How come I have to be Mr Pink?


      Indie List Digest!

         June 4, 1994

     Volume 3   Number 35


Blaise Pascal & Pavement Tour Diary, pt 2
Rodan/Eggs/Tsunami et al.
Peter Brotzman Trio, Moonshake, et al.
Pitchblende, Tone, Rake
Music West


From: Marcel Feldman (
Blaise Pascal & Pavement Tour Diary, pt 2

                        SEATTLE OFF RAMP TUES 26 1994

We get to the Off Ramp at 4:30, plenty o' time, & watch "the Pavement" 
set up & soundcheck.  There are 2 shows tonight; first are the Skinny 
Boys & Pavement, then us & Pavement.  i figure this'll be our first 
show, as last nite didn't count.

After our soundcheck, i phone my friend Brad.  he & his wife, Wilma, 
come pick me up so i wave farewell & sigh & say goodbye to stress & 
anxiety...  fer the moment & leave the rest of the band to do whatever 
it is they're gonna do.

The three of us take off to a pizza place, Piecoras.  mmmmmm pizza.  
good & spicy.  We go back to their place, & drink some fine Seattle 
coffee, then back to the Off Ramp at 8:30, catching the last half of 
Pavement's first show, & we don't get on till about 10:30.  The place 
is packed & packing....  they just keep on filing in.  i guess it's a 
cool crowd, but it feels too similar to Vancouver.

RAWK! the crowd is pretty pumped as we hit the stage.  A full house, 
full of people i've never seen before in my life & people who've never 
heard of us before (w/ a couple of exceptions).

We jammed! i shook my hair & my head followed.  i swung my arms & 
pounded the skins w/ swift sticks.  Bass rolled thru the crowd like a 
double-barrelled steam roller, twin guitars zoomed in from both sides 
& the vocals crept up, stalking, then reared & dived in fer the kill.

Pavement came on....  again...  & in some subterranean citified 
attitude, they proceeded to blow us away in the best way imaginable.  
i've never seen a crowd pogo in such unified enthusiasm.....  ooo 
baby, the joint was jumpin.

After the show, the 6 of us headed to Brad & Wilma's to crash, & we 
were all thankful for the invite.

Comics & Coolness & Coffee in the morning.  Wilma has disappeared to 
work, so we tie ourselves to the road again, following Brad, dropping 
Ben off at the Bus Station, & head to the Fantagraphics Warehouse 
(where Brad works).  Now i'm Really Smiling.
Blaise Pascal wanders around a large room, checking it out, taking the 
tour.  We thank the Fantag-Gang profusely & get back on the highway to 
home.  Vancouver Ho!
Seattle to Vancouver, stoppin fer some burritos & spicy mojo munches 
just before the border, & a real cool looking can of iced coffee 
called "Th Coffee." Brilliant.  We get to the border, & then thru the 
border in like 50 seconds.  Couple of questions, couple of smiles, & 
it's god-damn beautiful british columbia.....  & Iggy Pop is still 
screaming "Wild America" against my walls of grey matter.  It's a 
head fer home, get clean, & crash the Commodore later tonight.


From: Moo-Town Snacker <>
Seam/Bedhead/Tortoise--Live Review

SEAM, BEDHEAD, and TORTOISE played a benefit for an AIDS support 
center at the Lounge Ax, Chicago, on Friday 20 May.  I came out to see 
Seam as they were the only band that I had heard prior to that show.  
I left thinking that this was one of best bills I have seen in a long 
time.  This was one great show from start to finish; not a boring band 
in sight.

TORTOISE (Thrill Jockey and Torsion)--OK, maybe these guys have a 
Slint record in their collection, but to call them "another 
Slint-influenced band" or "a Slint rip-off" seems a bit lazy to me.  I 
was quite impressed with not only the somewhat unconventional 
instrumentation this five-piece band chose but also the way they 
exploited it.

The crowd was thin when the band began playing.  The band seemed to 
ease slowly (tortoise-like, perhaps) into the set.  One guy was bowing 
(as in "contrabass bow") a vibraphone and was getting a sound 
something like what you get when you run your finger around the edge 
of a crystal wine glass.  Another guy was playing what appeared to be 
a small Yamaha keyboard, and two bassists started piecing together a 
beat that the drummer soon picked up on.  On the next song the 
vibraphone bower picked up a melodica, and the keyboard player picked 
up a soprano saxophone.  The mic on the melodica went through some 
reverb (or delay) effect, which tossed the sound of the song slightly 
off-kilter in a good way.

They played some slow stuff that was, of course, bass-heavy and that 
had a sparse feeling.  They also did some songs with much fuller 
sounds including one that had an eerie bass line topped off with a 
jazzy riff on the soprano sax.  At one point one of the bass players 
appeared to trade his bass for a guitar, but the six-stringed 
instrument was really a bass.  I was pleased that all the bass never 
got muddied in the mix.  During the set the musicians moved around 
trading instruments with each other.  The drummer ended up playing the 
vibraphone on one song and a conga drum on another, while the 
vibraphone bower took the drum kit and the sax player played a snare 
drum with brushes.

BEDHEAD (Trance Syndicate)--This Dallas, Texas, band has a lead singer 
who looks like Bob Kennedy (Indiana U.  cross country and track fans 
know who I mean).  They could have called their set The Telecaster 
Convention with all three guitarist choosing this model (and the bass 
player had a Fender too).  One guy did pick up a Les Paul for a song 
or two, and it was pressed into service when somebody broke a string 
later on.  Bedhead was a bit more accessible right at first than 
Tortoise.  Maybe their songs had more pop appeal.  Although I would 
never confuse the two bands, some Bedhead songs appealed to me in the 
same way as some Wedding Present songs.  It was that thick, distorted 
sound and fast strumming.  They used this well with some Seam-like 
chord progressions.  One song ended in a climax of this thick guitar 
sound and a simple drum part (with one guitarist on tambourine), which 
created an almost hypnotic effect.  I also noted a slight country 
flavor in one tune in which a guitarist was using a slide.

Bedhead played a free show the next day (Saturday 22 May) at Ajax 
Records.  The set was quieter than the one of the previous night.  The 
crowd was smaller too but included members of Seam.  The reduction of 
distortion allowed the country feel to come through a bit more.  
During this set the Bedhead drummer revealed that, like Tortoise, he 
owns a pair of brushes.  The performance was very low-key in addition 
to low volume.  The drummer appeared to embellish some bits, the 
singer admitted that the band had forgotten all their songs that day, 
and they all indulged in a goofy cover of some '60s instrumental, the 
name of which I do not know.

SEAM (Touch'n'Go)--Was this heaven? No, it was Holland.  Wait, that's 
not right--it was the next to last Seam performance before Sooyoung 
Park's trip to Korea and Lexi Mitchell's departure from the band.  
Sooyoung introduced the band: "Hi, we're Seam from Chicago." He was 
met with an immediate response from a member of the now good-sized 
audience: "Don't break up!"

When Seam's two guitarists appeared, the stage was again ruled by 
Telecasters.  The set mostly consisted of a mix of new and _Problem 
with Me_ songs.  Though they did play some older stuff too.  Seam 
displayed about five times more horsepower in this live performance 
than I detect in recorded material.  I would recognize songs but be 
surprised at the energy and fullness of the live versions.  Sooyoung 
indicated he was suffering from a cold ("Comtrex users of the world 
unite," he exhorted us), but the already low-in-the-mix vocals didn't 
appear to suffer.

One of the new numbers began by sneaking under tension-building 
rim-shot/hi-hat and moderately quiet guitars that seemed to point 
toward something bigger.  This bit led into only a pedestrian 
snare/hi-hat beat, but then the whole thing exploded into 
tom/snare/crash and nice, thick Seam chords.  It was a couple of songs 
off _Problem with Me_ that really carried the most power, though.  
The few who were enjoying the show in a bodily manner really gyrated 

This was a great show, and I believe I can understand the enthusiasm 
in the Indie-List 3.20 review of the Seam show in the Paard, the 
Hague.  Although Sooyoung says the fate of the band is yet to be 
determined, it might be a good idea to catch their last show before 
their "hiatus".  They are playing a free, in-store show at Ajax 
Records in centrally-located Chicago, Illinois next weekend.  The 
store is only one "el" ride and one bus ride from O'Hare.

[ah, the lag time verities of publishing.  Sad but true, this is 
past.  Indeed, I was lucky enough to be there for the better part of 
the enjoyable experience...  -es]



From: Mark Cornick <>
rodan/eggs/tsunami/stay free/wind-up reviews

Ho! At some point this summer, I'm moving back to Charlottesville, 
where I'm going to stay until late August (when I return to school - 
all right!) I was going to move at the end of July, but I might do it 
in a few weeks instead.  What's this all mean? Nothing, really, so 
let's just get on to the reviews:

"The Monsters Of Rock II": Rodan, Tsunami, Eggs CD single (Simple 
Machines, PO Box 10290, Arlington VA 22210-1290): Souvenir thingy from 
the upcoming UK tour featuring these three bands, courtesy of the 
hardest working women in show business.  Let's just take the three 
tracks in order - Rodan's song "Tooth Fairy Retribution Manifesto" 
starts off with a silly live introduction of the band (from the 
Working Holiday shindig), followed by about four bars of Circus 
Lupus-like drum pounding and then several minutes of Rodan's 
prototypical Slint-meets-Breadwinner mechanations, with muttered 
vocals.  I've always been a little suspicious of Rodan (as I am of any 
band from Louisville with any connection, however tenuous, to Squirrel 
Bait, and that includes nearly every band in that town) but I liked 
this.  Maybe I should listen to that LP, eh? This is followed by 
Tsunami's "Cowed By The Blah Blah", which is pretty peppy and features 
some nice horn accents (is that you, Rob?) As is usual for this band, 
there are some nice vocal harmonies with the non-flashy but perfectly 
appropriate guitar work.  Hope this is a harbinger of good things for 
the new album...  And finally, we get Eggs' "The Argument", which is 
essentially Eggs tuning and Andrew ranting about the noise gate on his 
vocals, recorded at a show which happened the night before the 
Friendly sessions (I was there - maybe if you listen closely enough 
you might hear me heckling them for not wearing their Verve t-shirts.) 
This is mixed with a bunch of really pointless synth noodling.  I 
mean, really, really silly.  Easily the stupidest thing Eggs have ever 
recorded, but somehow funny.  Anyway, the Tsunami and Rodan tracks 
certainly justify the $4.00 purchase price (pay no more!) for fans of 
either band.  On the other hand, if you like Eggs but not Tsunami or 
Rodan, just give me a call, I'll play you "The Argument" over the 
phone, and I'll bet anything you'll go buy something else instead.  No 
disrespect to los Huevos - hey, I love you guys, don't ever change, 
but you could've done better.  Rodan *1/2, Tsunami **, Eggs *, 
overall *3/4

Tsunami "Be Like That" 7" (Simple Machines): The first new 7" from 
Tsunami in a while is a teaser for their upcoming _The Heart's 
Tremolo_ LP (might be out now, might not - last I heard it was just a 
little behind schedule.) Side one is "the song everyone asks about" 
according to the catalog.  "Be Like That" isn't a bad song, but why 
does everyone ask about it? It's consistent with the rest of their 
recorded work, nothing terribly unusual about it.  I like it, I guess.  
The flip, "Newspaper," drags a bit but ultimately is worthwhile.  It 
took a few listens, but I like this.  It's perhaps not the ideal first 
Tsunami record for the uninitiated (I'd recommmend "Geniuses of Crack" 
myself, if it's still in print,) but it's a good bet for fans.  *1/2

"Stay Free!" #7 zine-like thing (PO Box 702, Chapel Hill NC 27514, This tab-sized bundle o' newsprint, put out 
by UNC-CH's radio station WXYC, isn't a half bad read.  Ya gets 
interviews with Lois and Secret Agents Of Her Majesty's Secret Cervix 
(the latter a delightful CH band that Friendly once played with.) Also 
a blatant dis of _Reality Bites_ (sorely deserving of such a pan - 
whither Winona?), commentary on Naomi Wolf (y'know, _The Beauty Myth_) 
and Bob & Rod Jackson-Paris, and yr usual record/zine/vid reviews.  
Plus the Wonderbra, Sophie B. Hawkins not wearing one, and, with each 
photo, a caption describing the fashions involved ("Anne: Leather-like 
footwear by Salvation Army, $2; Ebony Anklets by Sears, $2; Star Trek 
Commemorative T-shirt, $10; Jacket by Thrift World, $1.") A good deal 
better than the average radio-station publication (maybe because 
there's no mention of the station's programming?) I suspect this is 
free in the Bermuda Research Triangle area, but if yr interested in 
what's going on down there you might send a coupla bux to get one of 
these things.  **

"Wind-Up Toaster Pastry" #3 even-more-zine-like thing (Liz Clayton, PO 
Box 7122, Ann Arbor MI 48107-7122, Mentioned in 
passing towards the end of Telegraph transmission #1 (did you read it? 
good) but I thought it deserved a little less facetious coverage here.  
Liz - student, publisher, Ajax crony, bloofga inventor - has outdone 
herself with the third in the Wind-Up series.  This time she 
interviews Guided by Voices and King Loser; has Franklin Nothing 
Painted Blue and John Mountain Goat interview each other (very funny); 
reviews many, many live shows (including my neighbors LaBradford, 
hey!) and some zines but, as usual, no records; has James Yo La Tengo 
and Mark Coctail discuss their bands' recent television appearances; 
presents cooking and car-care advice; and (of course) makes several 
Ajax/Drag City in-jokes.  Dennis Shrimper is apparently some sort of 
vanguard design guru, because his populist hand-written ads have now 
been imitated by many other Wind-Up advertisers.  All this plus extra 
pages and four colors for the same price, and of course the eminently 
readable layout, makes Wind-Up not only a great zine but better than a 
lot of music mags as well.  Buy one today! ***

Mark Cornick forwards to wherever I am, since I'm on a
continual expedition to the far corners of the net

Mark's t-shirt is the Unrest "space-station" design by Tannis Root/ 
TeenBeat (Teenbeat #72), $10.  His white cotton shorts were bought at 
a yard sale for $3; his boxer shorts are by Hanes, $1.50.  Mark's 
glasses are by Dr.  Curtis V.  Bare, Optometrist.  Computer by IBM, 
purchased for about $1,500 in 1989, currently worth around $500.  
Mark's beer is Yuengling Porter, brewed by D.G.  Yuengling & Son, 
Pottsville PA 17901.  Uff da!

mark cornick | | "Michael Bolton, (snore), I
             |  |  want to stick an icepick in
     (*)     | |  his eyeball." - Lois Maffeo


From: (David Bennison)
Subject: Peter Brotzmann + LMC Experimental Jazz Weekend

Peter Brotzmann Trio + Moonshake - Disobey 3, Garage, London

I had my first Brotzmann experience last night.  I went to a new club 
run and promoted by Paul Smith of Blast First fame (who was there 
chatting to Mr Sav Pencil, whom I spotted like the gossip columnist scum I 
am).  The evening went under the name of 'Disobey 3', Disobey 1 and 2 
having had Charles Gale as headliner.  DJ was Bruce Gilbert from 
Wir{e} who was known as 'The Beekeeper' last night while his set was 
called 'The Swarm.'  Pretty scary coil/hellraiser/biosphere-type 
inspired stuff it was too.  Moonshake were on next and played one 20 
minute jazz noise track with Callahan vocalising about halfway 
through.  The Moonshake brass section wigged out; there were about 10 
people in the band, while Callahan played with his musical electronic 
black box and generally acted more as 'conductor' than musical 
contributer.  I was dissapointed that they left so soon, it's clear 
that this is an area that Moonshake will be experimenting with further 
in the future.  Twice now I've seem Moonshake in their new form and 
found that the vocals have been very low in the mix, which I think is a 
shame, although there are many who'd prefer them kept there I think.

So Peter Brotzmann came on next (looking like Oliver Reed in 
Castaway) and he was accompanied by Keith Tippet on piano (the guy I 
went to this club with had raved to me about him in the past so I was 
keen to see him.  Here comes a huge digression...My friend works with 
a guy called Dave Catz/Kats? who has the most amazing collection of 
old World Of Pooh/Caroliner/Archipelligo Brewing Company tapes, 
records and artwork.  He used to know Brandon from Nuf Sed and I was 
wondering if anyone knew exactly what the connection is.  Was Dave in 
the Arch Brew Co or what!? ...  Normal service is now resumed...).  
The third member of the trio was an excellent drummer neither of us 
knew.  No need to describe how good the musicianship was here, it's a 
different league.  

So you know the score; Brotzmann and gang played an hour set where the 
piano was poorly mixed, and a second set of an hour later on which was 
far more satisfying.  Keith Tippet was a revelation, placing blocks of 
wood on the strings of the grand piano to de-tune, playing bells and 
chimes, then sitting eyes closed for 10 minutes, entranced at the 
sound of his fingers playing the same lightning fast flurry of notes 
over and over and over.  The spontaneity of true improvisation is 
something I've never experienced before and I was left grinning 
throughout by the way one of them will take a rest while the others 
seize the opportunity to take the music off in a different direction, 
pace or mood and the other just watches, interprets and responds 
himself.  It takes real inspiration to know when to just sit and play 
minimal piano chords and notes while the drummer and Brotzmann is 
going up in flames around you.  They finished when Keith told us that 
'Sorry.  We don't know any more songs!' while Peter politely thanked 
us and looked forward to coming back soon.  He takes on a different 
persona when not holding his sax.

I really enjoyed the whole night; there was a marked difference in the 
crowd and atmosphere to the usual shows I see, although I don't think 
it was for the best.  There were more pseuds and middle-aged bearded 
men showing a cool lack of emotion and a disdain for their 
surroundings than I've ever seen.  It was the first time I'd sat down 
on chairs around small tables before, (I was expecting a waiter to 
come and serve drinks!) and the first time I've experienced mid-'song' 
rounds of applause for individual instrumental work-outs (except, 
bizzarely, for Ely the old Trumanswater drummer when a group of us just 
watched him play and did the jazz applause for him now and then).  
Some guy gave me his 'card' and told me he'd pay me for the photos I 
was taking - he was a San Francisco jazz critic who writes for 
something like 'Butt-Rag' I think.  He wore a beret so I left the card 
there, there's just no excuse for that sort of fashion statement.

So that was the review.  I thought I'd let the curious know what will 
be on the bill in the next few weeks.  Tonight sees the beginning of 
the LMC Festival Of Experimental Music, which goes on this weekend at 
Conway Hall, Red Lion Square, Holborn, London.  An 'unusual' mix is 
promised tonight with Thurston Moore and Niki Elliot (of Huggy Bear) 
performing new work together, with noise pioneers AMM in support.  
Over the weekend we see performances by Yamatsuka Eye (Boredoms, Naked 
City, Hanatarash), Otomo (Peril, Ground Zero), Fred Frith (Henry Cow, 
Massacre etc), Jon Rose (Slaughterhaus), Yoshidihide, Stock, Hausen 
and Walkman! and others.  I can't pretend to know much about some of 
the above.  Thurston Moore plus Pram plus Skinned Teen play at the 
Russell Arms on the Sunday.

Disobey 4. 

I've got the flier for the next Disobey Club night and it looks even 
more impressive than the last.  Get this...Bruce Gilbert aka The 
Beekeeper as DJ.  Autechre playing a set that I can only salute them 
for being open minded enough to do (particularly as I doubt there'll 
be mass dancing to them here as there was when I last saw them for a 
Warp Night).  Then we have a collaboration of Peter and Caspar 
Brotzmann and F.M.  Einheit from Einsturzende Neubauten.  I'm 
particularly impressed at the melding of techno, improv-jazz and 
bowl-quaking guitar in one night.  All hail the mighty small-chinned 
one they call Paul Smith.



From: Mark Cornick <>

Pitchblende, Tone, Rake at the 9.30, Washington, 5/27

I haven't been to a show at the 9.30 in ages - they just haven't 
booked anyone I'm interested in (especially since the Black Cat 
opened) and they tend to be r-e-a-l-l-y expensive.  But the prospect 
of seeing my favorite noise improvisationalists, Rake (substituting 
for the mighty Caspar Brotzmann Massaker, who cancelled) as well as 
possibly hearing new stuff from DC's "emo-ecologists" Pitchblende drew 
me in.  Go figure.

I arrived just as Rake (from Fairfax, VA) started their set, which 
consisted of one really long song (about 30 minutes) incorporating 
bits and pieces of stuff from their records.  Mostly, however, Rake 
just made a lot of noise, which is what I expected.  This was the 
first time I'd seen them as a quartet - a fourth Raker now adds moog, 
sax, and drums as needed.  So, anyway, their sound varied from wailing 
jazz-skronk to ultra-heavy rock riffing - imagine Sun Ra's Arkestra 
jamming with Halo of Flies and you've sort of got the picture.  Easily 
the highlight of the show - Jack Rose of Ugly Head and my new band 
Gospel Midgets, who accompanied me to the show, couldn't stop raving 
about them, and he's a hard guy to impress.  They were that good.

When Unrest split, Phil Krauth claimed he wanted to get a job where he 
wore a shirt and tie.  Little did we know he meant he'd be the new 
drummer for Tone, Washington's nattily-dressed, Branca-esque "guitar 
ensemble." We're talking six guitarists, two basses and drums.  We're 
talking droning, repetitive riffs with a texture like stainless steel.  
We're talking dull. Mainly this reminded me of an electrified 
version of Robert Fripp's League of Crafty Guitarists.  Sure, they can 
play, and they've got a much more keen sense of melody than most other 
noisy bands, but everything seemed so rigid, so perfectly laid out.  I 
was standing around wishing they'd just freak out for a moment.  
Somehow, I get the feeling Caspar would've (physically) kicked Tone's 
butt.  (By the way, I spotted Phil's former Unrest mates Mark and 
Bridget in the audience - they split after Tone, missing Pitchblende, 
which seems a little odd.)

Last up were Pitchblende, celebrating the imminent release of their 
second long-player, _Au Jus_.  This show was almost all new material 
(with the exception of "A Penny For The Guy", from their Working 
Holiday single) and it sounded excellent.  As usual, they fused 
hardcore energy, howling guitar work, skewed melodical ideas, and a 
little bit of math-rock into the loudest, most forthright noise this 
side of Slint.  Unfortunately, we couldn't make out most of the 
vocals, due to the typically inept sound man, but that didn't stop me 
from really enjoying their set.  Of everything they played, the song 
which they claimed is on an upcoming WGNS compilation (sorry, didn't 
catch the title) was the best - along the same lines as "Lacquer Box." 
Now I'm really looking forward to that album (out June 6)...

Mark Cornick, inventor, Transparanoia Adjust-O-Phonic Recording
Process (patent pending)

P.S.  Congratulations and best wishes from all of us at Indie-List and 
Telegraph to subscribers Mike Gangloff and Amy Shea on their May 28th 
wedding.  All riiiiiiiiiiight!


From: Jarnail Singh Gill <>
My Adventure at Music West

My Adventure at Music West: Part 1


Music West is this annual music conference in Vancouver (sort of like 
a scaled down version the New Music Seminar) where lots of slimy 
record company types take over the downtown core, in hopes of finding 
the next "big thing".  Anyway, lots of bands were in town and I 
checked out a few of them.  This is part one of my Music West 
adventure.  I'll post part two later.

May 12

I couldn't go to any shows tonight because I had school stuff to do, 
so I missed the Scratch Records Japan-Canada Noise Summit (featuring 
Nimrod, Mexican Power Authority, Boredoms and others) and was quite 
sad about it.

May 13

Its Friday! I'm free from responsibility at last! To make the most out 
the night, my friends and I started out early.  We got downtown at 
about 7:45 pm, and the only thing going on was the MORGANFIELDS at the 
Vogue Theatre.  They were a pretty standard (so called) "alternative 
rock band," sounding like REM crossed with your choice of '70s guitar 
rock group.  Their sound got tiring quickly, so we fled for the exits 
as soon as possible.

Next we walked up Granville Street to the Max to check out THRUSH 
HERMIT, yet another Halifax band! They reminded me a bit of Pavement, 
except with at pop-punk feel.  Their songs were catchy enough but the 
skid row pub atmosphere of the Max didn't complement Thrush Hermit 
very well.  Celebrity sighting: those wacky Barenaked Ladies.

It was still only 9:30 by the time we left Thrush Hermit and made our 
way to Gracelands for Pull.  Pull were already on stage when I 
arrived, and there was about a 10-foot gap between the stage and the 
closest audience member, as everyone thought they were too cool to 
stand near the stage.  Pull are a band that wouldn't have been out of 
place in Manchester in the late '80s, sounding like Ride, Stone Roses, 
and Inspiral Carpets all rolled into one.  They've got a pretty 
polished live act, but it all seemed a little too glossy at times.

We left Pull at about 10:00 and walked north on Granville to "Hockey 
Night at the Commodore" featuring the WHEAT CHIEFS, HUEVOS RANCHEROS, 
TANKHOG, and the HANSON BROTHERS.  This event was all in celebration 
of the brand new "Johnny Hanson presents: Puck Rock Vol.1" CD (you 
guessed it, all the songs on the CD are about Canada's favorite 
passtime).  The WHEAT CHIEFS started things off, and (suprise!) they 
looked just like SNFU without that Chi Pig guy.  Even though no one in 
the half-empty Commodore was paying attention, they still ripped 
through their set like they were playing in front of a packed house in 
grimy little punk rock club.

[wait a minute. was the Commodore half empty, or was it HALF FULL? 
why don't we ever look at the bright side of these--oh, never mind.-az]

In between the bands, we collected hockey cards of all the bands, and 
watched "Slapshot" on the big screen.

One of my personal faves, HUEVOS RANCHEROS, came on next, and, to the 
dismay of the pro-Canuck crowd, they annouced they were Calgary Flames 
fans.  Still, everyone loved their souped-up, deranged, instrumental 
surf rock.  Almost everything they played was from their Endsville CD, 
but they did have this great new song called "The Girl from Nanaimo."

The mighty TANKHOG took the stage next, and were very loud.  These 
ex-members of legendary Vancouver punk bands (Slow, Ogre, TV 
Repairmen), looked and sounded like they were playing out their '70's 
rock star fantasies (If you take Black Sabbath, BTO, AC/DC and the Sex 
Pistols, you'll end up with Tankhog).  The highlight of their set was 
the hockey song hat trick, which included "Drinkin' Whiskey, Playin' 
Hockey", "What's Wrong with Lumme?" (a hilarious song about the ace 
Canuck defenceman), and Gary Glitter's "Rock n' Roll".

To round the night off, the alter ego of those fabulous Wright 
Brothers, known as the HANSON BROTHERS, rocked the crowd into 
oblivion.  They only took a long enough break between songs to spit an 
insult at the crowd (literally) and for Tommy to yell "1-2-3-4!" 
(these guys do the Ramones better than the Ramones themselves).  What 
more can I say? I love these guys! GO CANUCKS!


----------> J S Gill ---------> <--------------> <-------> 


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 <>.