And don't forget the Joker...


      Indie List Digest!

         May 8, 1995

     Volume 4   Number 27


Introductory Blather
[insert name of band you want to read about here]
Loud Music Fest '95
Venus Cures All, Aminiature, Versus, Seam
ANNOUNCE: Band Of Susans dates
AD:Quick Brown Fox
AD: Indie Record Store By Mail
AD: Releases from Dental Records 

As the occasional visitors to the coeditor homestead can attest, Anne 
and I are print, vinyl and otherwise collectors.  Not in any 
collectorskum sort of way, I don't believe; we aren't usually 
completist enough for that.  But there's a lot of stuff that floats 
around here.

I wanted to justify this addiction by bringing some of it to your 

A new piece of vinyl came into our life the other day, and while it 
may be notable to us for its interpersonal resonances, it's worth 
discussion with others as well.  It's the Smears' latest "product," a 
mixed bag of a 10" (that format that would be hated by linear 
tracking) of garage-girl hits.  It's entitled appropriately enough 
"The Smears in the Garage." On it the threesome drunkenly and often 
entertainingly riffle through a pack of oldskool songs, from The 
Hurtin' Kind to Wild thing to Billy Childish's (and a Smears' live 
show staple) Cum into My Mouth.  The packaging is nice, in that 
Nuggets sort of way, and while you may want to play this repeatedly, 
beware the thiner than average vinyl stock.  (Dionysus Records, PO Box 
1975, Burbank CA, 91507)

On a recent trip northward, we were blessed to get copies of a couple 
of our favorite zines.  The first is the inestimable Beer Frame.  Most 
of you have heard of the "Journal of Inconspicuous Consumption," so 
this is just to tell you that the latest issue, No.  4, is on the 
stands.  This time Paul Lukas takes on Pretzels, M&Ms, the Nutrageous 
Bar, and the finer elements of Garlic Pressing.  Mundane topics, you 
surmise? Not when Paul Lukas is doing the musing and baiting.  
Recommended highly.  ($2 (or more - zines need your support) from Paul 
Lukas, Beer Frame, 160 St John's Place, Brooklyn NY, 11217).

The second is the latest - in the deliberate time scale - issue of Liz 
Clayton's zine, Wind Up (Mumble Mumble -- this time it's Wind-Up 
Industrial Burnoff).  Liz reviews cities and music of various forms, 
interviews Six Finger Satellite, Stinky Puffs, and (with help from 
Franklin Bruno) Silkworm, among others.  Perhaps one of the more 
enticing sections is the sequence of 25 people's guided musings on 
their parents.  You can get WUIB from Liz for a mere $3, but it's 
worth more...  (Liz Clayton, 5201 S Cornell #27c, Chicago IL 

The above two zines should also be available from Ajax Mailorder, PO 
Box 805293, Chicago IL 60680-4114 (or drop em an electronic line at

Belatedly, I'd like to advocate the (apparently now defunct) 
Peek-A-Boo, from Austin Texas.  Mixed in with a fascination for 
drinking and punk are some excellent reviews and interviews (with the 
Inhalants, Cryin; Out Louds, Blast Off Country Style, and "Vanilla 
Ice", and some wonderful manga-style comics art that - as the issue's 
wind toward the end in #12, disrupts itself nicely.  I don't know if 
they're really still available, but drop a line to their last address, 
305 W.  39th, #107, Austin TX 78751.  Or try the email at boo-key, 
travesty or willal (all  You won't regret it.

In other IL notes, Geoff Robins <>
was kind enough to send along a URL for the Music West Web Site, 
which is  Music West is a Canadian 
conference of sorts, and while it may be too late for many people 
here to contemplate attending, the site is interesting, if for no 
other reason than they're esploiting some elements of Netscape 1.1 
nicely.  (Purist Note: the conference is sponsored by BASF...)



From: Sean Murphy <>
[insert name of band you want to read about here]

3 part post: Administrivia, Live Show, Recorded Material.  Yeah.  
"Fuck Ken DeFayes."


For those of you who will soon be losing net access for the summer 
(due to graduation, heading home from school, job changes, etc.), 
please take a moment to send me a note indicating that you would like 
to be removed from the Indie-List for the summer.  Please send that 
note to:

with the subject "Unsubscribe" and a brief note indicating your e-mail 
address (or your old one(s) - a lot of you veterans have switched 
sites and forwarded mail, and we can't track the bounces).

You will have to re-subscribe in the fall - I'm no mastermind of 
remembering who's coming and going.  Same address for new 
subscriptions.  (I might be moving physically, but net-wise I'm not 
moving for a while.)


Small Factory and Chisel, 9:30 Club, Washington DC 5/4/95

(See Saw, a newish band associated with Simple Machines, opened, but I 
missed them because the 9:30 decided to make this an early show - I 
actually was able to catch the last subway of the night and miss only 
the encore of "What To Want.")

Arrived during Chisel's set - energetic, poppy, hard-edged, enjoyable.  
Chris (the bass player) has all the rock god moves down - the Pogo, 
the split-leg jump-kick, the Townshend jump-kick - and was styling in 
his early '80s skinny black tie, with bangs falling down in his face...  
His attire matched the bass playing - it was in the vein of the late 
'70s-early '80s British sound (Peter Hook, Buzzcocks, et al.) while the 
guitar and drums were moving in different directions.  If some A&R 
scout/professional "manager" got his hands on this band, they could 
become bigger than Green Day (as hinted at in today's City Paper).  
But instead we get to see them doing what they enjoy, not a job or 
chore, not spokesmen for a non-existent scene/generation.  And that 
makes all the difference.

This was my first experience with the all-electric Small Factory.  
First impression - I miss the energy of the acoustic bass strum.  Set 
was a little uneven - they broke out some real old school stuff 
(Suggestions, Giant Merry Go Round, Friends), some stuff from the 
first LP (Valentine, Junkie), some others that were great to hear for 
the first time in a while (If You Break My Heart), and some material I 
didn't really know from the most recent LP.  "Junkie" was the 
predictable set-closer, along with accompaniment from a member of the 
crowd (not as in-key as Lara Cohen had been singing the same parts, 
but entertaining nonetheless).

I probably can't review a Small Factory show objectively - each show 
gets compared to the last time I saw them, and the time before that, 
and the first time, and the 10 or so in between.  This one was an 
upper-middle performance on my completely subjective scale - I still 
was forced to pogo on Merry-go-Round (even if Phoebe still hasn't 
learned the right drumbeats to that song after 3+ years...) but I 
wasn't excited to hear "Suggestions" and they didn't play "that sad 
bitter angel song" ("What Angels Say").

This show made me feel very strange inside, but that was for strictly 
personal reasons that had very little to do with the music.  Overall, 
just go see them - even for the 20th time or whatever - they're still 
a ton of fun.  (Random cool moment of the night - Alex breaking into 
"Live Forever" by Oasis while Dave changed guitars...  and 
intentionally fucking with the lyrics.)


The Flaming Lips, _Hear It Is_ (Restless, 1986)

Debut LP from the Lips, something I thought I'd never run across 
(especially not on CD, and very especially not in monster DC music 
chain store Kemp Mill...).  I've always wanted a copy of this record 
simply for the song "Jesus Shootin' Heroin" - the title alone is worth 
it, before you enter the psychedelic swirl and crash of the song, 
along with suitably cryptic lyrics.  The remainder of the LP was a 
little more straightforward than I anticipated - more chugging-garage 
than psych.  Still wonderful, just not the full-on psych experience I 
expected from hearing my friends make tapes with "One 
Million-Billionth..." and the "Unconsciously Screamin'" EP and "Jesus 
Shootin' Heroin." *1/2

CONSPIRACY THEORY NOTE: In perusing a few stores last thursday, I came 
across almost all of the Lips' back catalog - has Restless re-pressed 
it, or finally moved it from a warehouse due to the fabulous media 
coverage? "I'm not usually into alternative stuff, but these guys 
ROCK!" - S.  Sanders

Silkworm, _In The West_ (C/Z, 1993)

I'm not gonna say much here, because other mailing lists have done the 
job of spreading the Silkworm gospel.  This LP still has elements of 
what has become the Pavement sound ("Into The Woods" makes me jump 
around like a very silly boy), but is heading into the structured 
musical experiences of Libertine.  When I expected to be blown away 
by it last year, I was left flat.  Going back now and not knowing what 
to expect, I was impressed (and pissed that I was forced to leave 
their show last year due to a friend's medical emergency).  
Intelligent, well-crafted rock music.  That probably sounds like a 
slag - it's not, because such records are far too rare.  Repeated 
listens only deepen my appreciation of this record.  *3/4

Thelonious Monk, _Monk's Dream_ (Columbia, 1963)

I never know the song titles when I hear this record, but I recognize 
all of it, some from radio promos and commercials which didn't deserve 
such wonderful music, some from just hearing it frequently.  Monk's 
first LP for Columbia, with his classic quartet of Charlie Rouse on 
tenor sax, John Ore on bass, and Frankie Dunlop on drums.  Another 
piece of the jazz puzzle that everyone should have in his or her music 
collection - Monk's piano style and ear have forced the hand of many 
who followed, but none have figured out how to reach the master's 
level.  ***

Hawkwind, _Doremi Fasol Latido_ (One Way reissue, orig.  United 
Artists, 1971)

First time I pulled out this record was in the middle of a 3-hour 
sonic experiment live on the radio (there were 3 of us alternating in 
the studio, with both the turntables and both the cd players going the 
whole time).  I wasn't sure about the band, but I'd heard of them, and 
just dropped the needle in, and almost forgot to continue the aural 
mayhem because I got too wrapped up in the music.

SHORT ANALYSIS: Trippy biker rock.  "What Lemmy was doing before he 
started Motorhead." You probably already know if you're gonna like it 
or not.

Rambling version: There wouldn't be a Monster Magnet without Hawkwind 
- while listening to the first 5 Sabbath LPs will get you to MM 
eventually, Hawkwind is the shortcut.  I miss the liner notes, which 
tell the story of a planet being invaded, and how the glorious members 
of Hawkwind would save the day...  I think this was the studio LP 
which spawned the "Space Ritual" tour (captured on a brilliant double 
LP/CD), but I'm not positive.  Analog synths burble, spaced-out 
mock-anthemic lyrics are usually forgettable, but it's the insistence 
of the bass and guitars that bring listeners to the promised land.  
I'd love to say that there are lots of current bands who have picked 
up little influences, but those bands are few and far between, and 
often cover their interest in Hawkwind with other things (Monster 
Magnet and the Vocokesh-F/i axis excepted).  *3/4

Side note - I remember word of a Hawkwind tribute LP in the works from 
some time ago, a number of central Jersey/eastern PA folks were 
involved...  but now I have no idea if it ever happened (or is still 
happening).  Although I'm not a big fan of tribute projects, this one 
had some very good/appropriate bands involved.

OK.  Enough mumble.  Finley Breeze #4 finished by the time you read 
this.  If you haven't received a copy before, and you'd like to see 
the Indie-List's electronic evil twin (theory! philosophy! related to 
music! this time focusing on "soul!"), drop me a line.  Thanks.

Grumpy Sean


From: Aaron Walker <>
Loud Music Fest '95

Hey, all, brief live reviews to follow; advance deletions recommended 
(though i promise to try to be more pithy than glib).

Nite 1: Blonde Redhead, Helium, Madder Rose, Green Magnet School

Blonde Redhead's take on '70s stoner rock is just as dopey as Smashing 
Pumpkins', if slightly less irritating.  Helium are one of the best 
bands on the planet right now (my roommate said she thought the lyrics 
on _Dirt of Luck_ were even hokier than Sebadoh's, which I take to 
mean she missed the point) and they're getting better live (though 
it's hard to watch them w/o thinking of Beavis & Butthead's comments 
about taking a nap and rocking out later).  Why Madder Rose aren't 
huge pop stars yet i don't know (I've spent enough cash on them to say 
I've done my part).  They don't act much like pop stars on stage, more 
like a cute bar band.  Green Magnet School are down to one guitarist 
and up to two drummers and (so I was told) two bassists, though only 
one of the latter showed up.  They're still the best band out of 
Framingham.  Influences have passed from Gary Numan & Devo to Adam Ant 
and Gary Glitter - I can't decide if that's progress.  Bands I missed: 
Everclear (who's home at 7pm, much less checking out the rock 
action?); Polara (feat.  Ed Ackerson of 27 Various); New Radiant Storm 
King; Flying Nuns; Papas Fritas; Shams; Suddenly, Tammy!; Dirty Three.

Nite 2: Sugar Plant, Wolverton Brothers, Scarce, Tackle Box, Scrawl, 

Sugar Plant are supposed to sound like Galaxie 500 on record; the few 
live minutes I heard were much more ragged.  Sounded good.  Wolverton 
Bros.  were far and away the best band I saw all weekend: mostly 
instrumental country feedback melodies w/generous guitar interplay and 
an excellent lefty drummer.  Don't remember their albums being that 
interesting, but perhaps I wasn't listening too closely.  Scarce are a 
power pop trio from Providence (whose bassist is the sister of one of 
the boys in Edsel).  Energetic, and nice boy/girl vocals, but I'm not 
sure I'd concur with Marcy Mays in calling them the "future of rock." 
Tackle Box have a couple former Dumptruckers and produce a serviceable 
guitar rock.  Scrawl didn't play "Slut" (I suppose it is getting old) 
but other than that put on their usual perfect show.  Sue's microphone 
wasn't nearly loud enough.  Edsel had about 20 minutes of charm for me 
("interesting" pop, but too bouncy and too many vocals).  Bands 
missed: Zeke Fiddler; Fuzzy; Dambuilders; Veronica Cartwrights; Slot 
(damn! I coulda gone, too); Sons of the Corporate Dog (feat.  Charlie 
Nakajima of Gobblehoof).

Nite (and afternoon) 3: Small 23, Ruby Falls, Saturnine 60, The Brood, 
Chrome Cranks, (James Chance and the) Contortions, Roger Miller, 
Versus, Small Factory.

Apparently Superchunk, Archers of Loaf, et al., were unavailable, so 
they sent Small 23 in their stead.  The kids dug it.  Unfortunately 
watching them meant missing Ruby Falls, so I stayed too long.  Ruby 
Falls put on a great show (and had a decent selection of records and 
fanzines done by women).  Like the Wolverton Bros.,  only w/o the 
country/midwestern sensibility.  Saturnine 60 sound more like Galaxie 
500 than G500 themselves, except the singer has a tendency to resemble 
Mark Edwards.  I swear they played "Almost Impossible" for 12 minutes, 
and maybe four other songs in the additional 20 minutes I was there.  
I didn't get bored, though I must admit to sneaking peeks at the 
UCLA-Ok.  State game.  The Brood aren't nearly as tough in real life, 
but they certainly know what they're doing (don't see that the 
audience for garage rock's getting any larger these days, though).  My 
roommate said she thought Chrome Cranks were trying to be Jon Spencer, 
to which I replied that he'd never wear pants that tight.  
Post-Heartbreakers boozin' music, prolly plays better in New York.  
James Chance looks pretty well preserved (though the double-breasted 
sportcoat and the ascot didn't make him look any thinner) and he took 
the band through a straightforward r & b set...still vastly cooler than 
the Beastie Boys, a distinction lost on their sartorially challenged 
fans.  Roger Miller's playing solo these days, though his set-up looks 
similar to the one Helios Creed used to tote around.  He keeps doing 
something different, and every time it's pretty good.  (Plus, aren't 
Noise Gates the coolest?) Versus sucked (just checking to see if 
anybody's still readin').  No, of course they were fantastic, and they 
played "River" (my greed knows no bounds, of course, and I was still 
hoping for "Astronaut").  Small Factory are real friendly folks, on 
stage too, but aside from their ability to cover Storm King 
unrecognizably I don't know why anyone's too excited about them.  A 
couple songs on the car tape ought to suffice for yr needs.  Bands 
missed: Faeriekin (feat.  Seana Carmody); Tizzy; Shiva Speedway 
(sorry, Pam, but the band looked good); Cheater Slicks; Come; Scud 
Mountain Boys; Spent (bought a 7", though, and liked it); Hardvark; 
Syrup (feat.  Seana Carmody).

Not bad, if a little expensive: $37 if you bought tix at the door; $30 
if you bought a 3 day pass in advance ($12 plus drinking money if you 
managed to scam yr way in two nights).  Sugar Plant are on tour in the 
Northeast this week; Scrawl and the Wolvertons are together on tour, I 
think; catch the Contortions (and not just 'cause they're legends) if 
they come yr way.

Aaron                        "If you want to get a reputation as a swinger,  
[]  you hire five sexy chicks and let them fight 
                              over you on stage and for the cameras.  
                              That's publicity, man.  But you don't swing 
                              where you sleep." - Sammy Davis, Jr. 


From: Michael Ligon <>
Venus Cures All, Aminiature, Versus, Seam live in concert

This was an eagerly anticipated show for me being my first indie 
concert and for the most part it did not disappoint except for the 
vocals which were virtually drowned out with every band.  (If I wanted 
to go hear an instrumental band, I'd have waited for Shadowy Men On a 
Shadowy Planet to come to town.) BTW, this concert is part of a tour 
called Ear of the Dragon which is showcasing American and Canadian 
indie bands which feature Asian persons.

First up, Venus Cures All.  Hometown heroes, well at least to the 
indie community.  I just came from work and so I just caught them at 
the end of their set.  They reminded me of a riot grrl band (with a 
male drummer, however) because their guitars were just so loud and the 
vocals were just drowned out and incomprehensible.  They may have been 
better had they turned down their amps just a notch.  I did however 
get their new double 7-inch at the club (BTW which was the El Mocambo) 
which displays their melodic base.

The next band to take the stage was Aminiature.  They looked like they 
were still in high school(are they?).  Their music seemed like a blend 
of the Pixies with a touch of rockabilly thrown in.  They played fast 
and ferocious and at times they almost reminded me of Helmet (hey, I'm 
not kidding).  I enjoyed them but the vocals were just not audible.  
And they made no real attempt for between-song chat (did they even 
mention who they were?) Next.

Versus came on next.  I know they are suppose to be indie rock heroes 
but honestly I had never heard them until then, and to be honest they 
lived up to the hype.  They were the first band of the night whose 
vocals were at least partially audible.  The vocals were pretty and 
there was some true emotion in the music, especially during that one 
slow number they did whose title escapes me.  I'll definitely try to 
catch them next time they swing through town.  The best band of the 
night in my opinion.

And around 12:30 the headliners Seam took the stage.  They were the 
most conventional rock band of the evening, not that that took 
anything away from the emotion of the music.  During one song they 
sounded like U2, but later songs showed their melodic variety.  They 
put on an enjoyable performance and with just 3 hours of sleep 
according to Sooyoung the lead singer! Amazing!

All in all, it was an amazing show and at the very least it proved 
that Asians (me being Filipino) can rock with the best of them.


From: "Robert M. Poss" <>
ANNOUNCE: Band Of Susans dates
BAND OF SUSANS - 1995 European Tiny-Tour 

Wednesday   May 10   Dresden, Germany  @  Starclub  
Thursday    May 11   Prague, Czech Republic  @ Bunkr  
Saturday    May 13   Potsdam, Germany  @  Waschhaus  
Sunday      May 14   Madgeburg, Germany @  Fabrik 
Tuesday     May 16   Berlin, Germany  @   Huxleys  
Wednesday   May 17   Stockholm, Sweden @  Studio 
Thursday    May 18   Malmo, Sweden  @  KB 
Friday      May 19   Copenhagen, Denmark @  Loppen 
Sunday      May 21   Hamburg, Germany  @ Markthalle 


From: Kathleen Billus <>

Sebadoh's tentative UK and Europe dates:
5/16    Nijmegen, Netherlands (Doornroosje)
5/17    Amsterdam, Netherlands (Paradiso: w/ Fugazi)
5/18    Bielefeld, Germany (Kamp)
5/19    Berlin, Germany (SO36)
5/20    Hamburg, Germany (Logo)
5/21    off
5/22    Koln, Germany (Luxor)
5/23    Munich, Germany (Strom)
5/24    Vienna, Austria (Arena)
5/25    off
5/26    Milan, Italy (TBC)
5/27    Fribourg, Switzerland (Frison)
5/28    Montpellier, France (Rockstore)
5/29    off
5/30    Madrid, Spain (Revolver)
5/31    Barcelona, Spain (Zeleste 11)
6/1     Toulouse, France (Bikini)
6/2     Bordeaux, France (Theatre Barbey)
6/3     Nantes, France 
6/4     off
6/5     Paris, France (Arapaho)
6/6     Bristol, England (Fleece and Pirkin)
6/7     Brigton, England (TBC)
6/8     London, England (Empire: w/ Stereolab & Flying Saucer Attack)
6/9     Nottingham, England (Clinton Rooms)
6/10    Sheffield, England (Leadmill)
6/11    off
6/12    Glasgow, Scotland (Garage)

Smog will be supporting most dates in Europe.

Kathleen Billus


From: (Diane Bolton)
AD:Quick Brown Fox

FUN! FUN! FUN!  "The Quick Brown Fox..." compilation cassette, featuring:

* The Delta '72 (7" out soon on Dischord/Kill Rock Stars) * 
Caterpillar * Stokastikats (ex-bastro, now tortoise/sea and cake) * 
Katherine Pugwash (member of stereolab) * Las Mordidas * Diskothi-Q * 
Simon Joyner * Twerdocleb (members of superconductor)* Baby Tooth * 

15 BANDS on a 43 min. High Quality Chrome Cassete.  This tape is $5 post
paid (if outside the US please add $2).  Send cash, check, money order to:
        Ian Youngstrom
        170 Hillside Ave
        Metuchen, NJ 08840
-When ordering, please tell me where you heard about the tape.-


AD: Indie Record Store By Mail

Hello we are an independent store who specializes in independent 
releases.  if anyone would like our catalog you can e-mail us at  One of they guys here has a small label (Third Gear 
Records) and has just put out a pavement single which is not on the 
new album..  Any way please write or e-mail with any indie wants.  Off 
The Record 322 S.  Main Royal Oak Mi 48067.


From: Rick Sanford <dental!>
AD: Releases from Dental Records 

Dental Records (tm), located in NYC, announces 2 new releases.

THE MOST SORDID PIES.  A 7" 45, the record features two songs, FLOTSAM 
ON THE WATER and WEDDING DAY.  Recently named the best unsigned band 
in NYC by POP SMEAR magazine, THE MOST SORDID PIES are even better now 
that they're on Dental Records.  Better because now you can hear them 
without coming to NYC! The single is $3.00 + $1.00 S/H.  The two songs 
on the single were produced by Kramer along with a third song, GET OUT 
OF HERE, which will be available as a video.

KEVIN HAYES.  Four songs plus a "bonus", this represents Kevin's first 
ever CD of his pop songs, ARROWS THRU THE HEART.  These songs carry on 
in the tradition of fighting the good fight for mankind and promise to 
furnish your din with a glorious noise.  ARROWS THRU THE HEART is 
$8.00 + $1.50 S/H.

Dental Records is a NYC based indie label.  Our records are available 
by mail order:

Dental Records
PO Box 20058 DHCC


Mext Issue Deadline: 13 May 95

Next Issue will include:

     Thrush Hermit
     another view of the Asian-American Indie-Rock tour
     your scene?

The Indie-List Digest is published weekly (Mondays) or more often by 
the Indie-List Infotainment Junta, Unltd.

What       Who              Where

Editors    Eric Sinclair
           Anne Zender
Mailings   Sean Murphy
Archives   Chris Karlof  


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