Believe me, you haven't seen Hawaii until you've seen it with Jim 


      Indie List Digest!

       August 6, 1995

     Volume 4   Number 36


Austin Rawk: Speed Queen, Teen Angel
Nerdy Girl, Kat Rocket, Plumtree at the Ultrasound
Gary Clark, JD covers, EC
Factory Too Showcase
ANNOUNCE: Jersey Beat #54 out (finally!)
ANNOUNCE: Mountain Goats Discography Update
ANNOUNCE: Guide to indie rock WWW sites now up!!
AD: Follow the Bouncing Ball

People have accused us of taking a vacation, but nothing could be 
further from the truth.  Instead we have been frantically trying to 
finish our jobs, pack our overstuffed house, and relocate our lives to 
Chicago, city of diner food.  So the net connections have been a 
little...sporadic.  But we're back now, and unemployed, and will have 
little to do but review shows and records and write them up for you, 
the happy reader.

Uh. Yeah. Anyway, here it is. Enjoy.


Despite our move, the submissions and subscription addresses as listed 
in the mast-tail of each issue are unchanged at present.

ILIJ legend K Lena Bennett sent along a copy of Ron Ih's Internet 
Musician Survey.  While it's 15 questions and 200 some lines make it a 
bit long for inclusion in this issue of the Indie-List, I'd be glad to 
send a copy along to any who might want it.



From: Jill Emery <>
Austin Rawk: Speed Queen, Teen Angel

July 16, 1995--Emo's---Austin, TX---Speed Queen & Teen Angel

Speed Queen are a local act that have been out and about a lot in the 
past 3 months or so.  Made up of two guitars, bass, and drums, this female 
quartet is a refreshing change in the punk scene here.  The front 
woman, Deborah J.  Wolfinsohn, is also the local punk/indie label 
reviewer for our 2nd infamous weekend revue showcase: X L Ent, which 
appears every Thursday in the Austin American Statesman (and let me 
tell you, the publishers of this publication really know their way 
around an EXCEL program, but I digress).  The first time I saw Speed 
Queen, I was really excited.  They have a pretty complete sound going 
for a new garage band and it is belted out with amazing consistency 
and overall effect.  This show though, they weren't as into it as 
they have been at others so let's just call it an off night--it was 
Sunday after all.  They are a garage/punk band, play some covers but not a 
whole lot and like songs that speed up-slow-down-speed up, etc.  Their 
songs tend to last a little longer than your average garage band song 
but I tend to like that...sounds more complete at least when Speed 
Queen are doing it.  As far as I know they don't have any singles out 

Teen Angel were up next.  They're from Seattle and a SUB POP band.  I 
had never heard them before and was pleasantly surprised.  They had a 
solid pulsating sound that was skillfully performed.  A trio comprised 
of bass, guitar & drums, they were immediately impressive.  The only 
complaint I had about them was the screamed-throat wrenching vocals of 
the lead vocalist/guitar player.  I tried to quip to a friend that the 
lead vocalist needed to get over the Courtney Love vocal antics and 
was quickly reprimanded...apparently, the lead vocalist had been the 
singer for Dickless and thus predated Ms.  Love.

The bass player looked like a Wisconsin dairy maid and had the most 
wonderful sarcastic sneering smile that I have seen in a while and 
also seemed to be thoroughly enjoying herself which made the music 
sound that much better.  The drummer has to be one of the most 
energetic people I have ever seen.  With her head bent down and 
pigtails flying she was a sight to behold.  I can defnitely see the 
mass appeal of this band.  Their music was quick, angry and extremely 
controlled.  It reminded me of Jale in some ways but they were louder, 
noisier and more up-tempo than Jale so the comparison doesn't really 

I look forward to seeing both bands again.

Jill Emery


From: Michael Ligon <>
Nerdy Girl, Kat Rocket, Plumtree at the Ultrasound (Toronto, Canada;July 15, 1995)

As my friend and I took refuge from the heat that all of you on the 
East coast are familiar with by now, we settled in the `ultra-cool' 
air-conditioned Ultrasound with a tall cool one in hand and waited for 
the show to start.

It was the intimate performance of Nerdy Girl that started off the 
night.  However tonight it was only Cecil, the vocalist, accompanying 
herself on electric guitar.  Nerdy Girl specializes in a similiar 
brand of minimalist pop songs that Lois fans might enjoy.  I enjoyed 
her performance for awhile but then I realized how short some of her 
songs were.  She tended to play each song one right after another and 
before you knew it her set was over and it had seemed like she had 
only been playing for twenty minutes.  The only unexpected incident 
was when one of the members of Plumtree went to the front of the stage 
to take a picture of Cecil, which ended up distracting her and 
screwing up her song.  Cecil apologized to the audience for her 
screw-up and we all had a big laugh about it.

Next on the bill was Kat Rocket.  I saw them once before and was very 
impressed with them.  Featuring the strong, pretty vocals of Stella, 
Kat Rocket play a brand of noisy melodic pop that includes creative 
guitar effects as well as the talent to make a good transition from 
fast to slower songs.  There wasn't much stage presence to them which 
wasn't helped by the fact that the stage was not really that big 
enough for them to move around too much.  By now I am getting 
familiar with their songs and I am hoping that they have some new 
songs if I ever get to see them again.  I particularly liked their 
second last song.  It started out funky with some guitar work a la 
James Brown before it settled into more familiar indie rock terrain.  
Excellent song.  Excellent show.

And now the headliners quietly take the stage.  They are Plumtree who 
are four girls whose average age is about 17 or 18 I've read and are 
from Halifax, Nova Scotia.  They seemed kind of shy when they took the 
stage but once they got into their performance there was a lot of 
energy in the show.  They are competent musicians and they play great 
pop songs at times sounding like Heavenly, but their songs are usually 
more varied.  Vocal duties were exchanged throughout the set which 
kept things interesting.  They played a great set and I'll definitely 
see them next time they roll into time.  Had I been 18 again I 
definitely would have had a crush on them, especially one of the girls 
on guitar.  She was just too cute the way she bopped her head side to 
side.  (Hey I'm only 24 by the way, not some dirty old man! hehe)



Scottish reviews - Gary Clark, JD covers, EC

Gary Clark, Edinburgh Venue: First a word for the support, Shane.  
That word is funk.  No, FUNK.  Despite having a bassist who has 
evidently been thrown out of Kajagoogoo for displaying a lack of 
fashion sense (well, I think that's where I recognised him from), this 
six-piece actually display a good line in funky grooves, as I think it 
would have been ok to say in the '70s.  Which is fine, as they are 
essentially a '70s soul/funk band, from the singer's silk shirt split 
to the navel, medallions swinging, to his platform shoes which are 
brushed by swinging flares.  And though this sounds like some sort of 
pastiche act, they are in fact a very nifty band in the style of 
Commodores, Stylistics or any of those Motown acts.  Though the whole 
band play their part in laying down the groove (man), it's the singer 
who steals the show with his moves and overtures towards the ladies in 
the audience.  He definitely has soul and isn't afraid to show it.  
Gary Clark could also be described as having soul, though in a 
different sense, but fans of Danny Wilson or his solo work will 
certainly attest to the fact that his songwriting comes from the heart 
and sings with a heartfelt voice.  Though the production was always 
clever and the instruments well played, there were never any nasty 
guitars getting in the way of what the fans wanted, namely the songs.

Until now, that is.  In every singer's career there comes the time 
where they really want to be the Rolling Stones instead of the 
Beatles, and basically rock out a bit.  This is fine when it works, 
but Gary's new band, even with a good pedigree (ex--Bible guitarist 
Neil McColl is there) seem to want to self-indulge a bit too much.  So 
what we get for the first half of the set is really ham-fisted pub 
rock, with the bizarre twist that with Gary's resonant voice ringing 
out we have the UK's answer to the Crash Test Dummies.  Things get 
worse with subsequent stuff sounding like mid-American trash like the 
Jayhawks, or when things get whimsical, the Eagles.  A large 
percentage of the audience seem bored by this, chatting among 
themselves, which is unfortunate as the band do actually play some 
better stuff, characterised by the grind of guitars abating enough 
that so we can hear Gary's voice.  There are a couple of tracks which 
restore more of an atmosphere in the club, including a version of 
Billy McKenzie/Shirley Bassey's Rhythm Divine which is more like it, 
though it's ironic that he best tracks played are covers or oldies.  
As you would expect, the likes of Mary's Prayer are aired, and just 
bring the audience back from the brink of being lost forever.  There's 
also a version of the Bible's Honey Be Good, which stands high above 
most of the new stuff.  A return to form with the encores too, as Kit 
Clark is wheeled onstage to supplement his giro, and indeed supplement 
the unholy racket with blasts of his accordion.  Looks like Mr. Clark 
will have to return to his true roots if he's to make a success of the 
new band...

Permanent - Does the world need another Joy Division compilation?  
With all the old factory stuff still available, Still covering the 
deleted stuff and Substance giving you all the hits and more on one 
handy bite-sized package, Permanent can't really be described as 
essential, unless you're a Joy Division completist.  Which many are, 
of course.  But the choice of material on this album will probably 
mean it will languish unplayed in the racks when Unknown Pleasures or 
Closer are available.  The lp opens and closes with Love will tear us 
apart, the track on the end of side 2 being the Arthur Baker remix, 
which really is pretty unlistenable next to the original.  The other 
tracks included are spread pretty much evenly from the 3 lp releases, 
plus B-sides such as Novelty and These Days, just in case you never 
bought the singles.  Probably quite a lot from Closer, their biggest 
lp, but not the obvious choices.  In the absence of a fan club who 
would take a poll of JD favourites, we can look at the Festive 50s of 
the early '80s to gauge what might make sense on such a compilation.  
High up apart from the singles, and New Dawn Fades, The Eternal, 
Decades and Isolation.  So what tracks are missing?  You got it.  The 
opportunity to at least make the whole thing worthwhile by including 
something obscure, such as the tracks from Earcom 2, or the Komakino 
flexi, isn't taken.  This kind of marketing exercise usually sucks as 
it exploits people too sad to resist the temptation of owning 
everything by their favourites, and there are no redeeming tracks to 
make it worth the bother, but this compilation also fails by not 
giving the casual, younger buyer the chance to hear Joy Division's 
most important work stuff.  For that it should be buried.

Classical Punk- an odd and varied lp - Odd, well, the whole idea is 
odd, but though it might be slated immediately, it might be worth a 
listen.  Unfortunately, it's probably necessary that if you don't 
enjoy classical music, you will at least have to be broad-minded, and 
not hold any of the tracks sacred, as sacrilege might be your first 
thought.  What you do learn from the lp though, is that a lot of the 
punk tunes have more depth to them than just 3-minute bursts of noise.  
The tracks seem to fall into a few categories, the most interesting is 
when you play the game of listening to the lp without looking at the 
sleeve.  Then try to guess what a track is.  Maybe it's just me of 
course, but I had no idea at all what some of the tracks were on first 
listen.  Teenage Kicks for instance, is a bizarre take on John Peel's 
favourite track ever - it's almost impossible to find the original 
tune, and the energy has been replaced with something more sedate.  
Not unpleasant, but...  The Damned's Love Song (at least, I think it 
was Love Song) again is unrecognisable.  But what you get is a quite 
pleasant instrumental with a nice tune.  If the Captain and Rat were 
alive today they'd be revolving in their graves...  Other tracks are 
instantly recognisable, as the orchestra stick rigidly to the tune 
that the vocals follow.  Holiday In Cambodia is one such example, and, 
though a fascinating experiment, could have been much better - the 
cataclysmic nature of the subject matter could lend itself very well 
to a treatment akin to 'Night on the Bare Mountain' (ok, that's the 
Maxell ad to you philistines).  Still, cranking up the volume does 
work wonders.  So what you get is a batch of varying tunes, and an 
interesting experiment.  But the alarming thing is that your mother 
couldn't object to these tunes now they're stripped of vehement lyrics 
and anarchic attitude.  While that might disprove what your parents 
always said ("Call that music?!?") it won't make the old punks feel 
any better that their tunes have been made responsible enough to join 
the classical music set and The Establishment.

Elvis Costello - Kojak Variety.
[decidedly mersh, but still, you know, somehow.... -es]
Being an EC fan is a bit like being a doting parent.  When he comes up 
with the goods, sure, there's fulsome praise, viz last year's Brutal 
Youth.  We offered encouragement on his collaboration with the Brodsky 
Quartet.  But when he turns odd then we're all concerned, as in the 
Beard years, where only a mother could love the face, and only a 
blindly devoted fan could listen to the music.  Our concern may 
manifest itself in different ways - we can ignore him as it's just a 
cry for self-indulgent attention.  Or we can punish him - by not 
buying his records is one way, or by giving him a good hard slap.

Unfortunately he hasn't listened to the warnings that his fans gave 
him.  Our El has a tendency to be self-indulgent at times - see the 
admittedly well-received Brodskys lp and Almost Blue country project.  
These show that sometimes going out on a limb can have good results.  
But he really goes off at a tangent and ignores criticism at times, 
which takes us onto the Beard again.  His mother would have surely 
said 'you're not going out dressed like that'; we would have said 
'surely this isn't the Elvis we once knew?'

On this lp, Elvis has decided to treat us to his interpretations of 
some of his favourite tracks from his formative years.  Unfortunately 
the Costello paternal home didn't resound to the sounds of David 
Bowie, or Leonard Cohen, or Joy Division like so many of us - think 
what Elvis's voice put to some of these artists would be like - 
interesting for sure, and potentially essential listening.  But no, 
most of Elvis childhood memories are of the likes of Screaming Jay 
Hawkins, Little Richard and the like.  And if their stuff at least 
promised something, and come with some street cred, what do you make 
of someone who covers Bob Dylan and Randy Newman?  And try as you 
like, if you take a Little Richard song and cover it in the same 
style, what you tend to get is a morass of boogie-woogie pub rock.  
Even the big band sound of his dad, a stalwart of Joe Loss's band, 
would have been a fascinating experiment, but though he does an old 
standard - The Very Thought of You - it doesn't really rise far above 
the mediocrity - in fact, the only decent stuff on here are the 
Supremes track Remove this Doubt (the soul sound having been pursued 
successfully before in the Punch the Clock era) and the Kinks 'Days' 
which though a good song, isn't really anything special.

So the midterm report would read 'must try harder'.  And Dad would 
give him a good thrashing until he came up with something that didn't 
blacken the family name.


From: Steve <>
Factory Too Showcase, Hacienda, Manchester, England

Factory Too Showcase, Hacienda, Manchester 24th July 95
(East West Coast/The Orch/Italian Love Party/K-Track)
An 80-mile journey was in order last night as I drove across this 
green and pleasant land called England to my old stomping ground of 
Manchester.  This was the first time I'd been back to the Hacienda in 
about 5 years, but a showcase of four bands newly signed to the 
Factory Too label was reason-a-plenty to make the trip.  And as the 
original Factory label was wont to do in the early '80s, this event 
was even allocated its own catalogue number Fac 2-12.

First band on was K-TRACK, a new guitar band with an enjoyable sound but
maybe lacking in menace somewhat. ITALIAN LOVE PARTY started off rather
shakily, but managed to impress by the end of their succinct set. ILP
featured some housey-piano keyboard sounds which complimented the guitars
well. One of their better songs also reminded me of Oasis.

THE ORCH played confident luscious soundscapes with drum-machine backing
and featured guitar and keyboard players along with a singer. Well, I say
singer, but really he spoke, chanted, told stories over a mystical,
hypnotic maelstrom, that shares some similarities with Tricky and Massive
Attack. If you enjoy music that picks you up and takes you on a magic
carpet ride to a land of brilliantly vivid senses (with a slight sinister
undertone), try THE ORCH. Finally EAST WEST COAST took the stage. My first
reaction was of astonishment and shock. I just couldn't believe it. Why
was Factory Too signing up a rock/thrash band? Could it be the singer's
Nirvana-esque good looks? Or maybe it's Anthony H's plan to bamboozle us by
creating a new label without an single recognisable global image. Whatever,
I was certainly not impressed by EAST WEST COAST. Anyway, overall an
excellent night, and it looks like Factory Too have got a potentially
rosy future. Long live Factory Too.

Steve Almond

Steve Almond (
-dj, and scientist, and thinker...
but not necessarily in that order


"Only clever peeple come up with clever quotes" - godstar '95

[it's worth checking out the Factory Too web site at, if you have the time.  Nice images 
and PR -es]


ANNOUNCE: Jersey Beat #54 out (finally!)

Who says punk is dead?  Jersey Beat #54 celebrates Do It Yourself-ism 
with a special report on the DIY underground - putting on shows in 
your basement, recording an album in your garage, and chats with some 
semi-famous folk who Do It Themselves better than most (Jack Rabid of 
The Big Takeover, Tom Cassar of Vital Music, and more.) Plus a long 
talk with the long-lived NJ hardcore band American Standard (a band 
that never did play hardcore - figure that one out,) and a ton of 
reviews.  All for just two bucks to Jim Testa, Jersey Beat, 418 
Gregory Ave, Weehawken NJ 07087


From: Landslidius Marxamis <>
ANNOUNCE: Indie Bands: post yer gigs for free to the gigbOT

At about 11:30 a thursday morning past, Private World Communications 
plugged in their new Web site - their new Web Server and with it, what 
we call the gigbOT.

We developed this so anyone on the net can post their gig listings and 
tour dates, free of charge, via a WWW form or thru email.

People browsing the listings can run searches for a search term, be it 
a band, club, city whatever.

We think it'll be pre