I don't know why we come here, places no ordinary man would go


      Indie List Digest!

       April 12, 1994

     Volume 3   Number 24


Anne's Culture Shock
Gef/Bek Thnng
Underworld Live/Disco Inferno
Friendly 7"
Rodan, Crain & Seefeel, and musings
Yo La Tengo and Sleepyhead
Spencer the Gardener
Slowdive, Magic Hour, Mistle Thrush
Rodan, Drive Like Jehu, Superchunk
ANNOUNCE: Indie Record Label List
ANNOUNCE: Burlingtonitus in Vermont
ANNOUNCE: Jiffy Boy Records show, NYC
AD: Second Coming
AD: Honeyrider Zine #2


Culture Shock: More than a Feeling?

One of Bloomington's more lively cultural traditions (aside from the 
annual dwarf toss, but I have been advised not to discuss that) is 
Culture Shock, an outdoor music festival on the Indiana U campus every 
April.  It's usually a pretty fun event, and it's also a chance to see 
how long one's favorite local bands can stand gallantly around waiting 
for miscellaneous technical problems to clear up.

This year, some of the more annoying planning problems seem to have 
been worked out.  For instance, in the past there have been two 
stages: the large, well-equipped "Big Deal" stage and the small, 
badly-equipped "Poor Relation" stage.  This year, both stages were of 
comparable size.  Moreover, the bands on both stages performed at 
different times instead of being forced to compete against each other, 
saving the audience members considerable crises of loyalty.

I missed some of the festivities, and eventually things got rained 
out, but here's a brief overview of some of the bands (all from 
Bloomington, with one obvious exception) I saw:

% El Nino: In the days of Trailside Killers, his previous band, 
vocalist Glenn used to rage and roar.  Now he still does that, but 
with melody & dynamics.  A nice mix of jangly/surfy guitar rock, 
usually upbeat.  They are supposedly putting out a CD, but I don't 
know when.

% The Smears: They've really gotten a tighter & faster sound these 
days, and they seemed to have a great time.  My favorite line is 
Gretchen's chorus "Oh motherf*cker, you're so blind;" I can't really 
understand much else, but I doubt if that's the point.  In a triumph 
of unfortuate scheduling, a fashion show was taking place not far away 
during this set, complete with dancing babes.  Or maybe that was a 
deliberate irony.  Who knows? The Smears should be touring this 
(spring or) summer, I think.

% Antenna: Once more this band is the John Strohm Experience, since 
Jake & Freda bailed after the band started to hit its stride.  That's 
not to say the new bassist & drummer won't find their niche as well.  
But for now Antenna is back to its melancholy guitar ballads, lacking 
the sound & fury its '93 shows could produce. They're still 
recording for Mammoth, I believe.

% Squash Blossom String Pullers: I guess every town needs a troop of 
deranged country-music purveyors, and these newcomers plunk, thump, 
and yodel with gusto.  I doubt if any of them REALLY have such marked 
Hank Williams accents as they manifest in performance, though, which 
leads me to wonder if an affinity for clogging is just one more 
lifestyle choice.

% Yo La Tengo: Some wise person remembered that Hoboken, NJ's finest were 
playing in town that night and edged them onto the bill. It rained 
throughout the band's performance, which seemed kind of appropriate 
for the low-key acoustic set they played.  Mostly the songs were from 
"Painful" and "Fakebook," closing with the Dead C's "Bad Religion." 
Melodic yet goofy? Charming yet sensitive? Choose your adjective, 
write it down, and don't show it to anyone.

[This performance proved to me yet again that Ira Kaplan et al. are 
the finest re-interpreters of primitive-juvenalia rock currently 
around.  They performed J. Richman's Astral Plane with a delicacy 
and technical deliciousness that was astounding, as pure as their 
rendition of Speeding Motorcycle.  Not to say that Richman and 
Johnston have the same sorts of outlooks on life, mind you.  But 
their works betray the same lack (and hidden high quantity) of 
technique  -es]

Sadly, illness prevented me from going to see this band later that 
night.  I am still sad about this; in fact I'm so cut up I'm going to 
have to go lie down.



From: ianc@cats.ucsc.edu
Subject: The Gef/Bek thnng

While lunching on a corporate credit card, a heep cool friend, fellow 
UCSC CS class flunker (and, ahem, l@ser) Miss xxXxXx, delving into a 
crepe, divulged that B3%%'s contract states that he can continue to 
do indie projects.  it was important to him and it seemed to be 
important to Geffen as well.  Has a cline between indie and mersh 
species begun? I dunno.  Are majors buying cred farms? Are we all just 
animals with big heads that are stupid? "Feh."

{Selur Amui}
Robert Lord <ianc@cats.ucsc.edu>     for IUMA info: iuma@www.echo.com
 .___ ____ ___ _____    _____
 |   |    |   \     \  /  _  \   the net's first free hi-fi music archive 
 |   |    |   /  Y   \/  /_\  \ .:.:.:.:.:.:.:.:.:.:.:.:.:.:.:.:.:.:.:.:.:. 
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WWW http://sunsite.unc.edu:/ianc/index.html | FTP same:/pub/e-p/IUMA | 8U)=)


From: pjoe@grafix.wlink.nl (Joep Vermaat)
Subject: Underworld live doesn't live up/Disco

Hi All!

'Welcome to the Future' (with Underworld), 02 apr 1994, Paradiso, 

Ten o'clock we entered the future.  We were welcomed by Orbital's 
'Semi-Detached', an amazing piece (which can now also be found on 
their latest John Peel sessions EP and on the "Trance Europe Express" 
compilation).  Soon after, Gert van Veen, the brain behind one of our 
own Dutch housegroups, Quazar (even worse than 2 Unlimited), began 
dealing the cards.  Mostly crap.  So we went upstairs to the chill-out 
room.  The small room was filled with couches on which you could 
experience the 'brain machine'--glasses with lights that flash off and 
on, giving you a relaxing effect.  The place smelled like a flower 
shop; they had scattered flowers all over the ground.  So, no seats, 
the floor too wet to sit on and very boring music.  We even asked the 
DJ for a Aphex Twin number ("Hey DJ, play 'Radiator' or no, do 
'Brown-yellowish' :) ).  He played, but mixed it in with sounds of 
birds.  How the hell are we supposed to chill out here? There was 
nothing else to do, so we waited and waited.

Finally, at one o'clock, Underworld took the stage.  This was what 
we've been waiting for.  Underworld has been hailed by the British 
music press as the 'most important thing since the Stone Roses.' Their 
live reviews made it seem like Underworld were gods hooked on 
electronics.  Even the Dutch music press, who are usually very 
negative about British music, were also very impressed by their latest 
"Dubnobasswithmyheadman" album, and we expected to be blown to another 

Underworld are (supposedly) the first to blend rock with house.  So 
both camps were present in the audience.  Underworld began poorly, but 
soon they rocked with 'Dark & Long.' After that they became boring.  
Only 'Rez' and 'Cowgirl' were pretty cool, but nowhere as good as on 
their records.  They began repeating themselves too much, and it went 
into a monotonous excursion to nowhere.  The beats were downright 
boring, hardly any melodies, the sounds were minimal and not 
attractive, the influence of the guitar was barely audible, Karl Hyde 
definitely can't sing, and the improvisations were so poor even my 
2-year old nephew can do better than that with his rattles.  Not even 
the laser show or the psychedelic video fragments, which were being 
projected on a screen, could add some sparkling moments.

After one and a half hours of this boring shit, Lawrence went upstairs 
to the balcony so that he had a clear view over the whole set.  What 
he saw was pitiful.  It was embarrassing.  One guy of Underworld stood 
behind a keyboard and held one finger on one key.  Five minutes long! 
The second guy stood behind a desk with lots of knobs and wheels, a 
computer radiating blue light and also a keyboard.  He held one finger 
on one key and one finger on one knob.  He didn't turn it though.  
Meanwhile he was talking to the other guy and to Karl Hyde who had the 
guitar strapped on (but wasn't using it).  In the middle of the 
monotonous repeating sounds they were creating, they were helding a 
fucking conference!!! For all I know they could have been discussing 

So I witnessed this crap for 15 minutes from above.  Then they started 
'Mmm...  Skyscraped I love you', and actually started making some good 
music.  So the conference was over.  I waited a little longer though, 
just in case I was being fooled with a dead parrot.  But it was 
obvious, Underworld were going for it now.  So I rushed downstairs to 
the dance floor, and yes, I went beserk.  Unfortunately, it was the 
last song...

After two hours of Underworld, DJ Darren took over.  Again we had to 
flee.  This was not what we call good electronic dance music.  We 
waited for an hour, hoping for improvement, but it didn't come.

Welcome to the future.

Well, if this is supposed to be the future, we're outta here...

Five minutes later we were outside.

Okay, so Underworld sucked.  We know that electronic music isn't 
necessarily boring live.  We know it can be done right as we have 
exprienced earlier this year at 'Tegentonen' (Seefeel/Sun 
Electric/Neuro Project).  Later this year we'll be able to see and 
hear Reload.  And we think they will really kick some serious 
electronic ass.

Record review time!

Disco Inferno - "D.I. go pop" (Rough Trade)

The band with the most bleakly sarcastic name in the world.  They have 
nothing to do with disco, but yes, they are burning.  Disco Inferno 
have been around for ages.  They started five years ago in London.  
Then they were a young three-piece (barely nineteen) influenced by Joy 
Division, Durutti Column and Young Gods.  Making breathtaking, 
beautiful music, with simple guitars (not unlike the technique of The 
Edge), heavy repeating bass lines and an almost danceable beat.  That 
was the Disco Inferno of "In Debt," one of our favourite albums, which 
is now almost impossible to find (only Joep has got it and he thinks 
it's the only copy in Holland).

Not long after, the band became very silent.  They only released a 
couple of two-track EPs ("Summer's Last Sound" and "A Rock to Cling 
to") in two years.  They bought a sampler, stopped sounding like Joy 
Division and became very very angry.  Ian Crause (guitar/vocals) 
started to write about the rise of right-wing hatred, the angst in 
living, fear of the future.

The samples they use are extraordinairy.  They make music with sounds 
of our everyday life.  Dripping water, rolling waves, a paying 
gamble-machine, singing birds, breaking glass, jet planes, etc...  
They use the samples in the drum beats, the melody.  The only 
consistent part of the music is still the bass guitar.

As with the band's name, don't be fooled by the title of this record.  
Disco Inferno make pop, but not as we know it.  They make futuristic 
pop music from a time that may never come.  The music is more complex, 
making chaos using the samples.  It becomes very difficult to hear the 
lyrics or even recognize the beauty of the songs.  Disco Inferno still 
have beautiful melodies, they only hide them under layers of sounds, 
creating scary soundscapes.  Listening to this album is very 
disorienting.  Every track has focal points competing for 
attention, distracting you back and forth across soundscapes.  This 
music is not unlike the work of Terry Riley, using simple means to 
make something so complex.

Disco Inferno are lost, alone in a world standing still, looking at 
their own future.  "I'll still be here/Some time next year/We're 
waiting for a future/To come along and sweep us away" - "Even the sea 
sides against us"

                          <=- The Two Pure -=>

Lawrence Pit : pit@wi.leidenuniv.nl
Joep Vermaat : pjoe@grafix.wlink.nl


From: "K. Lena Bennett" <keb@u.washington.edu>
Friendly 7"

Friendly - Bloodsucking Daemons, Machines and Banshees EP

This is a very delightful record.  One of the band members is Mark 
Cornick, former editor of our very own Indie-List, and acknowledged 
pectoral tape-wearer.  Four goofily-constructed pop songs in the 
Thinking Fellers/Dog Faced Hermans vein.  Very well done for a first 
effort - lots of instruments playing together in a complex 
arrangement, and probably not professional produced or recorded (the 
sleeve is hand-xeroxed with no credits) - and it all WORKS! (Friendly 
Record/Trashbox Design, 324 S.  Cherry St., Richmond, VA 23220.)

Lena 						keb@u.washington.edu 

"Celebrate the new dark age with us
Calculate the irony with someone you can trust" - Polvo


From: Timothy Joseph O'reilly <toreilly@phoenix.Princeton.EDU>
Subject: Rodan, Crain, Seefeel

I am surprised that nobody has reviewed any of these (with the 
exception of Seefeel, about whom I would simply like to contribute my 
10 cents (which of these bands is not like the others, which of these 
bands just doesn't belong.....?))

RODAN "Rusty" LP (Quarterstick)

I would like to say a lot more than I have time to write about this 
one, but here goes.  Geographically (from Louisville, KY) and 
musically, (with their epic length songs, Slinty dynamics, spoken 
vocals, AND that instrumental on the 7" on Three Little Girls) it's 
tempting to peg them as an outgrowth of Slint.  It's also fairly 
accurate, even though "Rusty" doesn't sound all that much like Slint.  
Rodan when playing "cleanly" (i.e.  w/out distortion), is more 
melodic, less unorthodox, and more intricate than Slint.  The two 
guitarists play off one another very effectively, creating amazing 
harmonies and counterpoints.  On the first song, "Bible Silver 
Corner," an instrumental, the drummer plays guitar adding yet another 
layer, and making me feel like "Spiderland" is being played on three 
turntables simultaneously.  A masterpiece and the highest highlight of 
the record.  That song is also all "clean." "Shiner," a 2.5 minute 
straight ahead "rocker," is the only disappointing song here, as it 
doesn't live up to the live show and features Jason Noble's vocals a 
little too prominently.  The rest of the record feature Rodan 
juxtaposing seemingly incongrous parts and making them work fluidly 
and beautifully.  Combining the beauty of a song like Slint's "Washer" 
with the intensity of Don Caballero with shouting, the songs change 
very quickly and chaotically, omitting any buildups or slowdowns; they 
explode fiercely and quickly disintegrate into almost nothing, only to 
explode again.  Of these last four songs (yes, there are only 6 songs 
on the record, which is 42 minutes long), I find "Jungle Jim" the most 
effective, with the most explosive changes, the most surprises, and 
bassist Tara Jane O'Neill's wonderful singing.  I could say more but 
I'll spare you with a simple ***.

Crain "Heater" (Automatic Wreckords/Restless)

A very fine, very loud, abrasive LP.  Crain hail also from Louisville, 
KY (maybe I should move there...), but unlike Rodan, like to build up 
and release tension.  Great dissonant-yet-hooky (in that air-guitar 
inspiring way) guitar riffs, and out-of-key-yet-musical shouted vocals 
a la Fugazi.  No total mind-blowers here, save for maybe "Hey Cops," 
but no low points -- the album is consistently damn good.  I just wish 
they'd pare down the songs with less repetition, and maybe omit a 
couple of bridges that drag.  According to Suzanne McCarthy (Flower 
Booking), they have found a sixteen-year-old drummer who plays as well 
as Damon Che, allowing their touring drummer (who originally played 
guitar and plays guitar and drums on the record, I think) to play 
guitar live and has improved their live show tenfold.  This album was, 
incidentally, recorded a year ago, so look for bigger and better.  

Seefeel "Quique" (Too Pure)

Don't believe the hype from across the Atlantic Ocean who seem to 
believe that innovative = using computers, lots of effects, and 
samples, and that generic = "standard" or "traditional" guitar, bass 
and drums.  (Generic = "Daydream Nation." Innovative = Technotronic).  
Seefeel sound to me like a really shitty Labradford doing dancehall 
covers of the intro of "Won't Get Fooled Again" (on track one), 
Grandmaster Melle Mel's "White Lines" with an F/i sample (on track 
three)...and I had more good comparisons but now I forget them.  Each 
of the nine songs on this record, moreover, last seven to eight 
minutes apiece and feature NO CHANGES.  If you listen to the song for 
twenty seconds, leave the room, eat lunch, take a shower, and return, 
you will not have missed a thing.  I'll grant in a second that this 
may have a "hypnotic" effect on somebody if under the influence of 
hallucinogens, but so does a red carpet.  And nobody would suggest 
that a red carpet is as interesting as a Picasso "because it looks 
really cool when you're fucked up." I find this to be the sentiment, 
however, of many "techno" fans and ravers.  I, however, am not having 
it.  *

I agree completely, however, with the sentiment that there is a place 
for computers in music.  Let's not give credit, however, simply 
because a particular artist incorporates it into their music.  I found 
that Seefeel really compromise what they are trying to do by using 
"traditional" instruments.  There really is no need, because none of 
the instruments were truly recognizable as such, yet they did not 
sound like "new sounds" to me.  I find that My Bloody Valentine, on 
"Loveless," use guitars and computers very effectively.  The sound of 
the guitar is preserved, yet it really sounds like nothing else I've 
heard (besides maybe some MBV clones).

I have heard, incidentally, several pieces of computer music which 
have the right idea in every way that Seefeel do not.  Paul Lansky is 
a wonderful composer, and I really recommend that anyone interested in 
this area check his stuff out.  Two examples.  One piece, whose name I 
can't recall, features ten minutes of traffic taped directly to DAT on 
a street corner, fed into the computer and manipulated and filtered to 
the point where it was musical, yet retained the original sounds.  It 
is brilliant, because he picked a sound which has a natural buildup 
and release and created a wonderful piece of music.  Another piece 
called "Small Talk" is the sound of spoken Chinese (a conversation 
between several people), filtered through instruments (I think).  It's 
wonderful and truly innovative.

[The first piece (at least) is available on "Homebrew," released on 
Bridge Records, I believe.  It also has some delightful Gamelan-like 
recordings of table-ware.  And, like the I-L, it spawns from a NeXT 

One last word:  When instruments are not actually being played live, 
for instance, when samples or tape loops are used, there is not much 
of a performance element.  It's like watching somebody play a 
tape very loudly.  Furthermore, because "electronic" music (for lack 
of a better word), is truly a studio/album art, it just doesn't 
translate the same way live.  "Traditional" rock is a live phenomenon, 
and is translated into an album, not vice versa.  This is why a live 
performance may often surpass a recording.  Different mediums 
translate in different ways live.  Ever wonder why MC Hammer and Janet 
Jackson need 5000 dancers on stage, explosions and other special 
effects, etc.,  to attract people to come see their show?

That's all.  Next time, Dazzling Killmen and Drive Like Jehu reviews.



From: jdryden <jdryden@indiana.edu>
Subject: Jim Dryden's review

Yo La Tengo/Sleepyhead

Second Story, Bloomington, IN 4/9/94

The Second Story, a consistent source for decent national and local 
bands, brought an impressive double bill to town.  A big draw was 
apparent despite the extremely British weather (rain, rain, rain) that 
was socking in Bloomington for the weekend.

Sleepyhead, a Jazzmaster wielding threesome from NYC [I think] took 
the stage early and did their own interpretation of the tornadoes 
tearing it up in the Midwest this Saturday night.  This trio got going 
amid some heavy crowd indifference, but soon set the record straight 
with a melodic tease straight out of the Only Ones' book.  They sounded 
pretty haggard, but the mix was steady and the leads were sloppy, and 
the drummer sported a fine Kool Cigarettes T.  At times they could 
sound like a faster Codeine (Codeine on Speed?).  I think a CD is due 
out on Matador in May.

Having played Chicago the previous night and doing an impromptu--and 
wet--outdoor set in the afternoon, Yo La Tengo, looking tired and 
feeling loose, immediately made it clear that the pedal was going to 
the metal as they opened up with "I Was the Fool Beside You for too 
Long." Many of the other songs were also from Painful, but Yo La Tengo 
were also throwing punches from the entire catalog, doing modified 
versions of "Cone of Silence," and "Yellow Sarong." They know how to 
carefully balance a half-spoken/half-whispered line with a blast of 
electric hum, and it's precisely this tightrope act that makes the 
band such a presence on stage and threatens to push every song over 
the emotional edge.  On record, the songs sound well recorded and 
somehow precise; yet live, the songs start in steps, end in pieces, 
and in between, all heck breaks loose and Ira Kaplan goes into his 
Woody Woodpecker act, head going nuts, wrapping himself around the 
guitar, and never missing his phase shifter.  This night, Yo La Tengo 
was easily one of the most dynamic hard/soft, loud/quiet bands around 
and the fact that they pull this trick off consistently from night to 
night is no mean feat.

Their whole methodology of making goosebump-inducing rock music was 
revealed when the band invited the Sleepyhead guitarist up to do 
Jackson Browne's "She's Gotta be Somebody's Baby." Ira told him the 
chords, tentatively kicked off the song, and stopped it a couple of 
measures later, telling the Sleepyhead guy to not play chords, just 
make a racket, which he gloriously did.  No pretension, no MTV 
Unplugged, no fame-whining, no futile last gestures with a shotgun.  
Just pure, wildass, flame-throwing rocknroll.

Jim Dryden

[and az and myself are STILL just sick about having missed the show... 
 Local gossip has it that shows of this quality may be getting scarcer 
- shakeups in the local venue booking agents are underway, part of the 
continuing trend of club-incorporation that has taken Bloomington.  
It's had its ups and downs, but at the risk of being a negativist, I 
don't think the recent changes bode well for original or interesting 
music in Bloomington clubs.  -es]


From: 6500tyw@ucsbuxa.ucsb.edu (Tanya Young-Womack)

SPENCER THE GARDENER, Santa Barbara's favorite unsigned band... 

Santa Barbara's favorite local [unsigned] band is SPENCER THE 
GARDENER, a unique and totally cool group led by Spencer Barnitz [Yes, 
there is actually a person named Spencer in the band and, yes, he 
once was a gardener!].  Their music is very difficult to describe, but 
Spencer himself probably best defined the band's sound as "A Latin, 
big band, spy movie, set-on-a-moody-tropical-beach-type band." I would 
personally describe their music as a collage of jazz, r & b, '60s 
surfer pop, Latin, big band, roots-rock, calypso,  J.  Geils Band 
crossed with Herb Alpert and the Tijuana Brass, Joe Jackson, the 
Beatles and the Beach Boys, and a little Mexican wedding band thrown 
in to boot.  You'd have to hear it to appreciate it (obviously)!

And I would have to say that many Santa Barbarans (and, for that 
matter, Californians in general) DO appreciate the band's musical 
style; after all, Spencer the Gardener has released three 
self-produced albums and has built up a big enough following to 
become "legendary" as Santa Barbara's "favorite band...We are talking 
about an eclectic but accessible sound from a group of innovative 
musicians here," as BAM magazine author Bart Mann wrote regarding the 
band in the January 14, 1994, issue.

Despite experiencing a major setback in 1991, at which time the band 
was involved in a head-on collision with a drunk driver near 
Riverside, CA, an accident in which Spencer and Bo Fox, the band's 
drummer until recently, were especially affected (the last of Bo's 
steel pins in his arms/legs were just removed a few months ago), they 
seem to have now regained their momentum and have released 
their first album since the accident.  Called "Kiss Me In the Deep 
Blue Sea," the album, which was just released last year, features 
Spencer on guitar, playing a style that BAM described as 
ranging "from surf to funk;" John Schnackenberg on sax and Nate Birkey 
on trumpet, a duo who provide "perhaps the most white-hot horn section 
since Boingo's horns;" Jeff Lewis on bass, Bo Fox on drums, and Kev in 
Winard contributing to the entire package with one awesome performance 
on percussion.  The end result of their efforts, as Mann wrote, "is the stuff 
KROQ dreams are made of." I would have to second that opinion!

Recently, the band successfully completed their first headlining 
performance at the renowned San Diego-area nightclub and recording 
studio The Belly Up Tavern, and they currently tour throughout 
California, from the San Francisco Bay and Sacramento areas to the 
Mexican border.  For further information, contact the band directly 
93190-1157 (Phone: 805/569-2941) or contact me at 
6500tyw@ucsbuxa.ucsb.edu (or you can try reaching me on AOL as "SB 
Sally" but I don't check my messages as frequently there).


From: "LePageL/MF" <LePageL/MF@hermes.bc.edu>
Slowdive, Magic Hr, Mistle Thrush  

Thought I'd dash this off while it's still fresh ---

Slowdive, Magic Hour and Mistle Thrush at Middle East, 4/10/93

The Middle East hosted a special benefit for the National Society of 
the Deaf Saturday night.  Uhhh, just kidding.  But it sure was loud, 
and though not painful, then body-rocking powerful.  The ME was 
playing this one as a techno show with a lot of bad dance music on the 
PA, but the three bands on the bill hardly exemplarize the techno tag. 
Maybe it was the swirliness factor that prompted the label--the one 
thing all three had in common.

Openers Mistle Thrush (who really ought to be from the UK with a name 
like that) belie their Boston roots with a sound in the tradition of 
(forgive me) MBV and the Cranberries, a female singer wailing long 
vocal lines over a roaring guitar wash.  Although their single 
"Beside" is pop melodic, most of their material relies more on subtle 
vocal/instrumental phasing than hooks, and at times the singer's 
limited range becomes problematic as a sense of sameiness starts to 
creep in.  No questioning their professionalism though--these guys are 
tight.  Their finest five minutes came late in the set when, with 
guitars cranked to stun, everything dissolved into a white-out of pure 
noise, driven by an impassioned percussion bang-along.  The 
astoundingly visceral chaos they created made you feel a little like 
the guy in the armchair in those Memorex ads.  I didn't think they had 
it in them, but it was something to hear.

Magic Hour, another local outfit (former Galaxie 500 and Crystallized 
Movements), played a solidly experimental set.  As usual, the vocals 
were all but inaudible, but that's not really what they're about 
anyway, so it didn't matter.  Magic Hour like to intone a verse or two 
of something vaguely like a pop song before getting into their real 
forte--feedback exploration.  Their "rhythm" guitarist discovers just 
how much noise a person can make without actually destroying her 
guitar, and as she fine-tunes the roar, the lead guitar enters the 
fray with long, occasionally melodic solos that give the band its 
rhythmic drive.  Their closer "Heads Down," from their recent 7", 
sounds more like Crystallized Movements than anything else they've 
done, and features a hummable pop tune as proof that if they wanted 
to, they could go that route too.  So far, to their credit, they don't 
want to.

Enter Slowdive, a British band who specialize in pop music of the 
spheres.  Guitars and synth melt into stratus clouds of ether, with 
the synth occasionally doubling the vocalist, a la Seefeel, to provide 
an angelic echo insinuating itself into the deep space sound.  By far 
the most accessible band of the night, their pop sensibilities lend 
themselves to a more ambient structure-melody lines that float by but 
don't grab.  And that's just fine, because it's a sweet groove, even 
if you can't remember a note half an hour later.  When it works, as on 
the stellar "Slovaki Spacestation" the effect is like levitation at 
zero gravity--a nice place to be.

--Lise LePage


From: "BGCV/Lars Rosenblum" <BGCV@musicb.mcgill.ca>
Subject: here are some reviewy viewy views ...

hi. reviews:

RODAN - rusty  (1/4 stick)

this cd is amazing.  (this begs repetition.) THIS CD IS AMAZING.  
rodan is a billowing, earth-shattering, quake-inducing, thrusting, 
swaying, powerhouse of intensity that must be seen to be believed.  of 
course, it is impossible to capture this type of momentuous natural 
disaster with a recording, but rusty comes pretty damn close.  what 
can you say for a band that makes 6 songs last more than 40 minutes? 
contains an alternate version of 'shiner' from the compulsiv for one 
7" comp which is appreciably and markedly different.  if you spend 
money to purchase this fine gem and are not satisfied, contact me and 
i will more likely than not reimburse you.  i kid you not.  catch 
these guys live soon in a town near you if you live in the 
northwestern usa.

DRIVE LIKE JEHU - yank crime  (interscope)

i must admit that i haven't had time to listen to & appreciate this 
fully, but so far, it is mind-blowingly, thigh-slappingly intense.  
(as if we expected any different from these boys.  yeh.) sort of 
continues in the same vein as their eponymous debut headhunter cd, but 
not so that it becomes tired or repetitive (with the possible 
exception of one track which brings to mind 'hand over fist' from 
their merge 7" quite obviously.) i definitely recommend this, as do i 
all of their stuff that i have ever heard.

SUPERCHUNK - ? (their new cd)  (merge)

i've never been one of those head-over-heels-in-love-with-mac-laura- 
superchunk-merge-chapel hill-and everything connected with them 
addicts, so it's no surprise that this didn't quite blow me away.  i 
have only skimmed the disc, however, so my review of this is far from 
gospel.  hell, i can't even remember the name of it! the album seems 
to lose steam as the tracks go by, and the relatively formula 
superchunk sound perpetuates itself.  'water wings' is a really good 
track, but the only one that i have come across so far.  if you're a 
fan, i'm sure you will like.

thanks a lot, inde(ed),                           lars r@


From: al762@freenet.carleton.ca (Steve Niece)
ANNOUNCE: Indie Record Label List ready!

For those of you who are unaware, there is a list of addresses of 
independent record labels available.  This list contains addresses for 
companies from all over the world, for several different types of 
music.  It is, however, predominantly for 'alternative' music.  I am 
the new editor of this list; I took over from ILJ member Sean Murphy.  
I have an update of the list ready now, available to anyone who is 
interested.  I am currently talking with an indie-list member in the 
UK who is interested in producing hard copies of this list, for a low 
price of course...more details to come on that as we get things worked 
out.  If you want copy of the current list, simply e-mail me a SHORT 
message with Indie Record Label List in the subject header to 
<al762@freenet.carleton.ca>, and I'll e-mail you a copy ASAP.


What is wrong with me		|Steve Niece
What is what I need	    	|Carleton Mechanical Engineering
What do I think I think		|Ottawa, Canada


From: searles@uvm-gen.EMBA.UVM.EDU
ANNOUNCE: Burlingtonitus in VT

Hi folks...

just wanted to let you all know about BURLINGTONITUS, a two-day 
indiekindafest happening up here in Burlington, VT...more than 15 bands, 
all ages, alcohol free, and to benefit WRUV 90.1 FM...our local 
commercial-free indie-playin' station.

Day 1-Friday, April 15, 7 pm sharp: New Radiant Storm King, Morning 
Glories, the Stand GT, Snowplow, and Buddy Sevaris.

Day 2-Sat., April 16, 1 pm: Madelines, the Smiles, Tuscadero, 
Rollercoaster, Yum Yum Tree.  Sat., April 16, 7 pm: Green Magnet 
School, Tulips, Pest, Chisel, and Driver UFO.  

Tickets are $5 in advance, $6 at the door for each show, or you can 
buy all 3 tickets for $12.  Free fla-vor-ice (tm) to the first 100 
folks at each show.

call 802-865-9282 for info (that's my #) or email me at
searles@uvm-gen.emba.uvm.edu.  Burlington is 1 1/2 hours south of
Montreal, 3 1/2 northwest of Boston.  Hope some of you can make it...



From: blue slurpee junky <whitebrd@eden.rutgers.edu>
ANNOUNCE: a cool show

i don't know how to list things in the indie list, but i figured this 
was the place to send it.  this is an ad of sorts.  here goes: sunday, 
april 17, at 6:00, jiffy boy records is putting on a show at under 
acme in nyc to celebrate the release of our first cd, ten cent fix.  
the show will feature lilys (the whole band this time), the barnabys + 
1, raggedy ann (about to be on yo-yo), all about chad (on spinart), 
and slow children playing (my band, if that counts for anything).  the 
show is $5 and you can call 908.249.5455 for details or direct e-mail 
to <whitebrd@eden.rutgers.edu.> thank you very much and crack a fret 
or two in honor of something.


From: Erika Sherman <esherman@umich.edu>
AD: Second Coming

Second Coming are a local Ann Arbor, Michigan, band with influences 
such as the Stone Roses, Unrest, Ride, and Slowdive.  They have an 
excellent ten-song tape available right now for just $5! (it's worth 
it, I'm telling you!) check it out...  you can write them at:

101 Hill Street
Ann Arbor, MI 48104

and send $5 and they'll send you a tape out as soon as they get it.

		  Erika Sherman <-------> esherman@umich.edu


From: He Who Cannot Be Named <nimbus@eden.rutgers.edu>
AD: Honeyrider Zine #2

Honeyrider zine  #2 
Honeyrider number two features interviews with the Grifters, 
Sleepyhead, and Bridget Cross, amongst other articles and tomfoolery.  
20 pages, 8.5x11" xerox...  written and printed with love.  
Interested? Get away from your computer and send a really well-hidden 
buck to Vlahogiannis, 95 Ferry St., Jersey City NJ, 07307.  Or e-mail 
me for more info.  Have a nice day, thank God.


The Indie-List Digest is published a few times each week (usually 
Tuesdays and Fridays) by the Indie-List Infotainment Junta, Unltd.

What       Who              Where

Editors    Eric Sinclair    esinclai@indiana.edu
           Anne Zender      azender@indiana.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, Joshua Houk, Sean Murphy, and K. Lena Bennett.

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 <indie_submit@indiana.edu>.