Time is a holiness...


      Indie List Digest!

       August 22, 1994

     Volume 3   Number 48


Man or Astroman
The Mekons
Luna/Gigolo Aunts, Hatch Shell
Fiction in song lyrics
ANNOUNCE: Minipalooza Tour dates
ANNOUNCE: White Bread Cassette Compilation
ANNOUNCE: Throes (a work in progess)
ANNOUNCE: Fash-Cen Tour Dates
AD: Riot Grrl Stuff from Fuck Yeh Publishing House 
AD: You Could Do Worse

A busy time here at I-L-Edit-Central.  Anne and I returned from 
Chicago only to throw ourselves into (a) work [oy!]  and (b) putting 
the final touches on this issue.  This resulted in a slight delay in 
this issue's release (sound familiar?  Sorry...)

While there will be several trips to the Big City in the next month, 
Anne and I are throwing ourselves into getting issues out more 
regularly.  Look for a Monday/Thursday release schedule - or 
thereabouts, depending on traffic.

Enough apologizing.

While in Chicago, I got to catch portions of a couple fine shows...  
On Friday, I caught Craw and Dis- at the Empty Bottle.  Dis- have been 
getting some high recommendations of late, both on the 'net and in the 
more traditional print avenues.  It's warranted.  They put together a 
fine set of that sort of sound one now expects to hear from 
short-haired guys from the big cities.  Driven by rhythm in the 
guitar, this sound manages to be tricky and intelligent and loud 
without any pretension.  And yes, there's a bit of the influence of 
that band whose name began with S and who have an excellent eponymous 
EP just issued.  For lack of a better word, the music sounds 
"educated".  And in my mind, that means recommended.
I wish I could say the same for Craw.  Craw reminded me of local 
(Bloomington, IN) players Pencil, but do parts of them one-up.  Where 
in Pencil I'm most intrigued by the guitar sound (a clangy Big Black-y 
sort of noise that will bring me alive in no time), Craw's strong 
point seemed to be their rhythm section, who threw together complex 
beats and added to them measure by measure to great effect.  But the 
vocalist is a shameless David Yow influencee.  Too bad he isn't a GOOD 
Yow influencee.

Next night I managed to catch Gastr del Sol at Lounge Ax.  If Dis- 
sound educated, GdS have a couple doctoral dissertations under 
their hat at this point.  Not as overtly "musical" as Dis-, Gastr 
produced another fine set of sounds from unmanipulated acoustic 
guitars (which brings out a real Fripp element to their sound), 
lightly amped electrics, an accordian, and our friend the 
shortwave.  Their set ranged across their two released albums as 
well as a couple tracks from their soon to be released new issue.

And onward, to better writers--


From: JayBab@aol.com
 ** Beck "One Foot in the Grave" LP (K records) *

Can we talk about Beck? I mean, really: Can we talk about Beck, just 
for a coupla minutes?

The reason for my caution here is that I seem to remember there being 
quite a bit of anti-Beck diatribes a short while ago in the I-L, in 
particular one guy practically daring the pro-Beckers to dial him up 
at his cyber-home if they questioned the veracity of his "Beck as 
Corporate Invention" argument...  All of which made some of us -- 
okay, maybe only me -- chuckle a bit at how people can get themselves 
worked into quite a tizzy if they really set their minds to it.

I remember seeing Beck a long time ago opening for Lois at L.A.'s 
Jabberjaw, a hayseed with an attitude that no one knew, a guy who 
seemed to just appear on stage cuz no one had bothered to stop him.  
My first impression was that here was one of those wacky folkies 
whohad listened to a bit too much Dr.  Demento in his youth..  he did 
not impress.  I didn't think about him much until the local punk-radio 
station and the local NPR-outlet BOTH started playing one of his 
songs...  and from there, a crazy kind of buzz was -- depending on 
your ideological perspective -- eitherdeveloped "organically" or was 
more than helped along by the efforts of certain DGC corporate 
marketing scientists.

Lost amidst all the inevitable "voice of the Slacker generation" media 
hoopla, top-10 Billboard charting, and indie-backlash was the fact 
that well, Beck's "Loser" is a pretty great song, IF -- and tht's a 
big "if" -- taken in small doses.  The DGC album "Mellow Gold" was 
itself a pleasant surprise, full of invention and risk-taking, and 
provided some sort of evidence that while Beck might need a good 
editor now and then("like a giant dildo crushing ths sun"??? -- come 
on--), he had more in common with "corporate" rockers Capt.  Beefheart 
or Tom Waits than he had in common with fellow Geffen corporate 
rockers Nelson.

Now we have a new Beck lp straight outta Calvin K-records -- entitled 
"One Foot in the Grave" -- and once again, it's time to step back and 
evaluate what this guy is up to.

(First off -- I don't know what or where these songs came from, when 
they were recorded, etc.  One rumor is that Beck recorded 100 -plus 
songs for the DGC lp and these are the rejected cuts...  and 
apparently there's still another lp coming from Flipside.  I have no 
idea if this is true..or if these songs were recorded before he signed 
to DGC or what...  In the end, I don't think it really matters.)

What we do get is a lot of good stuff.  16 songs...  mostly folksy and 
countryish and bluesish...no hip-hop beats...  some noise-squawk 
freakouts...  generally minimal instrumentation.  Many tunes are 
quiet, meditative, campfire downers/comforters ("See Water", "Hollow 
Log").  There's a coupla duets with producer Mr.  Johnson ("I get 
Lonesome" and the lp-closing, very Beat Happening "Atmospheric 
Conditions").  There's some songs that seem like they might be trad 
folk tunes ("He's a Mighty Good Leader", "Fourteen Rivers Fourteen 
Floods"), some really catchy gems ("Cyanide Breath Mint", "Painted 
Eyelids", and especially "Asshole"), and a coupla VU-type double 
haunting vocal numbers ("Forcefield" and "Outcome").

Yes, many of the lyrics are as full of the sometimes annoying 
non-sequitors on the this lp as on the big-league recording.  But 
don't let that bring you down, man...  the real story here is the 
startling emotional range of these songs, and the way that Beck's 
voice throughtout is almost disturbingly world-weary, a voice well 
beyond his years but not beyond his artistic grasp.  It's an approach 
that offers a refreshing respite from the seemingly regulation-issue, 
non-singing tunelessness-as-authentic-emoting that we seem to be 
hearing so much of these days in the indie-world.

- Jay Babcock


From: Thomas Edward Dively <teddyd@well.sf.ca.us>
Man or Astroman 8/3 show review

Man or Astroman show with review:

Saw them on 8.3.94 at the Thirsty Swede in SF's Upper Haight district, 
and boy did they kick.

Before I swandive proper into my thoughts concerning Man or Astroman, 
I think it's only fair that I admit to arriving kind of late, so I 
missed most of the Highlander 2 set-- four guys in matching kilts 
playing out-of-tune dreck for the two songs I did catch.  After some 
waiting, local neo-punkers The Swinging Udders (minus Johnny Peabucks) 
mounted the dinky stage and lashed out at the world in their usual 
driving way.  I like the Swinging Udders, but they seem to be almost a 
caricature of the original "hard core" bands after which they model 
themselves; they don't embody the true anger and angst of the Minor 
Threats of the world.  I read the local rag, SF Weekly, while they 
jumped and shouted their way through a 30-minute set.

Now, on to the stars of the evening, Man or Astroman:

Try imagining a loosey-goosey Devo, performing surf music from 
outerspace, with a rich sense of humor, and the abandon of a punk band 
(with none of the sneering of course), and you'll land in Man or 
Astroman's ballpark.  Despite the short set length--only an hour due 
to strings of powerstrips causing city-wide brownouts while insatiably 
sucking watts from the same one or two outlets--the four guys from 
Alabama rocked the crowd.  I had to laugh while some women shrieked 
like swooning Beatles fans during first two numbers.  I mean, the 
songs were short, but really, screaming for four or five straight 
minutes? Anyway, Coco, the ostensible front man played in an orange 
jumpsuit and a white helmet sprouting whirly plastic tubes, while the 
other guys wore an eclectic mix of thriftstore kitch.  One of my 
favorite lines of the night was the guitarist's, "We actually sing on 
every song, but we do it so fast, you can't hear us." The between-song 
antics were delivered in a nudge-nudge-wink-wink way, drawing the 
audience into the silliness of it all.

Man or Astroman is much more, though, than a gimmicky surf punk band 
from Alabama; they show real talent for performing and entertaining.  
The additional trappings like semi-functioning televisions strewn 
about the stage, along with the samples fed religiously into the 
machinery next to the "Coco 5000" set-up were a bit distracting, 
perhaps because of the intermitent power problems the band encountered 
during the performance, or quite possibly because of the low-budget 
touring operation.  While they pogoed off each other and the stage 
scenery, the guys pumped up the excitement level of the audience with 
their spacemen-cum-surf-punks music.  Along with the twangy, 
reverb-filled guitar riffs, man or Astroman fill out their sound with 
bass (Coco and the Doctor switching instruments with each other), 
samples cheesey organ, drums, and other things like broken maracas.

Lyrics? Who needs 'em? I think the only song that sported intelligible 
words was the Love Theme from Mystery Science Theatre 3000--packing 
energy galore, by the way.  At one point, they played the Munsters 
theme while their intrepid roadie (someone's little brother, I think) 
traced down one of the recurring power outages.

Finally, after an hour of sweating, sharing lines like, "See him <the 
drummer>? That's the Alabama 'I'm ready' look," tossing Coco's helmet 
into the audience and making the woman who caught it wear it, playing 
their instruments while donning TV chasis on their heads, they 
declared they smelled smoke ("Earth is such a hot place!") and 
abrubtly wrapped up the set.  No encores, but plenty of product to be 
had at the back of the club.  In the end, I highly recommend their CD 
"Destroy All Astromen", and urge folks in search of a fun live show to 
drop the dough on these deserving Surf Aliens.


Ted Dively

Ted Dively, Group D Communications
email: teddyd@well.com or ted_dively@bmug.org
Phone: (415) 861-5399
FAX:   (415) 861-0722
1645 Page St., Suite 4
San Francisco 94117-2086


From: David Gershwin <gershwin@hollywood.cinenet.net>
The Mekons, The Troubadour, W. Hollywood, CA  8/10/94

The Mekons, The Troubadour, W. Hollywood, CA  8/10/94

The only band I can think of which might have an alumni association 
membership approaching that of U.  of Indiana, The Mekons trounced 
their way into America once again, artfully juxtaposing a fascination 
with American rock and roll culture with a healthy criticism of 
American capitalist values.  (I dare you to find another band today 
with lyrics pairing the gerunds "shopping" and "fucking" in the same 

Ironically bathed in the iconography of the United States Army, The 
Mekons delivered a live performance with a ferocity and intensity that 
I suppose could only be rivaled by a _London Calling_-era Clash -- a 
Clash influenced by The Mekons, mind you.  The Mekons also have the 
special talent that seems to be unique to our friends across The Pond 
-- the ability to yell in three-part harmony, with spittle coming out 
of their mouths at constant velocity.  (Too bad this energy isn't 
replicated in BAD II frontman Mick Jones - although Strummer's still 
got some spunk in him.)

>From Sarah asking the audience if anyone had any pot, to the 
guitarist stage-left (forgive me for not knowing his name, pls.) 
asking if anyone had a "condom-inium" where they could crash for the 
evening, the brutal honesty of The Mekons and sense of comraderie you 
have with them makes you want you to get them high and take them in.  
Discussions with the audience abounded on a variety of topics, from 
Woodstock II ("You get shot for bringing in your own sandwich") to 
politics (our fair leadership referred to as the Clinton "regime") to 
Los Angeles ("You're the cleanest, happiest, most well-formed audience 
we've seen all tour").  And they were honest enough to tell a 
relatively young, Mekon-neophyte crowd what their songs were, and took 
several requests to supplement what seemed to be a set list written in 
eraseable ink.

When they played what was referred to as "the first song we ever 
wrote", which must date back to '76 or so, it seemed as powerful now 
as ever, not dated in the least.  Although I'm more familiar with 
their newer material, such as "I Love a Millionaire" and "Rock and 
Roll," such gems as "The Flame that Ate John Wayne" seemed to sum up 
best The Mekons' ambivalent feelings towards American society.

The themes of The Mekons' music -- hope, death, love, unemployment, 
frustration, and alienation -- hit you on so many levels, you feel 
like going home, drinking shots of whiskey, dusting off your old copy 
of _Das Kapital_, and calling in sick to work the next morning.  Which 
is just about what I did.

For further research:  

-- Marcus, Greil _Ranters and Crowd Pleasers_
poetic descriptions of The Mekons in several chapters . . .
--"Mekons Watch" column in OPTION magazine
latest updates on band status, marital status, new releases . . .
-- Marx, Karl Capital, Vol. I and II
will help you understand why you might feel alienated at work . . .

-- David Gershwin


From: "Steve Baragona" <baragona@ariad.com>
Luna/Gigolo Aunts, Hatch Shell, Boston 8/13

The Hatch Shell is outdoors on the banks of the Charles, and it's a 
great place to see a show.  WFNX puts on these Saturday afternoon free 
shows there a few times each summer.  This week we got Luna and the 
Gigolo Aunts.  The Aunts do that 70s retro Guitar Rock thing, but they 
do it well, and they do it with a big smile.  I've seen them do Cheap 
Trick's "Surrender," and introduce it as "This song...is...the first 
song...on our new album." A fun show.  Go see 'em when they come to 
your town.

Luna was really good, as usual.  And I wasn't even baked this time, 
either.  They stuck to the highlights of both albums, and threw in a 
few choice covers, including the Talking Heads' "Thank You for Sending 
Me an Angel." I didn't notice how uncharacteristically VU that song 
was for the Talking Heads until Luna did it.  It makes perfect sense 
when Luna does it.  The skies were threatening all day, and it started 
raining late in Luna's set.  Dean Wareham said he felt like Keith 
Relf.  "Anyone know who Keith Relf is?" Dean asks the crowd.  
"Yardbirds!" someone yelled.  "Where is he now? He died! How? 
Electrocuted on stage!" Dean answered.  But they were troupers and 
played anyway.

BTW, I saw them a few months ago at Venus de Milo, and Wake Ooloo 
opened.  I hadn't heard of them before, but it turned out to be Dave 
Mercer and the other guitar player from the Feelies.  Big Feelies 
reunion.  But they obviously couldn't pull off any Feelies covers 
because they didn't have the man who made that band: the 
percussionist.  The Feelies were on Lettterman a while back and Dave 
commented that, God forbid the Feelies should fall on hard times, 
because that guy would be the first to go.  What happened to him? 
Anyone? What about that bass player?

And why can't bass players ever start their own projects? Bass 
players seem to leave the most often and disappear the quickest.  Oh 
yeah, except Kim Deal.  And J Robbins from Government Issue, who now 
fronts Jawbox.  Notice another trend? Seems like nobody really wants 
to be a bass player.

Anyway, Luna was a pretty good way to kill a Saturday afternoon.  
I'll miss these shows if I move to Chapel Hill.  I'm still looking for 
advice on what's cool down there.  Any input is welcome.

Steve "No Nickname" Baragona


From: "K. Lena Bennett" <keb@u.washington.edu>
Fiction in song lyrics [Was Magnetic Fields]

Someone wrote:

> Magnetic Fields: ....The lyrics were so sad I almost felt like 
> seeking out the woman who broke his heart and killing her.....

As far as I know, no such person exists.  Stephin Merritt is gay, has 
a boyfriend, and is pretty open about it as well.  You might be 
confused because the lyrics to the songs generally refer to men and 
women, sometimes both, sometimes ambiguous; and over the history of 
the band have been sung either by Stephin or a female singer, Susan 
Anway.  I think the gender fluidity of the lyrics is just part of 
Stephin's way of playing with and taking apart the love song form.  
You have to take the whole thing as an excercise in fiction, rather 
than autobiography.  People often assume autobiographical intent far 
more in song lyrics than they do in relation to stories and novels, 
but there's no intrinsic reason this has to be so.

To take another example, certainly Mountain Goat John Darnielle hasn't 
been dumped as many times at the wee age of 25 as his prolific output 
of breakup songs would indicate.

Lena 						keb@u.washington.edu 

"I've lost sight of my house/but I know where my ass is."  
	- Little My (the band, not the character)


From: the subtidal one <tower@leland.Stanford.EDU>

After lurking for over a year, lots of new CD's have inspired me to 
write.  Well, here goes:

Mercury Rev - Everlasting Arm/Dead Man (CD5), Big Cat Records
Only two tracks on this one, but a sticker on the front boasting of 
over 35 minutes of music (plus the fact that it was new Mercury Rev) 
inspired me to buy it.  The first track, "Everlasting Arm" is a very 
pleasant little ditty and is quite different than some of the noisy 
stuff on Boces.  This is supposedly from a new album due out later 
this fall.  "Dead Man" is a 10 minute spoken word track, which is a 
reading from a book by Alan Vega called Cripple Nation.  I guess 
Mercury Rev provides the music in the background which is quite good.  
Then, the afformentioned extra music...secret, unreleased bonus 
tracks? Nope, just a bunch of tape recordings of little kids, singing, 
talking, getting tickled, and consequently laughing.  This goes on for 
about 25 minutes.  I listened to the whole thing once, and probably 
never will again.

Boyracer - _More Songs About Frustration and Self Hate_, Slumberland 
These guys (and girl) are from England and they have a really great 
sound.  I have trouble describing their sound (it reminds me of 
someone, but I can't think of what).  I guess, I might say that they 
sound punky in a superchunk sort of vein, but this wouldn't sum it up.  
They go punk in lotsa different ways, and all of them are good.  Check 
this out!

Fat Tulips - Starfish, Vinyl Japan (UK) (281 Camden High Street, 
Camden Town, London NW1 7BX, England)
This is great! I guess they have been around for a while, but this is 
my first encounter with them.  It says in the liner notes that this is 
their first and last full length release, which is sad because now I 
want more.  Drawing comparisons on this one is not that difficult.  
I'd say they are in the Heavenly/Tiger Trap vein, but what makes their 
sound great is the other effects they use.  They use lots of bells, 
chimes, and other noises that give their songs a very poppy feel.  If 
you like Heavenly, Tiger Trap and the like, this is a must have.

_the smitten love song comp._, Karate Brand records (P.O.  Box 93296, 
Los Angeles, CA 90093-0296)
I'm not sure when this came out, but it is absolutely incredible.  The 
Jawbreaker song, "Housesitter", (which they played last time I saw 
them) makes it worth my ten bucks, but there is so much more! This 
also includes the Cherubs doing a cover of the Bow Wow Wow classic "I 
want candy".  Other standouts include the tracks by Johnboy, Steel 
Pole Bath Tub, Distorted Pony, Unwound, Grifters and Beekeeper.  
Actually, all of the tracks are good, just in different ways.  Another 
must buy!

Other great new stuff that I don't have the time to go into great 
detail on include: _Rows of Teeth_, Merge Records (WOW! This is 
amazing, and great for me since I did not have most of their 7"'s), 
_Jabberjaw Compilation_, Mammoth (I guess this is a benefit for the 
club Jabberjaw in LA...whatever it is there are some great bands on 
this one too!), Beatnik Filmstars _Laid Back and English_ (cool 
experimental guitar works...some tracks remind me of Polvo).

Well, that's it for now.  Perhaps I will not lurk so long before my 
next submission.

O                           O                                                 O
O      Jim Van Houten       O         If you want it, take it all             O
! tower@leland.stanford.edu !       There's nothing cool about having         !
B                           B                  to go without                  B
O                           O                                                 O
O                           O                      -The Boo Radleys           O


From: nefastus@netcom.com (Brent Stickels)
ANNOUNCE: Minipalooza Tour dates


a.k.a "The Diplomatic Immunity Tour"

part two...


free or discounted admission with your Lollapalooza ticket...
Itinerary as follows:

[abbreviated by editor, due to slackful mailing policy....  -es]

Aug 22	Albuquerque	Beyond Ordinary
Aug 23	Phoenix		Boston's
Aug 24	San Diego	Casbah
Aug 25	SB/Costa Mesa	Beach Shack/Our House 	(tentative)
Aug 26	San Jose	Cactust Club
Aug 27	OFF
Aug 28	Portland	Satyricon
Aug 29	Vancouver	Town Pump
Aug 30	Seattle		Moe
Aug 31	OFF
Sep 01	San Francisco	Bottom of the Hill
Sep 02	Los Angeles	Whiskey

See you all there...so far, the tour's been pretty darn good (we've 
been out for four weeks so far, with Gumball headlining).  In Denver, 
Smashing Pumpkins came to the show, in Kansas L7 was there, in 
Montreal Nick Cave and Kim Deal came around.  May the south and 
southwest and northwest treat us as well if not better than all the 
great places we've been so far...



From: blue slurpee junky <whitebrd@eden.rutgers.edu>
ANNOUNCE: White Bread Cassette Compilation

the stupid and ambitious lad at white bread zine is putting together a 
cassette compilation to coincide with the release of his next fanzine 
which sports interviews with pork queen, noggin, and some other nice 
folks.  if you have access to a boom box or 4-track than record some 
lo-fi ramblings and send them my way on the cassette format (for, 
alas, i have no dat player).  mail it to me by the last week in Sept.  
ny address is rpo 4601, po box 5063; new brunswick, nj 08903-5063.  
bands who make it on the comp will of course receive free copies.  
(please include a contact name and address and any liner notes you 
would like me to print).  thanks, brandon.


From: Celia <xbuc@midway.uchicago.edu>
ANNOUNCE: Throes (a work in progess)

bits of data that work for INDIE LIST:


a work in progress

THROES, part two of DOORIKA's trilogy Saajury, 
is a wet, raucous,  orgiastic rock-n-roll youth 

Original Music by Mark Greenberg of the Coctails
Graphic designs by Doug Huston of the School of the Art Institute of 
Costume designs by Heather Priest & Angela DeCarlo.

Limited Engagement at Chicago Filmmakers, 1543 W. Division
Thursday & Friday  August 18 & 19, 10pm
Saturday August 27, 8pm, 10pm

The Friday August 19 performance will be followed by live music by 
Miam Miam (featuring Chris Holmes of Sabalon Glitz & Joy Gregory of 
Tart) and Number One Cup.

THROES is a dense, tight, highly physicalized work-in-progress with a 
1950's, Japanese flair - a transition into part three.  Where part one 
of Saajury concentrated on ritual, illusion and minimalistic silence, 
THROES focuses on the contextualization of contemporary issues of 
youth culture, lost ideals and the physical and moral devastation that 
accompanies it.  The work is infused with the iconography of the rock 
concert, karaoke, jazz, boxing, and summer surf.

THROES takes as it's point of departure the representation of lost 
youth in Nagisa Oshima's 1960 film Cruel Story of Youth, the 
nihilistic tone of Shintaro Ishihara's classic book Season of 
Violence, and the generation of Sun Tribe filmmakers who questioned, 
revered and documented the refluent growth of post WWII Japanese 

As a whole, Saajury contemplates structures - of ritual, of 
convention, of language - focusing on their breakdown.  Inspired by 
formal aspects of Japanese popular culture,Saajury explores the 
notions of desire, decay and sexuality as tradition and as rebellion.

DOORIKA is a not-for-profit organization supported in part by the 
Illinois Arts Council.

[my apologies for the lateness of this post, also.  Given the amount 
of press it received in Chicago, I suspect those who needed to know, 
knew.  -es]


From: Fashcen@aol.com
ANNOUNCE: Fash-Cen Tour Dates

.....Did You know that at any given time there are as many as twenty 
million bands in the United States called "Schwa"? Well, now there's 
one less-- because we've changed our name from that worn out old tag 
to the even more ridiculous title, FASHION CENTRAL.  Hope you like it, 
because if you don't, you can smell it! The 7" on Spinart will be 
available any minute, and if you still don't own a copy of the first 
one, sent us a postcard, or e-mail.  The real reason I wrote in is to 
list our tour dates for August, so here they are.....

                  Aug 22  Newyork, NY...........Brownies
                  Aug 23  Washington, DC......15 Min.
                  Aug 24  Baltimore, MD.........Memory Lane
                  Aug 26  Atlanta, GA..............SOBs
                  Aug 27  Augusta, GA............Squeekies

For additional info write to fashcen@aol.com or P.O.  box 4243, 
Richmond, VA 23220.  thanks, Mike Hearst


From: Jaz Long <C9051520@pegasus.hud.ac.uk>
AD: Riot Grrl Stuff from Fuck Yeh Publishing House 


RIOT GRRRL fanzine - compilation of the first three fastzines from 
Leeds and Bradford RG gangs and more.  Includes "What The NME Wouldn't 
Print", tips on how to start a record label, our story so far and 
plenty of zine addresses.  stlg1 including post.

ZINE INFO PACK - detailed information on how to start a fanzine, plus 
riot grrrl zine listings & details of the best general zines too.  50p 
+ stamp.

SAWTOOTH - Tse Tse Fly, Credit To The Nation, Bewilderness and AC 
Temple interviewed, cool kid graphics and the musical musings of Leeds 
punker band Coping Saw and their friends.  60p + stamp.

ABLAZE! 10 still available - Huggy Bear, Nation of Ulysses, Moonshake, 
Sonic Youth, Sugar, Poster Children, Bark Psychosis, Frank Black 
interviews.  Pavement on demos, Karren A! on Riot Grrrl, and free 
Truman's Water, Jacob's Mouse, Bivouac and Cornershop single.  
stlg2.50 including delivery to your door.  Enquiries about back issues 

overseas delivery.  SEND YOUR ORDERS TO: Fuck Yeh Publishing House, 17 
Wetherby Grove, Leeds LS4 2JH, England.

Thanks very much...

Jaz Long
BSc (Hons.) Computing
The University of Huddersfield
email c9051520@pegasus.hud.ac.uk


From: Rob Galgano <0005338863@mcimail.com>
AD: You Could Do Worse


You Could Do Worse. #2, the ex-Feelies issue, out now...

Wake Ooloo, Luna, Low, The Connells, Five-Eight, Possum Dixon (don't 
hit me).  World music, the war on drugs (part 1), AIDS, 296 reviews, 
and a few typos...>>>$3.00 ppd.<<<

#1 - Loud Family, Tommy Keene, Grifters, Buffalo Tom, 275 reviews, Kerrigan v.
Harding, heart surgery, and so on...>>>$3.50 ppd.<<<

send $ to Rob Galgano at P.O. Box 74647, Cedar Rapids, IA 52407

thank you, thank you, thank you.


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    esinclai@indiana.edu
           Anne Zender      azender@indiana.edu
Mailings   Sean Murphy      grumpy@access.digex.net
Archives   Chris Karlof     karlofc@seq.cms.uncwil.edu  
           FTP              ftp://ftp.uwp.edu/pub/music/lists/indie

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

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