Ba-daba-da buh buh
Ba-daba-da buh buh


      Indie List Digest!

       August 22, 1995

     Volume 4   Number 37


Alex Chilton, Mo Tucker live
One pure
Bardo Pond, Dissolve, others
ANNOUNCE SUMMARY: New Little Pop Kid catalog available
ANNOUNCE: A Boston Music Home Page


We wound ourselves up after the move by attending the first show of 
our Chicago experience - a gig by Number One Cup and out-of-towners 

Butterglory are in town to record their new album, and this gig (and the 
one-song performance slated for the evening following) seemed to be 
a bit of a lark, an opportunity to play out some songs that they 
hadn't known were finished.

What I'd heard of Butterglory before sounded downright 
Pavementlike.  I like the Pavement sound well enough; we own the 7"s, 
etc.  Whether they deserved imitators is a judgement call for any 
listener to make, but my opinion was that Butterglory did a nice job 
of it.

But this show was a shift.  Instead of sounding like baby Malkmuses 
and Bob Ns, Butterglory, the three piece, sounded like a fine 
mid-period VU band that had come back. And that's a sound to 
support.  At points they struck me as '70s power rock, a sound that 
was an illusion from the hard strikes to the drum.

Number One Cup have a new album out, and this evening's gig was a 
pre-promotion for it (the following night was to comprise several 
bands and individuals (Sabalon Glitz, David Grubbs, Butterglory, Red 
Red Meat, et al.) performing the album, one track at a time.

When we last saw (and reviewed) Number One Cup at the Cardigan 
Festival, we thought of them as one of those bands that takes a lot of 
the good parts of various other bands and mashes them into a shape of 
their own.  The sound hasn't changed much in the intervening months, 
except to get a bit tighter.  It's all in good fun, if a bit glib 
somehow.  I'm not cynical enough to play "spot the influence" with 
Number One Cup, and I think they're trying to put together a sound 
that defies that, at any rate.  They're close to winning.



From: Leonard Nevarez <>
Alex Chilton, Mo Tucker live

Indeed, not only do Alex Chilton and Mo Tucker live, but they played 
separate shows at the Santa Barbara Underground, which (with last 
month's Jonathan Richman show) has recently been booking a series of 
shows by artists we could call "the parents of indie rock": now 40-ish 
musicians whose musical heyday still looms large over independent 
music and who are now themselves recording on indies.  After each of 
these shows, I've been struck by the same sentiment: When they all 
finally go someday, there won't be another one like 'em.  (Not that 
every 40-year-old reminds me of mortality all the time!)

Alex Chilton @ the Underground, 7/23

Chilton's looking a little grizzled these days, but he kept from going 
through the motions with a genuinely enthusiastic 90-minute set that 
the far-from-capacity crowd cheered on like the Sunday night 
alcoholics many of them probably are.  His thing these days is to skip 
his early, influential power-pop material in favor of a very loose and 
loungy Memphis R&B that gives him the chance to croon it up and 
generously dish out some tasteful lead guitar.  In other words, if a 
stranger were to walk in and think they were in the middle of a rather 
eclectic musical set at Las Vegas, they wouldn't be far off -- 
especially when the performer says "Okay, now we're going into the 
Italian-language portion of the set" and launches into the surfy "Il 
Rebele" and the always-classic "Volare".  Other covers included the 
jazz standard "My Baby Just Cares For Me", "Ti-ni-ni-ni-no" (long ago 
recorded on his "Feudalist Tarts" ep), some Frank Sinatra ("Got a Lot 
of Livin' to Do") and Isaac Hayes ("As Long As I've Got You").

Perhaps the most characteristic aspect of where Chilton's music is at 
today is found in his originals, all of which he plays like they were 
_someone else's songs_: "What's Your Sign, Girl?" (sung with Big 
Staresque falsetto), the wacked out reverb of "Devil Girl" ("scarier" 
than anything the Cramps have done lately), and the 
shoulda-been-an-R&B-standard "Take It Off".  By distancing himself 
from his own songs this way, Chilton doesn't invoke some easy 
slacker-(sym)pathetic irony but instead showcases the immediacy of his 
combo's performance: jaded and blase, perhaps (especially when the 
horribly unfunky couples started dancing up front, forcing the 
musicians to look away), but also tight, energetic, and exhaustive in 
their expertise of musical idioms.  For evidence, look no further than 
Chilton's guitar work: tasteful, never self-indulgent, and sometimes 
sublime in its Memphis conventionality.

So Chilton was there and he wasn't, in all the right places, which 
will no doubt further fuel his notorious wise-ass reputation (which 
has been known to deteriorate into contempt for his audience).  But 
let's not overdo the mystique.  Last night he didn't look too pained 
when people shouted out Big Star requests (although he certainly 
didn't play them -- too bad they missed last year's reunion); he 
interrupted his set list to play a requested "Take It Off" (but only 
after some self- and other-deprecating audience dialogue along the 
lines of who should take what off).  He's an original, generally a 
swell guy, and if he played your wedding (always an interesting litmus 
test when it comes to playing these ageless musical genres), you just 
know that a lot of people would get drunk and laid that night who 
never usually do that sort of thing.

Mo Tucker @ the Underground, 7/30

First up was Acetone, an LA band I've seen twice previously that 
continues to toil in relative obscurity (despite -- because of?  -- 
being signed to faux-indie Vernon Yard Records).  That's too bad, 
since their unique sound, in which neo-Paisley Underground psychedelia 
meets the shimmering guitar and vocal crooning of the Chris Isaak 
band, always sounds refreshing to these ears.  Subdued, almost never 
rocking, Acetone is way cool.

Mo Tucker then hit the stage looking straight out of the VU, with a 
leather jacket and the same haircut she's had since 1967.  Her 3 male 
back-up musicians looked almost stereotypical of what I'd imagine the 
Hoboken NJ/Maxwells scene looks like: dyed black hair, not-quite-NYC 
scowls, obviously on vacation from their day jobs at record stores.  
Mo is playing guitar these days, by the way; she also reads (lyrics?  
notes?) from a music stand to her side, which I guess constitutes 
being upfront about how much time she has in her life these days to 
memorizing lyrics...  I guess.

Her songs sound quite VU-like, not surprisingly: "What Goes On"-like 3 
chord figures typically played to Bo Diddley rhythms with a touch of 
Half Japanese amateurism.  Most lyrics were about how much everything 
costs these days, how bosses suck, how life can drive you nuts; Mo 
speaks for no-nonsense working class moms everywhere.  "Mom-core", I 
guess you'd call it.  She did 2 Bo Diddley covers, including a rousing 
"Hey Bo Diddley" for an encore.  She didn't always keep my attention 
-- hey, how interesting can VU-ish jams really be?  -- but she's 
certainly unpretentious and original.  And like Dave Grohl's Foo 
Fighters have done with Nirvana, if anyone is allowed to borrow 
generously from a ridiculously influential band, it's Mo, who showed 
who the real soul of the VU was.  But that was always obvious with Mo, 
wasn't it?

Leonard Nevarez


From: "Pim Vermaat" <>
One pure


I promised, I would be posting all summer through.  But I forgot since 
we're all living in a greenhouse effect, it's become quite impossible 
to live in a hot small (31 degrees celcius) dark room like mine.  So I 
spent my summer in the garden of my parents' house.  Trying to stay out 
of the sun.  Reading books, listening to wonderful music and not 
thinking about computers.  Thankfully my father has connected himself 
to the internet too.  So I can translate you some of the stuff I've 
been saving up.  So this posting consists of a nice Mouse on Mars 
article and some record reviews I strongly recommend.  I'll write more 
in a week or two..

Come to think of it. I think the Indielist have been having a break 
too. So why am I writing this?

[hey, we've been unpacking boxes and living without cable. it's not been 
easy. and it's hot here too, ya know? -az]

                         Mouse on Mars

They were without a doubt the high point of the Tegentonen festival in 
Paradiso, Amsterdam earlier this year.  Especially for the evening the 
two Germans, Andi Toma and Jan St Werner, were joined by an English 
drummer who gave the music some extra accents.  Because of that, the 
band really didn't sound like a techno act, but more like a guitar 
based rock band similar to Seefeel, a Tegentonen high point of last 
year.  "We don't see ourselves as a techno band," Andi tells me. "The 
festival organisation asked us to describe our music and we said they 
could call it 'electro-kraut-dub-grind'.  But they didn't understand 
that, so it became 'krautrock' in the flyer." Even that description is 
too limiting for Mouse on Mars' music.  Andi: "We're really going in a 
death-kraut or grind-kraut direction.  During a recent Peel session we 
almost sounded like Heavy Metal.  We weren't very prepared, so we made 
some things up on the spot.  Nobody seemed to mind though, John Peel 
broadcasted it." Jan: "I'm glad we don't have to behave like a techno 
band.  Thanks to Too Pure we have the freedom to do whatever we like." 
Andi: "Our experience with many independent labels is that if you 
suddenly make something completely different, they'll tell you, shocked, 
that that wasn't really what they had in mind.  But Too Pure seems to 
have the fullest confidence in us, as long as we know what we do.  
They are a great bunch of people.  They came to Germany to meet us." 
Jan: "That was really important to them.  They had to get an idea of 
what we are about.  They are more interested in the development of 
ideas by people instead of a certain style by a band."

Andi and Jan earn a living with music.  Next to Mouse on Mars, they 
separately work with a lot of other people.  For instance the German 
techno band Oval.  But to earn more money, they sometimes make tunes 
for German television.  "Yes, they call us a lot for those kind of 
things," says Jan. "We've worked for Vox, a reasonably experimental 
German television station.  At the station we were responsible for all 
the sounds and tunes.  Since then, we've made music for a lot of 
programs.  The weird thing is that most of the programs seem to stop 
after a short while." Andi: "They always call to ask us to make 
something really 'special' for the show.  And if the hear the result a 
few weeks later, they say: 'Gosh, that sounds very special.  Could you 
make it a bit less special?'" Jan: "The worst thing they can say is 
that it sounds 'unique', because then the program will seize to exist 
almost immediately." Andi: "But thanks to this extra source of income, 
we've enough money to buy our electronic equipment.  Recently we 
bought a 'professional Super Robert voice'." Jan: "We found it in a 
catalogue with equipment made by D.I.Y.  people.  If you have a sound 
that you don't like, put it through a 'Super Robert' and it will sound 
completely distorted and cool."

These and the sounds of everyday life are the kind of sounds Andi and 
Jan get excited about.  Jan: "One day we found out we forgot to 
listen.  If you listen to your surroundings then you'll discover music 
in everything.  Last year we did an experiment requested by the 
Finnish techno label Sahko.  For one week the label had started up a 
non-stop experimental techno radio station in Helsinki and we were 
allowed to fill an hour." Andi: "Our contribution was a recording 
consisting of three levels.  First we had put up microphones all 
around the studio.  Next to that we had sampled various everyday 
sounds in the city.  And during all that our shortwave radio picked up 
all sorts of strange noises.  We played everything live and it fitted 
perfectly!" Jan: "As long as you don't set up a goal for yourself 
nothing can go wrong.  That's what people should think about more 
often.  If they would, there would be much less war and disagreement 
a world without plans.  If you don't plan it, you take one step at a 
time.  And you'll just see where you end up."

And finally.. some record reviews:

  Labradford: "A stable reference" (Flying Nun) echo reversed...  ..hanging still..  Like drops of black ink in 
a bowl of rippling water.  Streaks of black everywhere, not a concrete 
point to fixate on.  Some tones seemed to have stopped before they 
have begun, an echo reversed.  Labradford make music in which slow 
melodies are covered by the sounds they consist of themselves.  Even 
the lyrics disappear in the mist of sounds still hanging around or yet 
to come..  ..yet to come.. echo reversed...

   Cul de Sac: "I don't want to go to bed" (Flying Nun)

Endless and unashamed, they fool around with guitars until they've lost 
sight of their goal.  Cul de Sac work that way, but they show that 
fooling around can be a goal in itself.  This record, a selection of 
cleaned up recordings from their rehearsals, varies from totaly boring 
to very experimental and new.  Luckily, the balance swings to the 
latter.  But I would only recommend this to people who already know 
Cul de Sac.  If you've never heard them, try "Ecim" or wait 'till 
their next one.

   Aurobindo: "Involution" (Ash)

NOT FOR MUSIC LOVERS!  This record by Mark van Hoen (Locust) and Daren 
Seymour (bass player with Seefeel) could easily have been released by 
the Finnish experimental techno label Sahko.  Locust and Seefeel have 
both been put in that same corner in the world of electronic music.  A 
corner called 'isolationism', a genre which did finally get a name 
thanks to the excellent collection "Amb4: Isolationism" released last 
year.  Aurobindo shows us there's still much to experiment with.  This 
duo creates a dark palet of colors consisting of scary and seemingly 
constant repetitive sound experiments.  With just two little bright 
points of light, a track with a happy bleepy melody and one with a 
spoken voice telling us something unimportant over and over again, 
both become completely fucked up by several distorting effects.  ONLY 

  Revolution 9: "You might as well live" (Habana)

This record has been released in the wrong season.  Because in the 
world revolution 9 it is autumn forever.  A romantic autumn, with 
trees colouring red, early setting sun, candlelight, pain, the loss of 
a loved one, the anger after a huge fight.  These are just a few 
elements out of the set most used melancholic elements in popmusic.  
Melancholy they share with the best, Nick Drake, Leonard Cohen, 
Palace, Lou Barlow, Idaho (add your own favorites).  For the past six 
years Revolution 9 got raving live reviews in Melody Maker.  And 
rightly so, because the trio using voice/guitar, cello and percussion, 
bring a silent sound that would make any listener cry on a dark autumn 
or winter day.  Buy now and put it on as soon as the first leaf falls.

  Annie Williams: "Ruby" (Apollo/R&S)

These four songs are just as important as the air we breathe.  And 
that's what Annie does.  She doesn't sing, she breathes.  She breathes 
fairytales in the kaleidoscope of sounds Mark van Hoen is making for 
her.  She breathes and tells us things about her life, her love, her 
lust...  Do you think I'm overdoing it?  Hear what I compare this 
with: Moonshake, Laika, Pram, Mouse on Mars and Nico.  Amazing, that a 
thing like has been released by an 'ambient' label.

  Mouse on Mars: "Bib" (Too Pure) 

Electro-kraut-dub-grind they call it themselves.  But from this EP 
onwards they can just as well call it electro-kraut-dub-grind-jungle.  
The German duo are completely out of this world again with this lovely 
mixture of fast rhythms, acid bleeps and a Beach Boy female choir.

  Scud Mountain Boys: "Dance the night away" (Chunk Records)

Mark my words, THIS BAND IS GOING TO BE VERY POPULAR.  All the signs 
are there.  This record, produced by Thom Monahan (ex-Monsterland) in 
the kitchen of one of the band members, has only just been rel eased 
and already several labels are hunting for them.  Sub Pop, Elektra, 
Atlantic, Warner Bros, everyone would like a piece of this little 
ingenious country band.  Why?  Because this will sell.  A steel 
guitar, three voices, almost no percussion, acoustic.  The music 
brings up memories of early Eagles or Crosby Stills Nash & Young in 
their heyday.  You can even hear a bit of Palace Brothers, especially 
lyric-wise.  As if three Will Oldhams are singing with perfectly pure 
voices.  Buy before half the world knows about them.

Coming: Laika, 
        Catherine Wheel, 
        live reviews, 
        more record reviews,
        mu-ziq interview

    /                          (school)
  (/oe/)  The One Pure -> Joep Vermaat: (own)
     /                         (my father)


From: (Butch)
Bardo Pond, Dissolve, others

Bardo Pond-BUFO ALVARIUS, AMEN 29:15 (Drunken Fish)
These folks have recorded several 7" singles for Compulsiv and others 
(?).  Basement sludge/psyche that really gives you the creeps.  
Droning, stumbling swamp glue; it's the aural equivalent of a cough 
syrup shake.  This is what Mazzy Star will sound like when they lose 
their jobs and give up.  The sad thing is that the best piece (the 
"Amen 29:15" of the title, which is actually a 29-minute song) is only 
a bonus cut on the CD (perhaps it's available on vinyl elsewhere?).  
For once, LP buyers get shortchanged cause this is scary enough to 
freeze your veins.  A super-long droned-out jam that sounds just like 
you and your friends in the basement stoned, except when you come 
down, this still sounds cracked.  I always want to imagine that folks 
making music like this are truly deranged.  The reality is that 
they're probably just like you and I; perhaps a little more 
high-spirited.  (Drunken Fish: 8600 W.  Olympic Blvd., Los Angeles, CA 
90035) (Bardo Pond: 1801 N.  Howard St., Philadelphia, PA 19122)

Dissolve-THAT THAT IS...IS (NOT) (Kranky)
Dissolve is a recent side project of New Zealand musician Roy 
Montgomery (Pin Group, Dadamah).  Dissolve move in sparse, repetitive 
territory and put a greater emphasis on texture than on song 
structure.  These 4 track recordings (at least they sound like 4 track 
recordings) mix some unearthly combination of Brian Eno, Throbbing 
Gristle and the Dead C; occasionally, a low-key pop tune will shine 
through, but it's mostly the starkly beautiful sound experiments that 
draw you in.  The sounds grate and swirl; multiple guitar lines, all 
independently simple, combine into a repeating mantra of zen-like 
quality.  At first, you wouldn't really call this "easy listening", 
but suddenly the clanging becomes the sounds of water in a fluttering 
creek, and the swirling is the haze of the heat off the pavement, and 
you're gone.  Kranky: PO Box 578743, Chicago, IL 60657

Luxurious Bags-FRAYED KNOTS (Twisted Village)
The Luxurious Bags work in territory similar to Smog on "their" newest 
release, Frayed Knots.  LB (apparently the one-man band of "Luxurious 
D.  Bags Jr.") show a surprising pop sensibility on this release, 
especially compared to earlier records like From Heaven to My Head, 
which were much more experimental (that is, there weren't any songs, 
just scrunchy noise).  Like Smog, LB take relatively downbeat pop 
tunes and turn them into epics of noisy heartbreak.  The surprise 
addition of structure to the LB oeuvre may disappoint some, but it 
makes for a very moving and gripping listen.
Twisted Village: PO Box 35604 Brighton, MA 02135

Minerva Strain-BLUE TARANTELLA (Jettison)
This Chapel Hill quartet always reminds me of Echo and the Bunnymen 
for some reason: it's not that they're overwrought and angst-ridden as 
was Bunnymen front guy Ian McCulloch.  It's got little to do with the 
lyrical content (though the 'Strain shares some of the Bunnymen's 
lyrical mystery), and much more to do with the stately, majestic 
instrumental attack.  Though American, it seems to me that they've got 
more than a little in common with English bands such as My Bloody 
Valentine and Ride.  It's just that so few Amerikkan bands seem to 
incorporate a pop/psyche feel with the kind of grace that M.  Strain 
is able to incorporate.  Fluid, rippling guitar lines intertwine in a 
trippy mush that finds me hugging my lava lamp for safety.  I may just 
start taking drugs again so I can "feel" this record.

Favorites include the disorienting "Jupiters" and "J.  Edgar Hoover 
Parachutes" (with guest guitar from Walker Martin of Bicentennial 
Quarters) which sounds like an adolescent John Lydon stumbling 
drunkenly home from a 13th Floor Elevators concert.

Just like the Bunnymen in their better days (or the best Creation 
bands from '91 or so), M.  Strain is a thoroughly modern take on 
traditional psychedelia.  Plus, they've got the good taste to include 
covers of P.I.L.  ("Poptones") and Dennis Wilson ("Cease to 
Exist"-yup, the infamous Manson tune).  Highly recommended, except 
that it comes on CD only.  Jettison: PO Box 2873 Durham, NC 27715

The Sea and Cake-NASSAU (Thrill Jockey)

The Sea and Cake share drummer John McEntire from another great 
Chicago band, Tortoise, and also a willingness to explore sound 
possibilities outside those usually found on "indie-rock" records.  
This album sounds like it could have come out in 1966: they've managed 
to distill the essence of the "cocktail" sound and put it to use in 
the service of non-ironic, mostly lighthearted tunes.  The sentiments 
seem fairly breezy on the surface, but several listens uncover a 
deeper emotional experience, both through the lyrics and through the 
inspired musicianship.  While the playing (again, at first listen) 
seems largely hazy and light, there's a tension in the interplay 
between the instruments that takes a little while to sink in, even 
while you nod off for another morning hour in bed.  Thrill Jockey: PO 
Box 476794, Chicago, IL 60647-6794


Hey there!  Yeah, you!  You want to learn more about the lusty teen 
love rock sounds of Blacksburg, VA?  Do you want to have amazing 
psychic adventures exploring the outer realms of "cyberspace"?  Do you 
enjoy the avante-garde squeak and doink of Refrigerator, Geezer Lake, 
June, Rake and thousands (or tens) of others?  Do you have way, way 
too much free time on your hands?  The Squealer Home Page is your 

Over 100 served, and a few came back for seconds...

The Squealer home page is more than just another dumb URL.  It's a 
dumb URL alright, but IT'S OUR DUMB URL!!!  Check out the SQUEALER 
home page at:


From: (Jon Georgekish-Watt)
ANNOUNCE SUMMARY: New Little Pop Kid catalog available

[Jon Georgkish-Watt sent along a catalog for the new Little Pop Kid 
catalog.  While it's too long for full inclusion (though I'll be happy 
to send it along to those who wish to see it - and I suggest such!, 
highlights included two girl afraid 7"s, and advance issues of some 
other woks, including cassette releases.  For more info, drop him a 
line, or send snail-mail to pop kid, 2-90 charlotte st., ottawa, on, 
K1N 8K2. Details (but not the rest) follows -es]

pop kid 001: girl afraid 7"ep (5 songs, 11 mins.)
pop kid 002: girl afraid / two for flinching split 7" (4 songs, 10 mins.)

coming soon(ish):

pop kid 003:  pumpernickel 7" 
pop kid 004:  the yellowjacket avenger 7"

other stuff available from us (well, right now there's just one thing):

plainsongs #4: music from the home (lower than fi, volume 1...twenty-four
	ottawa basement orchestras)...(27 songs, just seconds short of
	90 minutes)...(cassette)...

mail order is the way to go: pop kid 7-inches cost 4 dollars.  
canadian orders add $1 first item, 50 cents each additional, for 
postage...u.s.  orders pay in u.s.  funds and the exchange will cover 
the postage...plainsongs cassettes are $4 post paid to anywhere on the 

if at all interested, send cash (well concealed!), cheque (canadians 
only), or a money order to:

pop kid, 2-90 charlotte st., ottawa, on, K1N 8K2.
please make cheques or money orders out to me, jon georgekish-watt, 
and not to pop kid...thanks...
questions? concerns? e-mail me!
later friends,



From: (Shawn Scallen)

the mighty shotmaker are hitting the road yet again this summer. they are
one of my favourite live bands of all time. they are heavy, noisy, emo-y
and cutey (pies) all at the same time. i urge you to check them out if you

shotmaker rock my world, hopefully they will rock yours!

Shotmaker Tour Itinerary


18 Bakersfield, CA @ Romper Room
19 Berkley, CA @ Gilman w/ Bouncing Souls, Screw 32
20 Eugene, OR
21 Portland, OR
22 OFF -- HELP!!!
23 Seattle, WA
24 Olympia, WA @ Capitol Theatre
25 Missoula, MO
26 Rapid City, SD
27 Lincoln, NB
28 Minneapolis, MN
29 Milwaukee, WI
30 Chicago @ Fireside Bowl w/ Los Crudos
31 Kalamazoo, MI


1  Detroit, MI

for more info or to help fill in the dates with question marks call Tim at
613-967-1818 (before Aug 2) or Caroline at 705-324-2895 (after Aug 2)



      shawn scallen - - 613-234-PUNX
CKCU-FM music director * photographer * vectrex/colecovision/2600 fan
 for info on ottawa shows/events email -->


ANNOUNCE: A Boston Music Home Page

Dick & Bert's Boston Music Home Page, (a Multimedia Public Service 
Data Base for Boston Music).

Thank You
Richard Marr 


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