"Why, I'd rather listen to dead air!"
--anonymous caller to my radio show, 1 May 94 -es
#############################
Indie List Digest!
May 2, 1994
Volume 3 Number 29
#############################
LA Scene-o-rama
Sebadoh, Sentridoh
Rodan, Grifters, Zeni Geva, etc
Some reviews (Eggs, Silkworm, Shellac)
Reviews (Manning, Gate, Doo Rag, Lois, et al.)
Poly Styrene/X-Ray Spex addenda
Combustible Edison, Splendora, Yo La Tengo
Thirteen
ANNOUNCEMENT: Big Band thing in Boston
ANNOUNCEMENT: Coctails Tour dates
ADV: Apple-O
ADV: Letters to Cleo
ADV: You Could Do Worse
ADV: Pop Narcotic Catalog
------------------------------
Just an update: Elias Sabbagh <76550.1742@CompuServe.COM> was the
winner of the contest in the last issue of Indie-List. His prizes
are less than the answer's worth. As soon as we figure out what they
are... The answer, by the way, was former Bloomington and now Chicago
(probably Wicker Park or one of those hipster stations) band Brown
Betty [blam-de-lam!]. If you don't understand, don't worry...
And an administrivial reminder - if you're going to be gone for an
extended period of time this summer, save your sysadmin some
headaches, and sign off your mailing lists. To sign off of
Indie-List, send a polite note to Sean Murphy
<skmurphy@phoenix.princeton.edu> and he'll take care of you in short
order. We'll be here when you get back, honest!
es
------------------------------
From: jason@mtndew.com (Jason Schmit)
Subject: what's happenin' in L.A.
Haven't read anything on the us-indie digest about Los Angeles/Orange
County in a long time, so I thought I'd spread the word about some of
the bands coming out of So. Cal. at the moment...
Further - featuring former members of Shadowland, they just played The
Palace supporting Rollerskate Skinny and Pavement. Dino
Jr. meets Sebadoh and a whole lot more. In-your-face
indie rock w/o the slightest sign of letting up - album
out on Christmas Records (but that's old news).
Poastal - Sarah/K type sound with female vocals. A second guitarist
would add depth to their sound. The drummer also plays in
local favorites Nuckle Brothers (rockin' ska) - lots of
fun to be heard!
Closedown./Mobile Armored Strike Command - Closedown will have a
full-length out on Silent Records in September.
Melancholy, guitar-bliss reminiscent of Slowdive - one of
the best demos I've heard in a long time. I put M.A.S.C.
in this same vein, although they're more ambient satellite.
Super Thirty-One - shameless plug for a band I used to play guitar in:
:) They're moving towards broader song structures with
the addition of a sampler and guitar effects that would
make even MBV envious. They recently opened for Slowdive
at two sold-out shows with a good response from the crowd.
A follow-up to the "Acceleration" single is in the works
and should be out by the end of the year.
Aberdeen - Beth and John still remain the only permanent members with
a revolving lineup of second guitarists. If I'm not
mistaken, they should have a single out on Sarah sometime
soon (no release date set as of this writing). Female
vocals with infectious guitar hooks and a craft for
memorable songs.
and you thought all we had to offer were crap metal bands... ;-)
zero b.p.m. and beyond,
Jason
-------------------------------------------------------------------------
| JASON SCHMIT | distantSIGNALS | Super 31 e-mail | 5405 ALTON PKWY |
| TEL: 714-733-2924 | contact address | STE 295 |
| FAX: 714-733-3767 | IRVINE CA |
| NET: jason@mtndew.com | 92714-7585 |
-------------------------------------------------------------------------
------------------------------
From: Apple-O <adelucia@remus.rutgers.edu>
Subject: submission
Here are two in-depth reviews of recent Lou Barlow/Sebadoh records:
Sebadoh "4 Song CD" review by Apple-O, 4/1/94 3 p.m. and 4/29/94
3:50 a.m.
The concept behind the deceptive title is not a wicked sense of humor,
but a comment on the overpricing of British maxi-singles and a hope to
get some English music fans some good buys over there. Not that it
gets us good buys over here- the import record (I got the vinyl
version; it seemed to lend itself better to the title), is $9.99 most
everywhere for less than 20 mins worth of music. Still, it's better
than Stereolab's $8.99 for two non-lp cuts in "Jenny Ondioline"...
very socialist of them indeed.
OK, so now we've covered the politics behind the song title. What
does it look like? Well, supposedly the cover was done by Jason. It's
got a snazzy home-pasted title cut out of the local newspaper taped
over a photo of probably Jason and his brother when they were about 10
years old, pictured with what looks like their father. Their mouths
hang open in this '70s daze "what the fuck" look we all had back then
when Pac Man was king and kids didn't have much in the way of
hairstyles. They don what appear to be either leather jackets or
black sweatshirts and sneakers and jeans and don't seem to be dressed
much differently than anyone you'd expect to see these days. We all
have those pictures of when we were kids with our parents, out on a
sweaty day with mom taking snapshots, wondering when we were going to
get done shopping to go home to play with our friends.
The back cover has a photo of a roadside bar/restaurant's attractions
sign, with Sebadoh on the bill and all-you-can-eat shrimp and legs for
$13.95. The credits for the songs are given, with some strange lineup
changes. One thing that I both liked and hated was how they used the
roman numerals IIII to denote the number 4, something I had thought of
doing way back in high school, but never really got to.
I bet you're wondering when I'm going to get to the music? Well, there
is none. Well, some people might say that from the first song....
"MOR BACKLASH" The credits for this go to Bob [Fay, new addition
replacing the dearly departed Eric - where is he now?], Ann, Conrad
and Matt. Is this Sebadoh or the mystery Sebadoh choir surrogate
band?? Hellish reverberations and samples that remind me of a bad acid
trip, with a very neat beat. The record says it was done on four
track, and it sounds like each of the four got one track to play with
and they each did their own thing, without even listening to the
others, then just mixed it down all together. Mind altering.
Horrible.
"REBOUND" I'd heard some of this a couple days before when Sebadoh
played in Princeton at the Soloman house, but had to leave during the
middle to move my car to let some joker out. The riff is catchy as
hell, your standard Seba Pop (destined to be a category in its own one
day, just like techno or reggae are today), with lyrics about
identity, following others vs self, hypocracy vs truth, and love.
Bob's pretty good on drums.
"NOT A FRIEND" You know I'm sitting here looking at my notes on this,
and I must apologize to all non-musicians who don't know what terms
like "four-track" are, but this is very musicianesque music, at least
for indie rock. This medium of recording involves so many of methods
of working out sounds and ways of approach songwriting that it's got
its own language and philosophy. One of these little cheap home
studios is Lou Barlow's trademark for his acoustic music. THAT said,
I'll get to my notes on the song... With four-track acoustic honesty,
Lou has a message to fans he doesn't know personally yet who act as
his friend because they feel they know him through his intimate
lyrics. Always one to analyze, criticize, or comment on the
psychology of being rock star, role model or (more to the point)
priest, Lou is up front about not wanting anything expected from him:
"I never tell you something you should know, I'm not a friend at all
please let me go." All you indie geek deep thinkers, don't expect a
thing from the man, 'cuz he don't need obligations to cripple
conversations. He's just saying he's another person like you so don't
expect him to touch you and heal your life's wounds. Neat organ, too.
"CAREFUL" Another full band effort, this starts off with a flying bass
riff that spins into a crisis-driven guitar hook. This one's about
personal relationships, nothing new for the band, but often enough
from a new perspective or situation. "Watch out for my bullshit -
everybody's got it" is the line that stands out for me. We all give
each other shit, but not all of us are honest enough to admit it.
"FOREGROUND" Crazy jazz anarchy, again by Bob, Ann, Conrad and Matt at
the four track. I wish the liner notes were more specific about who
in the core of Sebadoh (if any) also played on this. If not, there is
a whole new "other" Sebadoh now! Kind of like Yes! Chimes, piano,
stand up bass all in disarray, then turns into a magical relaxing riff
with some weird samples.
"NAIMA" A 1950s detective-story jazz influence shows itself here in
this mellow jam with some strange organ sounds and a "cultured" sax
solo. Some very strange organ playing here! Eeek!
"40203" Jason alone created this solemn, concerned tune that kind of
reminded me of Sting's song about Russians on his first solo record,
or maybe Codeine, a little.
"MYSTERY MAN" More four-track acoustics, yet more psychological
(self?) analysis of a relationship between a dominating weak person
and their free-spirited mate. A stand out line is, "Around the world
again on a boat that sinks as it sails". This love's got a clock on
it.
"DRUMSTICK JUMBLE" more of the four surrogate seba-friends' musical
miandering, this time in the form of a toy instruments & crazy drums
cacaphony coming out of Toyland on the day of the Revolution, then
Spanish-like acoustic guitar & some shouting turn it into something
entirely different.
"LIME KILN" such a hard, uncompromising, atonal, "as is" title, and by
Jason as one might expect... The standard seba-riff in home-recorded
stereo guitars is all plinking noise; even the coughing sounds in the
background indicate it was done first take, freshly written. Lyrics
about writing a great book about someone, "Forget that book babe I'm
gonna write one all about you, it'll be so beautiful & come across so
natural like everything is blending like a drink into everywhere I
follow you" which could as easily describe the strange sounds &
disturbed slide solo that seeps in the cracks of your brain like warm
mercury poured into your sleeping ear. More stream of consciousness
lyrics about obsession: "I think of you every day." Yeah, Jad Fair
does that too. The music shifts into a concerned-sounding riff
(didn't I use that word to describe Jason's other song on here? I tell
you, that is one Very Concerned, man), over a nice bass drum beat, and
lyrics that seem to be about worshipping someone. I guess it's about
the girl from Rodan... go get'em Romeo!
Lou Barlow's Acoustic Sentridoh "Winning Losers" CD review by Apple-O,
4/28/94 3 p.m.
OK, this is a release I saw in the stores at about the same time as
the Sebadoh "4 Song CD" EP, so together you might consider them a
full-length Sebadoh album for all purposes (though a tad pricier, each
at $9.99). The CD says that four of the songs originally appear on
the Sentridoh "Losers" tape put out by Shrimper a while ago, but the
sound quality on the recordings is pretty good for four-track stuff.
Here are some notes I scribbled while listening to this...
"Stronger" Yes, the sound is good- full, with accordion/organ that
adds a homey touch. Lyrics are along the lines of those
introspective/moral issues he's so well known for: this time Lou
questions his desire...
"Chokechain" More super hardcore Louishness (could that be a word?)
"Needs keep you empty, freedom spins you out of control till someone
chokes you with a chaaaaiiin! (chokes you with a chain!)" This
somewhat silly chorus sticks that to the brain like salt on snow,
displaying the kind of hellishly hooky pop sensibility that will give
schoolkids in the 22nd century songs to hear on the school bus radio &
hum all day until they drive each other insane with violence. After
hearing some of these lyrics, man, I'd hate to have this guy for a
grandfather; it would be an emotional nightmare! "I'm sorry I hurt
you, please don't leave me on my own". I know that people have to
work things out in their daily relationships, but C'MON ALREADY! At
times this can get old, and I wonder why Lou doesn't go into
therapy... But then again, his own form of self-therapy through art
gives him something to do... A shaman for future generations of
hung-up outcasts or thinkers! I didn't mean to sound so mean; this is
really a well-written song. Actually, Lou's "Mysterious Sentridoh EP"
has lyrics that are much more twisted.
"Only Losers" More wisdom and some insights into Lou's psyche &
apprehension with mass appeal & feeling alienated from large
non-intimate audiences. "This is a song for losers, though I'm not a
loser myself - a loser has nothing to sell - I could easily sell
myself." No need for another gifted songwriter to get hugely popular
and be killed by the pressure of success, cheapened by popularity.
This song is empowering; it is the magician giving us his secret, and
thus proof of artistic integrity. "I could easily sell my soul - it's
easy 'cause I don't believe - people who believe are losers.
Understand, there's nothing to lose." Like Dylan & Kerouac before him,
he too is aware of the Void, the great Emptiness. Though maybe it's
time he did care. The music is intense and inspiring. "A winner
doesn't care if it loses." Why did he use the word "it" ? Is it to be
sexually ambiguous or like analyzing a specimen in biology class?
The CD interrupts now with a fun, sick !audio freakout! that sounds
like the spastic breathing of an amphibian with asthma.
"Breakdown Day" Interesting layered acoustic guitars in stereo, with
rhythm by rattle & stick. This is a perfect example of Lou Barlow's
imaginative approach to recording on the four-track recorder. As
primitive as it is, this works! "Please please please yourself!"
Annoyingly catchy, the chorus and lyrics tell about how one's soul
will rot if one supresses one's desires. You know, a few songs ago,
Lou wanted to QUESTION his desires... It's all about balance, man
"Rise Below Slowly" Lumbering behemoth chords sound like the theme to
Jaws or a Star Wars movie; neat rhythms to the voice; ambiguous
lyrics.
"Dragdown Memory" I wonder if Lou got the title from looking at a
Macintosh screen? This song is mellower than the other songs thus far.
"Please avoid what I am thinking but always look me in the eye," more
lyrics about paranoia & other twisted topics. Lou is definitely one
not grounded in a concrete reality, but a dynamic one. A guitar gets
distorted toward the end for a heavier sound. Lines like "Good
intentions only break good hearts" are very characteristic of Lou
Barlow's cynical writing style. Lou mistrusts to an utmost extreme
and must have had lots of experience with letdowns. At this point the
vocals sound vaguely Creepers-influenced.
"Not Nice To Be Nice" This is a height of the paradoxical, analytical,
mistrusting, misguided and cynical side of Lou Barlow. "You know it's
not nice to be nice, every act of kindness surely carries its price."
Well you know, you DO get what you pay for. Beautiful rhythms &
melody. Nice... what sounds like a piano... solo.
"Mellow, Cool and Painfully Aware" This is indeed a very mellow song,
soothing like a Donovan lullaby, though not as cheery. "I'm a
peaceful man, and being mellow cool is so desirable." Nice folky solo
& toneless guitar. "It's my best, surely meaningless, I hurt her,
felt so angry & so powerless." Do Lou's nihilistic confrontations
leave him in reality or in a depressed state where he's "down so
goddam long that it looks like up to him"...???
"Crackers and Coffee" A vocal duel with sparse guitar, the lyrics are
more intricate than the usual, "A story of force and eventual
disappointment, the fable of the jealous and the power of nature." An
organ and weird homemade rhythms fill this out when it kicks in and
the lyrics turn into Lou's soothsaying doomsday tales, "filling the
cup with your own waste -don't expect to walk the streets safe - the
end is coming every hour.... Show how bad it could be, might be,
living on crackers & coffee." Gosh, just the thought of THAT brings on
nausea and pictures of writing songs all night long, smoking
cigarettes and eating the title of this song until sick. One phrase,
"Calling Mr. History..." sounds vaguely reminiscent of D. Boon's
lyrical style although I'm not sure how this fits into the rest of the
song.
"High School" That place where many ghosts of our past lie. The
lyrics begin somewhat cryptically: "Retarded by visual world,
convinced of a certain execution. I've painted my picture, now I'm
through, hopelessly devoted to me, queen of the open scene, be the
king of the open scene, wait till they get their hands on you..."
While the lyrics lack a train of thought or consistent theme, the
music is more focused, chords strummed like the intro to a hit Who
song, but with progressions that are unusual and anticlimactic. The
song kicks in with a catchy soulful rhythm and singing "That sounds
unreal - it gives me nervous diarrhea. Sends me right up to my room
where I play a little tune on my flute." Lou Barlow seems to enjoy
singing about singing or about the process of communicating. "Rotting
back in high school, fucking picture pages, fingers up and down,
rocking throgh the ages." These lines seem more directly related to
the title, speaking directly to the alienated high school outcast
loser, words like "retarded," "diarrhea," and masturbatory imagery
push the point further home. "Truth is a delusion, honesty is not the
way with the knot inside my brain, body wasting away. I cut it up,
cut my face with a frown- I've forgotten how rotten it feels to be
down." I'm not sure what kind of negative damage one can sustain in
high school as far as extremes go, but this sounds pretty severe! The
way the lines are sung is inspirational however, like the hymn to some
new country whose independence has just been declared.
Musically, this is not the kind of album you want to listen to in your
car stereo. It lends itself much better to a Walkman or doing
paperwork. The music is pretty consistent with Lou's other work
though different enough to be something new to his fans. At times it
can be a bit odd or even annoying but in the end it's worth it, and
provides a refreshing listening experience.
Lyrically, this is indeed a disc for losers, but don't expect it to
tell nerds everywhere to go out and kill themselves. The music's well
done and the words seem thought out, so in essence the quality of it
speaks for itself, sort of saying "You might think you're a loser like
I did, but I created this so obviously I'm not. Maybe you're not,
either."
Now enough of my over-analysis; go find this and listen to it for
yourself.
------------------------------
From: stephen miller <stephen.miller@m.cc.utah.edu>
Subject: Reviews (show/records)
Show review: Sate of the Nation/Rodan/Grifters Playschool,Salt Lake
C(h)itty 4/23/94
Playschool is a warehouse-turned-performance/art
collective-cum-ravescene-cum-band venue. It lacks many niceties
(including places to sit and a decent p.a. system), but on the whole
it is not a horrible place for bands to play.
State of the Nation, a local band, opened the show. Sad to say, I
missed much of their set but was impressed by what I did hear. They
mix the Buffalo Tom/Dino Jr./Triangle guitar urgency/pop sensibility
with politically in-tune lyrics. A friend who saw their entire set
was similarly impressed but noted that it all pretty much sounded the
same. Nevertheless, I will certainly want to see how this band
develops in the coming months and years. I doubt they tour yet, so
you will have to come our beloved dry lake bed for the experience.
Following what must have been the fastest set change I have seen in a
long time (5-10 minutes max.), Rodan came on next. They were very
impressive. Loud, grinding, dark, moody. Black Sabbath with an
attitude and a lot more noise and a lot less funk. Given the pathetic
turnout that evening, it is not surprising that they were not more
enthusiastic, but they certainly made me glad I went. I certainly
never expected to hear anything like that come out of Kentucky.
Grifters played last. Their set started off with a series of up-tempo
but moody tunes. The band members were rather animated and good
natured despite the lack of a working drum monitor and the other
problems associated with the sound system (at one point one of the
guitarists was shocked by his microphone). I was really getting into
the head-nod groove. Then about 2/3 of the way into their set, they
transmogrified into some blend of Polvo and American Music Club (the
slow, depressing stuff). By the end of the set I was ready for a warm
bath and a packet of razor blades. It may be just me, but I would
have appreciated it if they would have broken that stuff up a bit or
put it somewhere near the middle. As it was, it really brought me
down and seemed to bore the hell out of the rest of the audience.
Record reviews:
Zeni Geva "Autofuck"/"When I was on Horseback" 7" Skin Graft 09
This 7" is in the Skin Graft comic book and record combo series.
"Autofuck" is typical Zeni Geva: heavy, grinding, low-registed
guitars; pounding drums; K.K. Null screaming in an angry, gravelly
voice. Personally I like the work on the "Desire for Agony" LP
better, but this works for me. "When I was on Horseback" is a
traditional British tune that Zeni Geva rearranges. While the opening
does not sound surprising as a traditional folk tune, it struck me as
rather amusing to hear K.K. Null actually singing a ballad. Of
course, his voice is low and gravelly but definitely melodic. About
4/5 of the way into the song, the band breaks from the ballad's cycle
and into a crushing, searching pounding on guitars and drums. Very
satisfying. The comics that come with this 7" are as disturbing as
ZG's music. Overall, a package very worth having.
Gravel "Silhouette"/"Pissing in a River" Knw-Yr-Own 67
Since December I have pickled up 3 Gravel 7"s and have been rather
impressed with each. I understand that "silhouette" is on an album,
but I have not picked that up, so I do not know the context of the
song in relation to the LP. The song itself reminds me of REM with
grit. Other references might be Thin White Rope and other bluesy,
reverb-ish guitar bands with somewhat self-lascerating vocals.
"Pissing in a River" is a Patti Smith tune from her oft-maligned
_Radio Ethiopia_ project. Great "breaking up with me is a big fucking
mistake" lyrics. The guitar work here is moody and tough, and the
vocals work really well with the lyrics. The record comes without an
identifying sleeve (the vinyl is colored, though), so you may have to
ask for this one by name.
Steel Pole Bath Tub "Some Cocktail Suggestions from Steel Pole Bath Tub" 10"
Boner Records 42-1
Yet another fine product of the Steve Albini engineering basement.
Basically, if you like SPBT, you will dig this 10" immensely. If not,
you will probably hate it. Morasky's guitar work, as on previous
outings, is all over the place. Constantly on the edge of falling
apart, he never quite does. The lyrics are, as usual, darkly humorous
and often quite disturbing. This is especially true of "the Wasp
jar," a piece Flattum speaks through a guitar amp (the Albini
trademark, it seems). The song is about capturing a wasp in a jar,
keeping it for days, having nightmares about its buzzing, and then
throwing the jar with the wasp inside of it into a river, watching it
"sink slowly into the brown water" realizing that he'd "never planned
on setting it free at all." The music for this song is, of course,
freaky as hell. A swank bit o' plastic one must have!
-=>stephen.miller@m.cc.utah.edu (salt lake city,utah)<=-
How can they whip cheese? --Willye Loman
------------------------------
From: Steve Silverstein <ST201268@BROWNVM.brown.edu>
blah (reviews)
I figured I'd babble for the first time in awhile. Things I've
stumbled into of late:
Labradford-Prazision LP--You've heard enough about it. It's really
great. I like it. Some more pop/vocal/guitar, others more
Moog/noise. The 2nd LP, with Bobby on bass, has already been
recorded. No clue when it'll be out.
Shellac-Uranus--Really nice silk-screened, folded-up packaging makes
for LOUD 7". Bob Weston and Steve Albini have kept this one fairly
quiet (despite being on T&G). I like it. Bits of anything from Slug
to Rollins slip in, but a LOT more minimalist.
Eggs--Eggs TeenBeat 96 Exploder--Again, you've heard it all already.
It's just weird and varied to absurd degrees and stuff. A lot of it
works, though. Sounds like the next Eggs LP will be on TeenBeat,
contrary to many rumors (no promises, but I figured I'd correct old,
wrong info). They haven't recorded a new one yet.
Guided by Voices-Fast Japanese Spin Cycle--I got the 7", also on
CD--on Engine Some of it's out before, but this is intensely hi-fi for
4 track recording, and I like it a lot. 6 songs plus intros on each
side--like 10 minutes. Worth checking out. If you haven't heard
them, sort of prog-rock played as lo-fi pop.
Silkworm-In the West--Have I mentioned this one already? Loud, kind of
straight-ahead, with definite Slint and Jesus Lizard influences, but a
sound unlike either. Unique and the freshest-sounding punk I've heard
in a while. Cool stuff. On C/Z. Next one is being recorded now at
Packyderm, so look for it in August or so.
Purple Ivy Shadows-Psychic Baby/Circleye--spinArt messed up something
(?) or maybe the pressing plant did or something. Anyhow, I don't
think it's in most stores yet, but it's good. Two songs that sound
kind of like "Fire" from the first 7", but a lot cleaner mix with
clearer vocals (c/o Dave small fact.) I like it a good bit, though
they don't sound too much like this stuff either anymore.
And a few live highlights:
The Raincoats at the Middle East Upstairs--Well worth the trip to
Boston; really fresh and amazing and fun and they were really into it
and unpretentious. It was the first show on this US tour--Steve Shelley
filled in on drums, since the old drummer didn't join in the reunion.
Very creative writing in a basic pop thing. Cool stuff.
Combustible Edison CD Release Show at Luke's Luau Hut--Crazy old
Hawaiian restaurant, crazy show. The stuff from the album, the
guest appearances, a sing-along contest, a line-dance contest, odd
prizes. What more can one ask for from the Millionaire?
The Von Ryan Express--Always entertaining. This, the shortest set
they've done in a while, was no exception.
Richard Thompson--Maybe not germane to this list, but an amazing two-
hour + set nonetheless.
Dick Dale Tribe--He's just still excited about what he does, and
totally great at it. Plus the first-ever Royal Crowns show opening
(Johnny from the Phantom Creepers new band)--costumes, paper crowns,
and rockabilly fun.
Lots more too. Whatever.
-Steve
------------------------------
From: Seth L Sanders <feste@jhunix.hcf.jhu.edu>
Seth Reviews Stuff
GATE, KEIJI HAINO, T. MOORE AT BLACK CAT IN DC, TUES APRIL 26.
Haino was like a loosely drawn cartoon demon, insanely theatrical; his
music sounded like mourning. Gate were wank; T. Moore played a bunch
of songs that were better than any recent SY (which I do like, but
this had a lot more one-note shit and a song called "Patti Smith Math
Scratch" that started exactly like the Fall's "Hey, Luciani!"), just
very direct.
BARBARA MANNING: _BASEBALL TRILOGY_ (MATUDOR)
Novelty songs with historical richness, wit, etc. Especially "Dock
Ellis", cold observations with a warm hum and then a really easy
avalanche chorus "watch his wrist as it snaps back, the ball is gone
in a FLASH," as easy as pitching a no-hitter while tripping on acid in
1970 (that's what the song's about).
DOO RAG: "HUSSY BOWLER" b/w "GREASE AND ALL" (WESTWORLD)
The only band in the world that'd blow Spencer off the stage, not
because they are more like Elvis or James Brown or a penis than he is
but just because they'd simply set up in the sound booth and play cans
and buckets during his set so no one could hear him. The only "indie"
band that has successfully played swap meets in Arizona.
LOIS: STRUMPET (K)
Bathos. Blue-note style album sleeves are tired, wildly cliched
lyrics ruin about half the songs, and it's produced to sound exactly
like Beat Happening. The fact that I identify with "The Trouble With
Me" and "Strumpet" either shows that she's talented or that I'm a
dork, but after listening to Moonshake, Helium, Doo Rag and Lee
"Scratch" Perry, I can't help thinking how musically conservative a
record this is.
COME: "WRONG SIDE" cdep (MATUHDOR)
Everything is clear and full and well-constructed, and I tried to like
it, I did. The Swell Maps cover was a bad idea, puts paid to the idea
that there's such a thing as "bad" production; there are a lot of
sounds I just don't need to hear.
BLOODSTAINS ACROSS CALIFORNIA (some bootleg)
The rewards for hating normal people outweigh the penalties; guitar
sounds and ideas you could only get by accident or misdirected effort,
booted from a bunch of singles nobody wants to bother to find. "I
DON'T WANNA DROWN IN AMERICAN SOCIETY." Just too good.
------------------------------
From: Steve Cook <sbc@clark.net>
Poly Styrene & X-Ray Spex Addenda
One of my personal favorite bands ever. :) After X-Ray Spex broke up,
Lora Logic, the saxaphonist, formed a band called Essential Logic.
After THAT fell apart, she drifted into the Krishnas, joining Poly. I
was told by someone that Poly later quit the Krishnas & was in a band
called Red Crayola or something like it, but I wouldn't really know...
______________________________________________________________________
Steve Cook sbc@explorer.clark.net
"I know that mess spelled backwards is ssem and I felt much better armed
with that knowledge." -- Tori Amos, introduction to _Death: THCOL_
------------------------------
From: "glenn susser" <p01400@psilink.com>
Combustible Edison/Splendora/Yo La Tengo
Thread Waxing Space, NYC
Sat, April 30
COMBUSTIBLE EDISON -- Missed the first few minutes, but they played
for a solid hour. They not only play lounge music, but play the part
very well. The guys all wore matching white Las Vegas-like tuxedos,
while the gal, "Miss Lily Banquette," wore a very lounge-like evening
dress. And their stage presence was something else, with "The
Millionaire" (guitar) doing the announcing while Aaron Oppenheimer
(vibraphone, drums) moved around in a very lounge-like way. Most of
the songs were from "I, Swinger". They were all excellent craftsmen,
Lily's voice commanded attention, and there were a myriad of
instruments played. I thought it was lots of fun.
SPLENDORA -- We missed about half the set, thanks to my ravenous
appetite landing us in the pizza joint. We came back to find people
being turned away -- they reached the 500-person capacity. Splendora
is 5 females -- 2 guitars, a fiddle, cello (?) and drums. In the riot
grrl tradition, they were loud and intense - they were all more than
technically competent. But my mind was on the next act.
YO LA TENGO -- Surprise (yet again) 2 drummers. That's Georgia and
"Rick" (as if Georgia's incessant pounding wasn't enough!). Great
great addition, though Ira made it sound as if it were a one-time
thing.
It was mostly songs from "Painful" with a few from "May I Sing With
Me", "President Yo La Tengo" and "New Wave Hot Dogs." They seem to get
better with every show. The sets are tighter and seem to be more
rehearsed but don't sound at all redundant, while the songs flow into
one another. Ira has become the consummate showman, making all sorts
of painful expressions while doing all sorts of weird stuff with the
guitar, a la Jimi Hendrix.
As Ira might say, this was a Friday afternoon kind of show, i.e.,
loud. They opened with "I Was The Fool Beside You For Too Long" and
followed with (though not necessarily in this order) "From A Motel 6",
"Double Dare", "Superstar Watcher", "Nowhere Near", "Big Day Coming",
"Upside Down", "Out The Window", "Drug Test" and "Alyda" plus a few
others I can't recall.
The highlight for me came with the second song of the 3 song encore
set. Sue (Garner??), formerly of Fish 'n Roses and now of the Shams,
came up to jam on guitar to cover Art Attack's (?) "Neutron Bomb." But
everyone took a back seat to Rick, the guest drummer, who had been
looking kind of nervous all night. Rick, still looking a bit nervous,
came up to the mike, shot glass in hand, and brought the house down
with his vocals. Great ending to a great evening.
*- glenn susser -*
------------------------------
From: SE_AMMIDOWN@ACAD.FANDM.EDU
THIRTEEN!
Last Thursday night, by some miracle, WFNM (89.1 FM in Lancaster, PA.)
was able to bring the amazing Texas band Thirteen to the Susquehanna
Valley. First let me say that these guys are about some of the nicest
folks I've met in a long time. And secondly, these guys ROCK!
The evening started off inocently enough, with the student band
Feldspar (impressive improv funk/jazz/rock) playing one song (which
lasted an hour). Then a rather unimpressive student band, Everyday at
Six, played for an unmerciful hour. Thirteen came on last, and
definitely most importantly.
Thirteen has a tight indie sound- two guitars, a very loud drummer and
a bass. Their music is more influenced by '80s Husker Du than '70s
Big Star, though. A driving guitar line and sometimes subtle,
sometimes harsh lyrics, make them a very easy listen for the most
hardcore indie freaks. They played both sides of their 7": "There's
Something You Should Know" (about alien abductions) and "I Dig Trains"
(about trains), and a couple new wave covers that for the life of me I
can't place, although I know the songs... They also played a whole
bunch of other stuff, which I assume will be on their first major
label album (as soon as they decide which one), so check it out. For
now, I think they're hanging out in New York, so check them out if you
get the chance!!!!
From the middle of Nowhere, PA,
Steve
------------------------------
From: sking@acs.bu.edu (Stephen King)
ANNOUNCEMENT: Big Band Badoodie in Boston
Hey kids! If you are going to be in the vicinity of Boston this Friday
and Saturday (6 and 7), there is a two-night throw down at Boston
University. Many bands, films, thrift sale, and more. The lineups
are:
Friday 6th- DRUNKS WITH GUNS tribute(w/ Bob Fay from Sebadoh and Tom
Noerper of Drunks w/ Guns)
JEHOVAH STARBELLY
LISA KING (poet)
vous doux
GRANT SIDNEY
Saturday 7th-
STONE HOMBRE (from Tucson, Arizona)
SLUGHOG
KARATE
THE UMPTEENS
Both shows start at 8:00 p.m. and are located at the George Sherman Union
at Boston University (775 Commonwealth Ave.). Friday night is free and
Saturday it is three bucks. It is downstairs in "The Alley," by the way.
Bring your friends!!!!
------------------------------
From: patrick monaghan <patrickm@phantom.com>
ANNOUNCEMENT: Coctails May Tour
Here's the tour info the the Coctails. Their new album, "Peel,"
suffered an awful printing setback this week and will now be out
mid-June. I'll let you know closer to the time.
Coctails Tour
May 1994
Date City Venue With
5/4 Carbondale, IL Southern Ill. Univ
5/6 Louisville, KY Cliffhangers Pavement
5/10 New York, NY Knitting Factory
5/11 Albany, NY Bogies
5/12 Portland, ME Granny Killams
5/13 Cambridge, MA Middle East
5/14 Annandale, NY Bard College
5/15 Day off
5/16 Washington, DC 15 Min.
5/17 Harrisonburg VA Jokers Pub
5/18 New Bruns