stolen (apochryphal?) quote of the issue:

"Maybe he doesn't have a Power Mac 7100/66, like the bitchin dudes
  in Sugar." -- Bob Mould, on Grant Hart's lack of solo success

      Indie List Digest!

       January 7, 1995

     Volume 4   Number 14


Administrivia / foresting...
Tara Key
Dumb Angel and Generator cassettes and black vinyl
Sloan's new one and Plum Tree
Two Pure Tying up 1994
ANNOUNCE: Harriet 5th anniversary

happy fuckin new year, everybody! sorry for the delay, but even the 
IL editors need a vacation now & then. this should be more than 
enough to bring you out of those IL DTs, though.... -az

In other news, Christian Crumlish passed along a mention that he (and 
some others) have a very nice zine on the web (which they've termed a 
hyperzine...), at the URL

It's a pretty nice piece of work, with indie content, well worth 
checking out if you have access to the software and hardware needed to 
reach these things.  -es



From: Sean Murphy <>
Administrivia / foresting...

It's been a while since an issue came out, and even longer since we 
did any sort of official information dispersal, so here comes the 
administrivia to kick off 1995.

Reminder #1 - this publication is driven by its membership.  There may 
be editors, but very little editing of submissions gets done.  (Trust 
me, I know - I used to edit this thing...) If you don't send in stuff, 
the I-L will cease to exist.  We started as a weekly digest, expanded 
to twice-weekly digests to keep up with the volume, and now have 
receded to something like once every 2 weeks? This is all a function 
of what you are writing.  It doesn't have to be polished, doesn't have 
to sparkle, doesn't have to do anything other than talk about 
non-obvious music.  It's time to see some new faces in the writing 

Reminder #2 - if you'd like to unsubscribe, change addresses, or refer 
a friend for a subscription, please send all requests to me (Sean) at 
<>.  DO mention the Indie-List by name, DO NOT 
speak in LISTSERVese.  (I happen to do subs for another mailing list, 
q.v., and I like to know where to assign people.)

Reminder #3 - if you're looking for an occasional publication which 
discusses music without a slew of record and show reviews, drop me a 
line and ask about _Finley Breeze_ (nee Telegraph).  Issue #1 was 
mailed to subscribers in late December, and I'm hoping to have the 
next one done around mid-February.


Enough of that...  quick review time.  I really don't buy as much 
music as I should any more, and I'm picking up mostly older stuff 
these days since I know what it is...

Patti Smith Group - Easter (Arista)

Simply put - if you don't have this record yet, go pick it up.  I 
finally did after a couple years of meaning to buy it, and I'm very 
glad I got around to it.  Think of it this way - you'll be able to 
hear the proper version of "Because the Night" whenever you like 
(instead of that clunky 10K maniacs version), you get one of the more 
harrowing/oddly uplifting musical experiences out there in "Easter," 
and there's still 9 more tracks to explore.  **1/4

50 Foot Hose - Cauldron (Weasel Disc)

Heard a lot about this early in the fall, finally found a copy for 
myself.  1966-67 psychedelia from San Francisco, with pretty 
entertaining liner notes, and a decent sense of where the music is 
going.  Not as good as the United States of America album, but not a 
bad slice of quasi-experimental stuff.  *1/2

Electric Eels - God Says Fuck You (Homestead)

Finally found a copy of this lovely re-issue.  1974-75 Cleveland 
skronk-punk that will still rip speakers to shreds.  "As If I Cared" 
and "Bunnies" are reasons for living even when they get you all 
depressed inside...  sound quality is poor, but that's sorta the point 
- just get it on tape before we forget how to play the damn song...  
and it's fun to compare Paul Marotta's contributions to the Eels with 
his Styrenes material of the same basic time period.  Even if you were 
lucky enough to own a copy of "Having a Philosophical Investigation 
With..." you need this 'cause it's got more tracks, like "Spin Age 
Blasters" and "Accident." **1/2 if you like iron filings in your 
Grape-Nuts, *1/2 for the uninitiated.

Grumpy Sean


From: Glenn Susser <>
Tara Key

(Glenn Susser passed along this excerpt from an interview he's 
working on with Tara Key re the Babylon Dance Band, Antietam, and more!)

Tara Key sez...

the BDB The new (only) BDB album is out on Matador---It came out a 
couple of months ago...Seeing as we are not a touring band, it has 
fallen through the cracks somewhat---so many young bands and this 
being an archival release---but it was important to me to get that 
stuff out.  Pop punk mach one--first line of middle-class responders 
to the bleak posibilities of march on a timeline to adulthood 
living....Now we are adults (by some generous stretch of the 
imagination).  We play when we can be together, as Chip and Sean are 
no longer super active in rock....Chip does write a lot about music 
for publications in Louisville and, as dad, is raising a new crop of 
conspirators...Sean is in school...We can be separated for long 
periods of time and just walk in and play a show on no rehearsal and 
much adrenalin (as proven last month, literally) and have it be as 
combustible and liberating as it was when we were going for broke 15 
years ago---physical volatile passionate live to live rockin 
rock---i'll always love that band like mad--we will probably play 
until one of us dies, and only then there will be no point...

Antietam will be playing more now that Rope-a-dope is out---we have 
been lying low in the fashion implied by the title...and we will tour 
in the spring nationwide along with the release of Ear and Echo, the 
new Tara Key record, recorded in Vermont this time with the help of 
the Barton Boys (Wolf Knapp, Josh Madell, Jon Williams, Tim Harris, 
Yaz Kuhn).  Tim Harris and Jon Williams co-produced, babysat, midwifed 
and restained me from physical and mental injury on this one.  The 
vibe here was fall, falling, losing, floating--spelunking for 
something to hold onto (solid ground) as the possibility of going so 
far away no map would inform a safe return from inner cavern 
exploration existed...with ample helpings of love, regret and 
confusion...that's where it is right now...a saner rendering of the 
facts would show an acoustic/electric implosion took place in East 
Albany fueled by ample amounts of Barton's best, Rogue Microbeer and 
Belgan ales and Lambics...

Tara Key Band will not be playing until after the first of the 
year...Tara Key actually is in the midst, perversely, of beginning 
another album in her head (unsigned, uncommitted, still in wrench it 
out mode even after working so hard on this one).  On this one, 
however, there are cellos, acoustic guitars, accordion, sobs, 
hellbranded screeches, thrown Gretschs, Korgs, upright pianos, blissed 
out strums and keening wails, buzzing wasps and a magic party 
(resplendant with color wheel and 2 foot statue of Colonel Sanders 
draped in party lights---flashing)--eye to eye with something/one i 
haven't quite identified



From: (Laurence Roberts RD)
Dumb Angel and Generator cassettes and black vinyl

I picked up an interesting tape recently.  It's by a band (or project) 
called Dumb Angel, and it's on the cassette and vinyl label Generator.  
It's a side project of Walt Mink -- it has two members of Mink, John 
Kimbrough and Joey Waronker, and some guy named Tim Gartman doing some 
vocals.  Incidentally, Dumb Angel is also the name of Walt Mink's 
publishing company.  The cassette says it's copyright 1993.  Walt Mink 
was last heard of when they released two records on Caroline.  The 
rumors that I'd heard were that the band was signing to a major 
(Columbia), and that Joey had left the band and was drumming for Beck.  
(A popular thing to do -- just ask Lance of J Church.) By the way, 
Joey's father was the recently ousted president of Warner Brothers, 
and his sister is in That Dog.  That Dog provided backing vocals and 
strings on the 2nd Walt Mink record.  (This does not constitute a 
recommendation of That Dog, Lena.)

Anyway, considering all them corporate connections, it's sort of 
surprising to run across this lo-tech cassette release.  I, and most 
other Mink fans I know, always preferred their cassette demos to their 
released records, so this is a welcome return to form.

The music isn't fully acoustic, but it's fairly low-key, with no bass 
and without the emphasis on guitar pyrotechnics of Walt Mink, but with 
nice vocal harmonies.  It shows their Nick Drake influence (Walt Mink 
has covered Pink Moon -- I prefer their version to Sebadoh's.) 
Unfortunately, on my copy the last song on the first side cuts off 
while there's tape left -- I'm not sure if this is intentional.  Some 
of the songs have tape experiment stuff with found sounds. 
[Larry-Bob later sent us an addenda whilst this issue of the I-L was 
being constructed that Generator happily replaced his defective 
tape.  More good tales from the customer service front-lines! -es] 

One of the songs "While Grownups Sleep In Sunnymede" also shows up (in 
polished studio form) on Walt Mink's 2nd record.  There's 7 songs 
total.  The cost is $3+$1 s&h.  It's catalog #G-2.  The address is at 
the end of this article.

The mini-catalog included with the tape has some intriguing stuff on 
it, including a cassette compilation called "racket to stardom" (cat 
#G-5, $3+$1 s&h) with 16 bands: Hot Date, Princess Dragon-Mom (His 
Name is Alive side project -- anyone have anything else by them?), 
Bridget Cross, the Coctails, Balloon Guy, Whisper Ants, Mountain 
Singers, Will Baum, Smattering, Cocaine Stiffing Triumph (sic -- how's 
that for a Richman reference?), Puck, Sabine, Polara, Harold Rose 
Orchestra, Cabin Boy, and The Gold Dust Twins.

Generator's address: 726 Jefferson NE 2nd Floor, Mpls, MN 55413-2111.  
They say to add $1 for postage per order, so two cassettes would be 



From: Joanne Merriam <>
Sloan's new one and Plum Tree

Sloan "Twice Removed"
Wow, what an amazing album.  Too bad it's not indie, so reviewing it 
here will probably get me flamed.  But they'll soon be indie again if 
the rumour I have heard is true.  I live in Halifax, an incestuous 
little city where news travels fast, and the rumour I have heard is 
that DGC is trying to kill Sloan in the States.  Yet another instance 
of a major label screwing a band? So even though they aren't indie, 
buy the album if you can.  It's truly wicked, esp.  if you are into 
that whole Jale-Thrush Hermit-Hardship Post-Cool Blue Halo scene, but 
this one's a bit poppier, and more self-consciously stupid (their new 
video features the singer yawning when supposed to be singing and 
striking huge chords when there's no guitar in the song, etc).

Plum Tree "Flutterboard" (not "Futterboard")
This just came out on Follow You Home Records (owned by the band, not 
Follow Me Home Records).  Includes 6 tracks, I think (I don't have the 
tape in front of me).  "Good Time To Tell Me" is the single and it's 
been getting pretty constant airplay on CKDU (the local 
campus/community station, which does not playlist, so the djs must 
really like this).  There's some neat stuff you wouldn't expect from 
Plum Tree, who are seen by lots as Halifax's answer to Cub, such as a 
song with heavy distortion called "Festooned," my personal favorite.  
Although the band is plagued by printing errors (the tapes say 
"Futterboard," one song title is wrong on the tape, and the tape cover 
has their label wrong), they're really good, and this album shows a 
lot more maturity than their singles.  If you can pick up a copy where 
you live, do.  You probably can't, though, but anybody wanting an 
address can write me and I'll find the tape and send you the label 

Joanne Merriam (


From: (Joep Vermaat)
Two Pure Tying up 1994

Thankfully things have tempered a bit since the last time.  The last 
few months there weren't too many concerts.  A few releases, but not 
released in the murdering tempo of earlier.  Loz is still way too busy 
graduating and Joep has been working his bollocks off, trying to 
become a more experienced computer programmer.  So this posting is for 
tying up some of the loose ends, just to start fresh in the new year.  
We won't bore you with any best-of-the-year lists or anything.  No, 
we'll review the stuff most of you failed to listen to.  Do you 
remember our mission to get more variety on the list? It hasn't helped 
much, has it? I mean, are we the only ones liking The Aphex Twin as 
much as The Palace Brothers?

First.  Let us shock you by saying that most of the electronic music 
is shite.  And even the good can turn bad in a few months time.  Take 
for example:

      Orbital/Locust   saturday december 10th    Paradiso, Amsterdam

The setup was much like Triple X Oscillate, the mega electronic-music 
event in August [see a few lists back].  In the center of the 
relatively small church, compared to the huge round tank that is the 
Gashouder, they had put up a scaffolding two stories high.  The lower 
part filled with live mixing desks and the DJ playing decks.  And the 
upper part especially reserved for Orbital's stuff.

The concert would start late.  So when we came in around eleven, 
nothing really good happened.  The DJ wasn't very broadminded and 
played straightforward trancy techno.  We went to check the place out, 
seeing the lame chillout room and looking at the setup from the 
balcony.  When we came back down again, the music had changed.

The sight was very confusing.  We knew Locust would play soon.  But 
the only thing we saw was a guy at the turntables putting on records.  
And behind him another guy twiddling knobs.  And then tracks started 
to kick in.  Enormous compositions, very low basslines, complex loud 
rhythm structures.  And NOISE, lots of it.  The music sounded like a 
divine combination of Autocreation, Mu-ziq and My Bloody Valentine.  
Nothing like that has ever been put on record, as far as we know it, 
so this had to be live.  Only we didn't recognize the guy playing.  At 
first we though it was the DJ, maybe the guy from Mo'Wax, because he's 
getting quite notorious in England.  But then we started to 
concentrate on the guy twiddling the knobs...  wait a minute, that's 

This is the second time he fooled us.  Months ago, in the spring he 
played at an ambient night in the Melkweg.  Then the only thing you 
could see was his video wall.  Mark van Hoen (Locust) hid behind a 
pillar doing his thing.  Now he had found a way to play his music and 
have everybody thinking it was the DJ playing records.  He must be 
enormously shy, or he just hates the old artist/crowd interaction.  
The music got better and better, and only in the end some of the 
audience started to catch on and realise this was Locust playing.  
When the set ended the meager applause was swamped by the loud trance 
record the DJ put on.

Orbital.  I should have realised when I went to interview them at 
Triple X.  The brothers Hartnoll have sold their souls to Satan.  Or 
the big bucks music biz to be more exact.  "Snivilisation" is 
overrated.  In every music magazine, barring Melody Maker, the record 
has been lauded as a "Classic".  Well, don't believe the hype, because 
it's just a boring fart of a record.  Okay, it has a lot of diffent 
styles and tunes on it.  But they used to put a lot of styles and 
tunes in just one song.  We think Orbital must have made this step for 
big bucks sake.  And the thing is, the audience buys it.  They don't 
care that this is a step back music wise.  Back to the time when 
techno tracks only had a 4:4 bass drum and an 8:8 hi-hat on top.  The 
disco variety.  Only "Impact" lived up to the old standard.  The rest 
of the set was just replaying the record and raping classics like 
"Halcyon" by making them into disco tracks.  We never want to see 
Orbital again.

Next concerts were a bit of a long time ago.  But we'll try to recap.

   Moonshake                 Amsterdam   Arena          oktober

We had expected a lot of Moonshake.  They were once on the top of my 
list of best live bands I've ever seen.  Only this year they were 
pushed downwards by the divine performance of Seam.  Since Moonshake 
split in two, things haven't been the same.  As well as Laika, they 
kept some of their earlier sound.  But with David Calahan alone, 
Moonshake has turned into a sour grape, hard to swallow.  The music is 
inventive.  They have abandoned the guitar completely, using more 
brass instruments and some electronics, but still playing like a roc 
kband.  But Margaret Fiedler's voice and songs and the backbone 
provided by their former bassist made Moonshake into a schizoprenic 
band.  The two-sided-ness of the band is what made it special.  
They've lost that.  Best moment was the encore, a songs consisting of 
a very high-pitched siren sound and the new female singer doing the 
only vocals.  Maybe it is just because of his voice.

   American Music Club       Amsterdam   Arena      november 3rd

Who had set the trendy thirtysomethings free? We thought they were 
locked up safely in their apartments, listening to their Enya and Dire 
Shites record collection.  But no, they had to come in their hundreds 
to see this band play.  Don't misunderstand us.  We do like to have 
older people at concerts, but not if they're coming because it's "hip" 
or the band is "in fashion." American Music Club can so easily be 
misunderstood.  Their music is getting more easy to listen to every 
time they release a record.  But the rate of quality stays the same, 
high, very high.  The old bunch came to stand around.  American Music 
Club's music is just like any other band's music, ranging from the 
techno of Underworld to the slowcore of Codeine.  There is always a 
way to move your butt to it.  And with American Music Club its fairly 
easy too.  "Hello Amsterdam," the second song they played should have 
the crowd jumping up and down in no time, I thought.  Wrong, they 
didn't move a muscle.  Well, we did.  It still hurts.

    Ash, Salad           november 5th            Paradiso, Amsterdam

Every half year Paradiso in Amsterdam organises a London Calling 
festival.  Programmed were Ash, Salad and 4 others I don't even find 
worthy to mention (okay, short then, so you know what to avoid: Huge 
Baby, Done Lying Down, Velo-de-Luxe and urgh..  Dodgy).

Striking was the sudden amount of Shampoo influences among the 
audience.  For the ones who don't know, Shampoo is a fucking disgrace 
from England, two girls who do their utmost to make the shittiest 
anti-music ever.  Anyways, little girls were swarming around, wearing 
two big plaits, colorful children's clothes, and continuously licking 
those big lollies you get at a fair.  Babes.  It seemed like a 
kindergarten.  Funny to see though.

I'll start with Ash.  This trio from Ireland is responsible for some 
delicious loud noise.  Really good to dance to.  Some moments are mind 
boggling.  However, they do have a couple of minor points.  The songs 
are still a bit shaky, the bass guitarist fell out twice, they are too 
poppy for my liking, and the drummer hardly plays an interesting role 
in the group.  But all this was well compensated by their powerful 
dedication, their launching fiercely at the guitars, and a good stage 
performance.  Ash is a young band.  New blood.  Ash will get there.

After a break of one an a half hour Salad took the stage.  The sound 
was much quieter and less hyper than I had expected.  The songs were 
pretty straightforward, linear, and mostly based on rhythm, and less 
on melody.  Paul, Pete and Rob played their parts excellent, but the 
eye-catcher undoubtedly was singer Marijne van der Vlugt, well known 
as a Dutch VJ for MTV Europe.  She ruled the stage.  Full of energy 
she moved like a tiger, sometimes screaming, grating and screeching, 
leaping in the air, sometimes lashing at a simple keyboard and 
cramming melodies out of it which were so childishly simple but 
nevertheless tickled your ears and legs.  The audience had a lot of 
fun, especially on "On A Leash".  This thriller contains a rhythm to 
which you can dance by just walking lightly.  And so the dancing part 
of the audience cheerily walked amongst each others acknowledging 
every one they met.  Sometimes hell broke lose on the stage though, at 
which point the audience switched from lovingly walking together to 
jumping ferociously at each other and hurting others in the process.  
Besides that, the song contains a lot of staccato, on which the 
audience simultaneously footstomped on the bass tones as if we jumped 
on ice and wanted to make a hole in it.  Yes, we Dutch people sure 
know how to have fun.  :-) Another sublime moment was "Dimished 
Clothes"..  of course I would say.  This chilling song sounded live as 
on the EP, not here, but somewhere far off, a fata-morgana.  Totally 
cool.  The cracker for tonight was definitely "Your Ma." This song was 
played disgustingly fast, and I don't even mean qua tempo, but qua the 
development of the song.  No single moment of rest was allowed.  If 
you wanted to keep up with the music, you had to work hard for it.  
Break here, break there, one second sudden pause, and boom! hitting 
the gas pedal full on, tiny break, and go go go, accelerate with 
screaming tires, etc., etc.  I can't remember ever being so tired 
after a song.  Well, maybe.  After Orbital.  But that was after one 
and a half hour of sweating my psychedelic shirt off.  With Salad I 
got the same result in a mere 3 minutes.  I was physically devastated 
! And that's the way it's supposed to be, I guess..

       Adorable        november 10th             Arena, Amsterdam

Last year I was mildly Adorable-crazy.  They had delivered three top 
EP's in '92 and one album in '93.  Their live-show last year was in my 
top-5 best live gigs of '93.  Two months ago they've released a new 
album.  I hadn't heard it yet when I went to see them live in the 
Arena.  Since there had been (almost) no coverage of their new album 
in any music paper I didn't expect much of it this time.

Which was well justified..  and it was not.  On the one hand they 
played their old songs, which stay definitely as hallmarks in the 
English music of the '90s, but on the other hand the new songs were..  
much of the same.  Good, energetic, diversity within the song, but..  
still somehow the same as their old songs..  and thus kinda 
disappointing to me.  Adorable seem not to have developed their art, 
which I think is a shame.

But, as I said, the old songs still stand.  After a couple of freaking 
dance songs, Adorable gave the audience a treat which I haven't 
witnessed before with any other band.  Accompanied by only a guitar, 
singer Pjotr threw all his humanity into the song 'Still Life'.  In 
the dark matches were lit, some had brought those firework sticks that 
sparkle like stars.  To me this was a very touching moment.  Tears 
were closer to me then laughter.  Maybe I was just too sentimental at 
the time.  But to me others seemed upset too, some nervous being 
confronted with Pjotr's sensitivity, some suddenly blocking out and 
suddenly slithering toward the bar to buy a beer or do something else.  
It's really cool to witness people dealing with this.  :-)

This show was one of Adorable's last ones.  Creation Records (i.e.  
Sony) are not satisfied with their latest album and kicked them out.  
One big BOOOOO! to Creation! Creation really sold their soul to a 
Mersh :-(

Now, some excellent records that should have your undivided attention:

Early this year we announced Disco Inferno's "Second Language EP" as 
the single of the year.  Well, we were wrong.  They topped it with 
"It's a kid's world." In which they turn a kiddy-TV-program tune into 
a stomper worthy of anything by Cop Shoot Cop.  A song with many 
faces, the happy tune intertwining with the blistering guitar part and 
the head-pounding beats.  And as ever, some very interesting lyrics.  
Nerve-rackingly beautiful.

Jungle is becoming a big hype.  But it ain't the only music genre that 
grew considerably over the past year.  Another sound has been coming 
out some of the same places.  It hasn't really got a name, yet.  Some 
call it trip-hop or ambient hiphop.  It's a blend of all good things 
in techno, jazz and hiphop.  A sound originated by Massive Attack, 
taken apart and put back together again by Tricky and perfectioned by 
Portishead.  One of the labels specializing in this sound and doing an 
excellent job of it is Mo'Wax.  Run by a 22-year-old with very very 
good taste.  There are two releases you should get if you're 
interested, "HEADZ: ...abstract musical science from the hiphop avant 
garde".  A title which describes the 2CD collection of ambienthiphop 
epics perfectly.  Most notable tracks are by DJ Shadow, turning a U2 
rhythm track ('Sunday Bloody Sunday') and a Beatle song ('come 
together') into something completely unique.  And by DJ Krush who is 
the brain behind the second perfect release, "Strictly 

COME: "Don't Ask Don't Tell" (Beggars Banquet CD160)

I already mentioned the existence of this record briefly in our 
previous article, but I find this one so magical, I just have to give 
it more words.  This is Come's second album and it causes internal 
injuries of the first degree to my soul.  This is not a healthy 
record.  Their first album, "Eleven:Eleven," was loaded with rough 
guitar blues (although the band themselves hate their music to be 
called blues, I still do), where the cruel reality of hard drugs had 
to be faced.  On this sequel the desperation is thickened: this time 
we have to face the cruel reality of love.

It immediately opens hard-heartedly: "Everyone has that evil thing / 
That's why they can understand / Everyone has that rubber band / Uh 
huh baby, that's why you'll bounce back".  Unfortunately, this means 
something to me.  If it doesn't mean anything to you, be glad, and 
keep it that way.  Or in the second song 'Mercury Falls': "every time 
we say next time / and every year we say next year / and spend another 
winter here / mercury falls".  And this is how it goes on through the 
whole record.  Come's vision of love is icy cold.  Musically it sounds 
like it too.  If you think squeezed lemons are bitter you haven't 
heard Thalia's voice yet.  It's galling, vulnerable, sometimes 
frustrating.  But never does she show a sign of self pity.

I liked "Eleven:Eleven" a lot.  But "Don't Ask Don't Tell" is much, 
much better.  With "11:11" I was always a bit comforted (as with 
loser-records) with the thought that my life wasn't that bad at all.  
But after "Don't Ask Don't Tell" I'm left dismayed.

   The Auteurs  vs  Mu-Ziq      (Hut Records  DGHUTM20)

Now this is a strange collaboration.  On this digipack containing 6 
tracks, 45 minutes, you'll get a rework of some Auteurs rock material 
done by electro-wizzkid Mike Paradinas aka Mu-Ziq.  Now I have to 
admit I don't know the original versions of the Auteurs songs well 
enough, but that is just because I don't /want/ to know them; I'd seen 
them a couple of times on 120 minutes on mtv and that was more than 
enough for me for a couple of centuries.  Mu-Ziq on the other hand 
delivered the kick-ass "Tango 'N Vectif" plus the (limited) "Bluff 
Limbo" albums on RePhleX Records which took electronic music a couple 
of levels upwards.

So what do you get when you put shite together with brilliance? Well, 
here the law that putting together two things will result in something 
better than the sum is manifest.  The unique quality of Mu-Ziq's 
distorted rhythm sounds are put into action again, and the melodies 
are almost like classical symphonies.  This is definitely worth 
buying, but I have to say that I don't get a kick out of these songs 
as I get out of Mu-Ziq's previous material.  I blame the Auteurs.....  

  Long Fin Killie - "Buttergut" EP   (Too Pure CD39)

Why bother to describe this?
You will love this rock/folk.
It's from Too Pure, says it all.

THAT GET YOU THE CUCKOO (a very old dutch saying, a lousy translation 
of it that is), LOZ!! Why would you want to discribe a wonderful 
record like that with just three shitty lines? I won't stand for it.  
First not liking Oasis, and now this.  You don't want us to end up 
like Cell, do you?

Long Fin Killie at first seem as irritatingly folky as The Levellers.  
But they aren't.  They have infact more in common with bands like 
Disco Inferno or The Ex.  They use their violins to make an awful lot 
of racket.  A cadanz, a mantra and a gorgeous melody.  Well up to par 
among the rest of the Too Pure.

And now fast forwarding through other sparkling gems in both our 
record collections:

Earthling: "Nothing" and "1st Transmission".  More triphop, but this 
time with lyrics.  This guy is a good addition to the excellent work 
of Tricky and Portishead.

AFX: "Analogue Bubblebath 4".  As good as ever.  The first song 
contains a irritating 'elefant'-like scream, but grows on you.  The 
second one is a nice Erasure meets lots of birds kind of song.  The 
third is hard.  Best is the fourth, it sound more like his first 
album, but very very low.

Palace Songs: "Hope".  Will 'Push' Oldham has done it again.  
Everytime he finds a way to present himself completely different.  
Like the fast rockband he used to play his songs live.  This one has 
the cleanest production yet.  Looking forward to his collaboration 
with David Berman of Silver Jews.

Autechre: "Amber".  A bit of a disappointment, because it sounds so 
good.  The duo are very good at producing and creating the right 
atmosphere.  Too bad the songs don't live up to the sound.  But you 
should still buy it for the album cover.  Jeez, those Designer 
Republic guys are GOOD!

BedHead: "4songCDEP19:10".  Completely stunning.  How can lo-fi sound 
so Hi-Fi? Recorded in one take, with one mike on a two-track.  The 
songs are all as good as their debut.  And the Joy Division cover tops 
the original.  It seams very logical that Bedhead cover Joy Division.  
They have the same ideas soundwise.  And their albums are just as 

Laika: "Silver Apples of The Moon" (TOO PURE)

Moonshake was disappointing.  But this also won't make it into our top 
ten of '94.  We'd expected they would do more electronic stuff like 
the last number of the "Antenna EP".  I always liked Margaret songs 
better than David's.  And here she also has written some great tunes 
and lyrics.  Thanks to the wise decision of Guy Fixsen to join the 
band instead of just producing, it makes the band sound very complete.  
Our favorites are "Sugar Daddy" and "If you miss," because of the 
mantra sound we can't get enough of.  We missed them live.  But we can 
give you some news: they are going to record with Tricky.  By the way 
a certain Colm O'Ciosiog did the digital editing for this, do you 
remember who he was? We'll give you a clue, he made something without 

The Ecstasy of Saint Theresa: "AstralaVista EP".  Remixes of their 
"Free-D" album which on first hearing seamed utter crap.  Not anymore.  
And these mixes by Disco Inferno, Twin Freaks and Bandulu.  Bring out 
the best of some of the tracks.

Ending our posting on a sad note.  1994 was one of the worst music 
years ever.  Too many bands split up.  We've almost lost count.  Slint 
split again.  Rodan split after just one very wonderful album.  
Straitjacket Fits and JPS Experience ceased to be.  Adorable stopped 
after being dumped by the big bad Japanese dinosaur Sony as well as 
the once wonderful Creation.  Monsterland split up after an internal 
row.  And now, the biggest blow of them all.  CELL quits.  The band we 
adored, the band we fed, the band who we have followed.  Aparently 
Geffen was a major force behind the split.  Cell just hadn't sold 
enough records.  Jerry, Dave and Ian have joined or put up new bands.  
We will always hear a bit of Cell in each of them.  Keith is moving to 
Germany.  The world won't be the same without them.

All in all, still quite a large piece of text.  You can see it as a 
Christmas holiday special.  Something to do while you're waiting for 
the Turkey to Cook.

                      We wish you all a very noisy 1995!

                          ->->- The Two Pure -<-<-

     /                       |   _  __
   (/oe/)                                                   |_ (_)  /
      /                             /_


From: Timothy Alborn <>
ANNOUNCE: Harriet 5th anniversary

Harriet Records will be celebrating its 5th anniversary in the month 
of January, 1995.  Prizes and festivities will include:

A special radio show on WHRB, 95.3 FM (in the Boston area), 9 pm to 4 
am on Wed., Jan 11 and Thurs, Jan 12.  The complete Harriet catalogue 
plus hours upon hours of unreleased material and related things on 
other labels.

The Long Secret, a 17-song compilation of mainly unreleased songs by 
Harriet bands and affiliates.

A 5th anniversary Harriet T-shirt, with a design by Boston comix 
artist P.  Shaw.

And last but not least, for those in the eastern time zone, a 2-night 
CD release party at the Middle East Cafe, 456 Mass Ave., Cambridge, MA 
      Wednesday, January 25, with Twig, Papas Fritas, My Favorite 
      (from NY),  and Weeping in Fits and Starts

      Friday, January 27, with The Magnetic Fields, Pest 5000, 
      Vehicle Flips, High Risk Trio, and Prickly.

For more info write to Tim Alborn, PO Box 649, Cambridge MA 02238 or


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