Indie List Digest!

         May 7, 1994

     Volume 3   Number 30



Reviews: Doo Rag, Sweetheart, Deep Turtle. et al.
Rodan, Craw, Dimbulb in Cleveland
WHUS news and reviews
St Etienne, Sebadoh, Huggy Bear, et al.
Grumpytime, Savage Republic, Pink Floyd, et al.
ANNOUNCE: Sub Pop net
ANNOUNCE: Indie-500 continues
ADV: Warped Reality
ADV: Thicker


From: an914@FreeNet.Carleton.CA (Shawn Scallen)
Subject: Ottawa -- The Next Big Thing...

Look out Seattle, Chapel Hill, Halifax! Ottawa, Ontario, CANADA, is 
where it's at...  Watch out for a 7" on SubPop by a local quartet 
called Woodenstars...  The band combines the stop/start soft/loud 
qualities of Engine Kid with the meandering guitar breaks of the 
Rheostatics...  Quirky, jazzy, punky all at once...  Let the feeding 
frenzy begin!

You heard it here first.


Shawn Scallen			music director, CKCU-FM 93.1, Ottawa, Canada
an914@Freenet.Carleton.CA	photoguy, lotsa punk rok zines
613-234-PUNX			234-PUNX Sysop (gig listings recording)
				D.I.Y. concert promoter type guy


From: (David Bennison)
Various Reviews

Circle - Silver EP 7" (Bad Vugum, Finland) 
This band has been described as a unique blending of Loop, Terminal 
Cheesecake, Scratch Acid and Live Skull, and this 7" is more brutal 
than any of the above, I feel.  'Crawatt' is astonishingly good, an 
urgent, crashing riff supplemented by sort of monastic vocal chanting 
and a ferocious ending.  'Circus' is one minute of general pounding 
mayhem with a fragmented fairground organ.  'Silver' is possibly the 
best track, similar to 'Crawatt,' while 'Polka' is a right old 
knees-up polka, similar to The Ex with everything in tracks 1, 2 and 3 
thrown in for good measure at the end.  This sort of mayhem could only 
come from a region that produces so many good bands; there's no need 
for them to dip their toes into US/UK scenes and dilute their noise.

*** -  just about best single this year, methinks

Sweetheart - Mr Cocktail / White-Eye 7" (Bad Vugum, Finland)
This is a little more like The Cows with a few brass surges and evil 
vocals; 'Mr Cocktail' is a slower brooding number that can't get away 
from Birthday Party references; 'White-Eye' turns into early Fall 
toward the end, except the vocals are totally raw by now.


Sweetheart - Well Dressed Meat LP (Bad Vugum, Finland)
Their debut LP, like many LPs, has its highs and lows, but after three 
listens, it can't quite maintain the high standards set by the other 
Bad Vugum singles.  Sure, it's good and pretty varied, but the tracks 
seem to be good variations on the AmRep sound I've heard before, with 
some added space and dynamics and a little less bass heavy.  Yet 
again, mentioning the Birthday Party isn't a lazy comparison - swampy 
grinding rock with some staccato riffing and less intimidating English 
vocals make some of the standout tracks like 'Moving' and 'Satanism' 
go along with a bit of a lurching swing.  'Human Skyscraper' is a 
little more frantic, and the finale of 'Ephraim' finishes on a high.  
A couple of slower quirky tracks with Gavin Friday type vocals spoil 
the mood a bit tho'.


Deep Turtle - Snakefish EP 7" (Bad Vugum, Finland)
I seem to remember a guy on the grunge list raving about this band 
ages ago, along with his own/friend's band 'Germ Attack', and now I 
can see why.  For track 1, 'Arbean', imagine Blind Idiot God in their 
non-dub mode but more frantic‹‹oh, and an occasional orchestral swell 
sample.  JazzPunk rhythms and shouted vocals make them sound a little 
like the punk bands I've heard from Holland (Mortzelpronk, Zowiso, 
Svatsox...).  'Eko'Arak' is the odd one-out, a simple bass-driven 
verse with spazz guitars and a wig-out, stop-start ending that is 
brilliant.  'Choclopolka' sounds to me like a speeded-up Sun City 
Girls 45 second instrumental version of an Eastern Bloc National 
Anthem with prog-rock guitar work.  'Riola' follows the theme with 
more ace stop-start rhythms, what seems like a UFO landing in the 
middle, and traditional Bad Vugum all-out vocal damage.  Similarly 


Liimanarina - Maailman Tylsin Vittumaisuus 7" (Bad Vugum, Finland)
Another staunchly independent Finnish band on the Bad Vugum label, 
this time more lo-fi and experimental with fewer 'power-chords' and/or 
jazz tendencies.  I won't begin to mention titles, but I've discovered 
my favourite word is 'ilmastointilaitteita' and that they sound like 
early Half Japanese, 'And This Day'/Hex Enduction Hour-era Fall, or a 
more imaginative DIY/Riot Grrrl band, which means that this is nothing 
short of essential.  There are great hidden guitar melodies and chord 
changes in there amongst drums that sound like tea trays, 
bagpipe-drone background, accordion and cheap bontempi organs, and 
stylophones.  I must thank Kimmo for the translation of Liimanarina, 
'limma' meaning 'glue' and of course 'narina' meaning the creaky sound 
a door makes when opened.  All four tracks have a rawness rarely heard 
in the US/UK music scene.


Doo Rag - Swampwater Mopdown / Engine Bread 7" (Drunken Fish)
This sounds like we have the making of an amazing band here, Eric Arn 
has seen them and I'm mighty jealous as I think this is the business.  
'Swampwater Mopdown' is a sort of a lo-fi Captain Beefheart boogie 
with a bit of JSPX trash thrown in.  'Engine Bread' is even better, 
authentic urgent swamp skiffle blues which just stuns.  Record Info - 
'Doo Rag play music from another century.  They howl through 
instruments constructed out of vacuum cleaners and gramaphones and 
beat on anything but drums...' There's even a pretty funny interview 
with the band - DJ 'You sound like Howlin Wolf singing out of a cave 
on Mars.  How do you do that?'.  Doo Rag 'Err...We try really hard.' 
DJ 'What's that thing that looks like a vacuum cleaner hose that goes 
up to a horn up there?' Doo Rag 'That's our vocal apparatus.' You 
should try to get ahold of this at all costs.  They will be doing a 
John Peel Session in the next few weeks, recorded down the phone line! 
This shouldn't be missed.


22 Pisterpirkko - 22 Pisterpirkko Mini-LP
This is also weird but in a different sense as it's pop as far as I 
can make out.  It also has NOTHING in common with the other Finnish/ 
Bad Vugum bands I've reviewed, and why should it.  The music is a wild 
and crazy blend of Lonnie Donegan skiffle, garage, pop, schlock horror 
rock (Lord Sutch!) and hammond organs.  The vocals come across as Pee 
Wee, I guess they don't take their 'art' too seriously.  As a result 
I'm pretty baffled, sometimes they remind me of the Residents 
Commercial Album and then they end up sounding more like the B52s.  
'Motorcycle Man' has some great slide guitar and a psych feel about 
it, 'Don't Try To Tease Me' is an accoustic wimp-out which has more in 
common with Daniel Johnson (title included).  They seem unbelievably 
out on their own planet, their world inhabited with catchy pop 
melodies, hamfisted garage, cheesy organ and a fair smattering of 
humour.  As per usual, I'm on the ball here with a 1991 release!


The Rip-Offs - Now I Know / Can I Come Over 7" (Rip Off Records,USA)
Pretty much excellent Estrus Garage material that would blow all but 
the Sinister Six/New Bomb Turks klan away.  'Now I Know (It's You)' is 
1 min. 30 of loud, fast, garage punk with melody; 'Can I Come Over' is 
the 1 minute anthem John Peel has raved about on his show.  They know 
that sometimes it's better to bail out after a minute or two rather 
than lose what you started with by prolonging it too long, but the 
B-side is completely blank so they live up to the name.  Apparently 
the lead singer is dating Elka Zolot, ex-Trashwoman, and there are 
members of Supercharger and the Mummies in there, so that's yer 


Harvey Sid Fischer - Astrology Songs (Amarillo, USA) 
Over the last few weeks, John Peel has been playing tracks off an 
album by Harvey Sid Fischer.  The album is called 'Astrology Songs: A 
Song for each Sign of the Zodiac' on Amorillo Records (AM585).  
'Twelve great songs that will seduce you with their unusual musical 
charm, delight you with their humor, mystify you with their accuracy 
and keep you enthralled for dozens of repeat listenings.  If you have 
already seen the cult TV special that first introduced these great 
songs you know this is THE album you've been waiting for.' His 
biography on the back of the sleeve reads: 'Harvey Sid Fischer writes 
screenplays, is an actor, one of LAs top 10,000 photographic models 
(!), plays golf, teaches golf and as of Aug.  1993, is 12 years 
macrobiotic.' ?! Better still is the news that he has already released 
a video called 'Astrology Songs' as well as a cassette called 'Golf 
Songs and Golf Jokes'.  He is pictured on the front looking like a mix 
between an old Dean Martin and Blake Carrington from 'Dynasty,' 
although he unfortunately sounds like a mix between Kermit and William 

Every song except Virgo (my sign) is a winner.  Aries ('I am I am I am 
the Ram'), Taurus ('Talk about Taurus.  Talk about the 
Bully-Bull-Bull'), Cancer ('Ruled by the moon high up above.  Sign of 
the Crab.  Handle with love.  I'm a Moooon-Child') being particularly 
epic.  The song for Libra comes across like a Moriccone Western theme 
('Lib-Lib-a-Libra, Lib-Lib-a-Libra.  I'll flirt and conquer, then 
withdraw.  Irrational passion, some might say.  But uhh-uhh I'm no 
glutton.  More a Love Bouquet'!), as does Capricorn to an extent ('I 
was born a Capricorn.  I was born a Capricorn.  I was born a Capra, I 
was born a Capra, I was born a Capricorn...The Goat.  The Goat.  The 
Goat.  The Goat..'!).  The Sagiytarius chorus must be heard ('I'm a 
Sag.  I'm a Sag.') and the whole album finished on the triumph that is 
Pisces ('Once upon a time there were two little fishes.  Both of them 
had their own whims and their wishes.').  OK, so I went overboard in 
the lyrics in this review, but they are things of wonder.  What I'd 
like to know is whether anyone has heard of this guy, seen his cult TV 
special or could recommend his Golf Songs cassette.  As far as I'm 
concerned, the feel-good hit of the summer that all the kids will soon 
be talking about.



From: <>
Rodan, Craw, Dimbulb, Cleveland Ohio USA 2 May 1994 AD

Welly well, where should I start? I have been reading oh just oodles 
of great reviews of Rodan here in the Indie List, so when I heard one 
of the local college stations giving away tickets for Monday Night's 
show with them at the Euclid Tavern, I thought what the hey and jumped 
to the phone and won!

Now, shows at the "Euc" usually start late, but I figured if I left 
the house a little after 10, I should get there by about 10:40 and the 
opening band would have already started...well, sir, they didn't start 
until about 11:00 pm, and they were DIMBULB.  Cleveland band.  Way way 
way too loud.  3 piece.  Grinding noisy slowish songs with yelling 
nonmelodic vocals.  Same guitar sound all the way through: bad.  All 
songs sounded the same: irritating.  I hope I never see them again.

11:45 and Craw starts up.  I'm looking at my watch because I have to 
get up at about 5:30 am.  Craw has had a lot of press around here; 
they are another Cleveland band, with a few 7"s and perhaps a full 
lengther (not sure) but I've never seen them play, so I thought, ok, 
I'll check em out.  And, hey, they are kind of interesting, though not 
really anything I'd ever choose to listen to at home or go out of my 
way to see in a club.  Very tight arrangements...very hard-driving, 
start-stop kinda rhythms, some very complicated rhythmic things 
actually, which more than anything reminded me of some of the more 
irritating "modern" classical pieces by people like John Cage, etc., 
who like those kind of stop-start/ fast-slow irritating changes in 
their music.  Vocals were completely interesting and fortunately mixed 
very low.  They could be the next NIN if there was going to be such a 
thing.  But that wouldn't make me like them, because I don't like NIN 
either! But if Craw comes to your town and you're into that sort of 
thing, hey, check them out, they are very capable musicians, they 
definitely have their act together.

Well, now I really had wanted to leave by 12:30 at the latest.  That'd 
give me about 4.5 hours of sleep before I had to get up to go to work, 
but I thought, nah, I'll regret not seeing any of Rodan.  Besides, I 
wanted to know if they were trying to name themselves after the 
sculptor (Rodin) or the monster (Rhodan) or neither.  Maybe I just 
have the monster's name misspelled in my trivia-laden mind.  I dunno.  
(I always wondered if Rhodan did some sculpture on the side when he 
wasn't attacking Godzillas, Mothras, or Gameras anyway.) OK, so I 
decided to stay when I saw that they had a female bass player, which I 
usually take as a good sign (someone at the club told me this bit of 
rock-history commentary: In the late '70s-early '80s, it was cool to 
have a Japanese bass player; in the '80s it was cool to have a black 
bass player; then now in the late '80s-early '90s it is cool to have a 
woman bass player; you can take that bit or leave it, or just say 
"hunh" and skip along...) and they finally started playing at 1:00 am 
...sheesh...  Well I thought, I'll stay for one song, then go, unless 
they're REALLY great!

They had a pretty nice sound, the guitars sounded pretty cool and 
smooth/chimey/ringy...and, yes...SLINT-Y.  I liked the bass player's 
voice too, though it was pretty quiet.  But then the middle part of 
the song was just sooooooo much like Slint, it was embarassing.  But 
not as embarrassing as the second song, which I decided to stay for 
because by the time I realized they were into the second song they had 
been playing it for like 5 minutes already! It was totally right out 
of the great lost Slint songbook.  One of the guy guitarists sang it, 
and, although it really was not a bad song, I can only take so 
much...I mean, it was just so damn obvious whom they were ripping off 
soundwise, I just couldn't take it.  I started thinking to myself 
about how Slint has had so much effect on so many bands with one album 
(because Tweeze didn't have nearly the cohesive, recognizable sound 
that Spiderland did), kinda like the Velvet Underground's influence in 
a way, that there must just be some kind of NEED, some kind of great 
HOLE that needs to be filled by that Slint sound.  I dunno, I'd be 
happy just listening to Spiderland again if I really wanted to hear 
that kinda sound.  I mean it's a great album and all, but they did it, 
you know? How many clone bands do we need? More Slint clones, more My 
Bloody Valentine clones, a seeming second wave of still yet more 
bleeding Sonic Youth clone bands!!!

Well, sorry if I sound like a jaded old fart, but hey, when you only 
get 3 hours of sleep because of a band you felt embarrassed for, 
that's the way it goes.  At least I didn't pay for the show! And I did 
get an offer to play bass for a fairly decent local band that is being 
serenaded by some record labels, so the night wasn't a total washout.  
But save yr money, kids, and buy another copy of Spiderland if your 
copy is already worn out.



From: dannnn <DLM94001@UConnVM.UConn.Edu>
poly styraphone, etc.

bonjour again!

always good to read yer articles and correspondences.  hope everyone's 
chillin and digging that spring thing.  it's great to be following the 
rodan/grifters tour from out west, i've been in love w/'rusty' since 
we got it and plan on seeing them in boston (tt bears; may 20 or 21) 
very soon.  also: rejoice for me, indie audience, i'm going to see 
superchunk for the first time this month! w/merge wunderkin the 3ds 
opening.  'driveway to driveway' off of the s.c.  'foolish' disc will 
NOT exit the annals of my mind's ears! 

*in lieu of all the poly styrene talk that's been up lately, thought 
i'd drop my extent of knowledge of what's going on...i had the 
pleasure of housing some of the band 108 after a show a month or 
so. the guy that runs equal vision records (shelter, krishna 
hardcore and more...) happened to mention a forthcoming solo 
presentation by poly in the near future and proceeded to play a four-
track demo of her material.  WOW.  somewhere between lush and the 
cocteau twins, but better and dare i say, prettier? i think she's in 
the studio now w/some more tracks to record w/.  equal visions records 
is the folk you'd have to contact for further info.  all i can say is 
to keep yer eyes peeled, because i have a feeling that the full-length 
is going to be a real beaut.  

and now: the top 10 @ whus in storrs, ct.  (based on airplay and new 
releases-3 months after arrival, 4 for push selections)

ten...pavement.  crooked rain x 2.  still up there.  was no.  1 when 
      we first got it a while ago.  randomly reappears in top 35.  a 
      great release.  duh.
nin...huggy bear.  taking the rough w/the smooch.  did well in top 10 
      on 10", then got ripped off.  could not go w/out this, so we
      reordered  from krs.  reemergence proof of value.  'no sleep' 
ate...dambuilders. encendedor. i love this tape i love this tape i 
      love this tape. smell + shrine rock my world. a blast live.
svn...bedhead. what fun life was. wow! they broke the top 20 in cmj! 
      (i think) a fantastic slower mood w/great guitar sound release 
      on trance records. in the park. now sounds comp. unreleased archers, 
      dambuilders, unwound, versus, & the best small 23 song ever 
      constitute a beautiful debut for a promising new label. filled 
      w/bands from all over the place.
fiv...sammy. it being pre-finals week, i haven't really gotten a chance 
      to hear a lot of the new push stuff. i don't even know the 
      tape name or label. but it must be pretty good to be up here. 
fo'...tindersticks. see above, except i have heard a song on 
      somebody's show at some point. just remember liking it. 
tee...jenny anykind. don't know the name of the tape again. do know 
      more about the music though. kickass guitarish--uh...oh, i'll 
      review these for next submission. sorreeee! 
two...unwound. new plastic ideas. aaaa! aaaaa! i love this disc. SEE 
      THEM LIVE, and bring two sets of earplugs, or save lots of 
      wax. envelope is my fave. loud distortion feedback screaming 
      trio pumping adrenaline and post punk deafness. amazing. fall 
      off yer rocking chair. 
won...why do you think they call it pop? pop narcotic comp. this has 
      been no.1 for four weeks straight now, i think. w/good reason, 
      too. kudgel, db's, helium, small factory, versus, polvo, etc. 
      etc. i saw this up in boston in many a store for around 10 
      buckaroos- fer two 10"s and amazing music. i think you can get 
      a free catalogue from them by mailing/requesting @ loveable loveable loveable! i say no 

ok.  heard good things about hair & skin trading co.  and medicine @ 
babyhead last night (in providence, r.i., for west coasters).  they'll 
be at tt bears in cambridge this week too, but i'm not sure if it will 
be over by the time this is in.  i must get a ride to the middle east 
for rollerskate skinny thurs.  5.  anyone? anyone? oh, and we got the 
new beastie boys 12" feauturing q-tip of tribe.  fabulous.  boogie to 
the maximum.  stay tuned for kill rock stars wordcore reviews.  take 
care y'all, and feel free to k.i.t.  much love...

dann medin;; nixon was a repressed punk rocker......


From: (Julian Lawton)
Live reviews

Live reviews - eeek. . .

Huggy Bear
Primal Scream
Flying Saucer Attack/Sebadoh
Brittlehead/God Is My Co-Pilot
Prolapse/Huggy Bear

Seeing as it's so long since I've done these I've forgotten the exact 

Let's see . . .

St. Etienne - Cardiff University/Bristol University (late March!!)

There are certain advantages to taking a trip to the home of 'Les 
Vertes' whilst on holiday, not least of which is being able to waltz 
backstage in your St.  Etienne Official Football scarf - even the band 
have never actually been there (a small ex-mining town in central 
France, if you have to know).  Kindly they stuck me and an unemployed 
friend on the hospitality list for the next night's show.  .  .

Anyway, 'support' was by DJ Kris Needs, also variously known as Secret 
Knowledge/Delta Lady, NME journalist, and, erm, founder of legendary 
Goth club The Bat Cave.  To my ears Kris sounded like a studio 
engineer more than a DJ - there was little of the spectacular mixing 
of someone like Weatherall, just tracks played end-to-end, followed by 
another; good tracks, but he was far better with Primal Scream (see 

It was also an excuse for him to PA the Delta Lady stuff - so 
unmissable we deliberately turned up late on the second date - live 
dance music, I can see the point of (Dee-Lite with Bootsy Collins in 
'90 being the best I've ever seen it).  Vocal PAs I can't - the vocals 
inevitably sound worse than the backing vocals on DAT.  I recall it 
being problems like this that used to dog St.Etienne, in fact.

Not so now, with a 7-piece band (at least) on stage.  .  .  although 
there's still plenty of reliance on sequencers for the 'up' stuff - 
the radical departure is the very stripped-down versions of stuff like 
'Marble Lions' from the last LP - drums/guitar & voice, if I remember.  
However, that came after a great opening with 'Cool Kids Of Death'.  
'Hobart Paving' was beautiful, apart from a bloody awful guitar where 
the brass section should be, 'Avenue' almost a sprightly spring song, 
'Former Lover' revealed itself to be based on a Nick Drake track (hmm 
- St.  Etienne are certainly NOT Nick Drake), 'Nothing Can Stop Us' 
suffered the worst from being revamped.  It was not the best gig I've 
seen, by a long way, but certainly the most fun.  (The Bristol show 
was somewhat worse in that people decided to mosh.  .  .).

Huggy Bear - Highbury Garage (April 1)

Support was by Rent Boy Assasin (or was it Assasins?) and Spectreman.  
The Assasin made a big fuss over the fact that they'd been billed with 
a extra 'S', or without one, or something.  Anyway, I remember that.  
I also remember the Rage Against the Machine-like silly hats and that 
one of Cornershop was playing drums.  I remember sod all about the 
music.  .  .

Spectreman, however, had a standup female drummer wearing shades.  In 
fact most of the band had shades.  And a large collection of Billy 
Childish 7"s.  Garage punk-pop done extremely well - nothing original 
to write home about, but I'd see them again, or maybe pick up an LP 
if they were cheap.

Huggy Bear claimed this was the last time they were playing London as 
Huggy Bear.  Now they claim it was the last time they'd be playing any 
old songs in London.  .  .  either way, it was a strange gig, pretty 
much void of the usual faces (Amelia Heavenly, Dale Blood Sausage, 
Skinned Teen, various Waaaah! and Sarah people), and, for a Huggy Bear 
show, trouble free.  What's weird about them now is that whilst before 
they could rarely convert their music from record to stage (about as 
well as the Pastels) their records now leave me cold, while they're 
live performances are astounding.  You can put a lot down to charisma, 
a lot to volume, & the tightness of the band - Karren's drumming 
especially.  And I guess a fair bit to vodka consumption with my best 
friends beforehand!

I can't help feeling that they've lost something, however - they will 
never offer the 'challenge' they did coming on before Sonic Youth & 
Pavement with no real expectations to live up, or down.  Back then 
they may have stolen ideas from Nation Of Ulysses, but they didn't 
actually sound like it.  Now it sort of feels like bespoke lo-fi music 
for the lo-fi underground; I'm not sure if I can blame them though, 
considering that they were too contradictory & intelligent for the 
indie mainstream, and equally considered 'traitors' by 'punk' purists.  
Back to the gig - there were a couple of songs from the LP ('February 
14' and the one that ends 'Why not make a T-Shirt out of your 
dreams?'), one from 'Don't Die', and plenty of 'new' stuff (actually, 
the stuff on the 'Long Distance Lovers' 7" was first played on last 
years John Peel session).

The new stuff showed a strong shift to Chris as pretty much the centre 
of the band, and a more 'American' sound :-) tight, fast & lots of 
atonal touches - I guess the loss of a guitarist has meant a loss of 
the fuzzy rhythm playing.  I was dancing, and I enjoyed it, but I miss 
the way they were.

Anyway they ARE going to split up on Sept 31st, after another American 
tour & Europe - this is the third anniversary of the first gig.  
Karren plans to go back into theatre and to build an observatory, but 
they say they'll all continue to make & record music together in some 
form, or other.

Oh, their new 'Main Squeeze' 7" has a picture of Moomins in the middle 

Primal Scream - Cardiff University (early-April)

Well, I still haven't bought the LP and have no intention to, but live 
Scream is always a party, and one where you can laugh at your hosts.  
Andrew Norman hit it right on the head when he said that Bobby is 
claiming this is all tongue-in-cheek because people laughed at him.  
The best bit was when they stopped even playing their own music at all 
& became the Stooges, at a volume so loud a lump of earwax actually 
dislodged itself from a recess in my ear - thank you, Primal Scream.  
Four stage-managed encores, 'Rocks' played twice, this was pure 
rock'n'roll theatricality, right down to the duplicated 'jam' of 
'Higher Than The Sun'/ Coltrane/Sly Stone that they did 2.5 years ago.  
They bring out the real cynic in me, but they also make me dance.  So 
I danced.  And thought cynical thoughts.

Kris Needs DJing tonight was pretty good - straight in with 'Anarchy 
In The UK' after they came off stage, he just played a mix of 
energetic raw music.  Sorry, I'm totally ambivalent about this band, 
though their indie/dance stuff was pretty much the finest of its ilk 
(probably not to those who found the whole think a bit 'sucky' & 
mersh, but I guess you had to be there).

Flemgods/Flying Saucer Attack/Sebadoh - The Legendary Newport TJ's 
(mid April)

TJ's is done out like a cave.  It's also one of the few places outside 
London to do consistently well with small American acts.  We're 
talking B.A.L.L.  and Jad Fair gigs, Shellac.  .  .  I guess they do 
pretty well out of the fact they put on Nirvana & Babes In Toyland in 
the past, and people turn up on reputation - it's not so good for 
British bands though, which is a pity.

Flemgods are one of our local bands who like going 'AAAAARGH' lots and 
probably find bile an immensely fascinating song subject.  Musically 
they're a bit more interesting, but not much - punk with a few jazz 
chords & a touch of funk bass-playing, to suggest they listen to 
Beefheart AND the Ohio Players (hey, we're eclectic).  They're 
actually on the same label as.  .  .

Flying Saucer Attack, who, rather than trying to persuade us of their 
love for the songs of American Music Club, Syd Barret & Nick Drake, 
decide to convince us the only records they own were made in Cologne 
in 1973.  (Or by Loop in 1990 if you want a more modern reference).  
The drummer/ keyboardist wears an Earth First T-Shirt and locks in to 
a repetitive, dare I say tribal, groove.  Rachel, on bass, follows 
suit - on one of the three (count 'em) numbers, she locks onto a 
single note, pulsing out between the drums & twin sheets of guitar 
feedback that are being slowly fed through an office shredder.  
There's a lot of on-stage nodding & sign language going on.  This is 
their second ever gig, there is no set list, and they only rehearsed 
this afternoon.  The band can't play anything that Dave (who WAS 
Flying Saucer Attack until recently) did on the LP.  This is 
astounding, and almost certainly unrepeatable - three top-notch 

After that, Sebadoh were Sebadoh.  Not being the type to note writers' 
credits very much, I don't know 'which' Sebadoh I like - I don't get 
an awful lot of mileage out of what I've heard ('Vampire' remains the 
one I play people most).  I almost didn't recognise 'Crest' - some 
Stereolab fan I am.  .  .  I can't really comment, to be honest, so I 
won't.  I just wish they'd get Yo La Tengo over here (and they hadn't 
turned down the Dogbowl/Damon & Naomi gig because they don't like 
Kramer :-( ).

????/Brittlehead/God Is My Co-Pilot - TJ's (2 weeks ago)

I didn't catch the name, or any words by the first band, but they came 
from Swindon.  The singer was delivering his words quickly with plenty 
of spittle and big pauses between them, creating a sense of 
inarticulation, like someone with brain damage (he wasn't like that 
off stage).  The music reminded me of Fugazi (a little) and judging by 
the band/fans, they seem to be part of the British end of the 
straight-edge scene (funny to see so many people drinking soft drinks 
in TJ's).

Brittlehead had a Strechhead & a Dawson member in their lineup - one 
drummer and one bass player.  They also had a second drummer & bass 
player, and a saxophonist/flautist and were superb.  More a punk line 
up playing jazz than jazz-tinged punk, they were tight & danceable; 
the drumming at times hinted towards samba (the heavy variant!), while 
little snatches of familiar standards came through in the wind 

It was the first time I'd ever caught/heard God Is My Co-Pilot; a 
friend had little good to say about them, but our tastes have 
sufficiently parted that I wasn't willing to trust his word.  Anyway, 
I ended up walking out with a copy of 'Speed Your Trip' and a 
Hattifatteners single (sorry for any spelling mistake there) - a 
Moomins reference is good enough for me.  .  .  Anyway, it was a 
really exciting & diverse gig - I particularly liked the slow smoky 
jazzy ones (reminded me of Huggy Bear playing their Shock-Headed 
Peters cover), and the sense of humour they displayed (a Eurythmics 

Marmite Sisters/Prolapse/Huggy Bear - Leicester Princess Charlotte 
(last Thursday) 

Another long weekend holiday spent going to see Huggy Bear, and 
luckily it was a sunny four days (thankfully it's rained all day back 
at work).  The Marmite Sisters are one of those bands who will always 
play 3rd on the bill.  To quote "We're only doing this for our career" 
(what career?).  Doubly annoying when my friends were supposed to be 
supporting with Prolapse & Huggy Bear's blessing - but the Marmite 
Sisters are an established local act.  So on principle we stared at 
them for one song, then walked off.  They may not have been as 
mediocre as the first song, but I doubt it.

Prolapse were all over the place (and not at all drunk I'd warrant) - 
the best tracks on the single worked pretty well, but the rest didn't 
stick in the mind - not half as much as the loaf of bread they were 
ironing, and Linda's habit of walking off stage between her lines, 
coming back on to stand still & deliver the next few.  Mick's banter 
was inspired, when you could make it out (especially 'apologising' for 
an earlier insult to the Marmite Sisters which no one else heard!).  
The concept is great, and they're fun to watch - maybe soon they'll 
have the songs & records to match.  Huggy Bear had a few problems 
(Jo's microphone failed to work, for one), but the set was every bit 
as tight as in London, with the advantage of a provincial (and less 
'cool') audience.  They didn't play any material from before the most 
recent couple of 7"s.  Afterwards Tim (a friend of ours) somehow 
managed to end up discussing Star Trek with them :-)

Well, I think that's all the gigs since last time, not counting the 
rehearsal of Dissected Wood Volcano :-)


From: Sean Keric Murphy <>
notes from a small subdivision of hell...

Wow...  it's been a while since I've written for this...  a couple 
notes and then on to reviews and other nonsense...

1.  TELEGRAPH is accepting submissions - no record reviews, no show 
reviews, no "standard music stuff" but rather thought  pieces about 
music, interviews, etc.  - This issue's theme revolves around THE MAN 
and Music - interpret that however you like.  I think we're still 
planning to put it out around May 15, so get cracking and send your 
submissions to Mark Cornick <>.  (NOTE - new 
address until September.  Honest.)

2.  For those who are signing off for the summer - I'm losing my 
current account at the end of this month and will be purchasing time 
on a commercial account at that time.  My new address is:


and that's where all I-L and Telegraph subscription mail should go from 
now on.


Made a few sales to the Record Exchange last week and returned home 
with a few records already well reviewed in these pages (new ones from 
Unwound, Rodan, and Helium), a second French-language Pet Clark LP 
(shameless rips/changes of "Downtown" and "Needles and Pins" stand out 
in my mind right now), and these discounted gems:

1.  Thomas Leer and Robert Rental, "The Bridge" (Mute/Grey 

Two Scotsmen who honestly were trying to create a link between the 
"new wave" and the newly emerging "industrial music" scene in 1979.  
Lots of interesting noises and song structures here, more reminiscent 
of the Gilbert/Newman/Lewis post-Wire stuff than any Throbbing Gristle 
or Test Department.  Leer went on to make some straight new-wave stuff 
on Cherry Red, while Rental fell more into industrial dance...  but 
both had solid roots in the experimental at one point.

BTW, this is just one of the many CD reissues done by Mute in the last 
couple years, along with 3 Swell Maps CDs, a good chunk of the 
Throbbing Gristle catalog, Dome LPs...  all really cool art-noise 

2. Stuart Moxham, "Random Rules" (Peak Records - no address given)

Hmmm...  a second LP of Moxham recordings - I'm inclined to think that 
these are of more recent vintage than the stuff that Feel Good All 
Over released last year, but I could be wrong...  if you're waiting 
for "Colossal Youth II" then go elsewhere.  Soft, melodic, sometimes 
scattered poppish stuff - good for a mellow night as background music 
but not too captivating on a first listen.

3. Savage Republic, "Customs" (Fundamental/I.P.R.)

Yee-haw...  These fucking idiots at my local record store keep putting 
out Savage Republic records in the $4 CD pile...  Customs is studio LP 
#4 from Bruce Licher and Jackson Del Rey, and it's pretty consistent 
with the others - tribal, hypnotic, then screeching, bellowing, raging 
music influenced by the middle east.  Their deconstruction/reworking 
of Rapeman's whole Budd EP into one 8-minute song called "Rapeman's 
First EP" is pretty amazing.  MOTHERFUCKER! Basically, grab any Savage 
Republic stuff you see - if you don't like it, talk to me - maybe I'll 
want it (particularly if it's Jamahiriya or Ceremonial or the live 
double 10"...).

[the latest IPR catalog lists all these as catalog stock in one 
format or another, as well as mentioning reissuance of their back 
catalog on CD at some point in the future. - PO Box 1483, Tempe AZ, 
85280  -es]

4. Pink Floyd, "Meddle" (Harvest/EMI)

Yes, Pink Floyd.  If your musical comprehension ends around 1977 (with 
the exception of the stooges/mc5/velvet underground/13th floor 
elevators/neil young/pebbles/nuggets/boulders comps), then you're 
missing lots of really great music.  I'm not saying you should run out 
and buy Allman Brothers bootlegs or anything like that, but there was 
tons of great independent music made before "punk rock" emerged.  And 
Pink Floyd made a lot of great music, most of it before "Dark Side of 
the Moon" (though there are still flashes found in "Dark Side" and 
"Wish You Were Here" and even "The Wall").

The highlight here is "Echoes" - 24 minutes with a great bass hook and 
not as much noodling as I had anticipated.  This is art.  It's a wee 
bit pretentious, but certainly not as bad as Yes or King Crimson (I've 
tried, but I only really like the first Crimson LP...  shoot me now if 
you like) or many others who have been lost in the shifting of time.

Incidentally, the first time I heard "Echoes" was a live performance 
of it by all the guys from False Front and Ween jamming together - 
totally stellar, cosmic, insane - 8 people packed into about 90 square 
feet - an organ, a drum kit, two basses, four guitars...  they played 
for 45 minutes and could have gone on forever.  (And I totally HATE 
Ween, and think False Front is usually pretty boring.)

Anyway, I now return you to your usually scheduled "indie-rock" 



From: Jonathan Tronson <73543.3230@CompuServe.COM>
More LA band stuff

In Digest #329, someone outlined the LA's current indie groups and 
their new releases....Well, I'd like to add my two cents worth to this 
short list:

POPDEFECT (one fucking word) has a new CD out on SUB POP containing 
approx.  7-8 tracks of new material plus their usual bonus sound 
morsels packed at the end.  This ex-Seattle threesome packs a wallop 
of rockabilly/surf/early '80s punk sound.  If you haven't already, last 
year's CD is a definite must, titled "Punch Drunk" also on SUB POP.  
Buy it cause it's good for you! Right now they're on a month tour of 
the south and midwest.  So catch em if you can.

SLUG (also one fucking word) has a new CD soon to be released on 
Matador.  Due to an artwork mixup with fellow LA "rocker" BECK, whose 
new LP cover had such a remarkable resemblance to SLUG's intended 
cover that they (the latter) had to find a new one.  I've seen the 
video for "Aurora F" and the song is definitely swinging.  The SLUG 
boys also have a CD out from '92-'93 titled "Swingers," which is a 
cult favorite among noise lovers.  They also have half a dozen or so 
7"s out on Magnatone Records.  I saw their 7" split with Unsane on 
clear flexi selling for $18!!!!!!!!!!

Also don't forget about Charles Brown Superstar and Canopy.  Both 
these bands had semi-successful 7"s out recently...grrl rocking party.

PS....Does anyone have the list of cities that Combustible Edison is 



c/o "K. Lena Bennett" <>
ANNOUNCE: sub>pop> on the net

From: Ismael Marrero (Wasser)
To: SOC MS Alternative Music Group
Cc: SOC Alternative Music Discussion
Subject: sub>pop alias
Date: Monday, May 02, 1994 1:33PM

...Please let your friends and correspondents in the Microsoft 
Alternative Music Group know that to reach Sub.Pop via internet, they 
can now write to "".  For a current list of e-mail 
addresses, band contacts, and other Internet services that S>P offers, 
type "get email info.txt" in the body of the message or, for the 
e-mail version of our catalog (albeit an abbreviated one -- we're 
almost finished with it) and ordering information, put "get email 
catalog".  Or just put "help".

[you can also use ftp to get the document -  SP is definitely learning about this 
stuff....  -es]


From: blue slurpee junky <>
ANNOUNCE: NJ is Fun, bucko.

because brandon and mark are complete morons, they've decided to put 
on another indie 500 outdoor show (blech).  this time around it's 
called indie 6000 (space age, eh?) and at this point we think it's 
only gonna last for one day in august at a different spot (to avoid 
fatherly anti-everything restrictions) with different ideas and a 
whole new agenda (hell on us).  okay, here's where you come in.  any 
interesting bands who would want to play or any kind souls who wanna 
help us out (to avoid a two-man fiasco) should write to po box 255, 
new brunswick, nj 08903 or reach brandon via email at  thanks from over here at jiffy boy 
records.  (oh, by the way, we have a cool cd compilation out with 
grifters, lilys, barnabys, viva satellite, poole, etc.  ask me about 
that, too...)


From: (Susan Curran)
ADV: Warped Reality #2
Announcing....  WARPED REALITY...  dedicated to uncommon music and art
Issue #2 has interviews with: Kristin Hersh, Chris Bigg of v23, The 
Breeders, Miranda Sex Garden, Big Hat, Opium Den, and album/single 
Coming next issue: Liz Phair, Th' Faith Healers, Scarce, Helium, comix 
artist Matt Howarth, Stereolab, The Glee Club and others
Still available: issue #1 with His Name is Alive, God is My Co-Pilot, 
Belly and children's book illustrator Maira Kalman
Issues are $2.50 ppd. or $10 for a 4-issue sub
payable to Andrea Feldman at:
Warped Reality
PO Box 2515
Providence, RI 02906
email inquiries to:


From: Eric Bradford <72154.3657@CompuServe.COM>

Issue #1 of Thicker zine is available now. Features:

* Free 7" by Ken Chambers (Moving Targets/Bullet LaVolta) - 2 new songs not
on his upcoming Taang! release

* 9 page Shellac interview with original pictures taken by the band
of each other

* Interviews with Superchunk, Kustomized (ex-Volcano Suns/Bullet LaVolta)
and Ken Chambers

* Glossy cover w/metallic copper

Email to Eric at
or $4 to PO Box 881983, SF, CA, 94188-1983


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

What       Who              Where

Editors    Eric Sinclair
           Anne Zender
Mailings   Sean Murphy
Archives   Chris Karlof  

Consultants: Mark Cornick, Joshua Houk, Sean Murphy, Liz Clayton and 
K. Lena Bennett.

Indie-List is not copyrighted.  It may be freely reproduced for any 
purpose.  Please cite Indie-List as your source.

 please send your articles for the next 
  issue to <>.