Shut up and eat your haggis!


      Indie List Digest!

        June 26, 1995

     Volume 4   Number 33


The Mystreated, Adventures of Parsley, FSA, Edwyn Collins, Gorky's Zygotic Mynci
retro-shopping in the square mile city
Spare Snare, Calvin Party, Strangelove, Laurie Anderson, et al.
Yo La Tengo
i used to be a metalhead
ANNOUNCE: Sun Zoom Spark

Too many "if it's not one thing, it's another" weeks have left Anne 
and I with little or nothing of any substance to say about music.  
Things should settle down for us soon, or so we believe, and we'll 
attack that stack of 7"s and CDs that is nagging us on the way out the 
door each morning.

A minor correction from last week's issue was sent to us by Steve 
<>, to wit:

...the URL given at the end of the Julian Lawton review of 
Cornershop's "6am Jullander Shere" was incorrect.  A 2 had been 
replaced by a z (a simple mistake I know).

The correct URL is:

Thanks Steve!  And thanks to all who have been contributing so 
faithfully.  This issue in particular seems to have a nice cross 
section of reviews and live meanderings.

Looking forward to hearing from the rest of y'all,



From: (Julian Lawton)
The Mystreated, Adventures of Parsley, FSA, Edwyn Collins, Gorky's Zygotic Mynci

The Mystreated - She's Gone (Twist Records) 
Another Toe Rag production.  Towards the end it's almost 
anti-production.  .  .  a rediscovered Beatles practice tape.  .  .  
pointless?  Maybe, but raucous & fun.  Even my jungle-techno DJ 
brother couldn't resist shuffling & humming along as he passed through 
the kitchen.

The Adventures Of Parsley - Magpie (Hangman's Daughter) 
Billy Childish's label.  I know Magpie only as the theme to the 
Children's program of that name, but this is a raw & loose funky 
version, with that raw Childish sound.  The B-side 'Interceptors 
Immediate Launch' is yet more faux-60s spy series music - hammond & 
staccato bass (actually it's the theme music to U.F.O).

Flying Saucer Attack - Beach Red Lullaby (Planet) /Further (Domino) 
I like the way that the folk influences have become a lot stronger on 
the recent FSA material.  The funny thing is I remember dreaming up a 
conceptual shoegazing band some time in '91 for a parody piece in a 
fanzine - they were going to be called Breathe & covered a Sandy Denny 
song.  Sadly, though the connections between the pastoral melancholy 
of Slowdive & the Witchseason folk axis seemed an obvious route to 
explore, no one went down this way until now.

The second thing worth noting is just how much more use of reverb 
there is not just as an echo, but controlled to make dub-style fades & 
increasing echoes.  Compare that to Ride & Slowdive's appropriation of 
dub STYLE (deep bass line, spartan drumming) after Primal Scream's 
'Higher Than The Sun' and you can see who's actually been listening to 
the real stuff.  Sometimes the screee of feedback gets that bit too 
much, but for the most part this is a sound to let overwhelm you, get 
inside your head.

Edwyn Collins - Gorgeous George (Setanta/Bar None) 
Top 10 hits everywhere except the UK & US, this is Mr.C's return to 
form, with a really good diverse LP.  'If You Could Love Me' sounds 
like the final realisation of Orange Juice's soul music dreams - it 
sounds like it could be a '70s soul hit, without sounding like a 
homage.  'A Girl Like You' is a fantastic single, built around a 
killer hook (the same one that the Bucketheads used on their recent 
house hit 'The Bomb' in fact).  'North Of Heaven' & 'Low Expectations' 
are as bitter as late-period Felt, but the most acid attacks are the 
openers of each side - 'Gorgeous George' is some unnamed 
self-important music star, while 'The Campaign for Real Rock' lays 
hell into '90s festival culture - 'their idea of 
counter-culture/Momma's charge account at Sears/And they're wondering 
why we can't connect/with the ritual of the trashed guitar/one more 
paltry empty gesture/the ashes of a burned-out star' over the most 
'epic' sounding backing on the LP.

 'The gathering of the tribes descending/vultures from a caustic sky/
  The rotting carcass of July/An ugly sun hung out to dry/
  Your gorgeous hippy dreams are dying/Your frazzled brains are putrefying/
  Repackaged, sold and sanitized/The devil's music exorcised/
  You live, you die, you lie, you lie, you die/Perpetuate the lie/
  Just to perpetuate the lie'

Please note the end moments of this song, the repeated 

 'Yes yes yes it's the summer festival/
 The truly detestable/summer festival' 

are sung to the tune of the similar end piece to David Bowie's 
'Memories Of A Free Festival'.  This is the only acceptable & 
intelligent use of irony I've heard in music this year.

Boo Radleys - Wake Up!  (Creation) 
(OK, I know Creation is really a subsidiary if Sony these days, 
but...) All of a sudden my Mum starts listening to the Boo Radleys.  
She finds it amusing that I'm the one playing the Stones, Love & 
Beatles, while she plays the Boos, Stone Roses, Portishead & Massive.  
Still what that means is that the Boo Radleys have arrived at that 
level, with a set of songs that are highly inspired by the '60s, 
notably the Beatles, Beach Boys & Bacharach, but not stuck there - 
'It's Lulu' is equally classic power-pop in an almost Undertones way, 
with its surging teen energy.  .  .  and even then, there's still 
those occasional surges of noise to remind you that they grew up 
listening to Sonic Youth & MBV, actually.
Mercury Rev - See You On The Other Side (Beggars Banquet) 
A real melting pot - if 'Somewhere Over The Rainbow' met real jazz 
musicians and a bunch of Sonic Youth loving space cadets .  .  .  oh, 
you mean that's what this is?  Theramins & opera singers, strange 
noises, wistful psychedelia.  Much better than 'Boces' and right up 
with the heights of Shimmydisk (Dogbowl's 'Cyclops' & mid-period 
Bongwater, if you ask me).

Various - The Sound Gallery (Emi's Studio 2 Stereo) 
Currently the fashionable thing for journalists to say is fashionable, 
easy listening.  .  .  what with the faux-cocktail bands in the US 
too, I don't see that the 'post-rave burn-out' argument holds.  While 
the best gems are to be found for under a quid in charity shops & 
second-hand sale bins, this compilation has some unreleased gems - can 
you really live without tracks like 'Young Scene','Life Of 
Leisure','Jet Stream', 'The Riviera Affair', 'Girl In A Sportscar', & 
'Half Forgotten Daydreams'.  Or more dubiously 'Black Rite','The Snake 
Pit', & 'The Headhunter'?  Neither is it all as bad taste or 'easy' as 
things are suggested - 'The Earthmen' has audacious Moog noises not 
heard in rock recently until Stereolab rediscovered them, though the 
funky Moog driven version of 'Jesus Christ Superstar' is plain silly.  
This is a great imaginary party record - you put it on & you can 
imagine yourself at a great party.
Stereolab - Music for The Amorphous Body Study Centre (Duophonic UHF) 
Possibly the most lovely-sounding record Stereolab have produced to 
date, with sumptuous string arangements - though 'Melochord 
Seventy-Five' is another variant of the 'Jenny Ondioline'/'Outer 
Accelerator' theme.  .  .  I'm really not sure about this one yet, 
actaully, so I'll reserve comment.  Not one for people who hated 
'Space-Age Bachelor Pad Music'

Gorky's Zygotic Mynci - LLanfwrog 10" EP (Ankst) 
The cover artist has been at the mushrooms again, and the back has 
gargoyles & wizards on it.  One of the band now has a big beard.  .  .  
and there's a Soft Machine cover ('Why Are We Sleeping?') - flee, the 
Welsh hippies are coming!!!!

'Miss Trudy' is perhaps the Gorky's most plain lovely song yet, a tale 
of a neurotic violin teacher, 'Eira' (snow) another delicate spacey 
moment, 'Methu Aros Tan Haf' (something like Can't Wait Til Summer) 
more folky, in a kind of Fairport Convention/String Band way, while 
'Why Are We Sleeping' is the second-best version of the song I've 
heard - the first was when Kevin Ayers (who wrote it) recently 
performed it live.  Gorky's sounds are impossible to describe, but 
they convert so many people who see them live - they're too 
noisy/lo-fi at times to be real saddo 'progressive' period 
revivalists, sometimes Beach Boys harmony sweet, sometimes Beefheart 
wierd - John Cale called them his favourite new band a couple of years 

Julian Lawton


From: Sean Murphy <>
retro-shopping in the square mile city

So, yes, before the splendiferous Dead C show, I got to visit Pier 
Platters, in Hoboken, NJ.  The selection may not be as spectacular now 
as it was 3 years ago, but it's still one of the finest record stores 
I've ever visited.  And since I hadn't been there in over a year, 
there was plenty of stuff that I hadn't seen around in some time.


The Terminals, Disconnect (Flying Nun, 1988).

First EP on Flying Nun (perhaps their first vinyl release period).  7 
songs, all available on the CD version of Uncoffined.  When I 
started talking about the Terminals all the time a couple years ago, 
my friend Kyle in Philly just kept mumbling "Roxy Music." And until I 
got Uncoffined, I had absolutely no idea what he was talking about - 
I started with the live cassette on Xpressway that is rough and raw 
and spooky and garagey and wonderful.  And Touch is much more in 
that vein.  But Kyle's right (as usual) - the early Terminals stuff 
does have a certain element of Roxy Music to it which I can't quite 
isolate.  But there's no shame in reminding me of "Love is the Drug" 
or other early Roxy stuff...  Anyway, these songs have some organ 
though not as much as appears later, Brian Crook isn't playing guitar 
yet, and it's just as essential as all the other Terminals records on 
the planet.  If you've never heard them - well, it's got a 60s 
garage-pop sound, but on the murky side (as opposed to the Clean, who, 
appropriately enough, had a cleaner 60s fascination in their first 
incarnation, pre-Great Unwashed).  **1/2

Human Switchboard, "I Gotta Know" b/w "No!" (Clone, 1978)

Long out of print 7" from this spectacular Cleveland -> Hoboken band.  
This one is revved up and garagey, as opposed to the subtle brilliance 
of _Who's Landing In My Hangar?_.  Lo-fi with a farfisa organ throb 
that makes me wish the songs were more than 1:30 each...  **


Wire, "Outdoor Miner" b/w "Practice Make Perfect" (Harvest, 1978)

As the wise Sally Jacob once wrote, "to answer the question 'how do 
you make the best song in the world even better' - add a piano solo in 
the middle." This single version of "Outdoor Miner" is different from 
the LP version on _Chairs Missing_ - it does indeed have a piano solo.  
I sing and cry with this song often - it reminds me of better times, 
and people I no longer see very often, and my very favorite tape of 
pop music has this version of this song buried in the middle of it.  
Having progressed beyond the urgency of _Pink Flag_ and heading toward 
the experimentalism of 154 and post-Wire projects, this song stands 
out as a true pinnacle of fragmented pop music.  *** [Oh yeah, the 
B-side is pretty damn good, too.  :) ]

Primal Scream, "Crystal Crescent" b/w "Velocity Girl" (Creation, 1986)

In my book, the first and last good thing this band ever did.  
"Velocity Girl" (which did yield a band title some years alter) is 
another classic pop song to sing with and play repeatedly.  "I don't 
need anyone to help me, not anyone at all, 'cause my so-called friends 
have left me, and I don't care at all - leave me alone..." The A-side 
is good, but my copy (marked "as is" in the store) is scratchy, and I 
really bought this just for "Velocity Girl" since I'll never find a 
copy of the "NME C-86" compilation album.  **1/2


The Monkeywrench, "Bottle Up and Go" b/w "Cold Cold World/Out Of 
Focus" (Sub Pop, 1991)

One of the first Seattle super-side-groups (members of Mudhoney and 
Gas Huffer along with Tim Kerr of the Big Boys), 2 LP songs but the 
real winner is a sludge-laden cover of Blue Cheer's "Out Of Focus" - 
Mark Arm finally owns up to the primary inspiration behind Mudhoney!  

Dub Narcotic Sound System, "Bite" (K, 1994)

Calvin Johnson's new project is to lay down vocals over old Jamaican 
dub singles (and make up some beats of his own).  The closest 
approximation I can make to the Dub Narcotic sound-theory is the 
Clash's long version of "Bankrobber" (on the _Black Market Clash_ EP, 
another essential element of any good record collection).  This one 
sounds JUST LIKE an ESG song that I can't remember, and Calvin's vox 
aren't dub-echoey enough to pull it off right on the A-side.  The 
b-side is easier to listen to, maybe because it's instrumental (so 
Calvin doesn't distract from the beat).  For me, Dub Narcotic is 
shaping up to be the Veronica Lake of the late '90s - a band/project 
that I'm really excited about, heard cool things about, heard a cool 
song or two, but I never seem to buy the right single and thus get 
disappointed.  **1/2

That's all I've got to say for now...

Grumpy Sean


Spare Snare, Calvin Party, Strangelove, Laurie Anderson, et al.

Well, I went through to Glasgow, or as the locals call it, God's Own 
City, on Saturday.  Probably got through more music than I usually do 
in a month.  Went to Tower Records first - one of those big Our 
Price-style shops, the difference being that they have half a floor 
dedicated to 'indie' (the other half is 'Musicals').  The first thing 
I was looking for was the Calvin Party's _Life and other Sex 
Tragedies_.  And I found it, for 5.  Probably just as well it was 
going cheap - I was after this on the strength of their recent 
storming Peel session.  This album was recorded in '93 and they 
weren't quite as accomplished as they are now.  Still, it's an ok lp, 
a sort of mix of the 3 Johns, Mekons, Half Man Half Biscuit etc.  
Worth the price.

I also got the new Spare Snare cd, _Live at Home_.  This is excellent 
stuff, this Dundee-based band probably being the top Scottish band on 
the go at the moment (I believe they were a big hit at the CMJ fest in 
New York too).  Can't quite define what they sound like, which must be 
a good thing, but generally low-fi pop, alternating between quiet, 
even acoustic, and fuzzy and fast.  Buy it.

Popped ropund the corner to Missing Records, which John Peel himself 
recommended a few months back.  They have lot of stuff there with a 
second-hand branch a few doors along, so business must be looking up.  
Picked up a copy of the Strangelove cd _Time for the rest of your 
life_.  Never even heard them before, but a friend raved about their 
live show.  The descriptions likening them to Nick Cave, Scott Walker 
etc aren't quite accurate, but they do have an impressive set of 
ballads.  The Hammond organ/violin probably gains them these 
comparisons.  Verdict: not as good as Tindersticks, and not all that 
like them either.  But certainly worth a listen.

Off to the south side to drop in on a friend, who immediately presents 
me with a tape of Tortoise, whom a certain Mr.  Albini is a fan of.  
Can't quite understand this as they seem to have elements of Pink 
Floyd and free-form jazz in their makeup, which are the kinds of thing 
he would surely rail against.  I eventually decide that their style 
also encompasses the Durutti Column, for some reason, which is ok by 

Also on the tape is some odd German retro, including the Space hit 
_Magic Fly_.  This is the missing link between Boney M and Kraftwerk.  
You soon learn who your friends are.  Also on the tape are some tracks 
by the Tremens (Glasgow's answer to Half Man Half Biscuit - aye, them 
again) which he played sax on.  Though I also borrowed the Wire book 
_Everybody Loves a History_.  This is pretty good, considering it's 
just in a Q&A format.  Really interesting stuff, including the band 
telling the meaning behind most songs and why they reduced to a 3- 

Also got a copy of the Pere Ubu interactive movie.  Not very advanced 
in that there's little sound and no video, but full lyrics and the 
story of the band will appeal to any Ubu-spotters out there.  (I'll 
post the address when I can; the web site seems to be out of action at 

And so to the sumptuous Royal Concert Hall.  On meeting one of my 
friends there he gives me a tape of the last 2 Peter Hammill lps.  Not 
heard enough of them yet to form a proper opinion - as far as I can 
tell/have already been told, _The Noise_ is pretty much stripped down 
stuff, while _Roaring Forties_ is meant to be a return to VdGG style.  
Odd change in style for consecutive elpees.  Speaking of Hammill, I 
heard the mmuch-vaunted Alasdair Galbraith for the first time on the 
Peel show last week, and guess who he reminds me of?  (though not half 
as good, obviously).

Laurie Anderson: I suppose Ms.  Anderson is a bit like the proverbial 
box of chocolates, i.e.  you want to murder Tom Hanks when you hear 
her voice.  No, hang on, you're never quite sure wehat she'll come up 
with next.  First exposure to her, like just about anyone else, was 
Big Science/Oh Superman, but then she went from pop star (well, 
almost) to performance artiste proper with United States and other 
loooong stuff.  So what we got tonight was a set split into 2 equal 
halves of one hour each.  As you'd expect with 'performance art', the 
stage set is a big part of it.  3 sliding screens which have images 
back-projected onto them, plus a couple of inflatable balls, not 
unlike Rover from The Prisoner, suspended overhead.  These are the 
most impressive, as depending on what image is projected onto them, 
they become pool balls, glass spheres, mirror balls, whatever.  The 
sliding screens (nurse!) for the first part show a fairly mind- 
numbing array of images, such as loops of flames, or feathers dancing 
in the wind.  To be honest, the subject material of this opening 
minutes isn't very inspired, as Ms.  Anderson muses over the nature of 
time with the help of her showbiz chums such as Stephen Hawking.  
Things pick up however, as we move into anecdotal territory.  Among 
the things covered are her time as a history teacher (when she would 
make up periods of history if she forgot them, with the unsurprising 
result that her pupils would fail their exams), plus how to spot an 
American tourist, and why terrorists are the only legitimate form of 
performance art (because they can always surprise you, of course).

Spent the break trying to blag a promo copy of her 'Puppet Motel' 
interactive CD.  They weren't having any of it, even when I promised 
an indie-list review [the gall!  -es].  The surprise for us was that 
the second half wasn't occupied by a greatest hits segue; just more of 
the same, but this isn't a complaint as such.  More anecdotes, a lot 
of stuff about technology and the Internet, more about her times in 
Tibet and Mexico this time, which were quite entertaining, as was her 
tale of how her grandmother's faith was tested at death's door over 
that age-old problem: does one wear a hat when going to meet their 
maker?  On a similar tack she managed to throw the Scottish audience 
by talking of her near-death experience on a mountain in Asia 
somewhere.  I'm not sure if we were supposed to whoop at the end of 
this or not, but either way, the audience kept quiet.  Still, that's 
Laurie Anderson, always keeping you guessing.

Onto the "America's Least Wanted" section:

New Therapy?  lp: Odd, as well as the ham-fisted punk/metal crossover 
for which they are famous, there's pop, trance and a cover of Husker 
Du's Diane, complete with string section.  Odd.

New Bjork: Also odd. Especially the big band jazz stuff. Wibble.

As I type I'm listening to the Spare Snare cd.  I can only reiterate: 
buy it now.  Could be lp of the year, that's after 2 listens.


From: Jill Emery <>
Yo La Tengo

I don't know if this band is still considered "indie" or not....on 
rages the Matador debate et al...

I went and saw People Magazine's pick for best new alternative band 
last night.  Yo La Tengo played June 13, 1995 @ Liberty Lunch, Austin, 
TX.  Pork opened.  Unfortunately, I missed Pork, which is a shame; I 
wanted to see them again, oh well.  First a few words about Liberty 
Lunch.  If you're a touring band, used to small intimate clubs and 
manageable PA systems, then steer clear of this venue.  Everyone in a 
band that I have ever met complains about how lousy it is to play at 
Liberty Lunch.  So this normally handicaps bands.  Yo La Tengo managed 
to play extremely well and sound incredible and maintain enough 
control over the PA system that my ears aren't still ringing today.

[purely from my own curiosity; for Austinites - was it ever so?  When 
I was living in Texas, I made a road trip or three to some very 
memorable, and to me enjoyable, shows at LL.  Was the perception on 
the part of the bands that different?  -es]

Impressions of Yo La Tengo?  Sebadoh without the whining comes to 
mind.  Young Jewish kids trying to resurrect the spirit of Jim 
Morrison and succeeding.

I was impressed.  They were tight and focused and the music swam out 
to meet the audience and the drummer has this wonderfully silky voice 
that just washed over everything.  The effects were nifty but not 
gimmicky and yeah, I think I will buy any live albums that might be 
out there or are recorded in the future.


From: dann medin <DLM94001@UConnVM.UConn.Edu>
i used to be a metalhead

hello and hi there.  advice fr those under 21 that want to make it in 
to carding shows fr the music: remember your new date of birth.  sigh.  
anyways, will be heading up to vermont tonight fr the bob 
dylan/grateful dead show @ highgate, which i'm pretty excited about.  
bob evans just headed out on tour too, which should be around here @ 
the end of the month.  the new slant 6 is a lot of fun, and i've been 
digging the fugazi cd much much much.  the "free to fight" comp on 
hazel/team dresch jody's candy ass records is pretty good, high marks 
going out to the containe and rebecca gates songs.  also on candy ass 
worth checking out is the new bad things disc; very creative, good 
times.  if you didn't get it down last time, copy and mail syrup usa 
care of "".  it won't clog yr mail and will keep you 
up to date on what boston's sweetest pop band is up to.  their 7" is 
now in the dc area too, @ go!, vinyl ink, and yesterday n tomorrow.  
better than the swirlies.  drop them a line...  ok?  la la la.  shows 

godhead silo, melvins in providence, ri; club babyhead: i hadn't been 
to a noisy show in providence in some time and hence forgot about the 
obnoxious skinheads.  throw in some melvins jockfans, metallica fan 
club members, and nothing but clutch between bands, and it all brewed 
up a pretty hellish evening.  ghs was fun as always, but unfortunately 
not as fun as i had seen them before, mostly because of the 
overabundance of biohazard-type testosterone.  as mike mentioned 
between songs, "you wouldn't be clapping if you knew otherwise, ha 
ha ha ha ha." they only played up to half of the intensity that they 
are capable of (which is still more than most bands w/more than two 
members).  um...  the melvins were, um...  yeah.

the lune, pinball, june star in cambridge, ma; middle east.  this was 
our first show, and when the supreme dicks cancelled it left us w/45 
minutes to play 3 songs in.  fortunately, most of them turn out to be 
10 minutes anyways, so a little stretching wasn't difficult @ all.  i 
thought that we sucked, but was totally appreciative of all of our 
friends who showed up and made the atmosphere a totally supportive 
one.  pinball was amazing.  an improv noisy band featuring members of 
queer, the swirlies, syrup usa, and spore, they impressed everyone in 
the audience.  i would like to see this band live a lot more, and 
recommend em to fans of, oh, unwound meets the magic hour.  or 
sumthin.  the lune was cut in 1/3 due to jeff (bass & billion other 
gadgets)'s illness.  they tried doing the folky acoustic stuff and 
pulled it off ok but seemed really sad.  the lune gets props fr 
playing on.

sonic youth, digable planets in hartford,ct; trinity college: duh.  
amazing.  totally amazing.  i luv the digables dearly, and had fun 
during their set, but they should really stick w/the jazz (as opposed 
to funk) based grooves.  sy left us speechless.  they not only played 
schizophrenia & candle (two of my all time faves), but did a lot of 
new material w/kim on 3rd guitar as well.  the only slightly annoying 
aspect of the set was lee bringing out a different brand new guitar fr 
each song.  that was weird.

cub, de la soul, sun ra arkestra in middletown, ct; weleyan: fun free 
show in the middle of writing papers fr finals.  was happy to finally 
see cub, very nice folks indeed.  played a good mix off both cds & 
covered the beat happening tune.  reaffirmed canadian heritage as 
having nothing to do w/liking rush.  de la is one of my favorite hip 
hop bands on tape, but bored the daylights out of me live.  if they 
had an accompanying band, they would totally be the shit.  sun ra 
arkestra was hands down the most impressive set (or the 45 minutes i 
was allowed to stay fr) i have seen this entire year.  wow, 20 or so 
old guys dressed up in gold robes emitting total cosmic soul into the 
atmosphere.  i can't describe them in any sort of language.  in the 
very words of one of their cast: "i don't know.  we just get up on 
stage, start playing, and something cosmic starts happening." fr those 
of you not familiar w/sun ra material, email me fr questions or 
recording recommendations.

june star, tizzy in providence, ri; risd coffeehouse: we stunk again.  
the sound, system, and acoustics were pretty horrible, but tizzy just 
kicks ass no matter what.  great female pop punk somewhere between 
berkely and simple machines.  a good summary: jen (vocals, bass) has a 
descendents sticker on her bass and a jawbreaker jacket.

june star, lenola, karate, crown hate ruin in north windham, ct; 
studio 158: we played a little better but had problems w/sound (not 
plugged in to p.a.) & breaking a brand new bass string.  had fun tho, 
and probably looked really amusing (i think that i had spasms or 
something) too.  lenola was great; ex hardcore members playing polvo 
rock.  cool.  karate, as usual, was still better than the time before, 
which was the fugazi show & still damn good.  i wish that someone'd 
sign em soon...  they have a solid set of songs, great live shows, and 
lots of excellent tunes that i want to listen to on tape.  fr info on 
available vinyl, email eamonn @ "".  crown hate ruin 
was hoover w/out being as good.  it was most of the band anyways 
(exempting the guy in june of '44), so it shouldn't come as any 
surprise.  ok, and fun to dance to, but nothing to get excited about.  
the 7" is so-so.  i think that i would get in to them more if they had 
another guitarist.

milkmoney, excuse 17 in cambridge, ma; middle east: finished my last 
final that afternoon...  much relief and stresslessness.  milkmoney 
was pretty much the same as they were @ the huggy bear show in ct last 
october.  slow songs w/ occasional screaming.  kinda like a cross 
between hole and helium, but slower & not as intense as either.  
excuse 17 is a great, energetic live band.  their new cd on kill rock 
stars is leaps and bounds beyond their debut, which i had liked 
anyways.  i'll spend more time on their set next week, having had the 
lucky pleasure of seeing them a bunch on this tour.

blah.  so next time i'll go over the whole nyc-dc trip which will 
include stuff on helium, vitapup, excuse 17, and mo' mo' mo'.  hell, 
maybe i'll even review the dead show.  heh.  anyways, if yr still 
interested in talking regional bands & trading tapes, pleze drop me a 
line @ "".

oh, and i saw a bunch of good movies too.  "farewell my concubine" & 
"bullets over broadway." fab.  has anyone seen "half cocked" or have 
any info on getting it to be shown @ a venue?  it's the movie w/all 
those cool indie people in it.

love & stuff.


From: Cookie Monster <>

Hoya kids!
Just a quick note to let you know that Issue 9 of Bobbins!, a North of 
England music and lifestyle zine, is out and about and wating for your 

This ish features interviews with Gene, Skunk Anansie and Sleeper, 
plus a whole host of things to make you giggle..Number Nine's special 
feature is Celebrity Stains...

Interested?  Then send 40p and an A5 SAE if you're local, or 2 IRCs if 
you're abroad to...  Bobbins!  4, Montrose Crescent, Levenshulme, 
Manchester, M19 2GF England


ANNOUNCE: Sun Zoom Spark

Sun Zoom Spark #13:
Juliana Hatfield, Charlatans, Belly, Pavement interviews, plus MUCH 
MUCH more #1.80 + P&P from PO Box 15, Galashiels TD1 1NX Scotland.  
Also from Menzies, WH Smith and all good newsagents.

If you're interested and outwith the UK let me know and I'll try to 
find ordering info.  Worldwide subscriptions available though there 
should also be a US edition coming 'real soon'.


Coming next issue:

   The Two Pure on Two Dollar Guitar
   Reviews, announcements, et al.

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.

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purpose.  Please cite Indie-List as your source.

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