"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
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!


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 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.  

"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 

"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 

"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 

"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, 

Now enough of my over-analysis; go find this and listen to it for 


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.



From: Seth L Sanders <feste@jhunix.hcf.jhu.edu>
Seth Reviews Stuff

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.

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).

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.

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.

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.

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 


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 

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 -* 



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,


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 

Friday 6th- DRUNKS WITH GUNS tribute(w/ Bob Fay from Sebadoh and Tom
					Noerper of Drunks w/ Guns)
	    LISA KING (poet)
	    vous doux

Saturday 7th-
	    STONE HOMBRE (from Tucson, Arizona)

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