Bored but always sincere
Everyone acts so weird around me


      Indie List Digest!

       March 29, 1994

     Volume 3   Number 21


SXSW: What Terry Saw
SXSW: What Terry Didn't See
Eric's Trip, Picasso Trigger, Young Rock & A Day in the Park
Sebadoh Furore
Travel Opportunities to Holland!
Versus, Jawbreaker
Uncle Wiggly, the Gravel Pit
Telegraph Wants Writers!
A request for clothing


Well, here we are.  You've patiently been awaiting this, so here's the 
first I-L under the new editor- or moderator- ship.  We're still 
working a few kinks out of our system yet - so if the next couple of 
issues seem a bit more ragged than they were under the expert 
keyboards of our predecessors, we trust you'll bear with us.  We'll 
have it all sorted out by issue #100 (which is all too soon, let me 
tell ya').  Additional delays in this issue because of travel (see
below) and machine problems at the bloofgamatic.  We thank you for all
your support!

In our personal music fronts, despite being IN Austin during the last 
day of SXSW, I opted not to go out and see Junior Brown or any of the 
other fine acts that evening.  But I don't think people need 
vietnamese restaurant reviews in the I-L, so I'll forgo that.  I did 
manage to catch Pony at a tiny club named Thurston's (in Chicago, for 
the second leg of my trip about the states).  If you've seen them, you 
know the fine quantity of high volume noise they can put out.  In a 
chat with Kitty (the bassist) it was revealed that their CD on 
Homestead is due on May Day of this year.  It should be a fine 
followup to their 2ble 7" pack we all know and adore in this house.

I wish I could be as happy about the opening band, Brain Kiss.  While 
their coop, Crank Records, sounds like an admirable idea - coops are 
always a good thing, especially in these cusping economic periods, 
their sound left me cold.  They want to do a lot of different sounds, 
but I wish they would understand a one of them first.  But I feel sure 
they have good record collections, the backhanded praise of so many 
bands these days.  Maybe in another year...

Thanks to a desperate sinus attack, I missed out on the glory that 
would have been Killdozer.  Anyone who wishes to fill me in on how 
that went down, I'd love to know.



Somnambulant Saturday: Mazzy Star in Chicago

(elbows eric out of the way, sits down)

since my better half had told me days before that he was going to go 
to killdozer, i decided to do the polar-opposite thing and go to 
mazzy star on the 26th at the added attraction was cath 
carroll, the unrest poster child, who was on the bill as well as 
mazzy and acetone.

due to a scheduling difficulty, we missed cath carroll and arrived 
at the beginning of acetone. this trio had gotten good marks in the 
chicago reader, with lots of neil young references etc. a little 
neil, a little...erm...beach boys, and a little guitar pop was what 
it amounted to. Lots of slow, melancholy songs, but also lots of 
endless solos, or so it seemed to me. perhaps they were just 
expressing themselves, though.

between sets, a friend told me about the time he & my exboyfriend 
ate tater tots with howe gelb when giant sand came through 
bloomington a few years ago. when they got back to the car, the 
bassist was sitting in the car with a map spread out in front of him 
"where's...iowa?" was the question. a geography lesson 
ensued. we trust they found their way there alright, although they 
never came to bloomington again.

seeing mazzy star in 1994 at the metro was not too different from 
seeing mazzy star in 1990 at the metro, except that it was a whole 
new taste experience back then, and now the audience was filled with 
adoring fans yelling 'ho-o-o-o-pe!' the band seemed to have more 
players, too, than i remembered; a bewildering number of musicians 
kept roaming around the stage ('it's an earth, wind & fire show!' 
exclaimed one onlooker). 

the mazzy thing has always fascinated me; i've been able to deal 
with the ever-so-detatched demeanor because the mysterious, 
lying-awake-all-night songs have fascinated me. i was not 
disappointed. they played all the hits we love from 'she hangs 
brightly' plus more from the new one, which i don't have. hope may 
be blue, but she's blue in a beautiful way.

over and out.

From: "Harris, Terry J." <>

SXSW what I saw and how it was

It was my annual trip to the SXSW thingee in Austin last weekend.  The 
weather was fabulous compared with Baltimore's, and I tied my personal 
best -- seeing 24 bands in four days.

Sets I saw worth a comment or two:

The Bis-quits -- the new band featuring Will Kimbrough, formerly of 
Will and the Bushmen.  This time, however, Will is not the full-time 
center-of-attention, but part of a fairly solid band.  Two guitars, 
bass and drums -- basic Big Star-derived mid-80's guitar pop.  I liked 
it.  I always do.  They said they have a record out, but I know 
nothing about it.

Radial Spangle -- the band from Oklahoma that is not the Flaming Lips. 
They played a loud and not particularly good set.  The guitarist was 
drunk, and the sound was bad.  Hordes of people were there though, 
most however trying to sneak through the venue's back door to see B*ck 
(you know the one, god knows why).

Morphine -- Obviously one of the buzz bands of the weekend, the huge 
gymnasium-sized Terrace Theater attracted a massive and appreciative 
crowd.  They put on an impressive show, and the two-sax-at-once encore 
was pretty hot.

True Believers -- the long-awaited headlining reunion was probably the 
only show at SXSW that would not have been hopelessly overshadowed by 
the Morphine set immediately before.  The True Believers reunion was 
put together to promote Ryko's reissue of a couple of their mid-80's 
albums.  Sounding exactly halfway between the Velvet Underground and 
Los Lobos, the Believers put on a wondrous show (including, by the 
way, two Lou Reed tunes).  Obviously enjoyed by both audience and band 
alike, the performance was extraordinary if only for its charm and 
warmth.  I've been a long-time fan and I really enjoyed the set.  
Afterward, several Austinite companions were nearly tearful with 
praise for their local heros.  And although there was a rumor that 
they might play a mini-tour to support the Ryko effort, it was clear 
that the show was of special significance.

The Gay Sportscasters -- An Austin semi-all-star band, I think.  
Featuring Evan Johns on guitar.  Notable mainly for the visual 
extravagance -- two quasi-pro go-go dancers, a guy in drag playing 
tambourine, a lead singer doing obscene things to the microphone, and 
extraordinarily bad t-shirts for sale.  A comic version of Panther 
Burns, maybe.

Loud Family -- scheduling errors last year kept 'em from playing.  
This year they had a difficult (not very crowded) early-evening time 
slot, but it was quite good.  A few new songs.

Lois -- Played a non-SXSW afternoon gig solo.  She seemed quite 
nervous and somewhat rushed.  She broke a string on the second song.  
A small but appreciative audience cheered anyway.  Me included.

Kitchen Radio -- I had never heard of them, but they played a nice set 
of straight-forward, strummy, rootsy, guitar-pop (not unlike the Silos 
or Blood Oranges maybe) at the same afternoon gig.  I'll buy a record 
if I see one.

Giant Sand -- One of my favorite shows ever was their performance at 
SXSW last year.  This year's was similarly great.  Howe Gelb again had 
quite a bit of help.  The psycho sisters -- Susan Cowsill (ex-Cowsill, 
duh), Vicki Peterson (ex-Bangle) and Paula Jean Brown (ex-wife) -- did 
the backing vocals as needed.  A variety of illustrious extras helped 
out on guitars and violin.  (Howe said they were signed to Restless 
immediately after last year's SXSW show but that since then their rep 
had left.  I don't know what that means exactly, but I do know the 
most recent album "Purge and Slouch" is very, very good.)

Syd Straw -- played a humorous and delightful Sunday night set, backed 
by Giant Sand and members of the Continental Drifters.  Three bass 
players.  Very fun.

Alejandro Escovedo -- chief True Believer, he closed out SXSW as he 
always does Sunday night, drawing a huge crowd.  Austin's best 
musicians cycled in and out of his big band -- horns, strings, 
guitars, drums, everything.  The highlight for me was their "Now I 
Wanna Be Your Dog" with three drummers.

P.S.  Taking the award for the funniest moment of the weekend:  
Several of us were watching an early evening show of Sam Phillips and 
Cracker standing next to a group of high-schoolish looking boys and 
girls drinking shots of rum out of the cap of the rum bottle.  Vaguely 
amusing....Turned very amusing when I confirmed that one of said 
youngsters (who I thought looked familiar) was indeed the portrayer of 
the sweet long-haired freshman in "Dazed and Confused".  Still in 
character, I suppose.


From: "Harris, Terry J." <>

SXSW What I didn't see

This separate note is addressed mostly, I guess, to those in the know. 
Noticeably absent at SXSW this year was the new indie and indie-pop 
stuff that is (um, in my opinion, I suppose) otherwise up-and-coming.  
With the exception of Eric's Trip and the Spinanes and a sprinkling of 
others, SXSW was devoid of many bands that I expected might be there.

SXSW has always been awash with roots-y guitar bands, and it is a 
substantial part of Austin's music scene historically.  (True 
Believers, Zeitgeist/Reivers, etc.) And I love the stuff.  I 
commented during one guitar-band set last weekend that there must be a 
zillion bands that play that kind of stuff, and that I'd go see each 
and every one and buy all the records if I could.  (See my reviews for 

But as SXSW is, in fact, an industry conference, I expected more 
representation from bands on say Alias, Spin Art, Teenbeat, Drag City, 
K, or even Dischord or Matador.  Are all those bands happy where they 
are? Or, did they apply to SXSW and not get in? Or did they apply at 
all? Is it a regional thing? After all, Lois played a non-SXSW gig.  
And the previous issue of Indie-List described a set of non-SXSW shows 
that included Hammerhead and Don Cabellero, for example.  To compare, 
an independent music conference-thing next week in NYC seems to be 
very well attended.

I've gone to SXSW for four years now, not as a registered 
conventioneer, but simply as a fan.  (It is a great vacation 
destination resort for live music junkies like me.) Although this was 
not the first year I noticed conspicuous absence, this year was 
perhaps the most glaring.

Anyone care to comment? Feel free to mail me directly as it is mostly 
for my own curiosity, and as it may ultimately lead to too much 
conjecture for this here Indie-List.


From: exit flagger <>

eric's trip, picasso trigger, young rock, a day in the park

there's nothing like the feeling of something new...

good day all.  here's to our new editors!!!! to honour the initiation 
of the two pure people, i would like to make a sacrifice to the great 
and almighty "kwoth".  (sorry, tribal religions are really getting to 

anyways, here's four new things i've picked up that you guys will want 
to know about (or at least would like to thing so...:)

*eric's trip--"warm girl" 7 inch

derivative records @ po box 42031 / montreal, quebec canada / h2w 2t3
(this is also distributed by k records)

this is essential for eric's trip fans.  it appears to contain old 
songs (2 from 1991 and 3 from 1992) that were recently mixed and all 
thrown together to be released and loved.  anyways, this 5-song seven 
inch is great! the first song, "warm girl," is classic eric's trip, 
maintaining the fast and upbeat tempo with the great harmonies that 
eric's trip so easily masters.  "window" experiments with a lot of 
feedback that comes off being really bizarre (especially for the 
band's sound that i'm familiar with).  still good, though.  "so easier 
last time" is my favorite song because it says a lot about the way 
life is.

love tara was one of the best-kept secrets i discovered this year, and 
ever since then i have been a big fan of eric's trip.  this single 
complements the album very well.  near perfection!!! **1/2

*picasso trigger "hole in the fire" lp
alias records / 2815 w. olive ave. / burbank, ca usa / 91505

picasso trigger is punk rock.  they are a four-piece hailing from 
raleigh, nc.  there is something about this band i really like.  they 
are obnoxious as shit and downright annoying at times (a la lead 
vocalalist kathy poindexter).  but every time they come around, i go 
see them.  why? i don't know.  call it infatuation.  but when it comes 
down to it, i like them because they are aggressive and don't take any 
shit.  so when their full-length debut came out, i was first in line.  
the pictures makes this album worth $12 alone.  there are little dolls 
with nose rings and mohawks and all, plus there is a great (and i 
guess kinda cheesy) photo of them.  that picture will explain picasso 
trigger's music and attitude.

as a whole, i like the album.  but in a way, i find the production 
inhibiting (david barbe of sugar is the producer).  this only comes 
from me being used to the band's very raw live sound though.  
anyways, the high point of the album is "matarcher" which is a full 
fledged attack (i think) on matt from the archers of loaf.  it's 
agressive, mean, and downright fun listening.  the album also contains 
some of the band's older material, like the single "valentine" (which 
has a picture of a naked woman puking, how wonderful..:), "the man's 
fault" (from the falling off the planet comp), "colossal man" (from 
the plutonium single), and "queenie" (from pyloric waves comp).  as 
you can tell from a few of the song titles, this band likes to bash 
guys, but for some reason, (call me rash) i like it!!!

all the old songs, though, are somehow different from the original 
ones, and in my opinion aren't quite as good.  the production of them, 
as well as the new songs, i think takes away from the energy that the 
band has.  so it's not their fault.  it's still fun though.  it's 
definately worth trying, especially if you're into stuff like slant 6, 
liz phair (who says it like it is), pj harvey, bikini kill, etc., etc.

music by itself **
with production *

*young rock--video compilation
mammoth records / carr mill 2nd floor / carrboro, nc usa / 27510

filmed by norwood cheek of the sex police (who also have a video on 
here), the video highlights 17 bands and gives a intimate look at the 
town of chapel hill.  the videos aren't as fun to watch as the 
commentaries from the local people, though (i love al at al's garage, 
and the lady at ma's country cookin'!!!).  there is a short interview 
with laura (from superchunque), who says that the schoolkids records 
people are really nice.  but take it from me, the store is lame and so 
are its employees who are quite snobby (go to record exchange!!!)

the best video of them all is the chicken wire gang's "new lanes".  
their "ho down and twangy" sound proves their freshness.  the video 
itself is hilarious and portrays the band sitting in the back of a 
pick up playing, while driving down the highway.  polvo's "vibracobra" 
pulls second best.  in my view, polvo is about as close to perfection 
as music can get (second only to the absolute omnipotence of the 
flaming lips).  the video is quite strange (as would be expected), 
portraying tractor trailer trucks and people playing on the beach.  
zen frisbee's "jonesin" places third.  the song title describes the 
band's mentality relatively well.  the video is totally wack and is 
really funny.  other notables come from the archers of loaf--"wrong", 
small--"chew it down" (eric from the archers played in small when this 
video was filmed), metal flake mother--"mean to me" (it's a shame this 
band broke up, but the phoenix is squirrel nut zippers who are 
great!!), superchunk--"precision auto", the veldt--"the cradle will 
fall" (strange mix of r+b vocals, layered guitaring, and hip hop 
beats--this band will probably get really big), pipe--"submariner", 
and lots more.

though i wouldn't pay $18 for this, it's fun to watch, especially all 
you people who like the so-called "chapel hill" sound.  we are the 
next seattle ya know...;> (i can't believe i just said that).

*a day in the park...a compilation of now sounds 
now sound records / po box 91317 / durham nc usa / 27708

i don't need to review this album.  the excellence of the bands says 
it all.  automatically gets *** before listening.  after listening, 
you know that this is as close to perfection that a compilation can 

the dambuilders start the comp off with a great instrumental.  archers 
of loaf come next ragging all those people who do that obnoxious power 
walk at 7 in the morning (while the rest of us are still asleep from 
being wasted, dreading our waking hour), then versus comes in doing 
another great song.  need i go on? the 16-band sampler highlights some 
of the best bands in american independent rock today.  among others 
are the grifters, crayon (these guys are amazing), spent, small 23, 
portastatic (mac of superchunque spinoff), diskothi-q, blaise pascal, 
butterglory, nothing painted blue, unwound, and a few others i can't 
quite recall.

(tv advertisement)--if you only buy one compilation this year, make it 
a day in the park!!!!! another advantage--i got the cd for $10.  so 
it's pretty cheap.

*** (if 5 weren't the limit, it would be much higher)


the true meaning of the story (of your life) will never be known until 
the last chapter has been read.


From: (Kathleen M Billus)

Sebadoh live in Princeton, NJ

I read with great interest Sean Murphy's assessment of Sebadoh at Jon 
Solomon's house, Princeton, NJ 3/21/94.  I immediately took issue with 
such unsupported criticisms as "Lou's occasional between-song 
mumblings were inane at best" and "one should adjust their attitude 
accordingly" (viz.  playing in someone's living room or playing a 

I realize that the Indie-List format lends itself to casual criticism 
and the occasional offhand remark, but this sort of name-calling just 
sends me up one wall and down the other.  I got on the horn with Lou 
and read it to him so that I could offer the Listers a portrait of the 
event from the eyes of the accused.

[ah are a subjective thing, and one man's trash is 
another man's treasurer, as the jody grind used to sing. i dont have 
any problem with anyone offering another point of view. however, i 
appreciate the fact that I-L reviewers will mention things they 
don't like as well as what they do like. Doing so is not

First, Sean urges "Mr.  Barlow" to "adjust [his] attitude" to the 
living room setting.  When he returned from this mini-tour, Lou told 
me in none-too-scant detail his observations of the Solomon house 
show.  He said that people were "completely wary" of him to the point 
of avoiding him entirely before the show.  He said that when the band 
arrived at the house, they walked in and sort of stood around for 
a while.  Everyone there seemed very busy and focused so Sebadoh just 
went about the business of eating.  He said very few people approached 
him.  Those who did seemed incredibly uncomfortable. Jason, 
who Sean described as "really nice" noted that no one he talked to listened to 
him.  He had to repeat himself several times.  As for Lou having an 
anti-Ivy League attitude and "wanting to make fun of the 'Ivy League' 
crowd in attendance," Lou thought the crowd was quite young, too young 
to be a university crowd, and only asked if people were going to high 
school the next day to get some idea of what the people there were 
like and where they were coming from.  Basically, he was just trying 
to make conversation, not trying to insult the audience.  It seems 
Sean, and perhaps, the group as a whole, had more preconceptions about 
Lou and his attitude than Lou had about any of them.  And, as for 
attitude adjustment for a living room show, Lou noted that people were 
wary and incommunicative.  Lou found this strange and puzzling.
Kathleen Billus


From: "K. Lena Bennett" <>


I got this off of a.m.a.  Due to the groups involved, it looks like a 
clear interest to people on this list.  

>From: (Arnoud Verdwaald)



I don't know if I am allowed to do this kind of advertising here, and 
I don't expect too many foreigners to come to Doornroosje (Nijmegen, 
The Netherlands, Europe), but still, I would like to bring the 
following festival under the attention of all the people who like 
non-mainstream "pop" music (btw, I have no commercial interest 

"Fast Forward" is the name of a small but (hopefully) inspiring 
two-day event which will offer lots of music from home-recording 
artists (see below for what that's supposed to mean), but not only 
that: There will also be poetry, animation, comics and paintings.

on April 22 (Friday): 
Tall Dwarfs (NZ); Mecca Normal (Can); Smog (USA); Eugene Chadbourne 
(USA); Joost Visser (NL); Judy Dunaway & The Evan Gallagher Little 
Band (USA); Billy Childish (UK, poetry); Sexton Ming (UK, poetry).

and on April 23:
Barbara Manning & SF Seals (USA); Billy Childish (UK); Sexton Ming 
(UK); Tuli Kupferberg (USA); Peter Jefferies (NZ); Alastair Galbraith 
(NZ); Dump (USA); Plover (NL).

What is this 'home recording' thing? A few lines from Doornroosje's 
press-info: "A huge little festival featuring Home-Recording artists 
from all over the world! With the grunge-hype declining a whole range 
of new artists is looming ahead.  The sounds presented by fresh labels 
like Ajax, Drag City [...bunch-a-names] are only just the tip of the 
iceberg.  Bands and artists like Thinking Fellers, Union Local 282, 
Trumans Water, Pavement, Liz Phair, Sebadoh and Palace Brothers seem 
to prefer simple and often Lo-Fi recording techniques over expensive 
high-tech studios.  [...] A swiftly recorded demo is often more 
suitable to capture the magic, that undefinable thrill without which 
music becomes old and anaemic.  It is a matter of fact that 
Home-Recording has grown into a trend: record your music before the 
feeling fades, then on to the next song! The established values of 
sound-quality, song-structuring, "The Rock Band Ideal" and playing 
skills once again being questioned.  [...]" ...  yeah well..., take it 
or leave it...  Anyway, might you be in Holland at the time this 
festival takes place, and to you Doornroosje's lines make sense, then 
of course you shouldn't miss this small-but-cozy festival.  Oh, 
admission is only FL 15 (less than $10) for 1 day, FL 25 for both.

(For everyone who regrets s/he will have to miss this festival, you 
might be interested to hear that a compilation CD "with all the 
artists that participate" will be released, which "will contain more 
than 60 minutes of music and be priced as a CD single".)

If you need more information you can call +31.80.559887 or fax 

Arnoud Verdwaald


From: Kent Williams <>

Labradford 'Prazision LP'

This is a first -- a recording that I can't decide whether to discuss 
on the indie-list or on IDM [Intelligent Dance Music -- es].  
Prazision is the duo of Mark Nelson and Carter Brown, and their music 
seems to have one foot solidly in the ambient world and the other in 
world of American indie-rock.  Synthesis -- what a rush!

Some tracks on this record feature strummed guitar, and they all 
feature combinations of funky Moog sounds, heavily processed and 
reverbed.  Their is singing and spoken word, mixed at a level where 
you might, with concentration, make out words.  The overall feel is 
dreamy and vaguely sinister.

'Soft Return' is a kind of spooky evocation of reincarnation -- "Going 
round, it's clear you'll never stop/Going round, it's clear you'll 
never stop ...  I'll be there to take you back inside the womb ...' 
All done to a I IV V chord change straight from the Jesus and Mary 
Chain, but slowed down, with echoing Moogs.

They claim to have recorded it 'in Mckinley Hall, downstairs at the 
end of the hall.' Like the Cowboy Junkies' 'Trinity Sessions,' the 
natural echo of the acoustic space lends a warmth absent from the 
digital echo effects used by UK ambient artists.

This is definitely a treat -- an album with ambient tendencies, but 
with a distinctly American feel.

For the indie-listers -- 'Prazision' was recorded by Rob Christianson 
of the Eggs.

[Labradford is interviewed and discographied in the most recent ish of 
Speed Kills (#5), for those who might be interested -es] 

From: vasant@phoenix.Princeton.EDU (Christopher Vasantkumar)


Four dollars for Versus and Jawbreaker--quite a bargain.  We arrived 
too late to see Sleeper; I haven't heard anything by them, so I'm not 
particularly sad to have missed them.

Versus started soon after our arrival.  All my friends have seen 
Versus at least three times.  I have meant to see them at least three 
times.  Finally, I did.  Their set was short but good.  They played 
between five and seven songs, most of them either new or unreleased.  
Richard and Fontaine had some lovely harmonies.  Two notable songs were 
"Bright Light(s)" and the one off of the CD which Fontaine sings and 
whose title momentarily eludes me.  Speaking of Fontaine, and please 
forgive any sexism in this remark, she is very, very cute, and a good 
bassist as well.

Anyway, without too much ado, Jawbreaker followed. They played for 
about an hour and a half, a very fine set.  They played a mixture of 
old favorites ("Want," "Fine Day," "Chesterfield King") some songs off 
of 24-Hour Revenge Therapy ("Ashtry Monument, "The Boat Dreams...") 
and some new stuff (a song that Blake dedicated to his car, another 
one dedicated to his 13-year-old sister, and "Accident Prone." Blake 
has always seemed to me to be the Karl Hendricks of pop-punk, with his 
intelligent, confessional lyrics.  Their second-to-last song, 
"Accident Prone," seemed to give that theory some more weight.  
Terming it "ending in extreme melancholy," Blake, Chris and Adam 
proceeded to play a song sounding more like Seam, Hum, Hurl or Bitch 
Magnet tham your average Bay Area punk-pop ditty.  It blew me 
completely away.  Blake dedicated it to Richard of Versus, and added 
that they had just come up with it while on tour.  Watch out for it on 
record.  I will be.  This could signal a major breakaway from the 
tired LOOKOUT! records type music for this entertaining, talented and 
extremely polite band.

I am no longer a lurker,



From: Anne Marie Cruz <>

Uncle Wiggly Live At Yale; The Gravel Pit's debut-CD

Hey there.  First I just wanted to send a huge scream o' joy at the 
great job that everyone who has ever been involved with the I-L list 
has done, is doing and will continue to do.  This is a godsend for 
people like me who are constantly jonesing for the next dose of 
e-smack.  Yay!!!! Now then:

Uncle Wiggly @ Yale:
Wow.  The "aimless wiggly" experience was completely new to me, and 
now I feel as if I've rediscovered microwaved Quaker Oats 100% Natural 
Cereal (you think it's going to be just plain weird, but the stuff 
ends up being awesome).  They're three adorably quirky guys with an 
adorable sound: subtly disturbing guitar licks tempered by a kind of a 
cuddly, Meat Puppets-during-the-Up-On-The-Sun-days bass line (think 
"Maiden's Milk" here).  Guitarist William Berger did most of the 
singing in his touchingly vulnerable whine, although for some songs 
he switched places with drummer James Kavoussi, who was even more 
touching, vulnerable and whiny.  In fact, he looked so confused I just 
wanted to run up and hug him (I probably could have, too, since they 
were so friendly).  Michael Anzalone provided the hilarious, 
deadpanned between-song banter and the happily melancholic bass.  They 
have some stuff out on the Shimmy Disc label: *There Was An Elk*, 
their 23-song CD, is fantastic.  They usually play in NYC, I think, so 
if you can, check the yum that is Uncle Wiggly.

The Gravel Pit, *Crash Land*, Feralette Records:
On to the less strange and more straightforward.  The Gravel Pit is 
this terrific bitter bar band from New Haven; they're very sardonic, 
crunchingly twangy and probably too unfashionable for most of the IL 

[now, now. all are welcome here. even those with messy hair and 
dirty faces. especially those, actually.--az]

(That is, they're not dream-pop, sloppy-pop, the new vanguards 
of punk, etc.  They're the kind of guys who sulked and listened to a 
lot of The Kinks, The Beatles, Levi Stubbs and surf music in high 
school). Still, I love 'em and their debut CD, *Crash Land*, which was 
produced by Jim Dickinson (I know you know, but he's the Jimmy D.  who 
colloborated with The Replacements, Alex Chilton, and Spin Doctors 
[not that I'm personally too psyched about that last credit- can the 
IL maybe make an M-ch--l B-lt-n rule about Sp-n D-ct-rs?]), is a 
pretty good representation of their sound.  Jed Parish, lead singer 
and lyricist of The Pit (not to be confused with the Portland band of 
the same name, by the way), writes these beautifully poignant 
melodies and then undercuts the cheesy sentiments with his jaded 
lyrics ("Blind to every sideshow at this carnival./ You're my favorite 
animal." or "I seized the day/ and shoved it in a box./ I kneel and 
pray/ and every day it knocks."), his wicked, acerbic vocal riffs and 
deliberately bouncy organ and harmonica solos.  Throw in Jeff Juhase's 
solid rhythm guitar (his solos aren't the greatest, but there aren't 
many), Pete Caldes' energetic, stabbing drums and Ed Valauskas' moody 
bass and you get some of my favorite songs in the universe.  Some 
small complaints: being used to their gigs, I thought the CD on the 
whole was much slower than normal.  Also, the order of the songs is 
somewhat choppy, but that's easily remedied by your friendly 
neighborhood shuffle feature.  These guys were planning to crash (npi) 
the South By Southwest, so some of you might have seen them.  If not, 
and their live shows are 100 times better than the CD, and you want 
more info, e-mail me @

or write to:

The Gravel Pit
PO Box 7450
New Haven, CT 06519 

or call bassist Ed V. @ 203-453-2963   

or write to:

Feralette Records
206 Sheffield Place
Nashville, TN 37215-3235

Yee-ha. <smile>
-Anne Marie Cruz


From: Mark Cornick <>

telegraph wants writers...

[ _ . ._.. . __. ._. ._ .__. .... ]
  hey you!    write for telegraph

telegraph, the new monthly (perhaps twice-monthly) internet zine from 
ILIJ, seeks writers.  We are looking to establish a "staff" of sorts; 
i.e, we're looking mainly for people who are interested in writing on 
a regular basis.

You need not be a professional writer, an English major, or anything 
that severe.  You should be able to express yourself well without 
being stuffy.  You should have a sense of humor.  You should be able 
to write objectively and not be too in-jokey.  More than anything 
else, your writing should be unique; we want people with their own 
hip, irreverent style.  Since we can't pay you, we're looking for 
people who enjoy writing and will do it for the fun of it (and perhaps 
some name recognition.)

We are looking for "feature" articles, interviews, profiles, and 
like-minded works, in addition to reviews of indie-related music, 
zines, books, film, etc.

Submissions for telegraph are accepted on an ongoing basis.  The 
deadline for publication in any given issue is one week prior to the 
release date.  The first issue is tentatively set for April 15, 1994.

telegraph will be distributed under the GNU GPL -- this means the 
author of the article will retain a copyright, but free distribution 
will be allowed and encouraged.  Not all submissions will be used.  
All submissions, whether published or not, remain the property of the 

Send your submissions to the telegraph operator, Mark Cornick, at 

Please redistribute this announcement to anyone else you feel might be 
interested.  This announcement, and other telegraph-related files, can 
be retrieved from the telegraph relay station archive: 
* ftp: ftp, then cd /pub/access/cornick/telegraph 
* www: url is "file://"

- --the junta telegraphica
  Mark Cornick, Sean Murphy, Chris Karlof


From: Erika Sherman <>

stereolab anyone?

Is there any kind soul out there who can get me a stereolab tshirt? 
I've been desperately seeking one to no avail for a few months 
now...:( I'd be eternally grateful! Thanks (I hope <grin>)

		  Erika Sherman <------->


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   Liz Clayton
Archives   Chris Karlof  
           FTP/Gopher       /pub/music/lists/indie @

Consultants: Mark Cornick, Joshua Houk, Sean Murphy, 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 <>.


[Submitted by: karlof chris knox  (
               Wed, 30 Mar 1994 11:13:31 -0500 (EST)]