We all make typos.


      Indie List Digest!

       October 12, 1995

     Volume 4   Number 41


Heeby Geeby II
Fugazi, Amoebic Ensemble, dis-, Secret Stars, et al.
AD: God Is My Co-Pilot/D.Q.E./Mr. Quark

Howdy, and welcome to another Indie-List Digest.  This one is, 
surprise!, a little off our regular mailing schedule, which we're 
struggling to maintain.  As if you remember what that was.

Once again, those of you who might receive more than one copy of the 
IL, -please- let me know.  It seems to be an isolated and sporadic 
glitch, but I want to be certain.

Some errata from the last IL.  It turns out the Escargot, the tasty 
guide to indie-net, is $3.50 postpaid, not $4.00, as I mistakenly 
believed.  You can get a copy from Jeanne McKinney, 1230 Market St.  
#224, San Francisco, CA 94102.

We got a PR thingy from ArtRock Online, who sell Rock n Roll 
memorabilia online at http://www.artrock.com.  If the Hall of Fame 
weren't enough...

And Wonderland Records wrote to tell us about their Web presence at 
http://www.connix.com/~wlr.  And to remind the readers that they have 
an open submissions policy...

And now, on to the content!



From: bce2@midway.uchicago.edu
Heeby Geeby II

Husk is the nom de guerre of Richard Johnson.  He is assisted on this 
recording from 1992 by Paul Dudeney on "metal," percussion, and 
keyboards, James Machin on guitar and bass, and Andrea Parsons on 
"metal."  The title of both the A & B sides of this record, "The 
Abattoir," (parts 1 & 2 respectively) can be translated as "the 
slaughterhouse."  And that makes sense because this is gory, messy 
noise, the aural equivalent of a steaming pile of guts splashing down 
on a concrete floor.  A clanging, bell-like sound begins part 1 and 
builds anticipation, which, of course, is never consummated.  Tension 
builds, but release never comes.  Instead the listener is left to 
study the slaughterhouse.  One of the particularly nice things here is 
the use of interesting rhythms which are so often absent from noise 
recordings (too preoccupied with texture?  ).  Please don't infer from 
that last comment that this is an industrial dance record (I really 
hate that Wax Trax garbage).  And please, dear reader, don't let the 
presence of of electric guitar and bass lead you to believe that 
anything on this record sounds like an electric guitar or bass.  
(Fourth Dimension Records P.O.  Box 63, Herne Bay, Kent CT6 6YU, UK)

The ideal demo tape is designed to grab the listener by the ear and 
never let go.  The tape must demonstrate the skills and prowess of the 
musicians as quickly and efficently as possible, thus winning them 
props, respect and gigs.  Or that's what I expected when I heard that 
a Kill demo tape had been mailed my way.  Even from a band whose gigs 
have consisted of shows at a handful of San Francisco art 
galleries (The Art Explosion and Acme Gallery among them) and an 
outdoor concert on the roof of the San Fran.  Art Institute I 
expected a certain economy.

Instead the tape I received was a sprawling collage of live jams, 
studio experiments, samples, interviews with the band, street noise 
recorded by lowering a microphone off the roof of their apartment 
building in the Mission (as guitarist Barrett Heaton explained).  The 
effect was like reading one of Ben Katchnor's "Julius Kniple, Real 
Estate Photographer" comic strips while listening to a jukebox filled 
with records by Jandek and AACM alums.  Kill makes music for a road 
trip without a destination, where you just follow the road until 
another looks more promising.

The stream of nostalgia reveals its threatening undercurrents as soon 
as the first tentative toe is inserted in its icy waters.  The space 
under the porch is cool and safe, but the floor boards overhead creak 
under the weight of a killer's boots.  The tattoos across his knuckles 
refer to a struggle of Biblical proportions.  Chris Lawson's saxophone 
and Roman Bolks' aggressive bass guitar work complement L.V.  
Washington's sparse drum compositions perfectly.  Samatha Brennan is 
credited with vocals, but unless her voice is being run through some 
heavy effect boxes I never heard her.  Another mystery for the 
University of Chicago English grad student researching a thesis 
entitled "The Cross Cultural Precedents of Postmodern Discourse as 
Exemplified in the Descendents of Free Jazz" to sink her teeth into.  
Whew.  (Kill Management, 50 Lafayette St.  S.F.  CA 94103) 

The Scissor Girls' new single is easily their best work to date (which 
I guess should be an indication that there is even better stuff yet to 
come).  It plays like an abstraction of their earlier work.  Every 
sound has been tinkered with and stretched out into something 
different.  Gone are the decisive guitar riffs and up-front bass lines 
of _To: The Imaginary Layer On Skeletons_(their debut Lp on Quinnah 
Records).  Only Heather's steady drumming remains.  On earlier 
recordings I felt they filled up every space in their songs with notes 
and beats which received equal emphasis and ended up overwelming the 
listener.  Now they leave more space and vary the attack more.  New 
guitarist Kelly Kuvo uses her guitar to find some strange sounds.  Her 
approach reminds me of Jim O'Rourke's.  You get the idea she could 
just as well be using telephone wire streched across a cinder block 
and she could still make it sound interesting.  IMHO the Scissor Girls 
are (along with the Flying Luttenbachers and Trenchmouth) the most 
important Rock band playing in Chicago of which I myself am not a 
current participant.

This single is part one of two and has "By Process of Elimination", 
and "Ambulatory" (which has this great cavernous, long-distance reverb 
on the vocals and which, for me, was the stand-out track), and on the 
other side, "New Tactical Plan."

Their new music communicates feelings with more intensity because it's 
more abstract.  It's like when you walk into a building and the smell 
overwhelms you, reminding you exactly of some apartment building you 
used to live in four years ago.  You can't really describe the smell.  
It's not good or bad.  But it's funny how a smell can invoke memories 
so clearly, better than a photograph, because you don't have to think 
about the smell itself.  It's a trigger.  Instantly you remember 
exactly how you felt four years ago and why you felt that way, and how 
messed up your life was then.  Only now you have some distance, some 
perspective on the whole thing, and you realize just how sick you were 
and by extension still are.  It's time to seek professional help, I 
guess.  (Scissor Girl Research P.O.  Box #476748, Chicago, IL 60647).  

I just got a copy of the new Soul-Junk album, 1951.  Soul-Junk is on 
a mission.  This mission forced Glen Galloway to diverge from the 
sonic juggernaut known as Truman's Water and follow Charles Gayle 
along the path less traveled (less traveled by Indie Rockers because it 
is mainly populated at present by belligerent born-again Jesus 
Freaks).  Yeah, you got it.  I wasn't just dropping Mr.  Gayle's name 
because I was trying to be all hip like John Corbett or Peter 
Margasak.  Soul-Junk, like Mr.  Gayle the great saxophonist, is fueled 
by a powerful Christian vision.  Let me quote from the lyrics of No 
Eye Has Seen: "No eye has seen, No ear has heard, no mind has 
conceived what God has prepared for those who have loved him, but God 
has revealed it to us by His spirit.  The spirit searches all things 
even the deep things of God."

The point of this record is not to preach, as the liner notes explain, 
but to celebrate, like gospel music, to which this bares no musical 
resemblance whatsoever.  In fact, musically this is closer to the 
classic Truman's Water album, _Spasm Smash XXXOXOX Ox & Ass_ on which 
Glen Galloway played guitar.  He left that band after marrying his 
wife Cathleen.  He nows plays all the instruments in Soul-Junk, drums, 
saxophone, guitar and bass.  Recently he has begun collaborating with 
another guitarist so that he can play drums exclusively.  But this CD 
is an amazing testament to an idiosyncratic and often brilliant 
musical vision.  Twenty-one songs, several instrumentals, which convey 
powerful feelings with unique song structures and unusual sounds.

Glen Galloway seems to me to be on a hardcore nostalgia kick, of which 
the religious lyrics are only a part.  Like performance bands such as 
Caroliner or the Boredoms, the CD creates its own context.  The 
recorded-on-a-boombox, lo-fi sound ads to the music's feeling of 
"authenticity", as if it was the sonic equivalent of a Grandma Moses 
painting.  The album's title, "1951" evokes a specific past, which is 
at once capable of generating a variety of associations.  The CD's 
packaging has been made to look like a cloth psalm-book from the 19th 
century.  The liner notes are all in block capitals.  Earlier singles 
from Soul-Junk had covers made of folded wallpaper, held together 
with heavy maroon electrical tape and xeroxed pictures of sports stars 
from the '30s.  

I bought the "1949" single on Holy Kiss Records, apparently Mr.  
Galloway's own label, because a friend told me it was by the guitarist 
from Truman's Water.  The liner notes said: "This is a love letter, 
write back." The a side, "Stripes We are Healed" is a long, sparse 
Free Jazz improvisation spotlighting a tentative saxophone and 
all-over-the-place drumming.  The b side features two religous songs, 
"Isaiah 9-2-6" and "1 Peter 2-6-10" which are mellow, tuneful (although 
not necessarily in tune) and anthemic in the way Volcano Sons songs 
used to be.  An LP of 23 songs entitled "1950" followed the single.
Now I am listening to the "1951" CD.  What seems consistent to me is 
Soul-Junk' s obsession with recapturing an earlier period in America 
when culture was produced for its own sake, for the glory of God, for 
private reasons (like a love note), but not for profit (the primary 
motivation for 90% of the CDs available today).  This is certainly a 
sympathetic cause and one that resonates with the Punk D.I.Y.  
asthetic of the Indie Rock fan.  However it is a retreat; it looks 
backward instead of forward.  The past has been made, it's up to us to 
make the future.  I'm sorry but I don't think that a retreat to an 
overly idealized post-war boom period (the late '40s, the early 
'50s) that never existed can save us from the crisis in which we 
find ourselves right now.  And we are in the midst of a real crisis.  
Everywhere the modest gains that working people have won through 
years of struggle and sacrifice are under attack.  Every where those 
in power seek to keep their disproportional share of the common wealth 
by deflecting the blame onto scapegoats.

Perhaps I should make clear that I wouldn't waste this much space on a 
review of Soul-Junk's "1951", if I didn't believe that the music 
wasn't so wonderful.  I really think that the music is great.'50s. 
to object, however, to the idea that things were better in the '50s.  
That kind of nostalgia got Ronald Reagan elected twice.  And that kind 
of nostalgia runs deep in "Generation X" culture, from Esquivel's "Space 
Age Bachlor Pad" records to Dan Clowes' " Eightball" comics to Scott 
Rutherford's "SpeedKills" 'zine to thrift store aesthetics, etc.  
We cannot afford to live in the past when action in the present is so 
crucial.  (Shrimper PO Box 1837 Upland CA 91785-1837).  



                     ++++ Free Mumia Abu-Jamal ++++
  ++++more info: http://www.calyx.com:80/~refuse/mumia/mumiadir.html++++


From: silverst@ils.nwu.edu (Steve Silverstein)
Fugazi, Amoebic Ensemble, dis-, Secret Stars, et al.

Time to write for Indie-List.  I see Eric and Anne all the time and 
they work [or worry...  -es] really hard and I feel guilty.  So, time 
to catch up on my reviews.  Sorry if some of these are old.  I haven't 
written for ages.  I'll get through everything slowly...

Fugazi--Red Medicine LP/CD (Dischord)--Fugazi take a giant leap 
forward and put out their best album since the first 2 EPs.  They've 
totally dropped their really thin sounds and sound completely thick 
and dense--instruments and vocals.  The songs are as good as anything 
they've done.  Lots of imitators had caught up to and even passed Fugazi, 
but it'll take them another 5 years to do so again.

Amoebic Ensemble--Limbic Rage CD (Over the Counter/P.O.  Box 
35/Providence, RI 02901)--Kind of like Slayer gone chamber music?  
Weird instrumentation (7 piece line-up), completely amazing left-field 
composition.  If not the year's most original and pioneering record, 
damn close for sure.

Dis- --Nicolae 7" (South East/P.O.  Box 579/Iowa City, IA 52242)--A 
year or so old, but new to me, so good enough.  The best 7" I've 
bought in literally ages.  Really catchy songwriting, but complex and 
really well-played.  A bit in the stop-start-y math rock vein, but way 
too catchy.  I don't know.  People compare them to Rush, but in a 
totally different way than, say, June of '44.

Tizzy--New Jersey 7" (Chunk/Box 244/Easthampton, MA 01027)--Punk-ish 
pop.  Kind of a mix of Jawbreaker with small factory?  A trio with 
simple, loud, catchy songs and female vocals.  Swell.  Not pioneering, 
but darn good.

The Make-Up/The Meta-Matics split 7" (Gemini Star, no address 
listed)--You know The Make-Up as the new Nation of Ulysses spin-off.  
Very stripped down, minimal, with Ian S's vocals right out front.  The 
winner here is the sadly defunct Meta-Matics, also from DC.  Their 
last show ever was here in Chicago, and it blew me away.  Kind of 20 
year olds doing the Contortions mixed with bits of early '80s punk and 
the first Devo record.  Unlike anything else you've heard of late and 
completely sincere.

Mercy Rule--A Simple Word 7" (Faye/P.O.  Box 7332/Columbia, MO 
65205)--Nothing fancy here.  Straightahead Midwestern rock trio.  
Catchy songs, raw attack, amazing female vocals.  A vague reference 
might be the Poster Children, who are huge fans, but more even more 
straight rock.  Nothing that will surprise you, but a really solid 7".

The Secret Stars--Wait 7" (Simple Machines)--My favorite Simple 
Machines release in awhile.  Features Geoff from No Duh/karate!.  I 
guess the obvious reference is the Spinanes, though one side has male 
vocals, and there's little drumming.  Somehow, though, the end result 
is different from the Spinanes, less strummy and more spacious, I 
guess.  Very highly recommended for fans of soft, well crafted, pretty 

Ladybug Transistor--Marlborough Farms CD (Park 'N Ride/2178 34th 
Avenue/San Francisco, CA 94116)--Debut full-length from the band 
formerly known as Sunhead (7" was on Popfactory).  The obvious 
influence here is New Zealand pop, but still totally original.  They 
mix in their own more American sound, and then use a huge variety of 
instruments to create these vague-ly Eno-ish soundscapes over the 
whole thing.  Way better than I'm making it sound.

Six Finger Satellite--Severe Exposure LP/CD (Sub Pop)--Back with a 
mean-sounding record that mixes their barrage of early '80s new wave 
and no wave and whatever-else-wave influences as only they can.  There 
are synths as on Machine Cuisine, but drums, guitars and bass return 
too.  Their first release as a quartet.  The focus here is obviously 
more on sound than on songs, but a couple of the songs are actually 
catchy.  The sound, though, is really odd, quite unlike anything else 
that's come out of late.  Maybe not for all tastes, but well executed.

Baldheaded Stepchildren--Bilkamenjo (Merry Dogger/83 Plymouth 
St/Montclair NJ 07042)--Essentially a jazz record on a rock label.  Go 
figure.  It features horn charts a bit like Anthony Braxton with a 
totally amazing rock drummer.  Certainly not like much else you've 
bought of late.

There's 10 anyhow.  More will follow, probably next week or so.



From: SCREWBALL@delphi.com
Kustomized in Cambridge, MA

T.T. the Bear's Place
Cambridge, MA
16 September 1995


From its name, T.T.  the Bear's Place (aka T.T.'s) sounds like it 
could be a den for one of the ursine persuasion.  Given the acoustics 
(strange), the PA ("golden ear" types beware) and the size of the 
place (dinky; the PA at stage right fires straight into a cul-de-sac, 
while the sound from the other side spills out toward the adjoining 
bar/pool table area), it's almost appropriate.  A big plus of the 
place is the lack of bouncers; the crowd is pretty well behaved, and 
there's no need for that kind of rude distraction.

Kustomized played last on a five-band bill.  The crowd thinned out as 
the set progressed, possibly due to the volume (a lot of people 
retreated from the front of the stage with their fingers in their 
ears).  Pity--the band played a strong set, mixing new material and 
covers with songs from both _The Mystery Of Kustomized_ and _The 
Battle For Space_.  Musicianship was solid throughout (even though 
three-quarters of the band are playing the wrong instruments-- 
guitarists Peter Prescott and Ed Yazijian played drums in Mission of 
Burma/Volcano Suns and violin in High Risk Group, respectively, while 
Bob Moses played guitar in Busted Statues), with a strong group 
dynamic that has progressed greatly since this lineup's debut gig at 
Maxwell's in Hoboken, NJ (their first with Malcolm Travis replacing 
former Bullet Lavolta vocalist Kurt Davis on drums) just over three 
months earlier.

Highlights: A rollicking "Hound," a hard-rocking "The 5th," a 
pumped-up cover of La Peste's "Better Off Dead," a set of "Handcuffs" 
worth getting arrested for, and one appropriately goofy "Puff Piece" 
(with all the stops in just the right places).

Set time:  55 minutes



Throw Your Voice
Harlem Nocturne
Yacky Do
You Make Me Feel Weird
The 5th
Better Off Dead
The Place Where People Meet
Puff Piece
It Lives!



From: phisst@grove.ufl.EDU

Here's Skirt's Current Tour Routing.  If you want to be added to a 
mailing list to receive Skirt updates, drop us a line.

[some dates deleted... -es]

OCT.   11     DNA               SAN FRANCISCO, CA
OCT.   14     50 BUCKS          LOS ANGELES, CA
OCT.   16     GIBSON'S          PHOENIX, AZ
OCT.   21     SOB'S             ATLANTA, GA
NOV.    4     METRO             CHATTANOOGA, TN
NOV.    8     9:30              WASHINGTON, DC
NOV.   12     TOAST             BURLINGTON, VT
NOV.   16     ELBO ROOM         COLUMBIA, SC
NOV.   18     RED LION          AUGUSTA, GA

Phisst Records Corporation   p) 904-378-9887
1630 NW 1st Ave.             f) 904-373-0991
#14481                       e-mail) phisst@grove.ufl.edu
Gainesville, FL  32604       http://grove.ufl.edu/~phisst


From: Douglas Wolk <dbcloud@panix.com>
AD: God Is My Co-Pilot/D.Q.E./Mr. Quark

Dark Beloved Cloud and The Making Of Americans are proud to announce:

God Is My Co-Pilot _Puss 02_ CD--29 new songs and a cast of thousands 
of musicians, watch for them touring the U.S.  through mid-November.  
$10 ppd.

D.Q.E.  _Jump On In_ CD--lovely new album from the duo of Grace Braun 
and Dugan Trodglen, with 18 new songs--wild and soulful.  $10 ppd.

Mr.  Quark _Enjoy Nuoc-Mam With Mr.  Quark_ 7" EP--a 14-minute rock 
opera by four French teenagers; frighteningly catchy.  $3 ppd.

Send cash or checks (payable to D.  Wolk) to Dark Beloved Cloud, 5-16 
47th Rd.  #3L, Long Island City, NY 11101.  Thanks!


The Indie-List Digest is published weekly (Mondays) or more often by 
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What       Who              Where

Editors    Eric Sinclair    esinclai@tezcat.c