This is the way that I remember it to be...
#############################
Indie List Digest!
September 20, 1994
Volume 4 Number 3
#############################
Anne muses on Fall travel
Ramble Tamble... Ramble Tamble
Soul Junk
Indy Rock!
The Geraldine Fibbers, the Melvins, the Palace Brothers
Ramble Tamble... Ramble Tamble continued
Wake Ooloo = Real Cool Time
ANNOUNCE/INFO: Call for Info for and the first New Releases List
ANNOUNCE: E-zine called Indie Front
ANNOUNCE: Fashion Central & Knievels gig
ANNOUNCE: Hairy Patt Band (Choke Records) tour info.
AD: Sonic Bubblegum
Ah, Chicago, city of contrasts. Walking through Tower Records I spied
the Shellac album, in all its brown cardboard packaging, sitting next
to the Woodstock 20th anniversary set. Made my head spin...
The other head-spinning experience of the weekend was venturing to the
Metro on Friday the 17th for The Fall, a band I've always wanted to
see. I thought I had better go this year, as I had the sinking
feeling that this might be the last tour. There's really no substance
to this fear, except for some of the reports I had heard from other
cities about the way The Fall seemed to be lurching from show to show,
weathering numerous technical snafus and the temperament of Mark E.
"Mr. Congeniality" Smith. On the up side, this tour saw the
reinstatement of Mark's ex-wife, Brix (whose contributions made/ruined
the band in the mid-to-late '80s, depending on who you ask) to the
band.
So I turned up at the show still reeling from the 5-hour car ride and
looking forward to the show in the way I usually approach a holiday
with my family: It was likely someone would act badly, but it would
probably make a good story later.
The first band, Magnapop, from Atlanta/Athens, made everyone with me
edgy. Their lead singer, who apparently used to be in Oh OK, smiled
continually and sang like a cross between Belinda Carlisle and the
girl from Pylon. The rest of the band seemed very post-Nirvana,
stomping and swinging their bangs and thumping out upbeat-yet-tuff
pop. Unfortunately, most of the tunes were pretty homogenous, with
little attention to stuff like tempo or dynamics.
Oh, yes, their cover of Big Star's "13" made one member of our party
pace around restlessly. I was sort of amused by the inappropriateness
of their Motown-like rendition, but it otherwise offended everyone I
talked to. When the singer chirped, "That was a song by a band called
Big Star," a generally affable friend boomed: "IT SUCKED!" which
seemed to get a good deal off her chest.
This all got the bile flowing for a reading by Chicago spectacle
Cynthia PlasterCaster, who seems to be making a new career out of
readings at shows about her old career, casting the penises of rock
stars for posterity. It's part of the "new sincerity" of the '90s, I
suppose, that this woman can get up in front of audiences and read
lines like "He had the biggest rig I had ever seen" with a straight
face. Unfortunately, the fact is she doesn't read particularly well,
so there were skids and lapses in the delivery ("uh...I can't read my
handwriting") and occasional glosses ("sorry, this is sort of
boring.") All so we could hear about what it was like to have sex with
someone in Procol Harum. (Pass the antacid.)
At any rate, eventually The Fall came out and proceeded to exceed my
expectations with a solid set taken mostly from their last two albums,
Infotainment Scan and Middle-Class Revolt. The sound mix, which was
overwhelmed by keyboard and bass, seemed a little strange to me, but
that must have been what was intended. Mark E. gave the band baleful
looks, chewed gum, and overall looked typically unwell but displayed
very little of his much-vaunted irascible temper, and the rest of the
band--except Brix, who occasionally beamed in a house-mother sort of
way--pretty much looked serious and dour. The audience was much less
predictable: In front of the stage, hordes of college kids (one near
me wore a Frente! T-shirt) slammed to "Hey! Student!" while to the
left of me, an older guy with long hair and a longer beard held up a
cigarette, in lieu of a lighter I suppose, by way of applause. There
was also a skinny guy about my age doing interpretive dance; he got a
wide berth from everyone else, as you can guess. As a bonus, I didn't
have to shove any moshin' sweaty guys out of my way this time (see my
Metro Pavement review from May).
On the whole,it was a foot-stompin' good time, much better than a
family holiday.
az
------------------------------
From: Sean Murphy <grumpy@access.digex.net>
Ramble Tamble... Ramble Tamble
ADMINSTRATIVE MUMBLE:
- All subscription related questions should be directed to me (Sean)
at <grumpy@access.digex.net>. Please ask for things (address change,
add me to the list, take me off the list) in normal English sentences.
To paraphrase the old FAQ, "Sean is not a LISTSERV. He is a real
person with a real life and he will get around to processing your
requests in due time. Thank you for your patience."
- For those who publicize the list on the net or in print, please take
special note of the above - I've gotten close to 50 requests over the
last month in this form:
subscribe indie-rock
without any additional info (like addresses, names, etc.). These are
sorta hard to deal with depending on where they write from - not all
addresses are mentioned in my mail headers.
- Also note that the archivist is Chris Karlof, and his address
appears at the end of each I-L. The FTP site at <ftp.uwp.edu> where
we used to place archives has gotten rather finicky and busy over the
last 6-8 months, and not all the issues are making it there. If you
need something specific, ask him for it.
Thanks to everyone for bothering to read the I-L - I can't believe
that some of us have been doing this for 2 years now without complete
nervous breakdowns, mass suicides, and not a single libel or slander
suit pointed in my general direction... :)
Grumpy Sean
------------------------------
From: eaiu667@rigel.oac.uci.edu
Soul Junk
In IL V4 i1 Peter Andrew Lopez <pl1x+@andrew.cmu.ed> writes:
>soul junk is the ex-lead guitarist of trumans water (perhaps his wife
>and a few others occasionally). he left the band because he got
>married and became a born-again christian.
Strangely enough, Glen Galloway's born-again christian status
can't be confirmed. Before Trumans Water started their
perpetual tour, around mid-April '94, I asked Kevin about
what happened to Glen... (i.e. Is he a born-again christian?
Or is he making fun of it, etc?). Kevin said that this is just
something Glen wanted to do... Of course, I'm assuming that
Kevin isn't telling everything... so either Glen really IS
a born-again, or maybe his wife is trying to get him into it
and he's playing along... I'm not too sure. Just wanted to point
out that the born-again christian thing isn't really fact.. yet.
>this tape, i guess,
>documents his change of heart, religiously, and features heartfelt
>meditations on god (cf. "father god" and "i turned my back on you").
>cynics will immediately discard this tape with the likes of amy grant,
>et al, but this would be a grave, grave mistake. i don't buy the
>message, but the music is superb.
>i suppose the best summation of the merits of this here reel of
>chromium dioxide is that it's the best of both worlds: the songs
>alternate between senTRIdoh/sebadoh/paste-style sparse lamentings to a
>sort of free jazz a la god is my co-pilot, only with longer jams; the
>music is more free and purely instrumental.
Semi-agreed... I like the more tuneful material a lot...
(Actually, the first tuneful song on the tape is the final
version of "The Spaceship Next Door" (title?) from Trumans
Water's _Godspeed_The_Punchline_.) However, I'm a bit partial
to the free-form jazzy stuff... it seems like one big jam cut up
into tracks to separate the tunes. Not much variety within the
free-form material.
K!z!K
------------------------------
From: KYLE BARNETT <KBARNET@INDYCMS.IUPUI.EDU>
Indy Rock!
Hello from Indianapolis...I saw Boston's Fuzzy last Thursday night,
when the band I play in (The Lovemeknots) opened for them at the
Patio, Indy's premier indie club if only by default. Fuzzy played
about ten songs and an encore and left the audience wanting
more...They seemed a little burnt by the road, but then who wouldn't
be out among the Wal-Marts? The band is known for some kind of
Lemonheads connection which is unclear to me, but no matter. At
different points they reminded me of Velocity Girl or Versus, but with
the volume of Cop Shoot Cop. They sounded great across the street.
We pumped them for road stories while they played foosball.
Apparently Dallas was the worst and Tuscon was the best. Nothing
builds stamina like playing far from home.
The next day, Evan Finch (another Lovemeknot) and I took a quick road
trip to Champaign, Illinois, to visit Parasol Records and drop some
money. My favorite purchase was Portastatic's "I Hope Your Heart is
Not Brittle," though I wish Mac Superchunk could've stayed out of a
real studio for the entire project, instead of half of the time. Evan
liked the Magnetic Fields' Holiday album, though he knew he was going
to like it, having heard it through me. He also took a chance on
Neutral Milk Hotel and was pleased. On our trip to Champaign, we were
also Naptown ambassadors, bringing several singles to the Parasol
people, who were as nice as the day is long.
the singles:
United States Three- Resonate with We/That's the Way it is (Egg)
This band is basically the last incarnation of the Zero Boys, minus
vocalist Paul Mahern, who engineered this record. Lots of pop melody
and wah-wah pedals, as well as an outer space alien fixation. The
B-side is a cover by the Del-Vetts, an old '60s pop band from Indy.
This isn't as good as their live shows, but worth your time.
Sardina- Yay! Spinning Ep (Favorite Street)
Powerful 3-song record with great female vocals, reminding me at times
of both Throwing Muses and Fetchin' Bones; go figure. Best song is
"Big Brother" which has nothing to do with George Orwell.
The Mysteries of Life- Kira/Alibi (Egg)
Jake (ex-Antenna, ex-Steve Kowalski) and his wife Freda (ex-Blake
Babies and ex-Antenna) along with a cellist are the Mysteries of Life,
creating a stripped-down and beautiful pop masterpiece with "Kira."
Freda is playing Mo Tucker-style on this, bass drum turned on end for
a mallet attack! This band is only in infancy and already capable of
great things.
Other Indy news: Bob Pomeroy, who runs "Moe" fanzine is relocating
here from Tampa, to our delight. The zine will come along. Caught my
one billionth Vulgar Boatmen show on 10 Sept. at JC Bistro and they
were fantastic. They move effortlessly through their own material
while negotiating some diverse cover material (Buddy Holly, Stereolab,
Smokey Robinson, Television). A new album from the Boatmen, including
both the Indianapolis and Gainesville, FL, branches of the band, is due
next January.
Sorry so much, but I've lurked too long.
Kyle Barnett
kbarnet@indycms.iupui.edu
------------------------------
From: David Gershwin <gershwin@hollywood.cinenet.net>
The Geraldine Fibbers, the Melvins, the Palace Brothers
The Geraldine Fibbers
_Get Thee Gone_
7-song 10"
Sympathy for the Record Industry
So you don't like country music. Well, considering what's coming out
of Nashville (or is that Bronson, MO?) these days, I can't blame you.
However, there once was a time that country music was meaningful and
important -- and when guys named Billy Ray went to the barbershop,
they remembered to get it cut in back, too.
While bands like Austin's Bad Livers update the styles of
country/bluegrass legends such as Bill Monroe and The Osborne
Brothers, L.A.'s Silver Lake District residents The Geraldine Fibbers
draw from more mainstream country artists ranging from George Jones to
Dolly Parton. The Fibbers, fronted by ex-Ethyl Meatplow member Carla
Bozulich, have brought traditional country music to the indie scene,
or, perhaps more aptly, have brought some bohemian artistry to country
music.
_Get Thee Gone_, the Fibbers' debut release, has noticeably "low-fi"
production value -- perhaps in an effort to distance themselves from
today's hi-tech Nashville-schlock (The more likely reason is that
they're saving their more produced tracks for their demo tapes which
have been floating around and piquing the interest of certain major
labels). Bill Tutton's stand-up bass, Bronwyn Adams' swirling violin,
Daniel Keenan's lead guitar, Kevin Fitzgerald's drums 'n' banjo, and
Carla's haunting, near-baritone vocals diverge and intersect amidst
crescendos of punk-like fury. Try to imagine Nico and the Velvets if
they covered all of Costello's _Almost Blue_.
Beck contributes a song and accompanying vocals with "Blue Cross",
which woudn't sound out of place on _One Foot in the Grave_.
"Marmelade" begins with tales of drug escapades and continues with a
guitar riff and melody line not entirely unlike Buddy Holly's "Peggy
Sue." And the cover of the George Jones hit "The Grand Tour" provides
a perfect soundtrack for a quiet evening curled up on the couch with
the dregs of a bottle of Jim Beam.
The Melvins
Prick
Amphetamine Reptile Records
There are two types of people in this world -- those who absolutely
love the Melvins, and those who hate the Melvins more than life
itself. Consisting of tracks rejected by Atlantic, Prick creates a
feeling that would best be re-created if you suddenly began bashing
yourself in the head with a crowbar. And props go out to Atlantic
marketing execs who apparently have enough common sense that they
recognize that when their market consists purely of die-hard Melvins
fans, it's probably not the best of business ventures. Now, if they
could only find that anti-Melvins audience . . .
The opening song, "How About," consists of a rambling Jesus freak over
a soundtrack of chirping birds (yes, on a Melvins album). "Rickets,"
aside from being one of those diseases which I don't think I ever had,
sounds about as awful, painful and gut-wrenching as anything you're
likely to hear from warm-blooded creatures. "Chief Ten Beers" could
possibly be a commentary on the negative effects of alcoholism on
Native Americans, but it's much more likely a simple whacked-out song
replete with whoops, hollers, and bizarre melodies. "Larry" contains
a fine example of crunching power chords that some of my friends have
onomotapoetically dubbed "zhug", and some great Bonham-esque drumming,
not too different from the near-godlike beats on Houdini's "Honey
Bucket."
Now for the really strange cuts. "Pure Digital Silence" is pretty
much truth in advertising -- after Buzz or some lunatic growls the
words in the title, you're treated to good minute and a half of, well,
silence. Of course, by this point in the album, you've probably got
to pee or throw up real bad anyway. "Underground" consists of further
howling, screaming, and general dirge-ness in what sounds a whole hell
of a lot like subway tunnels (gotta hand it to the Melvins for dead-on
song titles).
The closer, a fourteen-and-a-half minute doozy called "Roll Another
One," is arguably the Ulysses of Melvins songs. Beginning with
sounds that seem to resemble nuclear-power-plant-sized bumble bees,
and segueing into periods of protracted silence, only to be broken by
the Melvins doing their best to re-create barbershop quartet melodies,
(you know, the "ba ba bum ba bum" kinda stuff) then reverting to more
standard Melvins fare, "Roll Another One" is hardly what I would
consider appropriate material to which I would follow the song title's
instructions verbatim. After the album's over, I'll be suprised if
you don't have the urge to either re-decorate your aparment with a
hatchet, or to fall into a deep, eight-hour coma.
Palace Brothers
_Palace Brothers_
Drag City Records, 1994
Will O.'s latest effort is decidedly understated, consisting mostly of
two-and-a-half-minute gems, paying unspoken homage to Nebraska in
this stark, haunting collection, right down to the fuzzy cover photo
and minimalist credits (the disc itself says only "Palace Brothers" on
its face). However, unlike the Springer, Will gets in some downright
twisted lyrics that somehow impossibly blend right into the background
(Anne gave an annotated version of the derivation of the "I am a
cinematographer" line a couple issues ago. . . ), such as in
"Meaulines" when one hears "came by the way of the half-breeds and
lesbians" and suddenly you realize you've gotta concentrate hard on
this record.
[er, i should say that 'cinematographer' derivation was pure
fiction...much as i wish it was otherwise.-az]
You start thinking you might be listening to an old folkie LP your
parents might have had (two song titles contain the word "thou"), but
then you hear Will singing about cosmonauts and astronauts in various
states of motion, life, and hunger. Will also succeeds in grabbing
traditional folk style by the horns and redirecting it into tough
territory, ironically asserting that "God is the answer" in "Pushkin"
(dang, if musicians aren't literate as hell these days. . .) and
then sings from the point of view of a distraught "racing", "gracing",
and "favorite" horse in "No More Workhouse Blues". _Palace Brothers_
leaves you quivering with emotion after you've heard it, and you'll be
hard-pressed to figure out where to go from there.
--David Gershwin
gershwin@hollywood.cinenet.net
------------------------------
From: Sean Murphy <grumpy@access.digex.net>
Ramble Tamble... Ramble Tamble continued
I'd like to thank the moderators of the "sick-n-tired" list for
noticing that I was "bored" a couple weeks ago when I last posted to
the I-L - I appreciate the fact that they're reading the I-L and
then making snide remarks as opposed to not reading but still
posting snide remarks. :)
Per usual, a few random reviews just for the hell of it...
The Coctails - Peel (Carrot Top, 3716 N. Greenview, Chicago, IL 60613)
Album #4 from the gang finds them slipping back into "rock-ness" after
the jazzery of "Long Sound" and the basic sonic wandering of recent
singles. This record, combined with the Sea and Cake record and the
prior existence of Shrimp Boat, leaves one question in my mind: when
the hell did Walter Becker and Donald Fagan move to Chicago? While the
Coctails exhibit the fewest amount of Steely Dan-isms on this record,
there's something in there that makes me at least think about "Peg"
and "Rikki Don't Lose That Number" - and that's not bad.
Lots of fine harmonica playing added to a quieter selection of
Coctails songs, and then there's the Squeeze rip-off of "2000" - sorta
fun and catchy, but annoying because the Coctails are capable of more
than this. While much of the fun and excitement of "Road Hog" and
"Walking Down The Street" seem to be behind them, the consistency
level of the record is substantially better than previous efforts.
Not the best introduction to the Coctails (the Songs For Children 7"
takes that honor), but an enjoyable record on the whole. *3/4
Shellac - At Action Park (Touch And Go)
"I can just see the headline in the next Indie-List - 'Todd Trainor -
Drinking Problem...'" - just one of the choice remarks thrown out by
Mr. Albini during the living room and warehouse tour last spring...
No big surprises here - it's a great record. Trainor and Weston make
the big difference here over previous bands featuring "that guitar
sound," taking the songs to new levels of intensity in a subtle but
important way. It's not perfect - "In A Minute" sounds like a
throwaway song written just for sound checks, with the infuriating
quality of being lodged in my brain permanently after 1 listen so that
I can't think of anything else. "Dog and Pony Show" more than makes
up for it, however, as does the beautiful IPR-inspired packaging.
** 1/4
Ida - Tales of Brave Ida (Simple Machines)
Note to all bands: STOP USING THE PHRASE "Tales of Brave __ " NOW.
The original, Cream's "Tales of Brave Ulysses," was fine and actually
related to the song lyrics in question, while the second use, "Tales
of Brave Aphrodite" from the Beat Happening/Screaming Trees project,
was a decent song fairly well interpreted by Velocity Girl... this
time around it just doesn't make any sense or do anything except to
distract me from the music.
That point aside, this is a beautifully understated record from two
people who have been making music for quite a while - Dan was in The
Hated, Slack, Three Shades of Dirty, and helped out with the Choke
single, while Liz has been writing and singing in NYC for a number of
years. This record reminds me of things like Tim Buckley's Peel
Sessions and "Goodbye and Hello," Neil Young circa "After The Gold
Rush," and other music that makes me think of people and places which
are now far away from me but that I'd like to have with me again. In
particular, "Shotgun" makes me cry sometimes, when then just keep
singing "baby you're too young to be playing with that shotgun" and
the guitar builds up a little...
Some will be bored by this on a first listen. It's not pop, it's not
rock, it's not strictly folk. It's introspective and moody and not
exactly party music. For a quiet fall evening, the type where you can
wear shorts but need a sweatshirt, walking through the first fallen
leaves, it's absolutely perfect. Give this a little time, though, as
a first listen may not catch with everyone. **
Randy Weston - Spirits of Our Ancestors (Antilles - a subdivision of
Island)
One of the few double CDs I've ever heard that deserves to be that
long and more. When recorded in 1991, this one marked a return for
Weston to the recording studio after much time spent in Morocco, and
the rhythms and sounds of the Gnawa musicians infiltrate some
wonderfully written jazz. Guest spots by Dizzy Gillespie and Pharoah
Sanders only add to the excitement here... 120 minutes of melodic,
entrancing music which I'm happy to have found after a decent search.
People who respect good melodies and strong piano and sax playing
should groove on this... the skronkers in the crowd should pass (and
pick up Sonny Sharrock's "Ask The Ages" instead to see melody blended
with freedom). **
Stereolab - Mars Audiac Quintet (Elektra/Duophonic)
Somewhat of a return to the "fast Stereolab" of the "Peng"-era, but
tempered by age and the experiments into darkness that marked "Random
Transient..." The song "Ping Pong" frustrates me only because it's too
short and I can't remember which '60s pop songs they borrowed from...
but there are many fine moments across the 4 sides of vinyl I'm
staring at. For those who were upset or bored by Random Transient,
this will come as a welcome relief. For people like me who enjoyed
the different aspects that the Lab had started to explore, this is a
little bit of a step backwards, but only a teenytinybabystep. More
quasi-political lyrics, but I find it much more rewarding to just
listen to the tone of Laetitia's voice than to dissect the lyrical
content. Keep your eyes peeled for a new compilation of rarities
(similar in format to "Switched On" which should help some of the
collectors out there to catch up with what's been recorded between
LPs, and enjoy this in the meantime... **
One last thing - in local chain stores, there's been a cut-out sale of
much material from Island/Axiom/Antilles/Mango/ECM artists on
cassette. Normally I wouldn't care, but for $6 I was able to pick up
a Meredith Monk cassette and the following three treats:
Intesified! Original Ska 1962-66 (Mango)
More Intensified! Original Ska 1663-67 (Mango)
Club Ska '67 (Mango)
Come on out, rude boys... this is the real shit. None of that Mighty
Might Bosstones/Skadanks/etc. BULLSHIT that gets passed off as ska to
the kids today. Skatalites, Roland Alphonso, Maytals, Desmond Dekker,
tons of great Jamaican artists who were essentially making garage
music but screwing up the beats. My favorite parts of these tapes are
the incredible vocalizing (fuck the Fat Boys' "human beatbox" - try to
keep up with these rhythms!) and the reinterpretations of American
'60s hits - sometimes radically reworked, sometimes just syncopated
and given a new name. The roots of Marley's "Stir It Up" appear
somewhere in here, too. The first two are primarily instrumental, the
last has a lot of vocals (along with the anthem "The Guns Of
Navarone), and this is probably the only music that can make me dance
in the subway on a crowded friday night. Each one gets ** from this
happy boy - I only wish I had grown up on this stuff in addition to
"oldies" radio - it's all contemporaneous, after all...
In the ska, rock-steady, and early reggae vein, Heartbeat Records
(part of the Rounder family) has done a tremendous series of reissues
which are totally worth tracking down, if only to prove that Two-Tone
was not the beginning of ska - the double CD set "Ska Bonanza" is the
logical start, but there are tons of CDs, each with at least a few
songs worth grabbing...
Grumpy Sean
------------------------------
From: Glenn Susser <glenns@panix.com>
Wake Ooloo = Real Cool Time
Sat, Sep 17
Maxwells, Hoboken, NJ
YEA! The Feelies are back in their newest incarnation, Wake Ooloo.
Actually, it's ex-Feelies Glenn Mercer (guitar, vocals) and Dave
Weckerman (drums, vocals) joined by Russ Gambino on keyboards and John
Dean on bass.
They opened for Echobelly to a small but enthusiastic throng of about
150. Although their debut album "Hear No Evil" was only released a
few months ago, everyone seemed to be familiar with their stuff. They
alternated between new stuff and Feelies toonz, like Higher Ground,
She Said, Time For A Witness, and the choice encores Crazy Rhythms and
Real Cool Time. They played 60 minutes of no-bullshit rock and roll.
Other than an occasional thank you, there was barely a pause between
songs.
Perhaps what surprised me the most was that they sounded every bit as
good as the Feelies. I figgered without Bill Million (who's rumored
to be a locksmith in Disneyland??) they might only sound half as good
without the dynamic double-guitar interplay, but such was not the
case. Granted, WO is a lot more straightforward than the Feelies,
having just the keyboards and one guitar, but if anything they rock a
lot harder.
Don't know a thing about Echobelly, except the surly, snotty and
jejune multitudes started filing in as we made a dash for the exit.
After all, it was 11:15 already, and Wilson just having turned 39 and
all had to make it home before midnight.
glenns@panix.com
p01400@psilink.com
CIS:73424.2630
------------------------------
From: magee@natural.com (John J. Magee)
ANNOUNCE/INFO: Call for Info for and the first New Releases List
Recently the rec.music.info new releases list became defunct. I am
starting a new one with an indie slant, although all comers will be
taken. It will be posted weekly to various mailing lists, as well as
on the WWW and possibly alt.music.alternative, although I'd like to
avoid that. Tell all your friends.
[We'll be including it in the Indie-List until John gets his mail
stuff (see below) finalised. Until it gets going, a broad
distribution will only help this service, and until it's fully up
and running, it shouldn't take up too much space in yr mailboxes.
-es]
1) Obviously, only a few people have contributed this time around.
The only way to fix this is to contribute yourself. Please inform me
of any release dates you know about. Solicit info from your
friends. Pass the word. Hopefully we'll expand week by week. When
submitting, please follow the guidelines attached after the list.
2) I will be announcing a WWW location for the list very soon. Stay
tuned, cruisers.
3) If you know somebody who doesn't subscribe to any of the forums
this list is posted on, but who wants a copy or a regular
subscription, they can mail me. I hope to get a formal subscription
service going soon, but for now I'll handle it this way. Please don't
ask if you're already getting this via a mailing list (you are).
4) Feel free to forward this to anybody & encourage them to
contribute.
5) Please barrage me with questions and comments.
6) This sucker is in tab-separated text. E-mail viewing will
generally be harder than using an application that makes columns out
of tabs.
[note - I tried to clean it up as much as possible for I-L readers -es]
7) I've dumped the concept of indicating whether releases came from an
affiliated source. It's dumb. I don't need the info anymore in future
submissions.
9/13/94 5ive Style Waiting on the Eclipse 7" Sub Pop
9/13/94 Hardship Post Slick Talking Jack 7" Sub Pop
9/19/94 Smog Burning Kingdom MLP/CS/CD Drag City
9/19/94 The Red Krayola The Red Krayola LP/CS/CD Drag City
9/20/94 The Supersuckers On the Couch 7" Sub Pop
9/20/94 Liz Phair Whip-Smart LP/CD/CS Matador
9/20/94 TFUL282 Strangers From The Uni. LP/CD/CS Matador
9/20/94 Heavenly Decline and Fall of... LP/CS/CD K
9/27/94 Jon Spencer Blues Explosion Orange LP/CD/CS Matador
9/27/94 Pizzicato Five Made In USA LP/CD/CS Matador
9/27/94 Eric's Trip Forever Again LP/CS/CD Sub Pop
9/30/94 Blowhole Uncoastin' 7 Apraxia
9/30/94 Come Don't Ask, Don't Tell CD/LP/CS Matador
9/30/94 Dragking Backburner b/w Jazzmonster 7" Trixie
1/10/04 Tulips "Wet" b/w "King of Sex" 7" Sonic Bubblegum
1/10/04 Tugboat Annie "Jacknife" b/w "Mock" 7" Sonic Bubblegum
10/1/94 Gapeseed lo cell CDEP Silver Girl Records
10/1/94 Royal Trux Mercury 7" Drag City
10/11/94 Red Red Meat "Idiot Son" 7" Sub Pop
10/11/94 Juned ? ? Up
10/15/94 Dragking Miscegenation b/w 2 7" My Pal God
10/24/94 Silver Jews Starlite Walker LP/CS/CD Drag City
10/24/94 Various Artists Hey Drag City 2LP/CS/CD Drag City
10/25/94 Fastbacks "Answer the Phone,Dummy"LP/CASS/CDSub Pop
10/25/94 Poison 13 Wine is Red, Poison is Blu CD Sub Pop
10/25/94 Poison 13 "Love Me" 7" Sub Pop
11/8/94 The Grifters TBA 7" Sub Pop
11/8/94 Jessamine TBA 7" Sub Pop
11/8/94 SM*A*SH "Barrabas" 7" Sub Pop
11/14/94 Mecca Normal TBA LP/CD/CS Matador
11/14/94 Kustomized TBA LP/CD/CS Matador
11/14/94 18th Dye Done LP/CD/CS Matador
11/14/94 18th Dye Crayon 10" EP/CD Matador
11/15/94 Gastr del Sol Mirror Repair 12"EP/CDEPDrag City
11/15/94 Palace Songs Hope 12"EP/CDEPDrag City
Nov.-Dec.New Bomb Turks (live) LP Anyway
Nov.-Dec.Jenny Mae Leffle ? CD Anyway
Nov.-Dec.Moviola ? 10" Anyway
Nov.-Dec.V.A. Cowtown 4 & 5 7" Anyway
out Belreve/Guided By Voices ? 7" Anyway
---
If you know of a new release date, either approximate or definite,
please send it to me (magee@natural.com) in the following format:
DATE | ARTIST | TITLE | FORMAT | LABEL
Guidelines:
DATE: If you know the day, submit it. If you only know the month,
that's fine too. Year is unnecessary.
ARTIST: Please try to adhere to the standard last-name-first,
articles-last deal.
TITLE: See artist.
FORMAT: Use one of the following: LP; 12"; 10"; 7"; CD; CDEP; MC
(cassette). You can combine formats . . . see the example.
LABEL: Obvious.
Example:
9/30 | Come | Don't Ask, Don't Tell | LP/CD/MC | Matador
IMPORTANT: The subject of your message should contain the word
"Releases". If you are affiliated with the label releasing the items
you submit, please include the word "Affiliated" in your subject line.
Please address any questions and suggestions to me
P.S. Would anyone who has email addresses of people at record companies
please send them to me? Thanks.
--------------------------------------------------------------
John J. Magee - Natural Intelligence, Inc. - magee@natural.com
--------------------------------------------------------------
------------------------------
From: Chris Elias <cdelias@watarts.uwaterloo.ca>
ANNOUNCE: E-zine called Indie Front
Indie Front is run by the band Malibu Stacey, and discusses, babbles
incoherently about and generally takes the mystique (as if there was
any) out of the indie music scene. There are anecdotes detailing
Malibu Stacey's dealings with bar owners and all the others they meet
on the road to... where ever it is they think they're going. The list
is aimed at other indie bands, and those interested in chronicling the
ascent/decent of a currently unknown band - Malibu Stacey. It also
passes on propaganda concerning the band (i.e. dates etc.) and is
published once every two weeks AND is generally kept
UNDER two pages. Even if someone is totally uninterested in this band
per se, there is lots of 'Indie Front Hints' to help out aspiring
bands and their friends.
For more info, back issues, or to join the list email
cdelias@watarts.uwaterloo.ca
-----------------------------------------------------
"Anomalies are the rule rather than the exception."
Tophe or cdelias@watarts.uwaterloo.ca
------------------------------
From: Fashcen@aol.com
ANNOUNCE: Fashion Central & Knievels gig
Announcement: FASHION CENTRAL & THE KNIEVELS @ The
Chronos Cafe (Formerly Twisters), Richmond, VA
"FREE" Mon. Sept. 26. 804 353-6918 for info.
------------------------------
From: hatt@agvax2.ag.ohio-state.edu (Ted Hattemer)
ANNOUNCE: Hairy Patt Band (Choke Records) tour info.
The Hairy Patt Band is a two-piece dingy bluesbilly band who are not
afraid to abandon a song in hopes of finding the rhythm that will
bring the foot stomp back around so that everyone will be able to take
another sip of beer. CD/LP out soon on Choke Records (Chicago).
They may appear unapproachable -- but they could use free places to
stay while on tour...
The Hairy Patt Band tour dates:
Sept
21 Boston - Rat
22 Portland MA - Raul's
23 Portsmith, NH - Elvis Room
24 Baltimore MD - Towson State
25 New Brunswick NJ - Bowl a Drome
27 New York, NY - Brownies
28 Philly - Khyber Pass
30 Savannah GA - Velvet Elvis
Oct
01 Augusta, GA --Ranch (something or other)
05 Lafayette, LA - Metropolis
07 or 08 Austin TX -
09 Dallas TX - Galaxy Club
10 or 11 in Houston
12 Shreveport
13 Little Rock, AK - Zino's
14 Nashville - Lucy's Records
15 St. Louis -Cicerros
18 Omaha, NE - Capital Bar
20 Des Moines -
22 Chicago - Empty Bottle
If you can offer a place from Jason and Joe
to crash it would be apprciated...
Thanks from Columbus, Ohio
TED
------------------------------
From: mhibarge@chipcom.com (Mike Hibarger)
AD: Sonic Bubblegum
Sonic Bubblegum is proud to announce the release of two new 7"
singles, (probably all we'll be releasing this Fall). Send e-mail to
mhibarge@chipcom.com for a catalog, etc.
GUM018 Tugboat Annie - "Jacknife" b/w "Mock" 7"
GUM019 Tulips - "Wet" b/w "King of Sex" (Killdozer cover)
We also have a few of the Archers of Loaf/Treepeople 2x7" left; order
one while you still can.
<------------------------------------------------------------>
The Indie-List Digest is published a few times each week (usually
Tuesdays and Fridays) by the Indie-List Infotainment Junta, Unltd.
What Who Where
Editors Eric Sinclair esinclai@indiana.edu
Anne Zender azender@indiana.edu
Mailings Sean Murphy grumpy@access.digex.net
Archives Chris Karlof karlofc@seq.cms.uncwil.edu
FTP ftp://ftp.uwp.edu/pub/music/lists/indie
Consultants: Mark Cornick, Joshua Houk, Sean Murphy, Liz Clayton and
K. Lena Bennet