I felt so symbolic, yesterday...
#############################
Indie List Digest!
April 3, 1994
Volume 3 Number 22
#############################
Guided by Voices, Harvey Sebadoh 0
Boredoms, Liquor Ball, Dope, Guns n' Fucking v8
Morphine
Helium, Sebadoh I
Hal Hartley
Warp/Rephlex party
Ultra's, Van Gogh's Daughter, Stardusters, Pearl Harbor, Illusion of
Safety, Us3
Yo La Tengo, Coctails
Eric's Trip
Sebadoh II, Helium, Pavement
Loud Music Festival
Tindersticks, YMG, Sebadoh III
Request: Chicago Shows List
AD: Sigue Sigue Sputnik
AD: Friendly
-----------------------------
As long an I-L as you're likely to see, thanks in no small part to
the "just one more submission" syndrome. -es
------------------------------
From:DDBAN203G@UNIVERSITY-CENTRAL-ENGLAND.AC.UK
guided by voices, harvey, sebadoh...
This week's collection of groovy stuff:
guided by voices - clown prince of the menthol trailer
-------------------------------------------------------
A single by an ultra-cool band eh? Ha, they sound suspiciously like
the Grateful Dead in 1968! I've passed the Dead Head stage now. Not
very good this.
Sebadoh - Rebound
-----------------
More like it, immortal driving pop MU-ZIK! Guitars will never die?....
Well, maybe one day, but not for a while. Superb!
(both Domino records)
Madder Rose - Panic On
----------------------
All light and sexy, then the guitars roar in to kick some serious
ARSE! I like this.
(Seed/Atlantic)
Harvey Williams - Rebellion
---------------------------
Harvey is the god of C86! Fey, floppy-fringed youths who wear anoraks
worship at his temple every day! Harvey was ANOTHER SUNNY DAY, the band
who released "The very beginning" - probably the best song ever
recorded.
This album then is not ASD, not a geetar on it at all. Just
keyboards, the odd synth and strings, and Harvey. The album is short
but size isn't everything, allegedly. The best song is probably "The
stuntman" - that puts the boot into Noel Edmonds, something to be
applauded though using nuclear weapons mike be more satisfactory.
(Sarah)
this mail is from:
c.davies@uce.ac.uk
at the: University Of Cheap Equipment In Birmingham
-----------------------------
From: "Theodore A. Khoury" <khoury@ccwf.cc.utexas.edu>
Boredoms, Liquor Ball, Dope Guns v.8
Here's the latest reviews:
Boredoms-"Wow2" (japanese label, slips my mind)
This import cd of live Boredoms is a must for true fans, but not
necessary for those touching the topical bore tribe surface. Recorded
live (in a studio) in New York by (who else but) John Zorn. Just for
the record, I am a Zorn fan but I don't like the fact that he
considers himself to be keeper of Eye (vocals) and the rest of the
Boredoms; they've been doing their thing for years in Japan, and Zorn
simply regurgitates the same elements with a hint of white man in the
background. Anyway, you can definitely hear his influence on this
recording compared to the Soul Discharge or Pop Tatari albums, it has
sort of a muting sound throughout, as if they're not achieving their
staple notch of bombast that they do on everything else. If you're not
familliar with Boredoms, then make an effort to hear them because they
are derivative of absolutely no one and are setting a precedent for
those to come. This cd at best can be bought for about $19; sorry I
can't remember the label now, but get in touch me if you want it.**
LIQUOR BALL- 7"(black jack records)
This label is putting out some of the best stuff these days (along
with PCP, Magnatone). The first 1000 of these is on glow vinyl- big
deal, eh? Two songs with vocals and a last intro. Jam. Like I said
about their album, last time: These guys are heavier than shit, but
are by no means cliched; they are seriously scary (not devil vocals or
anything), and I wouldn't want to open their fridge. These guys
used to chase down Monster Magnet after school and beat the hell out
of them. This single is a lot more accessible than the album, though.
***
DOPE, GUNS, FUCKING IN THE STREETS VOL. 8: SUPERCHUNK, GUZZARD, JAWBOX,
GODHEADSILO 7" (amphetamine reptile)
I was under the assumption that they were going to quit putting these
complilations out, but apparently not. First, I only bought it because
I love Godheadsilo, and they are nothing like the other three bands.
It seems that Mr. Hazelmeyer is opening up the AmRep door to all the
latest crazes these days, I never would've thought 3 years ago that a
label that puts out the God Bullies and Lubricated Goat would be
putting out a Dischord rehash or anything Merge-like, but he's
surprised us here. Before I even put this one on the table, I knew
what they were going to do to make S-chunk and J-box appear as AmRep
bands: fuzz up the vocals and loosen the strings, and that's what you
have here. I think of (older) AmRep bands as having a somewhat
psycho-sound blend, but its pretty hard to get that from Merge
overlord's Superchunk or Jawbox. Guzzard is simply uneventful
stuff, one of the new shitty bands on AmRep (along with Chokebore),
nothing new or daring here. Superchunk is standard; if you're a fan
you'll enjoy it (I lost interest after the first album). Jawbox is
actually better than their other stuff, and has a little more of a
loose edge to it. Godheadsilo, however, are incredible; they are
heavier than 80% of other AmRep bands and are producing killer
singles (kill rockstars, OXO). It's only two guys, from what I gather,
but they play really heavy bass, achieve great high/low fuzz tones
throughout, and fill all their quiet parts with all kinds of cartoon
loops or animal noises. If anything, these 7" comps become pretty
big collector items, so it might be worth it for all junkies out
there, otherwise it's a single that should please a very wide spectrum
of listeners.*
Theodore Khoury
khoury@ccwf.cc.utexas.edu
-----------------------------
From: bean-bag amerika <hermes@student.umass.edu>
morphine followup
terry wrote:
> Morphine -- Obviously one of the buzz bands of the weekend, the huge
> gymnasium-sized Terrace Theater attracted a massive and appreciative
> crowd. They put on an impressive show, and the two-sax-at-once encore
> was pretty hot.
i haven't been keeping up with the list lately, because i have this
mental block against long e-mail, so i don't know if anyone mentioned
it, but i saw morphine at amherst college back on the 12th. i
actually hadn't heard about the show, but some friends who had come in
for a MUSH party, had tickets. ten of us ended up going with 3
tickets, and we managed to scounge the 7 we needed (we ended up with 8
actually). the room was pretty small for a band reaching their level
of 'mainstream' success and wasn't particularly crowded. the opening
band was very good, although i can't for the life of me remember their
name. and i ended up right in front, where i like to be at shows, for
morphine's set. i'm still amazed (as i was when i first heard them)
that a drum set, a sax, and a two-string bass can make music that
well. there was plenty of entertaining between-song babble, and i'd
have to agree that that double sax playing was very impressive.
dave
-----------------------------
From: Seth L Sanders <feste@jhunix.hcf.jhu.edu>
Helium/Goof On Lou's Head
Having just ridiculed Mary Timony's bizarre Radical Feminist Theology
influence (Mary Daly) elsewhere, let me be awed by her music.
The new Helium cd _Pirate Prude_ (Matador) credits Witches, Bitches,
Prisses, Hags, Crones etc. A kinda clunky-sounding subversion of
negative terms, but why not? Has the thrill of the vaguely threatening
(I know guys who are still bothered by Bikini Kill, what retards! I
swear to god if Damaged-era Black Flag came along wearing a set of
tits and a political agenda they'd call them "whiny" or some shit). The
great thing is that Mary T.'s writing is way the heck more graceful
than her theological influences. Her songs have a kind of moral force
running through the wit and indirection, a sense of solid reality and
directedness (hating someone's boyfriend is a more compelling starting
place than Revolution to my eyes, though they're equally conceptual in
the context of the chanson format). The disc really triumphs on a
big stereo, cuz there's a level of detail and a feeling of swooping
immensity that calls Big Black and Of Cabbages and Kings to mind. I
mean, I think that in its underlying seriousness and intensity, it's
really more like Big Black than some kinda singalong. And the vocal
melodies are odd that way, not trying to drag you in or bop you along
but running unevenly and freely. If you weren't paying attention
you'd call them "detatched" cuz she never screams but she's very
there. And by the way, all you reviewers, none of my favorite women
artists do "female vocals" (and I don't think any of my favorite
"differently clitted" ones do either, though I'd have to check, SSD
are pretty screechy) either. Yup.
Finally, as a virtual member of the "Ivy League" audience referred to
in Kathleen B's post about the Sebadoh show at Jon Solomon's, and one
who'd made fun of Lou on more than 3 or 4 occasions, let me note that:
Mr. B can sometimes look unapproachable just cuz he seems like he
might snap back or freak out. And it's true that when pressed he does
a great Daniel Johnston impression on account of being a sensitive
artist and stuff. But come on, I'm sure someone from Harvard
would've taken the risk, why can't you? Remember that Sebadoh have the
complete F.U.s catalogue memorized, so just shout out requests, that
always gets them going. No one ever lost out by provoking or hassling
a performer, or if they did I don't want to remember it.
Seth L. Sanders
"I got it in my tummy and it tastes really yummy it's cheaper than
dirt when you make it spurt it's the taste of..." -Sebadoh, "Homemade"
-----------------------------
From: brenta@microsoft.com "Brent Aliverti"
Hal Hartley CD review
Every time I used to watch a movie by Hal Hartley, I would wishfully
think, "Gee, it would be cool to get some of this music collected onto
a CD" Well, it turns out there IS a CD of music from his films. While
not quite comprehensive, the disk (whose full title is, "True Fiction
Pictures presents: Music from the Films of Hal Hartley") contains much
of the music featured in his films.
The films include THE UNBELIEVABLE TRUTH, TRUST, SIMPLE MEN, SURVIVING
DESIRE, and THEORY OF ACHIEVEMENT (a short). The songs on this disk
are performed by Ned Rifle (aka Hal Hartley) w/ Phillip Reed, Jim
Coleman, Hub Moore and the Great Outdoors, Yo La Tengo, The Brothers
Kendall, and Ether. (The two Yo La Tengo tracks are from "May I Sing
With Me.")
Many of the instrumental pieces are performed by Hal Hartley
(with a little help from friends). I was particularly looking forward
to getting on CD the ending theme to Trust (a pleasing little
keyboard and guitar instrumental). Unfortunately, the original
4-track cassette master for the Trust soundtrack has been lost. Thus
the versions here are new recordings with slightly different
arrangements, but definitely worth hearing.
I'm sure you're all familiar with Yo La Tengo, so I won't touch on
them. The songs by Hub Moore and the Great Outdoors and Brothers
Kendall have a pleasing indie guitar jangle to them. The song by
Ether is a more ethereal number, resembling a French children's
song...very nice. (If anyone know if any of these three bands have
more recordings available, let me know)
If you don't live in New York, you may have trouble finding this (the
disk has no catalog number and is apparently self-released). At the
risk of slipping an ad in, if you want to get a copy and can't find
one locally, I was able to get a CD mailed to me from Kim's Video and
Audio in New York, phone number 212-529-3410.
-----------------------------
From: davidb@dbadmin2.amgen.com "David Bennison"
Live Review - WARP/REPHLEX Party
Warp / Rephlex Party - LA2, Central London, UK! - 23/3/94
-----------------------------------------------------------
This was my first trip to the LA2 (next door to the Astoria) and it
was obviously designed for such shows as this. Gone was the dark and
gloomy atmosphere of the 'rock' venue/pub and the musty smell of stale
beer. Instead there was a mirrored, laser-filled, multi-level,
dry-ice swamped venue where the banks of hi-tech equipment were
amazing (for people who are easily amazed by such things!) Mind you,
there was still a gloomy atmosphere (initially) and the people there
seemed to be the same type that went to Pavement a few weeks ago, with
the addition of the very odd hardcore techno-nutter who goes apeshit
over a sequence of bleeps. Funnily enough, these people (mainly guys)
have all tended to look like a skinny Henry Rollins or Ian 'Minor
Threat' Mcthingy in black shorts and shaved heads. Probable control
freaks. Anyway, onwards... Warp and Rephlex are two of the better
known UK new-techno labels. Warp is based in Sheffield and responsible
for amongst others, Black Dog Prod., B12, Aphex Twin and new signings
SeeFeel, while Rephlex (a sub-division of Creation I think) are giving us
Autechre, Reload and mu-ziq. The DJs for the night were Richard James
(Aphex Twin) and Mixmaster Morris.
Locust
------
Locust consist of one guy who, along with the crowd, seemed content to
sit on the floor and hide behind the dry-ice and machines. As far as
I know his output is limited to an EP or two, a relative newcomer.
Difficult as it is to differentiate between acts (if you are aware of
the Warp label you'll know what to expect here) I found Locust did an
excellent but largely unappreciated 40-min set of initially minimal
sounds which were built upon (sparse rhythms added and slight
variations in key), the last two tracks being particularly good. He
kept a fine balance between a minimal 'Analogue Bubblebath' (Aphex
Twin) inspired sound and the more 'melodic' (relative to this branch
of music) repetition of Autechre.
8/10
Autechre
--------
Having got the Autechre LP, I had an idea that this was going to be
for techno purists. The LP I like a lot; it's not particularly
minimal, but it does lack some warmth and order, although I'm not
necessarily asking for some. Anyway, live they were particularly
good. Two guys who allowed their tracks to evolve in a similar manner
to Locust. Perhaps the only difference between them was that the
crowd were really into what Autechre were doing and they seemed to
feed off this. As far as I'm concerned, they are the best in this
field and I was hugely impressed with this live showing. I'm also
descripively challenged today!
9/10
Seefeel
-------
Seefeel seemed to attract the biggest crowd of the evening and
currently seem to stand on a boundary between the conventions of
guitar/drums/ vocals and those of keyboards/samplers/sequencers
(something that Disco Inferno did last week but which was partly lost
by my refusal to stop playing 'R-Type'). Anyway, they are a 4-piece,
3 anonymous people and one posturing bass player. The bones of the music
seems to come from samplers, which I think are played by the guitars
and drums in part. The driving rhythm comes from the very heavy
bass lines; the other members of the band just feed off this and
add textures and washes of noise (not unlike those of the Young Gods
in September Song and the like) while the girl adds occasional
'etherial' vocal phrases which add to the mantra-like quality
that the tracks tend to have after a few minutes of hooking into a groove.
I couldn't recognise anything but then I could only recognise
'Plainsong' or 'Filter Dub' as I haven't given the EPs or Quique a
chance yet. However, they are really unique in the direction they are
taking music, it seems like an amalgamation of what My Bloody
Valentine's 3rd LP and Moonshake would sound like if both bands lived
up to current high expectations. By signing to Warp they are taking
even further risks in possibly alienating themselves from the Too Pure
fans while not being accepted by Warp fans. Currently they straddle
this boundary comfortably.
8/10
Mu-ziq
------
Two years ago I would have cringed at the thought of a 'band' calling
themselves 'mu-ziq'; tonight it seems slightly more palatable, but only
just. Two guys, one a bit of a keyboard wizard who plays pretty
intricate sequences (the sort of stuff that Autechre would have
programmed so that they could be free to concentrate on other sounds
instead). The other guy seems to play around with sounds coming from a
small box while kneeling! I don't know whether I had O/Ded by now but
I just didn't enjoy them much--too much keyboard pyrotechnics and not
enough bass. I kept thinking of Wurlitzers and music boxes. Their
new LP is on Rephlex, but I'll need persuading before I think of
getting this. I was also 2:00 a.m. and I had an hour walk to my car
across London ready for a 1 1/2 hour journey home, so my mind was
elsewhere.
5/10
David...
-----------------------------
From: SHEARD_PAUL@tandem.com
One Concert, two LPs.
Sat 27th March, Paradise Lounge, San Francisco
The Ultras, Van Gogh's Daughter, The Stardusters, Pearl Harbour
Well, I have ranted and raved about The Ultras before, one of the top,
if not the best, surf bands in San Francisco. They were in fine form
again. Needless to say, whilst they were on stage the back room was
packed, people standing on chairs, etc... (Ruby, an aging, spreading,
ex-exotic dancer showed us all up by dancing through most numbers;
she can still do those high kicks !!) **
Van Gogh's Daughter, an all-female (girl or grrl ?) four-piece, (lead,
rhythm, bass and drums) put on quite a good, if standard, rock set.
They were neither outstanding nor did you want them to stop. They
were loud, their music fit together quite well, and the sound was
good. So it was enjoyable, just not outstanding. I'd go see them
again, if only because the lead singer was really nice. I didn't get
to speak to any members of the band afterwards, they seemed to be
mobbed by the many other good-looking women in the house that night.
(Sometimes it's frustrating living here !!!)**1/2
Upstairs were The Stardusters. Now this is a band with potential. A
four-piece, young male band (standup bass, electric guitar,
acoustic and drums). Picture these guys with slicked-back hair,
baggy '50s trousers, playing some mean rock-a-billy. They mixed the faster
sounds of rock-a-billy with some slower, more melodic down-country
ballads. The crowd in the small upstairs room liked what they heard
and stayed to hear more. The Stardusters have a series of dates round
SF through April and May, so if you are in town and like that sort of
music, look out for them. *1/2
Pearl Harbour. Female lead singer (with ultra-massive hair) fronting
a male rock band. This was the lead act of the night. I thought it
was also the worst act. Same kind of music as Van Gogh's Daughter,
but to my ear not as tight or interesting. *
Releases
--------
A recent outing to part with some hard-earned cash resulted in the
purchase of 2 unrest LPs and the latest Pavement on vinyl. (All due to the
rantings in the IL over the last months). Other purchases worth
noting:
Illusion of Safety - Water seeks its own level
Now how can I best describe this stuff? It's just a whole load of
noise. Sometimes everyday noises mixed together, sometimes electronic
noise. I did a quick sample and immediately relegated it to the
bottom of the pile. But after a full listening, I really love it.
Some tracks are quiet, mixing children's voices with natural sounds;
the next moment, you are thrown out of your seat by some very loud
electronic noise. I'm going to have to listen to this one a lot and
search out other stuff by the band. **
[much of the IoS stuff is on their own label Complacency (PO Box
1452, Palatine IL, 60078), but you should be prepared to pay a
pretty (and often deserved) penny for their rarer import stuff -es]
Us 3 - Hand on the Torch - Probably been out a few months now, and I
note they are touring with UB40 at the moment. British rap on the
Blue Note label. Can you imagine a more jazz-oriented version of De
La Soul with more mainstream lyrics ??? All of US 3's tracks are mixed
over classic Jazz samples, (all samples are [legally cleared and well
cited -es] from the Blue Note repertoire, not suprisingly). This is a
mellow, bohemian cafe, poetry-reading style of rap which still does
not lose sight of the fact that it is rap and not jazz. If you want
to branch out from standard "indie rock", this album would make a fine
alternative. Highly recommended. **
-----------------------------
From: hattemer.1@osu.edu (Ted Hattemer)
Yo La Tengo and Coctails show review
YO LA TENGO/COCTAILS
Staches Columbus, Ohio
3/29/94
One of the nicest pairups in a long time. (Except for the White
Zombie/Monster Magnet show a year or so ago when Monster Magnet blew
the Zombies out of the water with only green lights going and the
guitars only turned up half way...)
The Coctails have this '50s hip-to-jazz style about them (and all of
their merchandise). Don't even try to play this game because they
have already mastered it. The Monkeys meet The Ventures meet the jazz
that goes on in every American town. And all of the members play all
instruments. The bass player goes to the drums and drummer to bass,
the one guitarist picks up two (not one) saxophones and they wail out
another surf/rockabilly/jazz number...
[Some must believe (unlike myself) that the Coctails boyz have the
jazz scene down - illustrated by the presence of Hal Russell on a recent
LP of theirs -es]
Ira Kaplan consistently lets me down at live shows. He makes great
music but is rarely *on it* live. I've seen them by themselves with a
local warm-up band, with fIREHOSE, Superchunk, etc... and it has
always been, well, just okay...
This time the whole band was on it.
From the start.
Opening up with "Barnaby (Hardly Working)" from President... and one
new song after another (finally playing "Drug Test" from President and
"Lewis" off New Wave Hot Dogs).
Okay, so I'm a fan of the older stuff....
I'll give the new album another listen.
They switched instruments as usual; Gorgia was great;
they all were set on rocking the *&%$ out of Cols., OH,
and we thanked them by exploding on cue.
-Ted Hattemer
hattemer.1@osu.edu
::::::::::::::::::::::::::::::::
"...the only thing that separates us from them is wood paneling." -Jake
Housh
-----------------------------
From: ab809@freenet.carleton.ca (Mike Winter)
Eric's Trip "Warmgirl" 7'
Review: Eric's Trip 'Warmgirl' 7"|Derivative Records.
----------------------------------------------------
In my eternal quest to get everything Eric's Trip has put hands on,
this new 7" showed up in my mailbox a week or so ago, courtesy of
Derivative Records. This release is a showcase for early Trip, the
songs being recorded in 1991 with their old drummer Ona a 'happy
4-track at Chris's dad's house.' It starts off with 'Warmgirl,' a right
rocking tune that's fast as all hell and has the trademark Trip vocal
harmonies. It's a way cool track that segues into 'Window,' which is a
bit of departure for the band, shimmering guitar noise with no real
backbeat. It doesn't work very well, but it does show the band
experimenting with their sound a bit. The second side starts off with
'So Easier Last Time' another fast, sloppy song that's pretty good.
The last track is 'My Chest Is Empty (pt. one),' which features some
wild distorted vocals. Overall this is a pretty cool release that
features some shit by the band before they really got their act
together. This is really evidenced in the playing (really loose) and
the sloppy production. Although 'Love Tara' is really indie, it's
obvious that Rik really has his act together as far as getting a
comfortable feel with the recording end of things, and the playing is
quite a bit better. The final word on this release is pretty good,
however: it's worth getting for 'Warmgirl' and "..Chest..' alone, plus
the clear vinyl and great Derivative Records catalog.
8/10 (Derivative Recoreds P.O. Box 42031 Montreal, QUE, Canada.
h2w 2t3)
--
And never mind that the last people who popped a hooter under the
world trade center where able to do it without encyrption-and while
under FBI surveillance!-John Perry Barlow
-----------------------------
From: "LePageL/MF" <LePageL/MF@hermes.bc.edu>
Rockstars, Helium, Pavement
I always read Kathleen Billus's comments with interest, because I see
her as a window on the rock star's world. Now I know she's gonna say
something like, "Lou isn't a rock star, really," but to me he is
because I own cds by him, and when I see him in clubs, he's on stage
and I'm not. I've walked by Lou many times, and I've never said hi
because he looks really, really shy, and I'm also shy--I did smile at
him once, but I don't think he noticed. In any event, I really think
there's a distance between musicians and their audience that maybe
(sometimes) the audience creates themselves, but it is hard to bridge.
In short, as a fan, I would love to just walk up to Mary Timony and
say hi, but I'm afraid of bothering her. This fear on my part extends
to most musicians I run into. And I wonder if I'm the only one who is
reluctant to approach the near-famous for these or similar reasons.
[yer not! i am, too.--az]
Speaking of Mary Timony, I can't believe no one has reviewed Helium's
_Pirate Prude_ yet, so I guess I will. This 6 1/2-song ep takes
spookiness to new heights, leading off with two songs about romantic
vampirism and closing with a demented instrumental that evokes the
zombie dance at the end of "Carnival of Souls." It's a horror show of
a record but in the best way possible. Timony's guitar is atmospheric
and powerful, as always, and the ace rhythm section kicks it all
along. Timony doesn't have a strong voice but she knows how to use
it. She gets a lot of menace out of a tone that could be called
"wispy," and her waif persona only highlights the danger she conveys.
Which is not to say that Prude is a noise-fest. It has pop roots,
and plenty of hooks--but they don't jump out at you right away (except
in the case of "XXX" which is a masterpiece right out of the box).
Give this one a chance though and you'll find you can't stop listening
to it. ***, really!
Pavement show at Venus de Milo: I have nothing much to add except that
they remain just as great live as I remembered them from last time so
see `em if they come to your town. Interestingly, the set closer ("I
need to sleep" - I forget the title) sounds even more anthemic live
than on the record. Unfortunately, the place was too packed for me to
see anything, which I always find a little weird. But they sounded
great.
-----------------------------
From: bean-bag amerika <hermes@student.umass.edu>
loud music festival night one (northampton ma)
i was working tonight, so i didn't get to see a whole lot.
my big purpose for the night (and even, the highlight of my weekend to
come i suspect) was seeing codeine. the set list to the best of my
memory went: d, pickup (both from frigid stars), sea, loss leader (off
of the new album, the white birch), jr, barely real (two off of the
barely real ep), tom, and wird (also off the new one). and for an
encore did the incredibly beautiful broken-hearted wine, a b-side that
could easily be a cornerstone track on an album. (and i'd like to
have it on cd, because none of my other stereo equipment is working
curently. oh well, to hope..)
they had some technical problems early in the set, but once they were
straightened out, it seemed to go quite well. i would have liked to
hear 'pea' off of frigid stars, but i think pickup song and 'd' would
have to be my two next favorite tracks, so i was happy. i didn't get
into the new stuff as much as i would have liked, as i couldn't get
ahold of a copy of the new cd before the show, but i did buy it from
them after (maybe a review in a few days).
i was standing around after their set to just say 'hi, i'm dave,
you're my favorite band.' and ended up being asked to help with
taking down equipment, so i actually got to talk to them. they do
seem like nice guys. and, i have to say that their new drummer, doug
scharin is amazing. speaking of codeine drummers (didn't see that
segway coming did you) i'm also looking forward to chris brokaw and
the rest of come tomorrow night.
the other set that i actually caught some of was the end of the
lunachicks. they certainly put on a show. and their music is
definately danceable, be it moshing or just getting into the
sound. i was a little dissapointed in their encore, as they mentioned
possibly doing a hall and oates (the first band i ever saw in
concert, when i was eight or something) cover, or a men without hats cover
(an eighties band that i'm actually a big fan of) but did neither.
well, tomorow night i'm not working, so i should see more. sunday i am
working again, but the stage instead of the door, so i not only get to
see the bands but boss them around.
goodnight,
dave
-----------------------------
From: Sean Keric Murphy <skmurphy@phoenix.Princeton.EDU>
Music that makes your life worthwhile again
OK, so I'm totally strung out on a blue haze of caffeine and sugar,
and I'm doing my radio show last Thursday, and I pull out a single on
which the words "Sean will like this" have been scribbled. So I
throw it on, expecting something dull but pop-oriented (people at my
station have pegged me as exclusively a pop-loser... go figure :).
My mind was shattered - I was floating through a world where
everything is peaceful and quiet and just a little bit strange... it
triggered my "impulse-buyer" instinct.
The song was "Marbles" by Tindersticks. I know that our friendly UK
correspondents have talked a lot about this band, but it was the first
time I had gotten to hear them. (No. 6 Records has released a US 7"
with Marbles and i-can't-remember-the-title-but-it's-really-good-too
on the b-side.) So I splurged and bought the import 75-minute CD...
it's all quite good, though nothing on it lives up to Marbles -
imagine Felt and the Feelies with 4 vox organs improvising "The Gift"
and you're getting pretty close.
Across the CD, the singer alternately mumbles softly or sings like Ray
Davies on a slow Kinks song or has this odd warble - he's singing
"normally" but the words get sorta mushed like Droopy Dog. Overall,
I'm pleased that I grabbed this, though now I hear reports that it (or
some other LP-style release) is being released domestically. Oh well.
*3/4 (and if you just put Marbles on repeat-play, it gets ***)
Other highlights of my shopping trip:
Les Disques de Crepuscule has reissued the Young Marble Giants
essential LP, _Colossal Youth_. While this was available on CD
previously, the new CD is worth getting for the bonus tracks - you get
the original album, the "Final Day" single, the "Test Card" EP, and
"Ode To Booker T." which is from an old compilation LP on the Z-Block
label. 25 tracks in all. Buy this and understand the wonder and
brilliance of slightly off-key drifting british female vocals, the
oddest rhythm box in the world, an occasional strummity-strum guitar,
and the Hammond organ. I'm way biased, but this LP is beyond being
awarded stars or ratings of any type.
Finally rounded up a copy of the Really Rosie soundtrack... I'm now a
little bit closer in my quest... :)
Oh yeah - I figurd out what song Sebadoh started their show with in
Princeton - it was "Crest" by Stereolab - from the "Transient
Random..." LP. Amazing song, no matter who's playing it. (Also, for
the record, Kathleen and I have discussed our opinions of that show -
no hard feelings between us... everyone's entitled to an opinion and
to express that opinion in this forum.)
"Things are not all that out of control."
Grumpy Sean
skmurphy@phoenix.princeton.edu
P.S. I'd like to propose an addition to the I-L "forbidden artist
list" - B*CK. Fucking obnoxious, and being heralded as the true
expression of the slacker generation - give me a fucking break. This
is media hype at work. If he's really been an "underground singer"
for all these years as he claims, why didn't we hear about him through
the usual channels (zines, odd compilation tapes, etc.)? Hell, I know
much less about the Mountain Goats origin (or anyone on Shrimper, a
real "home-tape" label), but I'd rather hear that than B*ck any day.
[Luckily this hasn't proven itself to be a problem yet. I figure
some Beckisms will slip in unawares, but I open the idea to the I-L
readership:
Resolved: Beck is not so much a Loser, baby, as he is a Poseur.
Discuss.
-es]
{discuss? if we all ignore him, wont he just go away?--az}
-----------------------------
From: "Rudawsky Don" <rudawsky_don@msmail.muohio.edu>
Chicago Shows info request
I'll be visiting Chicago Thursday, Friday, and Saturday, April 7-9, and
would like to know where to go and what to do, particularly if there
are any shows I would want to see.
Thanks,
don
[You might want to check out the Chicago Shows mailing list
sometime, as moderated by Andy Lester. Send mail to the inestimable
Liz Clayton <lclayton@uhuru.uchicago.edu> to subscribe (although it
may be too late for this trip... -es]
-----------------------------
From: Erika Sherman <esherman@umich.edu>
Sigue Sigue Sputnik trading?
Was wondering if anyone here would be interested in buying old, rare,
out-of-print Sigue Sigue Sputnik vinyl/CDs.. I have a big list if
anyone cares. Email me for it. Or read newsgroups:)
Erika Sherman <-------> esherman@umich.edu
DEFENDER OF COSMIC FREEFORM!!
-----------------------------
From: Mark Cornick <cornick@access.digex.net>
Friendly
Finally available after months of anticipation (on our part, anyway)
is Friendly's debut 45, "Bloodsucking Demons, Machines And Banshees."
Four songs influenced by everything from the Thinking Fellers to Beat
Happening to Roky Erickson to Martin Denny and everywhere in between.
This also bears the distinction of being the first known vinyl release
of a band featuring an indie-list celebrity (i.e. me) but don't buy
it for that. Suave black vinyl. Several colors of sleeves (specify a
color and we'll try to do one up for you.) Three dollars ppd (in the
US; checks payable to Mark Cornick) to Friendly Record
Dealership/Trashbox, 324 S Cherry St, Richmond, VA 23220. Thank-you
and God bless.
<------------------------------------------------------------>
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