians. What one person may construe as Indie,
another might define as a Vanity Label, and another may reject altogether.
The `Indie List' on the Internet [see side bar for more information on
Indie List and the Internet] states, " 'Indie' is short for `independent'.
`Indie Music' is usually construed to mean 'music released on independent
labels.' Indie labels are best defined in terms of what they are not;
owned or distributed by one of the six major record companies, those being
Sony/Columbia, Capitol/EMI, Bertelsmann Music Group/RCA, Time
Warner/Elektra/Atalanta, Matsushita/MCA, and PolyGram/Mercury/London.
These six labels are often called the `mersh' (for commercial) labels.
Mersh is the opposite of Indie. However, this definition has some big
holes in it. Many labels that are independently owned and operated in
counties other than the US (i.e., 4AD, Creation, and Beggar's Banquet) are
distributed by major labels in the US."
Chicago's Indie History
Indie Labels are NOT a new commodity in Chicago. Everyone knows
that the Beatles were first signed to VeeJay Records, a Chicago Label,
before signing to Capitol. Delmark Records, a Chicago Blues label, is
celebrating their 40th Anniversary this year ( more on them later). Smash
Records has been around since the late `60's.
How Indie Labels Generally Work
Generally, Indie Labels operate in much the same way as do the
Major Labels. Bands who are signed to a particular label, are usually
given a recording allowance, etc. These costs are recoupable by the Label
from the profits which are generated from the sale of the CD, Record,
and/or Cassette. As all contracts between individual bands and their
labels vary, the amount of royalties one particular band makes may differ
considerably from that of another band. As with all `rules of thumb',
there are exceptions to these generalities. Happy Tails Records works on
a cooperative basis with their bands, which will be discussed later.
Assorted NEW Chicago Labels
The following Labels are listed in no particular order whatsoever.
Also, this is only a partial listing of labels new to Chicago over the
past 5 years. Inclusion or omission of any label does NOT constitute any
endorsement or rejection of any company. Deadlines, availability, and
other `acts of God' were the determining factors of who is and who is not
on this list.
Pavement Music
17W703A Butterfield Road
Oak Brook Terrace Ill 60181
Pavement Music is a relative newcomer on the Chicago Label scene.
Mark Nuara left Red Light Records to to start Pavement in May of 1993.
Crowbar, a heavy metal band from New Orleans was their first release on
October 12th. The record was produced by Phillip Anzuma from Panterra.
Crowbar is currently on tour with Sacred Reich. Mr. Nuara says, " We shot
a video that was just accepted by MTV, and we're hopping that is going to
generate a lot of sales." He also adds, I just signed two other to the la
bel. One is called Stress Ball and the other is Tungsten and they're both
from New Orleans also. They were signed when I was in New Orleans
recording Crowbar. Someone from Panterra took me down to see them and I
signed them. Their records are due out in November also."
-------------------------
March Records
P.O. Box 578396
Chicago, Illinois 60657
After becoming disenhearted by the treatment he received while
working A & R for some major label, Skippy decided to form his own label,
March Records. Skippy says, "They don't let young kids have much power.
They hire you to keep your ear to the groun d but they don't entertain
their ideas much. I was tired of bringing in really cool bands and
watching them get signed somewhere else." March Records un-officially
started in January 1992 when they release their first "Uncharted"
compilation. March off icially began in October 1992 with the release of
the Big Hat CD. additionaly, they have Melting Hopefuls from New York and
a "Secret project which is Billy Corrigan's side project Star Children."
[The secret is that most people do not know of this side p roject.] "I'm
also trying to sign a couple of acts here in Chicago," Skippy added.
Upcoming releases from the March Catalog are a Star Children/Catherine 7"
Single on colored vinyl, a Melting Hopeful CD in January, and a Catherine
full length album will be out on Valentine's Day.
----------------------------
Monsterdisc
1333 North Kingsbury
Chicago Illinois 60622
Bob Feinegle relates the story of how Monsterdisc came to be: "
The Insiders did their initial record with Epic Records. The follow up to
that was long in the making. When the record was finished, the label at
large decided that they did not feel that it was a record they wanted to
release as a follow up to a record which sold over 100,000 copies. So for
whatever reason, they did not release the record. The band
consequentially did not get another deal after that point and left Epic.
After a two yea r period the re-recording rights reverted back to the
band. So the band got together with Tim Powell who has one of the best
mobile recording units in the country and is based here in Chicago. They
went to Fitzgerald's last year and recorded a number of shows. Most of
the material recorded was to be their second Epic record. At the same
time, the band had a new studio record done. Which was the fore runner to
the current "Not For Sale". So to get those two pieces of product out to
the marketplace, that's when Monsterdisc started originally." Also
available on Monsterdisc are the Spies Who Surf, Texas Rubies, Crash
Willie, and Nic Tremulus.
-------------------------------
Dead Bird Records
1109 Hull Terrace
Evanston, Illinois 60202
In 1990, with the release of the punk rock Trench Mouth's 7", Dead
Bird Records was born. Adam Jacobs, founder of Dead Bird says, "I wanted
to do more than just see bands....I wanted to promote the people I liked."
Adam defines an Indie Label as someon e who has a true love of music
instead of money. He has also released 7" records for Red Red Meat, the
Doormats (an instrumental surf kinda music) and Ed's Redeeming qualities
(a folkish kind of sound). Adam says that the 7" market is not an easy
market to succeed in because it is so over-crowded with product. "It's
easy to put out a 7". It's so over crowded that it is too overwhelming for
the public and the distributors won't deal with it, they're being more
selective."
[Oh shit, Adam "I tape every show at the Lounge Ax" has his own label?
What's this world coming to? :) - Sean]
-----------------------------
Western Front Entertainment
2048 North Damen Avenue
Chicago Illinois 60647
Ann Drey of Western Front reports that the 1992 release of
Bucktown hearlded the beginning of Western Front Entertainment. Ann told
me, "The idea was to go after some of the music that the major labels were
missing in Chicago." Bucktown was produced by Frank Pirruccello, now
President of Western Front. "Bucktown did really well in college radio
and was added to 100 stations. [Bucktown is] alternative country rock with
an edge." They're next release will be the second Harvey Mandell album
"Twist City'" Ann says, "We're really exicited about this [one]. It marks
his return to the record world. His last release was in the late 70's,
but his musical approach and attitude has continued to grow." Scheduled
for release after the first of the year is an album by Yardsale.
-----------------------------
Waterdog Records
P.O. Box 34363
Chicago, Illinois 60634
The unofficial debut of Waterdog occurred when Ralph Covert of the
Bad Examples had a cassette he wanted to release in 1987. The official
debut of the Waterdog Label was the release of the Bad Examples' 1991 "Bad
is Beautiful." Since the "Bad Is Beauti ful" release Waterdog has, has
re-issued "Meat The Bad Example" with bonus tracks. Other releases in the
Waterdog catalog include Frank Allison and the Odd Sox' "Pig Out", the Bad
Examples "Cheap Beer Night", James Young's "Out On A Day Pass", and the Ra
lph Covert solo CD "Eat At Godot's". Upcoming releases include Frank
Allison's first release which was on the Relapse label and a new release
by Frank Allison, and a new Bad Examples sometime in the spring.
----------------------------
The Exception To The Rule:
Happy Tails Records
P.O. Box 5467
Evanston, Illinois 60204
Happy Tails, unlike the aforementioned labels, is organized as a
cooperative label in which the bands pool their resources together so that
everyone involved benefits. The brain-child of Brent Ritzel, he says,
"This concept developed out of learning wha t works best. I've made so
many different mistakes. [In the mean time] I've made a lot of
connections to save money and learned the cheapest way to do things."
Brent also said, "This label exists for different reasons than other
labels. The Industry s eems to be set up to keep musicians under-educated
and uninformed. Musicians could generate a lot of money and get only 1%."
Bands on this label include, Avocado Jungle Fuzz, the Charming Beggars,
Doghouse, Fig Dish, Rust Bucket, Word of Mouth, and Thes e Days from Iowa
City. Release during the past 6 months were a 7" from D4, Fig Dish, and
Rust Bucket. The 1993 Freefest compilation CD, and a These Days CD.
Upcoming releases scheduled at this time are a Dog House CD and a Charming
Beggars CD.
----------------------------
SideBar To Chgo Label Art
----------------------------
Internet, Indie Labels, and Music
What is the INTERNET?
The Internet is a loosely organized system (often referred to as
cyber-space) in which computers (via modem) can converse with other
computers who are connected to the system. The computers or systems which
are connected include colleges and other educt ational institutions,
military sites, businesses (i.e., IBM, Microsoft, etc.), and commercial
sites, (i.e., America on Line, Prodidgy, and other local and nationwide
Bulletin Board Systems). The systems that are accesible are not restricted
to the US or even North America, but the entire world (I have talked (or
rather typed) conver sations to people in such diverse locations as
Germany, England, Australia, Sweden, Canada, and Florida, without having
left my office and only incurring the 5 cent telephone charge to call my
`host' computer).
Indie Labels On The Internet
Within the confines of the astronmically large network of
information which can be accessed through the Internet are files, news
groups, and mailing lists devoted to any aspect of life you can imagine.
>From music, to golden retrievers, to neuro surgery, to vegatarianism; you
name it, and you can find a group willing discuss it.
One particular mailing list, devoted soley to Independent Record
Labels is the `Indie List'. Maintained by college area students in
different locations through-out the US, this list produces a bi-weekly
mailing of reviews, upcoming appearances, and comm entary written by the
editors and subscribers alike. The November 4th, 1993 (vol. 2, no. 29)
included articles and reviews of:
The Faith Healers
Ed Hall
Vertigo
Boredoms
Chris Knox
Additional information can be obtained by e-mailing the editor at
skmurphy@phoenix.Princeton.EDU
Other Musical Resources On the Internet
As mentioned earlier, the diversity found among different topics
of discussion can also be found within the scope of the musical offerings.
The `Musical List of Lists', available out there in cyber-space, contains
the email address for various mailing lists devoted to specific artists
and generes of music. Example: there are four seperate mailing groups
for the Grateful Dead, two for Genesi s, one each for Dream Theatre, David
Bowie, Jane's Addiction, the Jesus and Mary Chain, King Crimson, Primus,
the Indigo Girls, and Queensryche.
There are also resources out there in which you can obtain the
words and chords to a variety of songs, press releases, interviews,
picture files, etc., etc.
For information regarding connectivity to the Internet, please
consult one of the numerous magazine and books available on the subject.
I can be reached through the Internet at: `mpyra@mcs.com'.
---------------------------
Thanks to the people at Indie List for their assitance with this article;
Liz, Lena, Mark, and Sean.
--------------------------
This article also appears in the Nov.-Dec. issue of Showcase Chicago.
--------------------------
copyright 1993 by Marianne T. Pyra
All Rights Reserved
<------------------------------------------------------------>
The Indie-List Digest is published every Tuesday and Friday by the
Indie-List Infotainment Junta, Unltd.
What Who Where
Editor Sean Murphy skmurphy@phoenix.princeton.edu
Moderator K. Lena Bennett keb@carson.u.washington.edu
Mailings Liz Clayton lclayton@uhuru.uchicago.edu
Archives Chris Karlof karlofc@seq.cms.uncwil.edu
FTP/Gopher /pub/music/lists/indie @ ftp.uwp.edu
Consultants: Mark Cornick and Joshua Houk
Indie-List is not copyrighted. It may be freely reproduced for any purpose.
Please cite Indie-List as your source.
<----------------------------------------------------->
please send your articles for the next issue to LENA!
<----------------------------------------------------->
[Submitted by: karlof chris knox (karlofc@seq.cms.uncwil.edu)
Tue, 16 Nov 1993 10:24:05 -0500 (EST)]