Tell it like it is...


      Indie List Digest!

        July 27, 1994

     Volume 3   Number 44


This issue includes:

Blueboy LP Review
Spearhead Live
Motards, Crying Out Louds, Miss Universe, Steel Wool
Rodan, Polvo
Stereolab, Drive Like Jehu, Prolapse, Flying Saucer Attack
KCMU Loses Lawsuit
ANNOUNCE: Screaming Trees Listserv
ANNOUNCE: Ringo (a new music service)
ANNOUNCE: Green Magnet School Tour Dates
ANNOUNCE: Grout tour dates
ANNOUNCE: Richmond, VA show
AD: Interzone

Another week goes by, and the clamor stays on.  Submissions come in, 
editing transpires, and your Indie-List comes out.

Notable, but in this issue is a piece submitted (as a forward) by K 
Lena Bennett: an article by Dave Miyares on what resources and methods 
he uses for self-release and DIY stuff.  It's brisk and informative 
reading, with a handy address list at the end.  However, at 17K, it's 
about half the size of a normal Indie-List on its own! I do advocate 
reading this, if you're interested, and can mail people copies.  
Alternately, later today a copy will be available at

if all goes well.  It'll remain there about 90 days, and should be 
regularly available.  Let me know if you have problems...

T-Shirt Update: Apathy.

Keep those cards, letters and comments coming!


And now for some content:

From: (Julian Lawton)
Blueboy LP review

Have you Ever Had It Blue?(Boy)

A ramble, of sorts, about the new Blueboy LP 'Unisex' (Sarah Records).

Blueboy, says I, are one of my all time favourite Sarah acts, and have 
been since the moment I first heard their 'Clearer' 
single.Stylistically they're an anachronism, but the lyrics engage 
with the 'real world', and I don't see many other bands using similar 
influences these days.  Plotting those musical co-ordinates, the 
inputs are various Cherry Red bedsit jazz-pop LPs (Benn Watt, Tracey 
Thorn), Felt circa 1984 (the last Cherry Red stuff), a slight touch of 
Robin Guthrie & Vini Reilley (Keith is a big Cocteaus & Durutti fan, 
but it's never obvious, like a Sundays record), the Smiths of 'The 
Smiths', an ambition to be the Pet Shop Boys AND R.E.M, The Lilac 
Time, Penguin Cafe Orchestra, Kitchens Of Distinction, Nick Drake, 
Michael Nyman's less formal stuff, Heidi Berry, Sundays, Shelleyan 
Orphan - there are hints of all of them in Blueboy's music (and yes, 
I'm aware there's musical duplication there, but I bet more people on 
here know Heidi Berry than Nick Drake).  It's a return to the mid-'80s 
when beauty was allowable rather than 'indulgent', and politics meant 
more than the volume you played your guitar, or how young/ working 
class you can pretend to be.  Rather it's sky-blue, deck-chairs at 
dusk, half-smiles, a knowing look.

Last summer, drunk again, heat-hazed summer eve, Archway, London.  
Keith's crouched down on the stage, staring at the floor, Paul sat 
playing soft guitar - it's 'Marble Arch', and he can't look anyone in 
the face while singing it.  Later the full band, 'Meet Johnny Rave' is 
electric freshness, something like the Smiths in lust.  Orlando 
supported - Soft Cell meets Orange Juice, Sarah try & sign them, they 
refuse, then promptly split up.

'Blue protects white from innocence,
 Blue drags black with it.
 Blue is darkness made visible' - Blue, D.Jarman.

Blueboy - well someone else on this list knows what it means, and it's 
not the Orange Juice song, although that maybe has the same source :-) 
Style Council's 'Cafe Blue', with its fake cappucino jazz 
sophistication, Nick Drake's introspective blue songs, Juliette 
Binoche's face - a cipher of those moods - something lost, a sense of 
resignation, a deep Radox bath of melancholy, cut through with life, & 
optimism, & hope, rather than the cold dead depression, catatonic, 
beyond pain, of something like Codeine.  Keith sings of desperation, 
anti-depressants and alcohol, drunken sex, city life .  .  .  and I'm 
thinking me too.  .  .  or, well, maybe a couple of years ago, anyway.  
Drinking ice cold Pimm's & lemonade, Gilberto on the stereo, the 
Bristol skyline and canalside bars - brown paper parcels tied up with 
string.  .  .

So then there's this, this LP, almost delivering what I always hoped 
they could, but not quite, just enough to know the best (should) be 
yet to come .  .  .  a prelude of strings, sort of Penguin Cafe 
Orchestra, maybe a touch of Nyman, but too delicate & pretty really, 
just a hint in that bass, all dying down to the cool ocean blue of a 
single cello, while an acoustic guitar dapples lighter blue above, 
bouying Keith's precious vocals - 'I have the needs of a 
temple/Devotion & hope/Because life's about dying'.  And then the 
violins & cellos return, arranged as gorgeously as anything on Nick 
Drake's 'Bryter Later'.  And somewhere round here it hits me that this 
is going to be played an awful lot.  It even manages to get away with 
the line 'I'm falling down' without it sounding like a cliche.

'Cosmopolitan' comes in after, and though it's a live favourite, it 
seems it's in the wrong place here - too fast a change in pace, the 
most obviously 'indie-pop' & Smiths-eque track here - "now you've got 
my everything/ my furniture and my best friend".  A few listens later 
& I'm singing along, and the position doesn't annoy as much, but it's 
just these little bits that keep it away from perfection.

'Marble Arch' - the most minor key, sparse song on the LP, a single 
cello and guitar again, as Keith sings about a typical Sarah subject 
matter :-) "I sold my flesh with eager glee/but that was back in '83" 
"In a street off Marble Arch/I jumped into his black Daimler car", the 
final repeating of 'All he ever wanted was a lover" being a line 
worthy (if not stolen from) a Pet Shop Boys ballad.  .  .  the song 
dies down, then returns, a London cab pulls across the speakers, with 
(gasp) a clarity I thought I'd never hear on a Sarah record.

'The Joy of Living' - a Sundays-esque drum & strum, Keith sounding 
kind of Steven Duffy-ish, Gemma being quite Harriet Wheeler, 
especially her 'do do do doo' as the cello speeds up, 'Of course it's 
not love/ but then I'm not choosey'.  And a line about kisses stolen 
from an Orlando song.

'Fleetway' - softest percussion, Lilac Time acoustic session guitars, 
one vocal each side of the stereo, different lines sometimes (OK, it's 
an old trick), joining when the reach the chorus together, boy one 
side, girl the other .  .  .  'a girl alone/is just the same/as a boy 
alone/sadness is unisex'.

'Also Ran' - an instrumental better than even the ones on the Field 
Mice's 'So Said Kay', Gemma's wordless vocals like something from the 
Durutti Column's 'Vini Reilley' (in particular, the piano based one, 
side 1).  At the end as the piano dies down, you get the feeling, just 
possibly that it could actually turn into a Meat Loaf track - it 
sounds like one of those soft bits before the bombastic finale, but 
instead it doesn't.

'Boys Don't Matter' - a perhaps cousin of 'Kinky Love' - listen 
carefully to the bass & structure, the Guthrie spangled ending 
underneath the acoustic strums.  .  .  'It's a view I've held for 
years/running home in tears/I guess I'm kind of shy/But I'll give 
anything a try'.

'Self Portrait' - the alleged 'bitchy about Suede' one, 'This nation's 
narcissist Laureate/I like mirrors in bedrooms' - the most obviously 
'rock' thing here (in terms of chords/timing), but not a parody.  Not 
my favourite either.

'Lazy Thunderstorms' - allo, Robin Guthrie's back! Even the title is 
pretty Victorialand.  As gorgeous as some lost ambient version of St.  
Et's 'People Get Real' - just lose yourself in circles of sound, as 
clouds of guitar chords float by, while a second guitar leaves stratus 
trails of quiet noise (that suitably cliched enough a description for 

'Finistere' - 'Monochrome waves crashing into view/My father said I 
would never walk alone/But here I sit & into coffee cups I moan', 
painting a view of seaside small-town melancholy (tres Ben Watt/Tracey 
Thorn, this one) the mood broken by the joyous chorus - 'suddenly, it 
is like Finistere, she said'.  .  .  (even if it is half-inched off 
the Lilac Time's 'Finistere'!).

'Always There' - not the jazz-funk classic, but the return of the 
strings, and Gemma's singing has really improved since the first LP - 
'How funny life can be/but the again it was always you & me' gets the 
Sundays treatment, vocals diving down over descending violin, then 
lifting with 'I want you near me', multi-tracked harmonies, and one of 
the best string arrangements I've heard in ages, ending in a not at 
all pretentious :-) flourish of violin.

'Imipramine' shatters the mood totally, which annoyed me at first, 
again, but by 20 seconds in you've forgotten that & what a storming 
closer it is! A very Pale Saints/Boo Radleys structure (i.e.  fast 
heavy riff over light drums, then a sudden switch to heavier drums & 
lightly played guitars), but without the same production values (in 
the same way that 'In Ribbons' doesn't have 'that' sound, either).  
'and beyond the blue horizon/where dreams caress the night'.  Builds 
up, changing, 'Freaking out on Katie's bathroom/Red tablets/ Screwing 
you/Screwing you ..  .  pessimistic angel'.  Somehow it becomes 
Galaxie 500 play New Order on speed 'Imipramine/you know what I 
mean/Drug that I need/The drug that you need' vocals distorted & high, 
Dean Wareham style, the guitar let loose, feeding back, as the song 
locks in for the final straight, the drums on THAT drumbeat (the 
'Stereolab' one), the other guitars riffing around it, starting to 
flange, as the song fades away.  .  .

and a final unlisted pretty instrumental closer.


From: (Leonard Nevarez)
Spearhead live

I figured there might be more than a few of you interested in reading 
about Spearhead, the new ensemble led by Michael Franti, "formerly of 
the Beatnigs and Disposable Heroes of Hiphoprisy" (so it's true; DHOH 
are no more), even though they won't exactly qualify as indie (their 
upcoming album will be released in September by Capitol).  This show 
at the Santa Barbara Underground caught me kind of by surprise, having 
heard nothing more about Spearhead than a little blurb in Drooling 
Bone magazine (you know, that corporate music rag that chronicles 
today's tunes for yesterday's audiences).  Remembering the fantastic 
performance put on by the Disposables the last time they came around, 
I jumped at the chance to see Franti's new band live without hype.

I'll skip with the opening acts: Santa Barbara's own Rice and Beans 
and a couple songs by a reggae/hip-hop toaster named Boogie G, 
apparently an associate of Spearhead.  Speaking of which, the band, 
seven members strong, plays a more immediate, soulful, and 
groove-oriented hip-hop (read: mersh) than DHOH's heady fusion of rap 
and Consolidated-like industrial.  Lyrically, Franti has moved away 
from explicit political commentary toward an identity-oriented 
narration; I think of it as a switch from Z Magazine to the _Cultural 
Studies_ anthology.

One thing has remained constant in Franti's career: Spearhead is as 
visually arresting as his previous groups.  He's flanked by two 
vocalists, homegirl Mary (who doubles on drums, jamming as tightly 
as...  well, as Mike D, to name another obvious rapping drummer) and 
the obligatory toasting sidekick whose name I didn't catch but who 
looked like a skankin' Fagin (from _Oliver Twist_; you know, with the 
raggedy clothes).  The three of them immediately reminded me of Black 
Uhuru if they came from 1994 San Francisco.  Another woman played 
keyboard and samples, and three other guys played guitar, bass and 

I recognized some tunes that the Disposables did the last time they 
played but never recorded: one about getting tested for AIDS called 
"How am I going to live my life if I'm positive" and a love song 
(uncharacteristic for DHOH, but which makes more sense in the context 
of this group) called "Love is the shit that makes life bloom".  Lots 
of audience singalongs, arm-waving and "Hooooo"s (all of which 
Disposables resorted to in concert, it should be noted).  Franti has 
also made quite a melodic turn, injecting many na-na-nas and other 
onomatopoaeic phrases into his songs which work surprisingly well as 

So I guess the big question is: Does the new music work? The band, 
while quite energetic and successful in getting the crowd to shake its 
asses, didn't quite gel together totally, although this was obviously 
some of its first performances out of its hometown, so I'll let them 
off the hook.  Fans of the Beatnigs and Disposable Heroes of 
Hiphoprisy might be disappointed by what seems like a move by Franti 
toward a more accessible, less provocative sound, but I'd like to wait 
for some recorded music just to hear all his new lyrics before I rush 
to that judgment.  Taken on its own merits, the music does its job, 
although I think we've heard this kind of groove before (e.g., the 
Family Stand, Arrested Development).  Will Franti finally storm the 
marketplace with Spearhead, above and beyond the virtues of such a 
quest? Theoretically, it could, although I doubt he'll find many new 
listeners or cross over into the real hip-hop market with his 
musically more accessible but lyrically probably still too demanding 
new sounds.

Leonard Nevarez


From: Jill Emery <>
Austin Shows - Motards, Crying Out Louds, Miss Universe, Steel Wool

$1 night at Liberty Lunch: Motards, Hurtbox & Miss Universe
Thurs July 14, 1994--Austin TX

$1 night is a great concept...a buck to get in & buck beer which 
turned out to be miller high life & lone star in cans.

Motards--opened the show around 10:30...the mix was weird & apparently 
none of the band could hear anyone else...they still rocked even 
though john (the singer) kept having hissy fits & throwing the mike 
around.  theyre one of my favorite bands in town so i have trouble 
finding fault with them...  the crowd was tame & there werent many 
people there so audience participation was missing...what can i say, i 
like them.

Hurtbox--These guys (woman drummer) are from port natchez, tx, on the 
gulf...  a trio-guitar/singer, bass & drummer...the bass player wants 
to grow & be flea...they sounded all right, rather repetitive...lots 
of show-off bass parts & average guitar playing.  the best thing about 
their show is their stage entourage; one guy doing yoga on the left & 
two guys break dancing on the left...they break dancers were some point they merged together on the left hand of the 
stage....more of a theatrical performance rather than a musical coup.

Miss Universe--from Austin...They seemed to be enjoying themselves & 
so did alot of the audience but i wasnt impressed....they'd been 
listening to too much husker du and late, late husker du at that...the 
band was comprised of a bass player, lead singer(female), guitar 
player & drummer...  hopefully this isn't the wave of austin music to 

Crying Out Louds, Steel Wool, Sons of Hercules at Emo's: Sunday, 17 
July 1994 Austin, TX

Crying Out Louds--Great as usual.  They are sounding tighter & quicker 
then previous shows.  They still don't have a single out but hopefully 
they will soon.  They really got the audience going for the rest of 
the show.

Steel Wool--They are from Seattle and have singles out on Bag 
O'Hammers.  The first three, four songs rocked but then they slipped 
into this seattle sound--almost pearl jam-esque--that lost the 
audience here.  Apparently, this band sounds better on vinyl than 

Sons of Hercules--They are from San Antonio & they rocked...I was 
really impressed by them...specifics: they are comprised of two guitar 
players, bass player, drums & lead singer.  They rocked...the audience 
went crazy...first time in a long, time for a (semi)local act.  They 
have a CD out on the UNCLEAN label (unfortunately, I don't have a name 
for this CD).  I highly recommend purchasing anything you can find by 
these would be well worth it.


From: (Jim Stone)
Rodan/Polvo Review

Rodan and Polvo @ Black Cat (DC), 7/20:

Polvo up to bat first, starting with "Fractured" from the new album, 
remarkable mostly for how similar it sounded to the record at the 
start, but they slowly loosened up through their too-short set and put 
out some terrific sounds, largely from the new album.  They 
experimented more with their older material, with really fine results.  
The interplay of the guitars is a real treat, but I end up wishing 
they'd take things farther than they do (both live and on record).  
The best part of the show came after one of the guitarists broke a 
string, and as it was being repaired the other guitarist started 
vamping, with the rhythm section gradually picking it up, until 
finally the guitar was fixed and they plunged into their next number 
without skipping a beat...  really nice.

Excellent choice of music over the PA between sets: Stooges' _Raw 

Not knowing Rodan's music very well in advance I didn't really know 
what to expect.  I also didn't expect them to have such a following of 
fratty-looking types -- one of the most testosterone-laden audiences 
I've been in lately -- but once they launched into their head-banging 
set it made more sense.  Their version of the Slinty (tm) 
tension-release bit is weighted heavily toward the release end, so 
instead of

tension tension tension tension tension tension tension tension 

you get a lot of


which seemed ok with the crowd but wore a little thin for me.  The 
drummer is fun to watch -- he seems to have a weird passive-aggressive 
relationship with his kit.

If only Rodan's energy/stage presence and boffo rhythm section could 
be combined with Polvo's neat-o guitars and melody/chord structures...

  "as long as the music's loud enough,     :::::  Jim Stone
  we won't hear the world falling apart."  :::::  Smithsonian Institution
  -derek jarman, "jubilee"                 :::::


From: James Nash <>
Stereolab, DLJ, Prolapse, FSA - live

I must get around to reviewing some records soon.  New Laika on Too 
Pure is essential listening for Moonshake ("Two Trains"- style) fans.  
Kissyfur album is top.  New Prodigy is good, a bit one-dimensional 
until the last 3 tracks.  Sack - avoid.  In the meantime, it's back to 
seedy venues...

Stereolab/Drive Like Jehu/Prolapse/Flying Saucer Attack
@ Camden Electric Ballroom, London, 12th July 1994

Phew! what a scorcher! The best line up to hit London this year on the 
hottest day of the year.  A rail strike the next day meant an icky 
afternoon coach ride but it was worth it.  Quite why the Electric 
Ballroom saw fit to pass all the tickets onto an agency that charges 
1.50 cover, I don't know.  Moan, mutter, grumble, complain.

Flying Saucer Attack opened proceedings in fine style, they played 
just under half an hour of total magic.  Anyone expecting the poppier 
"Drowners"-type FSA was sorely disappointed as they ambiently, tribal 
rhythmically feedbacked and wibbled away.  I think they played 3 
songs, it was hard to tell as the set drifted from noisefest to soft 
beauty and back again.  I grinned all the way through as the excess 
continued.  Clarinet! Finally, the singer steps up to the (previously 
unsullied) microphone, lets out a scream and runs off stage to leave 
the other 3 winding down the set and fairly healthy applause.

So Prolpase came on and blustered and blathered for a while.  Another 
night may have been more receptive to their alternately punky/spiky 
guitarwork and shouty bits but they were out of their depth in this 
company.  Lots of promise; they need to hone their ideas and give the 
good ones more space to breathe in, just like Stereolab do so well.

By this time, our brains were overly frazzled by the heat and the 
brown liquids consumed so it was quite a struggle to come to terms 
with Drive Like Jehu's dense and intricate sound; they don't make 
things easy for the listener with scattered rhythyms and power 
playing.  The struggle was worthwhile and after a few songs, you ended 
up entering into and believing their screwed-up world.  Then when 
you'd sorted out the toe-tapping sequence, you could appreciate the 
energy and skill on show.  Maybe they dragged towards the end but 
afterwards it was the nice buzz of "boy am I glad to get THAT out of 
my system...  now for some fun!"

And fun there was.  Stereolab were mightily impressive.  So you've all 
heard 'Transient Random...' by now and they played a fair selection.  
I was too gob-smacked to properly digest the new stuff, most of which 
was sublime.  Or was I drunk? Whatever, critical faculties were out of 
the window by now.  Stereolab "took me there" a couple of times, the 
way My Bloody Valentine used to in 1988.  Yes, cynical old me falling 
for those tricks again; we all have our weaknesses and I happen to 
like mine.

2AM and everyone streamed out exhausted to grapple with the 
complexities of the London nightbus system.  A night to stiffen the 
resolve and remind you what this indie-rock lark is all about.

--James Nash (
the proof of the pudding is in the eating and the goalkeeper has
footballing pie all over his jersey <Alan Partridge> EAT MY GOAL!


c/o: "K. Lena Bennett" <>
KCMU Loses Lawsuit (fwd)

---------- Forwarded message ----------
Date: Thu, 21 Jul 94 13:28:55 PDT 
From: Julie Carter <>
To: [forwards deleted]Subject: FW: KCMU Loses Lawsuit

From: Kathy Fennessy
To: SOC MS Alternative Music Group
Subject: KCMU Loses Lawsuit
Date: Thursday, July 21, 1994 12:55PM

Judge Zilly has finally handed down a summary judgment today on a 
lawsuit filed against KCMU by 11 former volunteers & three former 
listeners.  This free speech/civil rights suit was filed early in 
1993, if I recall correctly.  In 12/92, a strike had already been 
called against the station after a number of volunteers had been fired 
unjustly by station manager Chris Knab for protesting recent 
controversial programming (& other) changes @ the station.  Altho' the 
judge has not reinstated all 11 volunteers (those who have not been 
reinstated will be appealing), he has reinstated several (incl.  the 
entire news team), & they will finally be able to return to the 
station soon.  Former station manager Chris Knab, Director of 
Broadcast Services Wayne Roth, & the UW itself were the actual 
defendants in the lawsuit (rep.  KCMU).

Expect CURSE (Censorship Undermines Radio Station Ethics) to call off 
its strike against KCMU soon.


For more info. about CURSE, call (206) 298-CURS.
Remember: CURSE condemns all threats, violence, and other illegal acts.


From: "Greg Schmitz (LIS)" <>
ANNOUNCE: Screaming Trees Listserv


Buzz-factory is a listserv dedicated to the discussion of the 
Screaming Trees and all other pertinent subjects, such as Mark 
Lanegan's solo work, the Purple Outside, and Solomon Grundy, (side 
projects of the Conner brothers) but discussion could certainly be 
expanded to include any artist, event, etc.  that might appeal to 
other Screaming Trees fans.

"subscribe buzz-factory" messages can be sent to:

The address for posting messages is:

*Sub-Pop does have a mailbox for Mark Lanegan at:  There is no guarantee that all mail will be seen 
by him, but it will be seen by someone :)*

Problems, list questions can be directed to me, the friendly 
neighborhood list owner at:

	***  ***


From: "Greg Schmitz (LIS)" <>
ANNOUNCE: Ringo (a new music service)

Here's a new service that fans of indie-rock could really add 
something to (get something back) It's cool, try it!

> (moderated) #3945 (0 + 28 more)
> From: (Upendra Shardanand)
> Subject: INFO: A Music Recommendation Service
> Originator: dallin@CS.ColoState.EDU
> Date: Sat Jul 02 17:52:59 EDT 1994
> Organization: MIT Media Lab (Music & Cognition)
> Followup-To:
> Lines: 29
> Introducing..  RINGO, a personal music recommendation service, being 
> created at the MIT Media Lab.  You tell Ringo what kinds of music 
> groups you like.  Then you can query Ringo and ask for 
> recommendations for artists you should check out or should avoid.  Or 
> you can find out how mainstream your tastes are.  Or retrieve other 
> information, like reviews and top 20 charts.
> HOW RINGO WORKS: How does it work? Well, how do you do it ordinarily? 
> You listen to songs that some D.J.  plays, or you hear about stuff 
> from your friends who have tastes similar to your own.
> That's how Ringo does it.  People all over the internet tell Ringo 
> about their listening tastes.  It then finds people who are similar in 
> their tastes to you.  If they really like some artists that you 
> haven't heard yet, Ringo will recommend them to you.
> HOW TO USE RINGO: Send an e-mail to, with only 
> the word 'join' in the body.  It will then send you a list of 125 
> artists.  You rate the artists that you are familiar with.  Send it 
> back.  You will then receive a 'help' file describing how to use all 
> the features of Ringo.
> The more users that use Ringo, the better Ringo's predictions.  As 
> time goes on and more people use it, you will find that the 
> predictions become more accurate.  So tell a friend.
>    Thanks,
>    Upendra

[For my part, I gave this a shot.  It's pretty easy to use, and an 
interesting experiment if nothing else.  Still, trust your friends, 
not your computers... But experiment.  -es]


From: (Mike Hibarger)
ANNOUNCE: Green Magnet School Tour Dates

Green Magnet School Tour Dates

Tue July 26  Memory Lane            Baltimore, MD
Wed July 27  Gumby's                Huntington, WV
Thu July 28  The Factory            Richmond, VA
Fri July 29  King's Head Inn        Norfolk, VA
Sat July 30  Club Axis              Savannah, GA
Sun July 31  Midtown Music Hall     Atlanta, GA
Mon Aug  1   Rockafella's           Columbia, SC
Wed Aug  3   The Knick              Birmingham, AL
Thu Aug  4   Vino's                 Little Rock, ARK
Fri Aug  5   Cell Block             Shreveport, LA
Sat Aug  6   TBA                    Tulsa, OK
Sun Aug  7   Duffy's                Lincoln, NE
Mon Aug  8   Uptown                 Minneapolis, MN
Tue Aug  9   Hairy Mary's           Des Moines, IA
Wed Aug 10   Cicero's               St. Louis, MO
Thu Aug 11   Blind Pig              Champaign, IL
Fri Aug 12   Unicorn                Milwaukee, WI
Sat Aug 13   Thirsten's             Chicago, IL
Sun Aug 14   Zootz                  Detroit, MI
Mon Aug 15   Euclid Tavern          Cleveland, OH
Thu Aug 18   Maxwell's              Hoboken, NJ
Sat Aug 20   Local 186              Boston, MA


From: Michael S Khoury <>
ANNOUNCE: Grout tour dates

Here are some tour dates for Uprising Records recording artists Grout.  
These guys have an urban blue-collar punk sound and hail from Detroit.

July 29     Erie, PA                Shooters Tavern
July 30     New York, NY            ABC-NO-RIO w/product & astroland
July 31     New Brunswick, NJ       The Court Tavern
Aug   3     Wilmington, DE          location unknow w/Jake & the Stiffs
Aug   5     Baltimore, MD           location unknown w/Liquor Bike
Aug   6     Cleveland, OH           YMCA w/Corrupted Peasant Farmers &Flagpole

Check 'em out if you can.  They're nice guys so feel free to introduce
yourself too.



ANNOUNCE: Richmond, VA show

SHOW ANNOUNCEMENT for those in reach of Richmond, Va.

30 July, Saturday, the Klang Co.  Picnic, featuring Labradford, Harry 
Pussy, Rake and the Charalmbides.  Cookout starts around 7 p.m., music 
sometime after, all at THE PLANT, outside on the riverfront in scenic 
downtown Richmond (rain location at house nearby).  BYOB and food, 
admission $5.  Email for directions............


From: (Stuart McHugh,AE-TS)
AD: Interzone

Hello fellow music (and arts) lovers,

this is a cheap plug for the network mixed media (my description) 
fanzine INTERZONE.  This is a mag of musical and non-musical writings 
which is at present bi-monthly.  This month featured are live reviews 
of The Wedding Present/Scrawl, Morphine, Depeche Mode and others, plus 
record reviews of The Beastie Boys, Nick Cave, Beck, Ecstacy of St.  
Therasa, Sonic Youth, and many many more.  There are also film 
reviews, stories, poetry (!), a horoscope (!!), and lastly, my 
interview/feature on John Peel.

It's available in printed form in the Seattle area for $3, (in black 
and white, but also featuring a cartoon), in particular from Elliott 
Bay Books, but also can be downloaded from the internet from the 
following address., interzone/pub



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

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

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