Gob o' Spit?  I got yr Gob o' spit here...


      Indie List Digest!

        April 26, 1994

     Volume 3   Number 27


Subscription Info for I-L and Telegraph
A huge mini-digest mishmosh from the UK
Grifters, Rodan, Shonen Knife
Red Crayola, 13th Floor Elevators
Enormous, Rodan & Grifters addenda
Eggs addenda
Lois and Karate
Gate, Labradford and Thurston Moore
Afghan Whigs and Spinanes, plus reviews
Urban Farmers and Jettison Charlie
Tall Dwarfs, Moonshake, et al.
Carne A
ANNOUNCEMENT: Team Dresch Spring Tour
AD: SK-70
AD: Yo La Tengo tix


From: Mark Cornick <cornick@access.digex.net>
Administrivial Announcement: New procedure for I-L/TG subscriptions 
                             (please read)


Subscriptions to Indie-List and Telegraph are now handled by Sean 
Murphy, whose current address is <skmurphy@phoenix.princeton.edu>.  To 
subscribe, unscubscribe, or change your address, write Sean and be 
sure to include the following:

a) the list in question (I-L or TG)


b) the action you wish taken (add to list, drop from list, change

Sean is very human, so you need not (and should not) use Listserv or 
Majordomo-like commands.  Plain English will suffice and keep Sean 
from losing his mind.

** (Yes, this means TG subscriptions are now available!)

Thank you
Mark Cornick, Fearless Leader, Junta Telegraphica
(on behalf of the entire Indie-List/Telegraph Infotainment Junta)

<cornick@access.digex.net>          pgp key via finger/servers
"you've got to love what's loveable, and hate what's hateable.
 it takes brains to see the difference."       -- robert frost

[and don't forget to send Sean a note if you won't be receiving mail 
for a period of time!  Indie-Lists can clog a mailbox in no-time 
flat if neglected.....  -es]


From: julian@sahiber.demon.co.uk (Julian Lawton)
Mixed bag of stuff

Julian's mini-digest vol.1 :-)
Contents-ish sort of thing so you don't have to read it all:

1. Seefeel/techno bit
2. Planet Records
3. Destroy All Music cass label
4. Scaredycat
5. Record reviews
  (Shiva Affect, Blueboy, Slumber, Would-Be-Goods, Prolapse,
   Helen Love, Aphex Twin, Mu-ziq).

Firstly apologising for losing the name of the person concerned, (ah 
but no, 'twas Timothy Joseph O'Reilly who said these things).  I'd 
like to make a few comments in defence of Seefeel's 'Quique' - I was 
intially a mite less than impressed with the LP, especially after the 
'Pure-Impure' EP suggested a move AWAY from formless washes of sound, 
but I now rate it as 'a good thing.'  The same, incidentally, is true 
of Insides (nee Earwig) whose LP left me cold, but curious, for 
several months.  They pursue a similar line of sampled-guitar based 
repetition, though also using more keyboards.  The central concept of 
both bands is pretty similar though, joining the dots between the UK 
rock critics' manifesto of 1988, with its emphasis on texture and 
psychological effects of sound; the use of dissonance, repetition, 
noise, silence, and dub production influences to try & achieve some 
sort of altered state through music, which apply as much to 
house/electronic music as to the bands of that time (it's quite 
telling that DJ Andy Weatherall's fave band is Suicide, or that 
Spacemen 3 were as willing to namecheck Kraftwerk & Eno, as the 
Stooges & the Stones).

Insides, at their best, use these devices as a springboard over which 
they launch a Vini Reilley-esque line of guitar improvisation and 
also have the advantage of a way with an intriguing lyric and Hugo 
Largo-esque vocals - all languid and, well, not quite dispassionate, 
more reflectively bitter, which lifts it above the monotony of 
'Quique', but even then (and I'm someone who DOES go to techno/house 
clubs) I found it quite inaccessible at first.

But that's a digression.  .  .  the Seefeel LP on careful listening is 
more interesting than it appears; it holds quite true to Eno's 
description that 'ambient' (in its VERY loosest sense) music should 
be both something that does not distract, and yet when looked at 
closely to be detailed & subtle.  There are times on Quique when the 
same piece of guitar is looping over itself at slightly different 
speeds about seven times (a similar approach to MBV's track 'Glider,' or 
Fripp & Eno on '(no pussyfooting)'), creating those auditory 
halluciantions MBV are so good at.

The comparison to 'Loveless' is a little unfair - while Kevin Shields 
freely admits to borrowing production ideas from house,in all but the 
rarest cases they have stuck to, like most hip-hop, an essentially 
rock-based rhythm section.  Seefeel have instead embraced the rhythms 
of trance techno (generally more popular in Europe than over here, to 
be honest, although the indie weeklies use it as the staple diet of 
their dance coverage).

I guess I'd say scratch this one up to those cultural differences we 
were discussing a few months ago - at the moment there's a shift in 
listening patterns over here (UK/Europe) - if MBV was a 'popular' (in 
the sense of mainstream indie) breakthrough for dissonant noise, as 
oppossed to the white noise/pop melody of the Mary Chain, or the cult 
appeal of Sonic Youth (at the time), what we're now seeing is an 
opening up towards listening more laterally - listening to layers 
building up, changing, and being replaced by others.  And of course, 
when 'Daydream Nation' and 'Isn't Anything' came out people presumed I 
was some big drug freak for liking music like THAT.  Quiche, I mean, 
Quique is not THE outstanding release in its genre (there are far 
better records made without using any guitars, but that doesn't give 
them a nice press angle), but it is an interesting record.
Anyway, all that said I'd quickly like to draw attention to a couple 
of newish labels (I've no personal connection beyond liking them) :-
Planet, from Bristol (8 Hanbury Rd, Clifton, Bristol, BS8 7EW, UK.
A very brief home to Flying Saucer Attack, between other local label 
Stargazer and Domino Records (Sebadoh & Royal Trux UK label), they've 
stuck out 4 or 5 7"s over the past few months, including the F.S.A.-
produced Crescent single 'Lost'/'360' - an excellent stormy brew of 
lo-fi psychedelia reminiscent of early Telescopes - howling feeback & 
howled vocals, and of course very trebly.
lso Rachel from the live incarnation of F.S.A.  is in female duo 
Movietone - their 'She Smiled'/'Orange Zero' has a really nice cover - 
black & white photos of coffee mugs - always a good bet with me, while 
the record varies from soft plucked slow jangling to a monstrous slab 
of noise (that after the initial shock leaves you unfortunately 
thinking - 'oh, that was a bit obvious', and then, because it's a very 
good record & made for all the right reasons forgiving them for it).

Apparently, Nub are Cirencester's answer to Slint/Codeine - not found 
this one yet (I spoke to the guy from the label & he said I can have 
one as it's 'so crap' - apparently it didn't capture the live band at 
all, and he said it's too derivative).  The Flemgods are always on at 
my nearest venue (Newport TJ's) and are one of our 'great' local bands 
who like singing things about bile in gravelly voices over fast-played 
punk-funk-jazz.  And Teenager In Trouble have done a cover of the 
soundtrack to Woodstock.  All of it - this is a tape-only release.
And speaking of tapes, conveniently enough, may I introduce 'Destroy 
All Music,' the tape label from Cardiff - the guy who runs this used 
to be a really irritating, precocious 'zine editor; I won't go into the 
details, but his incredible amount of attitude got on my nerves, and 
anyway things change, and rather than procrastinating, he's running a 
fine cassette-based label, knocking out releases at a rate of knots, 
and a 7" too pretty soon.  If you want an idea where he's coming from, 
he first surfaced after the initial 'riot girl' (press version) 
explosion, though these days his tastes include Dawson, Dead C, Faust, 
Can, Thinking Fellows Union.  .  .  The tapes are about $4 for the US 
- I'd guess that would include shipping, UK people mail him for a 
'catalogue'.  I hope this doesn't count as advertising or something .  
.  .

What's available is :- 
Trumans Water - Santee Busbill, Angelpeg - Dark Secrets, 
Attacked By Wolves - Snow Motion Is A Dream Vol1, 
Inca Eyeball - To Alisha Sufit Goddess Of Modal Tunings,
Saltwater Checkout/Angelpeg - Krautrock Replica, Warser Gate - We Don't Know,
Foe Toe - Shave Your Head John Cage 
and of course the inevitable compilation:
Destroy All Music Now! 
Excellent tape this - 21 bands doing 34 songs, varying from the 
jazz-tinged to the plain noisy to what sounds like Duanne Eddy
covering Huggy Bear, to drones, to softly jangling twee pop.  Features 
Heather, Scaredycat, and all the other bands with releases here.
Write to Jon, 40 Windemere Ave, Roath Park, Cardiff, S.Glamorgan, CF2 
5PP, and if you've any demos, whatever, you'd like to get a UK 
distribution, try him.  Chap! !

Also, seeing as I mentioned Scaredycat above - they really are my 
fave lo-fi cass-based band of the mo - do drop them a line & about 
4/5$ for one of their tapes - they also had a compilation out on their 
Plankton label (37 Poplars Rd, Walthamstow, London) which I haven't 
heard.  Both the Scaredycat demos I have are musically odd & eclectic, 
varying between fey & darkly paranoid - it sounds like the work of 
about 16 different bands - does it help to say they love Mercury Rev, 
His Name Is Alive, Ween & Daniel Johnston, yet sound emphatically 
English - a modern day re-working of English toyshop psychedelia I 
suppose.  Try 'Catnip' as a recommendation from me.  And their cat is 
called Shimmy!

Some other record reviews . . .

Helen Love - Formula One Racing Girls (Damaged Goods 7").
Tribute or piss-take of riot girl? I don't know - probably an 
affectionate piss-take - 'Helen' is from Swansea, and the fact that 
the B-side is unashamedly someone playing over the top of a Pooh 
Sticks LP being played at 45 only suggest even more this is some 
Pooh-ey scam.  'Riding Hi' is, nonetheless, a peach of a summer record, 
about looking forward to the end of term, sung as naively as if it 
was the summer of '86.

Blueboy - River/Nimbus/Hit (Sarah Records 7")
In which Sarah releases its first real ambient track (Field Mice 
having done two sort-of-but-not-quite ones) and being Blueboy they get 
it right - they've always been big fans of early Felt & the Durruti 
Column, but this sounds nothing like that - all slow backwards & 
forwards sweeps of reverbed guitars, this evokes the same wonderful 
qualities as Eno's 'Apollo' soundtracks, or Slowdive's 'Avalyn' - a 
peaceful sense of solitude.  'Hit' is their Ian Catt-(St.Etienne/Field 
Mice/Harvey Williams) produced Pet Shop Boys ballad number, which 
comes off more as Steven 'Tin Tin' Duffy circa 1985 - Ian Catt STILL 
needs a lesson about drum-programming - outside of later St. Etienne 
(who have help) his always SUGGESTS dancishness rather than being 
danceable - a nice experiment that didn't really work, especially 
contrasted with the A-Side 'River' which is a quite superb mix of big 
keyboards & the most epic guitar sound ever heard on a Sarah record - 
distant, reverbed stadium-sized feedback, a great uplifting chorus, 
and a gorgeous layered fadeout with cello.  Yummy!!!

Prolapse - Songs For Ella (7" Cherry Red) 

John Robb produced it.  They're all incredibly nice people.  They're 
supporting Huggy Bear on Thursday.  They like Dandelion Adventure, 
Bogshed & the Pastels.  They obviously love Huggies 'February 14,' 
like any sane-minded pop kid.  They drone, he rants incomprehenisbly 
like Mark E. Smith, she squeals like a squealy thing.  They're chums 
with Cornershop.  'Psychotic Now' & 'PFD' are pretty essential, the 
B-sides not so.

If you can find this, get it, as it's not being repressed (I like that 
word - "Help, my record is being repressed").
Element Of Crime - ??? (7" Soul Static Sound)
Various Huggies, Blood Sausages & Sister George people collaborate & 
make a record which is fun & raucous, like the new Huggies single 
isn't.  As fun as the Huggy Bear before 'Don't Die,' in fact.

Slumber - Sleep (12/CD Vinyl Japan). Holly & IV (7" Sunday).
For a while I wondred if it was me growing out of Sarah stuff, or was 
a decline in the acts (Blueboy & Heavely excepted) that left me 
unmoved.  I think these records answer the question for me, 
unfortunately leaving me feeling like many a Field Mice or Brighter 
song used to, and sounding like some lost treasure of an age when 
people listened to Tracey Thorn & the Young Marble Giants - wonderful 
lyrics & vocals, plus excellent violin, what more can you ask for in a 

Would-Be-Goods - The Camera Loves Me (CD Richmond)
Well this I suppose - the BEST LP el Records ever issued re-issued 
with 4 extra songs.  This is Heavenly go Breakfast At Tiffanys, 
mythical London, Cecil Beaton, classical painters & two songs based on 
the Avengers ('Motorbike Girl' & 'Death A La Carte') add up to a 
delectably contrived piece of pop confectionary.  The extra tracks 
make it worthwhile getting once you've destroyed your el vinyl through 
overplay (as you should), or if you never had it anyway.  .  .

Shiva Affect - Yahweh - (LP Frog Records)
This is the business - in the same murky area as Emily's 'Rub Al 
Khali' or Bark Psychosis (whose Greame Sutton produced a track here) 
Shiva Affect are playing somewhat spiritual, improvisational open rock 
(in its loosest sense), harking back to the less naff aspects of, 
say, Richard Thompson or John Martyn.  Like Bark Psychosis there's a 
lot of similarity to the path taken recently by Talk Talk - not 
intended in the sense of suggesting plagiarism, but in the way that 
all three seem to be producing music of an almost transcendental 
quality - this is the utmost antithesis of pop, and an LP of rare 
depth.  I do think the female vocalist spoils it a bit though .  .  .
(p.s. avoid if you have hangups about flutes).

Aphex Twin - Selected Ambient Works Volume II (Triple LP, Warp Records)
The most bizarre thing about this record is that it's in the Top 10 LP 
charts.  Unlike most 'ambient' music, this is NOT all soothing - there 
is a lot that is altogether disturbing, in fact.  Also for the first 8 
tracks there are no (unlike, say, the Orb) drums.  In places you CANNOT 
distinguish it from Labradford's 'Prazision.'  At best it hits the 
same quality level as Eno on 'Another Green World' & 'Apollo' and 
really shows that this man DOES have a real talent beyond the hype - 
there are NO wave noises, no bird sounds, nothing Vangelis-like about 
it.  Just sitting there, the day after Huggy Bear's final London gig, 
looking out at a really amazing quality of light hit across the 
buildings of Islington through patchy ragged clouds, while steam rose 
out of a coffee mug, into that light, it seemed the most perfectly 
appropriate music in the world.

Mu-Ziq - Tango'n'Vectif (Double LP, Rephlex Records)
I first became aware of MuZiq through their excellent mix of the Aphex 
Twin's 'On,' which streched the gorgeous introductory melody out over 
minutes of build-up before finally bringing in an exciting rhythmic 
clatter, and after pretty good reviews I was looking forward to this 
LP on the Aphex's label, especially after being highly disappointed by 
some of the Rising High stuff I'd purchased (hip trance'n'ambient 
techno label who unfortunately DO allow wave sounds on their records). 
Anyway I wasn't disappointed & this exceeded my expectations - 
produced lovingly on a 4-track, it's more like a technoid response to 
the same loves as Stereolab - there's '50s exotica, the same interest 
in the idea of 'fidelity' (they use the limitation of the 4 track to 
deliberately distorting & muffling of the bass at times), and the same 
semi-pofaced sleeve notes.  Unlike the Aphex Twin they never seem to 
lose sight of melody, which makes thw whole thing a lot more accessible 
- there is a similarity in clattering undanceable rhythms, but never 
to the overkill of something like 'Quoth' (A.T.  under the Polygon 
Window pseudonym in bass drum & snare apocalypse).  This is very much 
the flipside of Seefeel - where they minimise human input and treat 
the band almost as a system or machine, Mu-Ziq sound as if they're 
incorporating a lot of improvisation (like jazz vibraphones) into 
electronic music.  Apparently they have another FOUR double LPs due 
this year - I can see how they can do it - this sounds fresh, alive & 
knocked out quickly with enthusiasm.  And I guess that sort of brings 
us a full circle.  ish.  .  .

On the bad list - new Huggy Bear single, Ecstacy Of St.Teresa LP 
(Meddle/Atom Heart Mother era Pink Floyd!), Lotion LP (am I missing 
something here?).

Fanzines - 3 good ones here - new issues of ones I metioned before, no 
interviews, and 2 out of 3 have a Kerouac obsession (in writing style) 
but without the crap bits.  In fact they're getting pretty good at it.

Red Roses For Me - is the 1 out of 3 that isn't.  Comes with a tape of 
Western-mere, which is worth getting if you like simple acoustic songs 
- all done by Zoe - not really Lois or Po! like, more sort of a grrl 
Tracey Thorn, and 'Well, I'll Fuck Off Then' is a classic title.  The 
fanzine has the usual culprits (El, Tindersticks, Audrey's Diary).  
It's 1.50 inc postage in the UK - work that out for a US equivalent 
(postage would double the cost, I'd guess).  124 Kenwood Rd, 
Portchester, Fareham, Hampshire, Po16 9LU.

When I Grow Up I Want To Be Bobby Gillespie #2. (80p, or double to
those in the music industry. Plus postage).
Not what you'd guess from the ironic title.  Mambo Taxi, Bratmobile, 
Heavenly, Bikini Kill, Take That, All About Chad, Madder Rose, & My 
Boyfriend's Dead.  And it's dead well written, good layout too.  Do 
buy this.  .  .
Flat K, 23 Plymouth Grove, Longsight, Manchester, M13 9LU.

Oh bugger, I've lost Paradiso's address - next time, perhaps!!

Well what an interesting Sunday evening I've had :-)
Next time round it hopefully won't come across so po-faced & pseud-ish!


From: "K. Lena Bennett" <keb@u.washington.edu>
Grifters/Rodan; also SHONEN KNIFE!

Grifters, Rodan, 30:06 at Moe's, Seattle, 4/20

This was my first time at the new club that has lots of cool bands and 
is actually in my neighborhood.  It is as cool as I would've thought, 
altho the floor is kind of gross.  30:06 from Portland opened with a 
competent but unmemorable brand of Slint-rock (guitar tunings straight 
from the Slint book of tuning), which is strange since when I saw them 
opening for Jon Spencer they played a competent but unmemorable brand 
of garage rock.  Then Rodan played, and lots of people photographed 
them.  I haven't heard their music before but have heard them compared 
to Slint.  I guess it's the more Albini-like brand of Slint rather 
than the Spiderland-variety - it sounded kind of like what I've heard 
of Don Caballero.  The songs were long and not very hooky - I wavered 
back and forth between being hypnotized (somewhat) and being bored.  
They didn't have a lot of stage presence.  Rodan looks like people who 
stay in bed till about 4 p.m.  and don't have jobs (messy clothes, jet 
black hair, pale skin), but the Grifters all look like they work in 
the construction industry or something (big shoulders, short hair, 
workman's clothes) I've always been kind of "eh" about the Grifters' 
music - they have some good songs but they don't really carry them out 
in a way that appeals to me - they go all over the place without a lot 
of structure.  They played even more like this the other night (Jim 
described them as "wanky").  At least they had a good stage presence.  
I wanted this show to convince me to like them, I guess, since people 
whose taste I do respect say they are great.  I guess they are just 
not for me, tho.

Shonen Knife, The Dentists, at Moe's, Seattle, 4/21

This show was a lot more fun.  Wednesday night there were about 40 
people at the club but last night it seemed more like a couple 
hundred, full capacity.  There were advance tickets and they were sold 
out.  Anyway, love was all around.  Everything was goofy and groovy 
(especially the smiling kitty T-shirts, which the band said we should 
buy because we were getting sweaty and needed to change our clothes).  
They did a lot of songs from Rock Animals, including the metal-thrash 
"Cobra vs.  Mongoose," which got a mosh pit going (the Dead Milkmen 
should re-record "You'll Dance to Anything" as "You'll Mosh To 
Anything" and dedicate it to the people of Seattle).  Most of the 
songs were more poppy, though.  And yes, they did do "Twist Barbie." 
They also covered some old Motown song that used to be a favorite of 
mine but which I'm totally forgetting now because it's 8 a.m.  and I 
had 4 hours sleep last night.  The audience loved them, were cheering 
and clapping constantly, and the band looked real happy; the band and 
the audience kept flashing "I love you" signs at each other, which a 
former metal-listening friend told me was the sign of the devil.  
Anyway, this is the first time Shonen Knife has ever been in Seattle 
and they were greeted warmly and put on a helluva show.  I'm sick of 
people who are too cool to dance, but none of them were there last 
night - everyone boogied their ass off.  I suppose I should say more 
about the music, but I don't know what to say.  If you know about 
Shonen Knife, you know they were cute and they played good, tight, 
rocking 3-chord music.  If you don't know about them, you should get 
one of their albums and realign your sense of fun.

The Dentists were the opening band - very competent, clever 
post-Beatles pop from England.  They said they'd been to the Space 
Needle that day and I could totally imagine them being tourists.

Oh, yeah, and in case anyone cares (especially Liz Clayton), I saw Kim 
from the Fastbacks there.  There were also a lot of comix people there 
but you don't care about that, but I was happy to see them because 
most of them were my friends.

Sorry I am such a bad writer this morning, but I am exhausted.

Lena 						keb@u.washington.edu 

"That salad is worse than Delaware."  


From: Seth L Sanders <feste@jhunix.hcf.jhu.edu>
Red Krayola, 13th Floor Elevators, killing spree plans

Just got some cds (and angry messages from people who I haven't paid 
money or sent things to, how dare they annoy me, they only prolong 
their misery) in the mail.  They are cutouts of reissues on the Decal 
label of music from the "sixties" (when EVERYBODY had riots and ate 
acid and wore wide-lapel shirts, just ask your parents).  They are 
good.  This is what they are:

Best one is two records on one disc, _Parable of Arable Land_ and _God 
Bless the Red Krayola and All Who Sail With It_ by, you guessed it, 
the Red Krayola.  Parable has no less than SEVEN songs entitled 
"Free Form Freak-Out" and they are all freaked out! Unforced but 
unrambling, just nice little gift boxes full of clutter.  They segue 
into elegant little ditties like "Hurricane Fighter Plane" (the Cramps 
once covered it, sure nuff) which replace the usual howl and strain 
that stands for power with sheer understated kinetic energy.  How the 
song manages to careen so wildly forward while the musicians sound 
like they're lying on the floor is beyond me.  Fortunately.  "War 
Sucks" is the closest thing to an aggressive song, like riding on a 
desk through a crowded workplace.  "You know I cannot finish this you 
know the rest WAR SUCKS...I'm sick to death of your endless prattle 
cuz you know what happened to Hansel and Gretel WAR SUCKS."

This misleading gentle indirection has led bands to do anthems to 
snooze based on Krayola songs: Spacemen 3's version of Parable's 
"Transparent Radiation" and Galaxie 500's coffee break interpretation 
of "Victory Gardens" from _God Bless_.  Nope.

Best thing is that Krayola went away but the guiding light, Mayo 
Thompson, did not, and has reformed (still unreformed) the band with 
Gastr del Sol's Dave Grubbs on gtr and I forget everyone else though I 
probably like them too.  They are Drag City recording artists, I'm not 
kidding, the new single is hot and has wild typography!

Well let me say in conclusion that the 13th Floor Elevators are a very 
nice thing too, especially "Levitation" from _Easter Everywhere_ (what 
could lead someone to triumphantly shout "I've Got Levitation!" at the 
crest of a rolling, warbling song? Acid, dumbfuck.) and "Let the 
Circle Be Unbroken" from _Bull of the Woods_.  All of those titles I 
would personally kill to be associated with, come on, "Bull of the 
Woods"? What the hell is a "Bull of the Woods"? It sounds really 
cool. All of the Elevators' music is an attempt to express otherworldly 
experience and attractively obssessive notions through "garage" 
technology, and they do it too.

[thanks in no small part to the mysterious tonality of the electric 
jug...  Anyone have plans as to how to make one of the beasts?  -es]

I should add in conclusion at the end that I am planning a killing 
spree this summer and would like suggestions on car tape material.  
Thanks! Seth Sanders


From: folta@netcom.com (Steve Folta)
Enormous, Rodan, and the Grifters

Enormous/Rodan/The Grifters @ Bottom of the Hill, SF, 4/15/94

After GREGS@SLC.SLAC.STANFORD.EDU's review of this show in the last 
Indie-List, I thought I'd write in to fill in the blank, since he 
didn't get to see the Grifters.  First of all, I didn't like 
Enormous--to me they sounded like they aspired to be something like 
the DiVinyls circa Temperamental, ie female-fronted arena rock with 
some vague "alternative" cred.  The vocals also reminded me a bit of 
them.  Whatever you might think of the DiVinyls, they did this stuff a 
lot better than Enormous did.  The guitar player really made a fool of 
himself with his "Look, I'm rocking out!" moves and faces, especially 
since the band did not rock.

Rodan were great, as Greg pointed out last week.  I totally agree that 
no recording could capture their intensity.

The Grifters were a big disappointment.  Rodan's set was really long 
and so it was very late when the Grifters finally took the stage.  
Perhaps they'd had a bit too much time to drink during Rodan's set; 
whatever the cause, most of their songs never took off and a few just 
fell apart.  Only the new songs (by which I mean songs written after 
_One Sock Missing_ came out) had any spark to them; everything else 
was taken at a lackluster tempo, as if they were tired of the songs 
and could hardly be bothered to play them.  They were pretty sloppy 
when I saw them at the Kennel Club last fall, but there were several 
incredible moments that made it a great show overall (although Greg 
disagrees--he and I got into a bit of an argument by email over the 
merits of that show).  Because of that, I'll still go see them when I 
get the chance, since I know they can be great if they feel like it.  
But I'd have a hard time convincing anyone who only saw the Bottom of 
the Hill show to go see them again.

Steve Folta


From: ianc@cats.ucsc.edu
Eggs addenda

> From: madnbut@vt.edu (Butch and Madelyn)
> Eggs and Mag Wheels
> Eggs-Teenbeat 96 Exploder (Teenbeat)
> I'm not sure why I haven't read more about this LP on (in?) the Indie 
> List.  Perhaps the discussion has already taken place and I missed it 
> (I'm new around here).  Nonetheless, I continue to be completely blown 
> away by Exploder, whether I've missed the early discussions or not.  

The second song on Eggs' Exploder album, "Why am I so tired all the 
time?" is available for free via the IUMA. Load up your Mosaic or Lynx 
and open the URL http://sunsite.unc.edu/ianc/index.html. Details are 
there, but you'll need at least a 486SX and a soundcard (Mac support is 
yet to be released.) 

More Teen Beat releases are coming. Blast Off Country Style is next on 
the agenda. BTW, Teen Beat is our well-known stuff... :U)=) 

Robert Lord <ianc@cats.ucsc.edu>     for IUMA info: iuma@www.echo.com
 .___ ____ ___ _____    _____
 |   |    |   \     \  /  _  \   the net's first free hi-fi music archive 
 |   |    |   /  Y   \/  /_\  \ .:.:.:.:.:.:.:.:.:.:.:.:.:.:.:.:.:.:.:.:.:. 
 |   |    |  /   |    \   |    \   The Internet Underground Music Archive
 |___|______/____|__  /___|__  /     bands/music/artists/images/bubbles
WWW http://sunsite.unc.edu:/ianc/index.html | FTP same:/pub/e-p/IUMA | 8U)=)


From: susan@acs.bu.edu (Susan Curran)
Lois, Karate 4/23 AS220 Providence

Well, the entire city must have migrated up to Boston tonight for the 
Kustomized CD release party.  That's the only possible answer I can 
think of for the nearly empty room that greeted Ms.  Maffeo.  Or maybe 
they were all down the street at the Reverend Horton Heat.  Whichever.

Karate opened, a trio from Boston who I think will be going on tour 
nationwide next month.  They had some really great moments as well as 
some rather dull ones.  They didn't play 'songs' so much as just play. 
The bass player was great, the drummer quite good, but the 
singer/guitarist lacked stage presence and seemed to be the weakest 
link in an otherwise promising band.  Their set was mostly 
instrumental with perhaps one short verse per song.  I've heard them 
compared to Shudder to Think, but they were almost reminiscent of 
Primus, since the interesting and unusual bass parts took center 
stage.  The guitar parts lacked coherence and turned the songs into 
sprawling masses which lacked shape or direction, but at times the 
three of them pulled together and sounded great.  They need to 
strengthen their songwriting, but they showed potential.  Email 
evitt@bu.edu for more info on Karate.

Next up was indie goddess The Lois (in her new electric form).  This 
week's loser bar at the Last Call is Unwound, but that's where Lois 
really should have played.  This under-publicized show at AS220 was 
nice in its intimacy, but Lois really deserves a bigger crowd than the 
20-odd friends and fans.  Yes, I counted.  There were literally under 
30 people in attendance.

However, and I don't mean to be harsh here, but this set was almost 
unlistenable.  Maybe I'll blame the sound engineer (yeah, that's it).  
They started out with a song that had drummer Amy on guitar and Lois 
on drums, giggling as she hit the hi-hat.  Lois said it was a side 
project called the '2-2-3s,' but I'm assuming that was a joke.  Then 
Lois picked up her guitar, Amy took her place behind the drums, and 
the nightmare began.

Lois' forte is her fine sense of melody and lyrical irony, but 
everything was buried under the crash and bash of Amy flailing behind 
the drums.  Lois would open a song alone on guitar, and I would 
breathe a sigh of relief, but then I'd see Amy getting ready and I'd 
start cringing.  If I hadn't been looking forward to this show for so 
long, I think I would have walked out.  The drummer was simply painful 
to listen to, and I couldn't even hear the guitar, much less the 
vocals on great songs like 'Strumpet' and 'The Trouble With Me.'  
There was also a bass player who complemented the guitar well, but 
Lois either needs to find a new drummer, or just go solo-electric for 
shows from now on.  Her songs are good enough to stand on their own.

Lois was extremely friendly after the show, though, and said she's 
working on some new material.  I also had the good fortune to meet Pat 
Maley of Yoyo recordings who's put out the amazing Julep and Throw 
compilations, recommended for fans of girl pop in particular and 
Olympia in general.  I picked up a copy of Throw for only $6 (!) which 
features the Cannanes, Courtney Love (the band, silly!), Crayon and 
tons of other good stuff at a price that can't be beat.  He said he's 
doing a third compilation which will be released in July in 
conjunction with Yoyo-A-Go-Go (a week-long festival in Olympia this 
summer) and is planning a series of 4 eps by individual artists for 
next year.

Anyone want to give me a ride to Olympia this summer?



From: mahasukha <beastie@gibbs.oit.unc.edu>
thurston moore etc., gate, and labradford

la de da de da.....
hello, once again, it's your least favorite reviewer!

thurston moore etc., gate, and labradford @ cat's cradle april 22

i went to this show early to make sure i would catch labradford.  i 
missed them when they played a few weeks back, and i didn't want to 
miss the opportunity once more.  i've listened to the prazision album 
plenty of times and love it.  so when i got there and saw the crowd 
being really spacey, i wasn't surprised.  i think the band played 3 
songs that lasted for about 45 minutes.  they were slow and drony 
(like their album), but the songs were a lot longer (obviously).  i 
don't recall the exact songs they played, but the band had a very slow 
proggression of building put into the songs.  the first two were very 
rhythmic and very slow.  the members were very patient musicians and 
waited for the exact right moment to strike their insturments to 
create the full effect of their sounds.  the whole set seemed to 
follow their slow progression, and a comparison between song 1 and 3 
made me feel like by the end of the third song, they were really 
jamming (though they were still slow and psychedelic).  during the 
last song, the band had so much going on in the song that i had to 
visualize all the sounds to keep up with everything that was happening 
in the audio.  incredible.

gate was next.  i've never heard anything released from these guys, 
but i know that they do have some sort of release, maybe a single or 
something.  anyways, gate wasn't what i expected.  lee renaldo (from 
sonic youth) is part of the band and i was expecting something more 
upbeat.  but they were more like labradford than anything.  very slow 
and rhythmic.  the two piece was on stage and played one song for 
about 40 minutes.  it was interesting.  the members continually 
changed from playing guitar to keyboards and back again.  on the 
whole, the song was very diverse and experimented a lot with feedback. 
i liked it.

thurston moore etc.  was last.  he played with another guitarist and a 
drummer (no bassist).  this was much more upbeat and sonic youth-y.  
seeing thurston moore play makes you realize just how much sonic youth 
depends on him as a musician.  the way that he can catch a rhythm is 
incredible.  very stream of conscious flow.  the type of stuff that 
(of course) sonic youth masters, as do polvo and th faith healers.  
one of the songs they played seemed totally impromptu.  it was funny 
how thurston made up lyrics (which were really bad) as the band made 
up the song.  "psychic hearts" was the last song they played (before 
the encores) which t.  moore announced would be the title track from 
the upcoming album.  i wasn't sure if he meant sonic youth's or his 
own solo, but it was a great song.

thanks for reading this.....


"very few things happen at the right time, and the rest do not happen 
at all; the conscientious historian will correct these defects."

....rewritten history sucks....


From: "Theodore A. Khoury" <khoury@ccwf.cc.utexas.edu>
Afgan Whigs/Spinnanes Show

Afgan Whigs/Spinnanes: Blind Alley, Austin, TX 4/23/94

The soundcheck was Curtis Mayfield for the entire night, the crowd: 
mostly alotta frat boys and alternateens.  Nonetheless, the show was 
incredible.  I went to the show preparing to not give the Spinnanes a 
chance just because I tend to do that with overhyped bands, but I have 
to say, they played a really intense show.  I expected some la-la 
Mecca Normal type shit, but the drums were really Mission of Burma and 
the guitar voice DID sound like a complete band; I don't know how she 
pulled it off but, the guitar sound was full, interesting, and not far 
from a Mary Timony duplicate.  But they were great, even though they 
dished out too many annoying one-liners in between songs.  Whatever, 
they were really good and believe the hype, I guess, this is good 
college shit.

The Whigs were the most intense I had ever seen them.  Played a lot 
from Congregation, started with 'I'm her slave.' also played 'You, my 
flower', and 'Retarded' from Up In It.  Then the rest of the set was 
stuff off the new album, plus their usual Motown covers.  Dulli 
was kinda pissed at the crowd for not moving so he made fun of Texas 
in between songs and said they should have gone to the Los Lobos 
show; they then played 'la bamba.'  But by the last 5 songs the crowd 
went crazy and band was really into it. All of them had ponchos, 
except for the guitarist, Rick McCollum, who must be the Keith Richards 
of the band.  Also they added an organ to some of the songs, which 
really set a mood for the night.  They played for like two hours and 
came back and did two encores, well worth the $.  Try and see the Whigs 
before you won't be able to catch them in a small venue; they are the 
Big Star of today and the Troggs of tomorrow.

Single Reviews:

Crash Worship- 'gura' 7" (label fails me, know its from San fran, get 
in touch with me if you wnat it)

One of the best singles I've picked up this year.  If any of you aren't 
familiar with this band, then at your own risk become familiar.  They 
have like three drummers, a guitarist, and howlist, and a troop of nude, 
body painted dancers who descend upon the crowd, pick pocketing and 
looting.  Their music has been described as the closest thing you 
suburb kids will come to a pagan ritual.  Many claim them to be 
satanic, but I read an interview with them in a devil-worshiping zine 
that was trying to allude to this, and they deny it.  But the music 
is full-blown-psycho tribal of some other world's future...not this one 
though.  It's just plain intense, not for the easily frightened, 
daddy-just-hates-my-hair shoegazer kids.  ***

[he hates my hair? that's why he cut off my allowance? damn!-az]

DOG-FACED-HERMANS / JONESTOWN Split 7" (Compulsiv) This is pretty 
good; both live tracks.  The DFHs do an Ornette Colman tune, with 
backup by The Honkies on horns extrordinaire.  This Dutch band is 
very loose and jittery, with a lot of speed and lack of direction.  
Jonestown, now broken up I believe, are from Minneapolis and 
have an animated lead singer full of a lot of theatrics and with a 
great voice, antics much like today's Mol Triffid or The Motards.  But 
at the same time, he can sound really soft.  The guitars are really 
energized with tin drum background.  The individual singles that 
J-town put out on Project-A bomb, Hippie-Knight, and AmRep are much 
better though.  **1/2



From: Lawren Wu <lcwu@MIT.EDU>
Belly @ MIT, 4/23/94

Belly and Cold Water Flat played at MIT's Spring Weekend last night.  
Despite the small student crowd (less than 1,000), Belly gave a really 
strong performance of old and new songs and seemed to be 
having a genuinely good time.

Cold Water Flat, a Boston-based band that was apparently recommended 
by Belly as an opening act, came on and played for about 45 minutes.  They 
are a three-piece band, consisting of guitarist, bassist, and drummer, 
but they put out a rich, full sound.  The guitarist/vocalist claimed 
to have a sore throat but sounded pretty good to me anyway.  Although 
none of the songs really stood out and caught my attention, it was 
pretty standard Indie-rock, with a rather strong resemblance to 
Buffalo Tom.  I saw Gail (of Belly) off to the left side of the stage, 
taking in Cold Water Flat and having a good time.

Belly came on and played a very energetic set of about an hour and 15 
minutes.  Like the other recent performances, the band announced that 
they would be playing lots of new songs.  This was quite true, as 
about half of the set was new material.  Having been tipped off to the 
titles of three of the new songs from the 4AD-list, I yelled out for 
"Judas My Heart" and got a rather surprised stare from Chris (or is 
Tom the guitarist?).  Unfortunately, the only new song title that was 
announced the whole evening was "Judas My Heart," which turned out to 
be a slower but powerful song that sounded very tight and seemed 
ready for radio airplay.  The band was enjoying themselves quite a 
bit, with Gail bouncing around the stage and Tanya and Gail 
interjecting comments between songs.  The encore consisted of two 
songs -- one was "Are You Experienced" (I think), and the other was a 
new song whose title was announced but which I don't remember.  
According to the band, this song is "Stay '94", which I took to mean 
that it will be the standard encore-closing number at the end of which 
the band members leave one-by-one.  Tanya claimed that she couldn't 
quite sing this song yet, but I thought she managed pretty well.

[hey, maybe it's a version of that maurice & the zodiacs song...the 
one jackson browne sang? 'ooh, won't you sta-aa-aay..just a little 
bit lo-oo-oo-nger...' no? oh, phooey.-az]

I've now seen Belly many times and have never been disappointed.  All 
of the new songs sound really good, although it's apparent that the 
band haven't quite worked out the nuances of the new songs for live 
performance, as the new ones lacked the "punch" of the old songs 
played live.  I'm looking forward to the new album.



From: Chris Khoury <ckhoury@cps201.cps.cmich.edu>
Urban Farmers/Jettison Charlie Show Review

Jettison Charlie/Urban Farmers @ The Bird April 24th 1994

I got to the place a little late and regret it now.  ALthough I only 
missed about 2 Jettison Charlie songs I wish I would've saw the whole 
thing.  I've heard the 7" by JC and was not too impressed and was 
expecting somethign a lot different.  Live these guys are HEAVY, and 
LOUD.  They put on a really great show.  The band was dynamic almost 
like Don Caballero with vocals.  Unfortunately, there were not many 
people at the show to appreciate JC.  These guys got something going 
for them and I'd highly recommend checking them out if they come to 
your town.  Also really nice guys.  They have a CD comign out in the 
fall supposedly.

Urban Farmers came on afterward.  For those who don't know yet, they 
are an all instrumental band, and yes, they were around way before Don 
Caballero.  One can't compare the two because both bands are very 
differnt.  Urban Farmers always puts on a very diverse set, ranging 
from Irish/African folksongs to Melvins-like heavy grinding stuff.  
Talented musicianship and creativity is what it takes for an 
instrumental band, and these guys defiantely have it.  YOu can see every 
musical style here.  If John Zorn mellowed out and turned one of his 
songs into 10 different songs, you'd have the Urban Farmers.  UF has 
had two tape releases and appears on a 7" compilation 'Resolve' on 
Uprising Records.  They'll also be coming out with a CD on Uprising in 
a few months possibly.

: Chris Khoury			     :
: ckhoury@cps201.cps.cmich.edu 	     :


From: davidb@dbadmin2.amgen.com (David Bennison)
Live - Tall Dwarfs / Moonshake

Tall Dwarfs / High Llamas - LA2 Astoria, London   -  21st April 1994

I can't remember the last time I saw a band that I felt deserved a 
sound kicking, but the High Llamas (Tall Dwarfs = cool name, High 
Llamas = crap name) earnt that honour.  They basically sounded like 
Wings, the morose 'singer songwriter' on keyboards sounding like Randy 
Newman without the zany hair or hint of humour.  "We tried to get a 
support slot with Barbara Streisand" and I believe the joke.  The band 
made a Magnificent 7, 2 violins, a big 'violin between the legs' type 
bass thing, a drummer playing maracas and wire brush (a bad sign) who 
looked like my friend Jezz (worse sign!).  The few who enjoyed their 
easy-listening brand of Supertramp were the round glasses, polo-necked 
jumpered types I last saw when Ed Keupper played.  Pseuds who were 
former school prefects until they saw a David Lynch film and 'got into 
art.'  If you gave them some acid and a guitar, they'd probably draw 
the guitar (watercolour probably), paint small flowers on the front of 
it and then write a poem about the experience.  Why any youngsters 
would wish to form a band that proceeds to sound like a down-tempo 
version of Randy Newman's song 'Short People' beats me.  The payoff 
came with the Tall Dwarf duo of Chris Knox and Alex Bathgate.  The 
stage was stripped to two battered amps, two guitars, a small electric 
autoharp (if such a thing exists) plus a small cheap keyboard.  They 
then came on stage, both looking like jockeys (Chris similar to Willie 
Carson.  US Translation = Willie Schoemacher?) - they were Small Guys. 
Chris was wearing flip-flops and proceeded to strip down to baggy 
underpants before transforming himself into a generic style-less Aussie 
- loud Bermuda shorts, crap sleeveless T-shirt, 2 cans of lager by his 
side.  (I seem to spend too long defining everything except the music 
but I find this far easier if less useful for everyone else...  So 
what!).  They played a smattering of new stuff; I can't identify many 
of the songs or titles, but 'Doing the Highrise,' 'She's a Woman,' 
'Life Is Strange' (these are lyrics and therefore my adopted titles 
until I get home and study the albums I have).  They finished with an 
amazing version of 'The Brain That Wouldn't Die' and came on for an 
oncore with one of my favourites 'Nothing's Going To Happen,' what a 
downright poetic and beautiful song it is.  They are more punk than 
I'll ever be (ever was morelike) and they exude an enthusiasm and 
humor to be cherished (I sound like a sap don't I!)

Moonshake/God Is My Co-Pilot/Spacemaid - Garage, London - 22nd April 1994

Due to God looking down on me last night and deciding to piss on me 
from about 10 pm onwards, this night wasn't a great success - a 
catalogue of broken tape equipment, lost camera lenses and getting 
home at 5.00 in the morning means I'm now almost as bitter as chief 
Moonshaker/Wolfhounder Callahan is on a good day.  Anyway, bed beckons 
in 5 hours' time so onwards..  The support bands were excellent: 
Spacemaid, crap name, I know, but they consisted of a guy in a dress 
playing trumpet through loads of distortion effect boxes, with 
samplers, mysterious 'black boxes' and a live drummer - it was weird 
but pretty interesting.  The sounds were a mix of late-era Miles 
Davis, dub and sort of Helios Creed/Buttholes vocals, I was impressed 
that a UK 'band' would try something like this, NO GUITARS, and more 
so that it worked well.  I guess they were more improv-jazz than 
anything else; the 'pieces' lasted about 15 minutes each and meandered 
around a main hook/theme/bridge/whatever - Callahan was getting into 
it (well, he was nodding in approval).  God Is My Co-Pilot were wild - 
a band I've caught on John Peel enough times (great recent session) 
but who have put me off in the past as they've released too much and 
I've gone into a rash deciding what to buy and given up in the 
process.  You all are better informed than I am about this band, I 
always assumed them to be some sort of Riot Girl/Huggy Bear band but 
there was a whole lot more to them than that; the lead guitarist guy 
gives them an Ex slant (The Ex being my key reference point this month 
for some reason).  I'll now go through the impossible process of 
catching up with the GIMC-P releases.  I didn't really give Moonshake 
my undivided attention as I had a train to catch and only caught 1/2 
an hour of the show.  Callahan was immaculately dressed in suit, 
waistcoat and tie as were the rest of the band (he looked like Jack 
Dee for all UK folk out there).  There were 2 sax players and a 
trumpeter who made a lot of improvisational noises and brass surges, a 
bassist who played in much the same way as the old bassist, Callahan 
and a girl vocalist/keyboard player who seemed to mirror Callahan's 
vocals most of the time - singing in unison.  I doubt this new 
incarnation will attract many new fans; they were never immediately 
likeable and catchy, and I think they've gone out on a limb to make it 
even more so.  The big difference I found was that they are now even 
more urgent and 'biting' than before - dub and whispered vocals seem 
to have been replaced with brass noise and vicious cynical ranting, 
Callahan prowls the stage mic in hand and has nothing to distract him 
from his message.  I have always liked his unusual vocals, and he can't 
be accused of getting a formulaic style; they have undergone a fair 
change to my ears.  Rhythms are more challenging and abrasive and fall 
less into the mellower dub groove that Seefeel occasionally do; the 
songs are also less melodic (not that they were before particularly), 
and it's going to take a good few listens of the upcoming album to 
adjust to this, which is a good thing in my opinion.  I have the same 
feeling about this new album as I did when I first heard Shudder To 
Thinks 'Get Your Goat' - weird but I have a feeling everything will 
click into place suddenly on the 5th listen, and I'll be hailing it a 
masterpiece (what's the news on Shudder To Think by the way).  The sax 
skronk was a big overpowering but then again, I was standing in front 
of them.  Callahan said 'Does this all make sense to you?' to us after 
one of the songs, and I guess it was beginning to.  A great song 
started with lyrics 'A 14 Year Old Virgin...' and got even better from 
then on, another about Heaven was also particularly good.  I only wish 
they were playing nearer to Cambridge and I wasn't interupted by my 
necessity to get on the last train home.  Still the best thing ever 
involved with the Too Pure label, in my opinion.



From: barney <robertg@chemres.tn.cornell.edu>
carne a

Someone mentioned the band Carne A last week or so in discussing a 
Shrimper comp and seemed to want to know more about them.  Here's what 
I think I know.

I don't think that they are still playing together, but they were/are 
from Claremont CA and play noisy heavy music with lots of stops and 
changes.  Besides guitar bass drums they also had a very silly-looking 
and acting guy playing a tape loop thingie with which he would make 
wicky-wicky-scratch noises and play various sound bites.  As far as I 
know, they only put out one official album and I have forgotten the 
title.  It came with a free hand-made T-shirt.  Later on "Hey Nonny 
Nonny" by Anthems of Carne A was released on Shrimper and was mostly 
random noisy stuff by various members of the band.

For their live shows, they changed their name every time, names I 
remember including Carne Arkansas and Carne Assassin.  Their bassist 
Jeremy is now in a band called Bladder, and they have a few 7"s out on 
a label that I think is called Cevoya con Leche, but I'm not sure, and 
I'm likewise not sure what the rest of the band members are doing.  
Feel free to correct if you know more than I.

-barney g.


c/o "K. Lena Bennett" <keb@u.washington.edu>
ANNOUNCEMENT: Team Dresch spring tour (fwd)

I'm just forwarding this....

Lena 						keb@u.washington.edu 

"That salad is worse than Delaware."  

---------- Forwarded message ----------
>From: kenrique@OCE.ORST.EDU (Kelly Enriquez)
>Newsgroups: alt.music.alternative,alt.music.hardcore,alt.punk

I just got back from seeing Team Dresch in Corvallis...they are 
EXCELLENT and I would highly recommend that you see them if you're in 
any of the following towns! If you don't know who Team Dresch is, they 
are: Jody (Hazel), Kaia (ex-ADickDid), Marcy (ex-Calamity Jane), and 
Donna (formerly involved with lots of bands including 5th Column, 
Lois, Mary Lou Lord)

Team Dresch Spring Tour 1994
for info fax Kill Rock Stars @ (206) 357-6408

4/26    San Francisco    ent. Red Doras 
4/27    San Francisco    Faster Pussycat   w/Mr. Fister
4/28    Los Angeles      Cafe Hong Kong
4/29    Los Angeles      the Palms
4/30    Los Angeles      Jabberjaw   w/Girl Jesus and others
5/1     Santa Barbara    804 sistahs benefit
5/2     San Francisco    Epicenter