There's a dust cloud outside,
And it's bigger than Texas...

      Indie List Digest 

       March 6th, 1994

     Volume 3, Number 16           


Glenn Branca Concert Review
Dick Dale Show Review
exploder, crooked rain, misc
jps experience/cinematic/sold gold hell
cool music review time again
great show - The Ex
Felt Pilotes, other 7"s


B.O.S. tour dates   
Tube Alloy Recording   


Notes from the editor:

1. Thanks for all the responses to my DC-online question last week - 
nearly 120 letters, out of a readership of ~750... not too bad. :)

The overwhelming majority was in favor of such a link (on-line catalogs
and ordering records via e-mail) once security issues get worked out - I
hadn't realized exactly how non-secure e-mail is, but I do now.  In any
event, I'll continue discussing this with the relevant people down there,
and you'll all know about it as soon as the service is ready.  (On a side
note, Dischord is on-line now, but I don't know what their address is. 
Simple Machines is still working on it, and TeenBeat will probably sit
back for a while and think about the whole situation before jumping in.)

2. Record Reviews:

Ted Nugent and the Amboy Dukes, "On The Edge" (Mainstream Records - some 
odd UK pressing)  

A compilation of tracks from the first 2 Amboy Dukes LPs and some other 
oddities.  Now, I've always loved "Journey To The Center Of The Mind" but 
I was wary of how a whole CD would hold up... my fears were unwarranted.  
It does sound dated (1968-69), but not hopelessly so, and again, since I 
didn't exactly grow up with this stuff, it doesn't bother me the way it 
might some of the elders of the list.  Luckily, Ted hadn't started into 
his path of utter misogyny and bow-hunting yet, so I can just stick to 
the music and say that he's a fine guitar player, even if some of the 
arrangements are clicheed.  There's supposed to be a second volume, 
called "Over The Top" - I'd be much more wary of that one.  * 3/4

Sonny Sharrock, "Ask The Ages" (Axiom - Bill Laswell's subdivision of a 
mersh conglomerate)

Back in the late 60s, Sonny was one of the first free-jazz guitarists, 
taking things out and up, injecting rock-style and effects into the clean 
guitar lines that trace back from Wes Montgomery to Django Reinhardt and 
Charlie Christian.  He played a good bit with Pharoah Sanders before 
moving into Last Exit with Peter Brotzmann.  Anyway, Sonny sorta 
disappeared for a while, and then came back and knocked everyone's socks 
off in 1991 with this album.  He's joined by Pharoah Sanders, Elvin 
Jones, and Charnett Moffett - an all-star session.  The songs have a 
slightly late-60s sound to them, but they're light years ahead of most of 
the Mahavishnu Orchestra stuff.  I can cry and be happy at the same time 
listening to this album.  And it's not just because I'm "jaded and tired 
of indie-rock" - this record moved me when I first heard it, at a time 
when I still thought Superchunk ruled the universe. :) (No, I'm not 
knocking chunk, really...)  ***

And just when you thought it was safe to enter the record stores again, 
there's another new Unrest single - the "Animal Park" ep.  "Full color cover 
designed by Bridget" with some help from a really bad porno mag... 
let's just say that the cover model (male) is, um, well-endowed.  2 new 
songs - Afternoon Train and Hey Hey Halifax, and a remix of "Light 
Command."  Also, keep your eyes peeled for the soundtrack to a new Jon 
Moritsugu film - "Mod Fuck Explosion" - Unrest does half the LP.  Aren't 
posthumous releases sorta strange?


P.S. Why hasn't anyone mentioned that the Spinanes do a pretty neat cover 
of Mission of Burma's "Fame and Fortune" ?  That totally floored me last 
night, although much of their set was very samey.



Glenn Branca Concert Review

Review (sorta) :

Glenn Branca Ensemble - Queen Elizabeth Hall, London (24/02/94)
Symphony No.10 for Massed Electric Guitars
with selected movements from Symphony No.8
personnel list :
	Glenn Branca		conductor
	Evans Wohlforth		guitar
	Eric Hubel		guitar
	Brannon Hungness	guitar
	Carolyn Master		guitar
	Miriam McDonough	bass and keyboard
	David Reid		bass and guitar
	Virgil Moorefield	drums
	John Myers		guitar
	Phil Kline		guitar
	Ellen Watkins		guitar
	Wharton Tiers		sound

For those that are unfamiliar, Queen Elizabeth Hall is part of the 60's
concrete arts complex situated on the South Bank of the River Thames that
is more generally the home of works by more 'classical' composers. A
formal setting for the world premiere of Branca's Symphony No.10, in a
wooden panelled, leather seated hall, filled to near capacity by a crowd
best described as the 'Indie Kids that grew up'. Coming on stage, Branca
announced that the evenings performance would consist of two extracts from
Symphony No.8 (the Mystery) followed by pieces from the new work with the
newely aquired working titles of "The Final Problem" and something else
which I missed, but that Branca also seemed pretty unclear about. There
was to be no intermission between the works except time required to
re-tune and change the inevitable broken strings. 

Branca's music is incredible. On the surface it can seem like an atonal,
or rather mono-tonal, collection of rhythmic patterns with associated high
frequency noise, distortion and feedback. But as you get drawn in, the
overtones and resonances that are created take on extra dimension and
clarity that produce effects of depth, space and uncontrolled harmonies.
You begin to wonder where all the sound is coming from. Ten guitars
strumming repetitive simple patterns shouldn't be capable of producing it
! At times the sound, at high volume, takes on the impression of an
orchestral string section, a church organ, or a large choir, and at the
center of it all Glenn Branca conductor/beatnik dancer/muppet on speed.
Highly recommended. 

Commentary (sorta) :

The presentation of Glenn Branca's music, deliberate or otherwise,
suggests a parody of the establishment (unsurprising considering his
musical heritage) but it still must sit, however uncomfortably, at one
edge of that establishment. If comparisons can be made between Branca's
sound and that of Sonic Youth, then equally that comparison can be made
with Gorecki, Glass, Cage or a whole host of other modern composers. Does
this make it suitable copy for I-L ? Is Glenn Branca the future of modern
music ? (I hope not.) But at present, in my eyes at least, he has an edge,
something that makes his music interesting, exciting and different. Next
week, I might find that same excitment has moved to techno, rap, the next
MBV clone band or even, dare I say it, something 'mainstream'. 'Indie'
music generally has an 'edge' which I enjoy, but can at times become
staid and boring too, and that's where other musical spheres inspire and
re-new. Anyhow I think this is where I came in ... time to get some sleep
and shutdafuckup. 

( ||

From: "Theodore A. Khoury" <>

Dick Dale Show Review

DICK DALE @ the Back Room, Austin, TX (2/28/94) Just as I would be
skeptical of a Sandy Nelson, or Link Wray comeback, the amazing Dick Dale
lies in the same leagues. He most definitly is one of the top influence on
all forms of speed-indie music( hardcore, metal, blah). Well over 50, and
a pony-tail down to the small of his back, he blew away a crown of 60,
like no other show. Touring with a bassist and drummer (couple of
metal-heads, younger than himself), he played a rip-roaring set. Speaking
of Link, he performed 'Rumble' from early Link days.  He played a lot of
classics: Nitro, Banzai Washout, etc., but played too much from his new
album, which is considerably slicker. During the drum solo (!), he picked
up some sticks and played overtop of the drummer, and then took the sticks
and beat out a solo on the bass, while the bassist moved around the fret
board, did some flashy spins, and stick tricks too, quite dazzling. He
plays a right-handed guitar, upside down - left-handed. Apparently, over
this tour the past year, there's been a group from Canada following him,
called 'Dickheads'.  After the show, he demanded to meet everyone in the
audience and sign autographs. If you're into the original of the surf-instro
explosion, (the one who gave us Man or Astroman?, Shadowy Men, Phantom
Surfers, etc.) and he comes your way, make it a priority, and become a

Ted Khoury


exploder, crooked rain, misc

From: (Mark Cornick) [shouldn't that be mark14? - sean :)]

Greetings from my new accomodations in cyberspace. Whoop-de-do! I like
MindVox so much, I might actually keep the account open. (heh, heh, heh.)
Here's some bits 'n' pieces: 

- _Eggs Teenbeat 96 Exploder_ 2xLP (Teenbeat): Yeah, it's finally out!
(and it took even longer than _Deep End_!) Much more sprawling than
previous records from los Huevos, with actually only a little bit of
filler (were three title tracks necessary? I dunno.) Less
jangly/college-rock-ish than Bruiser (then again, 2/3 of the band is
different, so this isn't all that unexpected); shows several influences
(ranging from the Pastels to [ulp] Boston.) Winning tracks include "A Pit
With Spikes" (much better than the 45 version; the LP version includes
some nice Left Banke-ish baroque touches), "Ampallang" (the brightest pop
ditty ever written about a penis piercing, no doubt) and "March Of The
Triumphant Elephants" (Theremin- powered audio-geek madness.) Something
for every indie-rock fan here (including people who actually know who Eggs
are.) **

- Pavement _Crooked Rain Crooked Rain_ LP+45 (Matador): As you know, I
liked "Cut Your Hair" when I reviewed it a week or so back. The rest of
the LP is quite good too; while parts of this record may sound
classic-rockish at first listen (the first song reeks of 7T's metal all
the way!) there's always something just a little bit askew, a little bit
"wrong" with the songs, and that's what's great about Pavement: their
aplomb. Perhaps not the masterpiece that S&E was, but hardly the letdown
so many of us were expecting (hoping for?) Picks: "Elevate Me Later",
"5-4=Unity", "Newark Wilder" and, of course, "Cut Your Hair." "Jam Kids",
on the bonus 45, is prime as well. **

Depending on monetary circumstances, I might head out to the Yoyo-agogo
event this summer. I have yet to make it to any of these defining events
in indiedom (including the Elegant Chaos popfest that happened right in my
own hometown! christ, what a slacker) and it'd be an excuse for me to
venture west of the Misssissippi for only the second time in my life.
Anyone heard anything more about the event? (Like, any bands in
particular?)  [I've got some feelers out, since I plan to go as well, and 
I'll keep posting whenever I hear anything real. - Lena]

  Mark Cornick    \ /   
                   8  that's a mighty big word for a ten year old / \


From: Stephen Clover <>

jps experience/cinematic/sold gold hell
victoria university student union hall, sunday 27 february 1994

  before tonight, i wasn't sure exactly _which_ members of solid gold hell
were formerly in s.p.u.d., but after only three songs, i was convinced
that it was the guitarist, the singer, the bassist and the drummer. they
really did sound a lot like the late s.p.u.d., although i should say that
this was not a problem as i never got to see them play while they were

  they wandered onto the stage, about an hour late (!), and eventually the
show got underway. they were pretty good, too. a real mixture of style, as
i said a lot of s.p.u.d., especially the vocals, but if anything looser,
with generally more to the songs. most of the numbers featured a of of
different parts, fast bits and slow bits, and some complicated rhythm
structures as well. some of the numbers featured a trombone, played by the
singer, which was also pretty good, and added a real edge to the sound.
they basically really mixed it up, and weren't caught doing the same thing
for very long at all. as for a description of the sound -- a mixture,
really, basically slow grind-ish bits, extended periods of noise, and
fast, hardcore heavy bits, mixed up completely, all featuring the same
twisted, moaned, disturbing (good) vocals and a fairly tight, interesting
rhythm section. 

  by the end of it, i'd decided that the guitarist was matthew heine, who
incidentally does great shayne carter impressions while on stage
(intentionally or not, i don't know), and the singer glen campbell, former
s.p.u.d.-members. the bassist i have no idea about, but it took awile
before i realised the drummer was gary sullivan from jpse. with guitarist
and drummer in jpse now, i guess solid gold hell don't play when jpse
are out of town (or should that be the other way around!). 

  i quite enjoyed their set, i'd go and see them again. it should be noted
that they didn't go down particularly well at all, as could possibly be
obvious as you read on. the decision to put them on the same night as jpse
& cinematic can have only been because they share those band-members, and
it was only possible this way. 

  cinematic were next up. well, i can't say i liked anything about them
except for one song, which was completely out of place in the set and
actually sounded more like a straitjacket fits song. they play a
particularly light brand of guitar pop-songs, with vocals, lyrics and
melodies that sound positively inane when coupled into a song. not only
this -- it may be because i didn't like them, but i don't think so -- they
appeared infuriatingly affected. i have only seen them once before, and
that was only the last song of the set on that occasion, but i don't
remember all the emotive tossing-of-well-groomed-hair, angst-filled looks,
or ostentatious-body-motions while playing, then. but, that was more than
six months ago, and cinematic hadn't played in front of (drum roll) the
smashing pumpkins (!!) then! could be i'm reading into it a lot more than
is true, but i thought they came across as tossy, wanky wannbe alternative
popsters, overwhelmed with an unrealistic view of their own worth. and the
crowd loved it, mostly! but of course, the crowd, mostly, sounded like
they'd be happy at a bryan adams concert. 

  don't get me wrong -- they are very good at what they do, it's just i
don't like what they do, or how they do it. or how they plug their
forthcoming album, no matter how humorously, after nearly every song. 

  jpse came on after a while, and the crowd loved them too. they were
pretty cool -- very mellow, trippy songs combined with me being very
tired by this stage, it was a perfect end to the night, and the weekend.
true, they were loose, and also seemed a little out of tune (instruments,
and vocals) but they did some interesting things, especially to 'kickback'
and 'in the sky' -- which now have a number of individual parts with their
own distinct tempos, both slowed down and sped up. they played all the
"hits" -- 'elemental', 'flex', 'into you', 'ray of shine', 'breathe', plus
a number of album tracks and one i didn't recognise ('crush'?). 

  at this stage, i was just lying back in a chair with my eyes closed,
enjoying the music. the sound hasn't changed that much since the
addition of the new guitarist, except maybe what i mentioned above. when
they finished, they were off for about 30 seconds! (i swear - not even
enough time to open a bottle of beer!) before coming back for a one song

  overall, a worthwhile night for only $10. after all, it may have been
the last chance i get to see jpse play -- they are rumoured to be breaking
up soon, along with the straitjacket fits, who are supposed to have
already split. 


bailter space/the 3d's/celine
victoria university student union hall, tuesday 1 march 1994

  this night was another late start, celine showed up on the stage around
9:30, bringing the robert cray band (over the pa) to a timely and welcome
demise. contrary to my expectations (a little harsh, perhaps -- i'd never
heard of them before!) they were great. if i described them as a cross
between sonic youth, the dead c, and early swans music, you'd get the
general idea -- noise-laden, very loud, aggressive songs played quite
slowly and creatively! they spend a lot of time with their backs
half-turned to the audience, communicating, and i suspect it was necessary
as they appeared to be improvising a fair amount in some parts of the
show. the guitarist attacked the songs, and his instrument, while
playing, and the songs themselves were interesting, not least that (as far
as i could tell) there was barely any conventional time-signatures or drum
patterns at all. the overall intensity of the show was quite high, and
appreciated by the crowd who, i suspect, most of whom were there to see
bailter space. put it like this, on the strength of the performance, i'd
buy their record (if they had one..). 

  the 3d's were were, well, the 3d's -- noisy, loud, energetic, a lot of
fun. it was a pleasant surprise to hear a large amount of old material
this time around -- i think nearly half the set was numbers off
"helzapoppin" and "swarty songs for swabs", and an extra surprise was the
rendition of 'meluzina man' with original vocal harmonies intact --
chilling. they also played with a fair amount of intensity, especially
david saunders, who appeared to go into semi-seizures while singing --
physically attacking the microphone when singing (as best one can while
playing the guitar simultaneously) crouched almost doubled-up due to the
height the mic-stand was set at, and performing a number of sudden violent
jerking shuddering body-throws in between some lines. [I thought it was
David Mitchell who sang crouched over his mike - at least he did when I
saw the 3d's two summers ago, when they still had a US record label -
Sean] intriguing -- it didn't appear as ridiculous as it probably sounds,
it just added to the performance. the set also set a large number of
people down the front of the hall jumping, slamming and crowd surfing --
an amusing result of this at one stage was before playing 'the young and
the restless', david mitchell announced the song and made pointed
references to them. overall, another fine performance from them, but i
don't think anyone expected anything less. 

  after a bit of a wait, mainly because of some seeming diffculties if
setting up brent maclaughlin's drum pads & sampler, bailter space slowly
appeared. how to describe their set? they were loud -- i was wearing
earplugs, but they were still pretty damn loud despite. i removed the
plugs at one stage to test the level, and it was ear-damaging, i'm sure of
it. they were tight, almost to an unnatural degree -- songs began with
their wash of noise, and go from there, but the ended perfectly every
time; one instant there is bs hammering at your head and body, the next,
perfect silence (and the next thunderous applause!). they were intense,
without seeming to be -- sure, veins stand out in alistair parker's head &
neck as he throws himself into each song and the vocals emerge from places
unknown, but john halvorsen almost disinterested, standing back, avoiding
the ring of the carefully placed spotlight which is supposed to highlight
him, calmly and precisely playing his minimalistic basslines, eyes half
closed as if conjuring the sound from elsewhere. brent maclaughlin appears
almost comical, baseball cap on backwards, large, grim smile on his face
as he incessantly pounds the hell out of his kit, especially as there was
no drum riser and only his head, and the top half of his torso, are

  they seemed to be communicating constantly while playing, especially
evident as some of the songs played seemed to be 're-mixed' -- different
(in some cases a lot different) from the album versions. they played a
number of tracks from "robot world", opening with 'begin', two or three
from "thermos", 'grader spader' from "tanker", and 'x' and 'projects' from
"b.e.i.p.". parker and halvorsen swapped vocal/guitar and bass duties for
these two, and halvorsen sang them both wonderfully, especially
'projects', bellowing the words with such violence ("hey!") that it made
me wonder where the inspiration for the song came from. they also played
one (or two?) songs i didn't recognise, presumably from their (hinted at)
forthcoming album, rumoured for later this month. 

  this was a wonderful performance. at the end, there was wild applause
and judging by the volume, almost everyone present seemed to be calling
for more. shortly afterward they came back on and played two more songs,
also announcing that they have another show in wellington in about three
weeks or so! (what a homecoming :). 

in all, this night was the better of the two, although more expensive, it
was worth the cost simply to see bailter space after nearly two years
abroad. in addition, the music on the pa was also a lot more interesting,
except for the robert cray -- they played the skeptics, lung, and into the
void(!). in all, a great show. i only need to know one thing -- where did
all those people get their great bailter space t-shirts (the ones with the
gordon's album cover diver on the front)? 


Subject: cool music review time again

the week's record reviews, but first....

It was me who reviewed the Orchids CD, and me who called it probably the
best record ever. And in the cold light of day....i still think that! One
problem could be that the album has TOO MUCH RICHNESS! I have to take it
in small doses, say a song at a time. 

This week i got 3 singles, all a few months or longer old and all probably
reviewed before, but then again so what? here we go: 

The Fall - Why Are People Grudegful? (Cog Sinister)

The Fall eh? That Mark E Smith eh? Wouldn't it be great if he was your
uncle or something. Always moaning about the amount of head on his pint.
The Fall are always inventive, they never give you something straight,
always something a little...odd. "Glam racket" is ace, it is a glorious
racket, and very glamourous. Glamour in the pagan sense perhaps though.

Velocity Girl - Creepy (Sub Pop)

Oh yes, "Creepy" has one of those melodies doesn't it? You hear it once on
the radio and after that keep remembering it, even if you forget who did
it. I did. I got this because i liked "Audrey's Eyes" and it was green
vinyl, only when i played it i said "Oh so it was Velocity Girl!" Great
song. Can't remember what the other side was. (*1/2)

Saint Etienne - I Was Born On Christmas Day (Heavenly)

Their Xmas single, dead cool it is too. It sounds a bit like Kylie, all
pop and bouncy and sexy (!) and is a great song truly, should have been
christmas number one not that lump of shite Mr Blobby - who i am glad to
say has been exposed for what he really is, a thug who ruins little
children's cake. I bet all you non-UK readers are thinking, "what the hell
is he talking about?" Don't ask me, i don't know either.(*)

"Sculpture Is Dead. You Are Fascist."

this mail was from:
            at the: university of central england in birmingham



great show - The Ex

I saw an incredibly great show the other night (Feb 28) at Stache's here
in Columbus, Ohio. I was working late on a project so I didn't there until
The Ex got up to play so I missed all the opening bands (Guided By Voices
was one of them). But The Ex put up one of the greatest walls of sound
I've seen in a long time. I think they're from England or Holland - some
foreign land. The cello player added a definite celtic influence and the
woman on drums played some great tribal riffs. I you need a comparison to
some other band I would say imagine if The Drovers had taken some acid
(well, lots), smoked many pipes of crack for good measure and then got up
to play - that might be pretty close. If they are touring near you
definitely go see them. They are great!!! 

Well gotta go - off to see Mr. P-Funk himself, George Clinton.
I'll let you know how it was.

joey pospisil (frog a mungus)
columbus, oHIo


From: EDWARDS GREGORY BRYCE <edwardsg@ucsu.Colorado.EDU>

Felt Pilotes, other 7"s

Felt Pilotes-----Moving Day/Another Day/Kathy's House 7" EP

This sparkling Denver band does it again with their slow, sad, catchy
tunefullness.  Elemental chords, lots of cymbal and snare, and
beautiful basslines add up to a great second vinyl release.  I highly
recommend this to people who like subtlety in music.  It can be
purchased directly from Spit and a Half records @ 18510
Denver, Co. 80218

John P./Bob S.-----Porky's Revenge/American Baby 4 song split 7"

John (of Felt Pilotes) does some mellow acoustic stuff that is fairly
decent, although a little bit dreary...not the typical FP stuff.  Of
the two tunes, "Acid Rain" works best for me.  Robert of the Apples
produced John's side.  Bob S. of the Festering Rinyanyons (an
Illinois band I believe) creates distorted fuzz pop (sans bass and
drums) that somehow sounds original.  Maybe it's the production...the
guitar sort of gets phased in and out for no particular reason.  "My
Song" is my fave on this side.  I don't know anything about this guy
but his songs were recorded at the ultra-trendy Idful in Chicago with
Casey Rice.  Write to him @ Big Yucky p.o. box 791 DeKalb, Il. 60115
or order the single through Spit and a Half.

Cavity-----Crestfallen EP

I guess you could file this under the Riot Grrl category, although
these people actually know how to play.  There is something appealing
about this single that has yet to come through in their live show
(except maybe when the lead singer's dress fell off on stage last
week...VERY amusing).  Of the three tunes, "Stepdad" is the best.  I
cannot resist such inane lyrics as "You came into my room.  You
didn't even knock.  It fell out of your jeans.  You call that a
cock!?!"  If this band actually took themselves seriously, I'd be
worried.  But instead of being self important, they simply play punk
rock tunes and have fun doing it.  Write them @ Cricket Ranch Records 4763 Boulder, Co. 80306.




From: Robert Poss <>

Our next two (Band Of Susans) shows, in case anyone is interested:
March 19 Boston/Middle East w/Green Magnet School, Th' Faith Healers,
     Shiva Speedway

March 26 Washington, D.C./Black Cat w/Trumans Water

Band Of Susans -- Strong Enough For A Woman, Gentle Enough For A Man



NEW FROM RADIOACTIVE RAT RECORDS: The Dixie Flatline compilation cd. 20 
songs from 15 bands, featuring the Art Monks, Buzzoven, Damn Near Red, 
Flailo, Hose Got Cable, King Sour, Labradford, Ladyfinger, Mulch, Pelt, 
Somatron, Spot Me 20, Ugly Head, Yardmonster & 310. $8 ppd from 238 S. 
Cherry St. Richmond VA 23220 (pls. make checks payable to Amy Shea).

Also new from Radioactive Rat Records and Turn of the Century Records: 
Pelt/Damn Near Red split 7-inch. $3 ppd from RadRatRec address.


From: Steve Folta <>

Tube Alloy mail-order catalog by FTP

I run a tiny record label called Tube Alloy Recording, and it finally
occurred to me to make the Tube Alloy mail-order catalog available by FTP. 
Seven-inches by Junket, Hugh, Speed Bumps, and others are available. 
Anonymous FTP to "", then "cd pub/folta".  "TuA.Catalog" is
the catalog, "TuA.Reviews" is a file of some fanzine reviews of the records
in the catalog.  If you don't have FTP access, you can email me
( and I'll send you a copy by email.


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

Editor     Sean Murphy
Moderator  K. Lena Bennett
Mailings   Liz Clayton
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           FTP/Gopher       /pub/music/lists/indie @

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Please cite Indie-List as your source.

 please send your articles for the next issue to LENA!

[Submitted by: karlof chris knox  (
               Mon, 7 Mar 1994 11:11:31 -0500 (EST)]