You're having tea with Graham Greene
In a colored costume of your choice
And you'll be held in high esteem
If you're seen in between


      Indie List Digest!

      February 21, 1995

     Volume 4   Number 48


Welcome to your pal, the belated (thus berated) Indie-List.  We've 
been delayed for a number of reasons, most pertinently some machinery 
shuffling behind the scenes.  (Tony Wicks, please phone home...)  We 
think we have it -mostly- sorted out, so if you've been holding off on 
a submission or critique, don't hesitate to drop a line.

A special thanks to all this issue's contributors for their patience.

Our contact addresses (see the end of the issue, as per usual) will 
remain the same. for submissions, for subscriptions, and you all know the drill.

Our lives have been filled with stress and work and music, as usual.  
Many crowded shows to attend to see bands that get warranted press 
attention, less crowded shows for equally deserving bands.  If we 
waited to send the Indie-List for us to write these up, then, well, 
you'd still be waiting.  Besides, we saw you there and you didn't 

A couple personal recommendations from this side of the house - Wayne 
Hancock and Gram Parsons.  Don't ask why, but with the thaw in the 
frigid Chicago winter, my thoughts have turned to country music.  
Maybe it's the election year...  Wheeeee-ha!

Only one pertinent web site announcement for this issue's 
introduction.  A band, Lucy's Dream, tells us they have a site at

Look for the next issue of the Indie-List sooner than later, and send 
us what you want in there.  In the meantime, a Finley should be 
hitting subscriber's mailboxes (what's Finley?  See the IL home 
page!) as well.  Read, but write if you get work!



From: Mark Cornick <>
Adminisnontrivia: indie archive at evol RIP

The indie-list archive that was on my machine,, 
has been discontinued due to changing requirements for the machine 
(meaning: the machine's going to be rebooted a lot and the archive 
wouldn't be readily available.)

This doesn't affect the other archives, such as the main archive
at and the mirror at - you can still use

Mark Cornick, editor emeritus and (former) backup archivist

==> / <==
"Take off all your clothes and walk down the street waving a machete
and firing an Uzi, and terrified citizens will phone the police and
report: 'There's a naked person outside!'" - Mike Nichols


A Request

hello,i am a belgian student heavily interested in independant 
rock.more specificaly i am trying to find out more about the 
louisville, kentucky-scene.i heard two really great bands frome 
there:the first called 'crane'(or a phonetic equivalent of that;i'm 
not sure about the spelling) [crain, I assume...  -es], the second 
called 'craw'(or phonetic equivalent).could you give me any 
information about those bands?(correct name,names of albums or 
songs,'related bands' ....)


[go to it...  -es]


fotofeist, rex, hula hoop, smoothies

fotofeist - 13th Note, 14th October

A three (or was it four?)  band 'event' featuring artists working on 
the fringes of what we usually call 'rock' music.  First on are a 
supergroup of sorts - Jowl - who are the bassists of Long Fin Killie, 
Dawson, and Badgewearer.  One plays lead, the second rhythm, and the 
remaining one does something undefined.  Together they make an 
almighty noise, and as they get under way, that old cliche "they're 
still soundchecking" is heard at the door.

Next up are Manchester's Spaceheads, who in previous existences were 
in James and the Diagram Brothers.  Their days of chart hits are a 
long way away, as you might guess when I say that they are a drums and 
trumpet combo.  This may sound like a sparse arrangement, but a 
variety of samples and effects create a dense sound, which is 
augmented by Marion, lately of the Dog Faced Hermans, who sings and 
recites over the Spaceheads' backing.  And, er, plays the spoons.

Headlining are local formed-for-the-occasion group All the old men 
paid rent bar Rory.  Improv name, improv guys, though the description 
free-form jazz only partly describes what they do - the drummer 
certainly is of that school, but the duelling sax/clarinet are quite 
something else, while Badgewearer's guitarist provides the kind of 
backing you wouldn't get at Ronie Scott's.

Hula Hoop - The Loveliest Ring of Saturn (Silver Girl Records)

As Silver Girl's main ambassadors to the UK, and with a Peel session 
under their belts Hula Hoop bridge the trans-Atlantic gap pretty well.  
Broadly they fall into that indiepop area somewhere between the 
Wedding Present and Pavement (Box Elder?).  Whether they can please 
the 'Britpop'(c NME)-loving youth of this country is another matter, 
but certainly they have as many tunes as the UK's finest.  As you 
might expect it's their faster, janglier tracks that remind you of the 
Weddoes, while the slow ones sometimes are a bit Palace-y - a little 
bit country, but, hey, a little bit rock'n'roll too.  Most of the 
tracks have a lovely sustained lead guitar which defines the hooks, of 
which there are a few.  Most tracks grow on you after a few listens, 
though 'Raison d'etre' hits you first time with a particularly catchy 
guitar intro.

On this showing there's no reason why they can't slog it out with the 
best of Anglo-pop (c David Belcher - cheers!)  - 'Dreamside' even 
sounds a bit like the Stone Roses (sorry!)  But despite this, on most 
of this album Hula Hoop have defined their own sound; their own brand 
of Trans-Atlantic pop (c SMcH, 1995), and in these days of accusations 
of rip-offs and 'influences' it's nice to hear a band just being 

Rex (Southern)

If you know the sound of Codeine, you'll recognise some features of 
Rex's music, and little surprise when you learn that Rex are the band 
of Codeine's ex- bassist.  Codeine, for the uninitiated, were leading 
exponents of slowcore (or, sometimes, sadcore).  But while Codeine's 
music was, at least for me, a bit too laid back and lacking in real 
drive, Rex are quite a different matter.  The tunes are still slow, 
and perhaps shoegazey, for want of a better term, but they are also 
very strong.  'Angel Tune' is one case in point, where instead of the 
music being almost in the background, it builds up to a crescendo, eventually 
dwarfing the vocals.  'Come Down,' again, is quiet and dreamy, but 
there's a strong tune behind all the laid-backness.  If you were a 
secret shoegazer, or a grunger (grunger?)  who was just too lethargic 
to mosh, Codeine could be just the thing to pick you up.

Smoothies - Pickle (Southern)

The Smoothies, if they cared, are quite fortunate in that it's taken 
me ages to get this review together.  Because, on first listen, it 
sounds like pretty much formula stuff - another female-fronted band, 
sounding pretty much like the other fast poppy groups who are on the 
go at the moment.  However, give 'Pickle' half a dozen listens or so 
and you'll hear some good stuff emerging.  'Chronicles of a housewife' 
is good lyrically, and 'Reasonably Happy' and 'Dovey' are simply 
rollicking good tunes to tap your feet, bang your head or whatever 
else takes your fancy.  They're from the USA, and actually sound like 
they could give their counterparts here, like Sleeper, Echobelly, 
Elastica et al, a good run for their money.


From: Michael Ligon <>
Rebecca West, Radioblaster, Kat Rocket at the Ultrasound in Toronto

Venturing downtown on one of the coldest nights of the year is 
definitely no fun, but after a 5-10 minute walk from where I parked my 
friend Dino and I made it to the club and settled down for a great 
night of music.

This was my second time at the club, which I had found to be very 
subdued.  First up were Kat Rocket, who in my opinion stole the show 
with great distorto-melodic pop songs.  The female lead singer, 
looking like a cross between Meg Ryan and Drew Barrymore, sang  
very nice vocals that ranged from sweet and soft to abrasive and 
loud.  The guitarist was very creative and could easily make the 
transition from straight strumming and picking to Sonic Youth-esque 

Up next were Radioblaster from my hometown of Mississauga!  This was 
my first time seeing them live, and the Eric's Trip similarity does 
ring true.  Although lacking the musical creativity that Kat Rocket 
had, the trio did put more energy into their performance pogoing up 
and down and going ballistic (I can't believe I just said that) on most 
of their rockers.  Derek,the bassist, sang lead on most of the songs 
although I was hoping that Maritess would take over lead vocals with 
her lovely voice.

And finally up were Rebecca West, a trio from Halifax.  Mostly playing 
songs from their lp `Burners On' they played great melodic pop-rock 
songs guided along by the lanky bass player's creative use 
of a steak knife and the drummer's energetic drumming.  And they were 
only plagued by equipment problems what ...  two times.  On the 
hiatus, the bassist entertained the audience with an anecdote about 
how a Rottweiler jumped out of a three-story window and landed right 
in front of him.  And the second time when Alyson put down her guitar 
and yelled `Stella ' into the microphone during one of their 
songs (this was right after they had thought they had fixed the first 
problem) I swear I thought she was acting out a scene from `A 
Streetcar Named Desire' or something.  Really, she was asking one of 
the members of Kat Rocket if she could borrow their guitar.  Once she 
got a guitar that worked the show continued once more.  For their 
encore they did a couple of pretty, quieter tunes which should be 
coming out on a E.P. soon.


P.S. Were any other Toronto SloanNetters in the audience? 


From: (Ed Poole)
Yo La Tengo review, 9:30 Club Washington DC

Yo La Tengo, Helium, Labradford -- 1/26/96, 9:30 Club, Washington DC

First Off -- a word about the 9:30 club -- the NEW 9:30 Club, that is.  
Anyone who has been to the old 9:30 Club will tell you that is was a 
cramped dungeon with nonexistent sightlines.  "Well, yes," I can hear 
you say, "but all of the history!  The classic shows from the era when 
harDCore was king!  If these wall could only talk!."

Yeah, sure.  If those walls could talk they would say: "Why the fuck 
does this rat-infested hellhole smell like a two-week-old gym sock 
stuffed inside a fat guy's armpit?" Let it go -- it was just crappy 
joint in a shitty neighborhood (although you sure could get a good 
deal on some quality wigs down there.)

Anyway, the new 9:30 (now located at 815 V Street, depriving the 
club's name of any meaning -- in case you don't know, the old club was 
located at 930 F Street) is a spacious hall (capacity probably in the 
300-400 range) with a balcony that goes around the perimeter of the 
place.  If you've been to Metro in Chicago or the Trocadero in Philly, 
you get the picture.  It's obvious that a lot of money was poured into 
the place -- there's a big professional lighting setup, toilets on 
both floors, several bars, a coat check, nice decoration (even that 
"distressed" ceiling look, with all the pipes and stuff showing) and a 
top notch sound system.  All and all, a very nice place to see a show 
(and a great way to compete with the slightly smaller Black Cat that 
opened a couple of years back, siphoning off the larger "indie" acts 
like Superchunk, Pavement, etc.)  Alright, I'll get to the point -- 
the show tonight was incredible.

I arrived purposefully late.  I don't have time for formless noise 
bands like Labradford; I guess I just like songs too much.  Call me a 
traditionalist.  I skipped Helium, too.  I saw them a while back, 
opening for Pavement in Philly, and they left me completely cold.  I 
don't see what all the fuss is about.  Mary Timony's ingratiating 
voice and their plodding simple songs don't move me.  Sorry.

Oh, but Yo La Tengo was once again marvelous.  I know it is hardly new 
to proclaim the sublime brilliance of this band, but it has to be done 
over and over until everyone understands.  I have to admit that I'm a 
bit evangelical about my most treasured bands, so bear with me.

The point I have to stress is that Yo La Tengo is a professional 
outfit.  I don't mean that in a disparaging way at all.  They aren't 
slick -- decidedly not so, in fact -- but their show is carefully 
crafted for maximum emotional effect.  The set list is worked out like 
the track listing on a great record (say, _Daydream Nation_ or 
Quadrophenia) so that the songs complement and contrast one another.  
It is an emotional ride, and afterwards it seems like it couldn't have 
been put together any other way.  (Try playing _Daydream Nation_ in 
random order and see how strange it sounds).  The hard-rocking, 
distorted, raging wild solo guitar songs are followed by tender 
ballads, which are followed by melodic rockers.  It all fits, but it 
doesn't sound rehearsed or stale.  A tough trick.

The show started unexpectedly, with the recorded music fading away 
into looped noises and a low organ drone.  Suddenly we noticed that 
Georgia was on stage, playing a steady, simple rhythm on her drum kit.  
Then it seemed like the hall had quad sound (or those chemicals from 
college days were coming back again) with drum sounds echoing from 
both back corners.  As it turned out, it was Ira Kaplan and James 
McNew banging on drums slung around their necks.  They looked like 
some lost members of a marching band wandering towards the stage.  
After a bit of triple drum action (loops & organ continuing) Ira and 
James picked up their guitars & started into some strange noise making 
which eventually segued into "Double Dare" (from the Painful LP).  
Ira attacked his guitar ferociously, as if he was convulsing or 
retching terribly.  He seems to use his body English to express what 
he's doing musically -- the jerks to the side come when he's bending 
up a note and the bowing convulsions come when he strums hard.

The next tune, "Flying Lesson" is my favorite from the most recent LP, 
Electr-o-Pura.  It is a classic Yo La Tengo song -- starting very 
quiet and gentle, the songs builds in tension and volume as Ira solos 
wildly, finally coming together in a hard riff that the band plays 
together, faster and faster and faster until the song abruptly ends, 8 
minutes after it started.  Next was the pretty "Pablo and Andrea," a 
Georgia-sung song from the last record.  The first time I heard this 
song was when Yo La was opening up for Johnny Cash, a bizarre sounding 
combination that seemed surprisingly natural.  They sold Fakebook in 
the lobby, and the Johnny Cash fans seemed to dig Yo La.  I wonder how 
many Fakebook purchasers innocently picked up another Yo la Tengo 
record, only to be horrified by the ghastly non-country sounds that 
emerged from their "hi fi" sets?

Then the rocking "Tom Courtenay," played with the emotional intensity 
this as-close-as-they-get-to-a-radio-anthem song deserves.  (Ira 
dedicated the tune to Dudley Moore, although I didn't get the 
connection.) Next, bassist McNew took over the vocals for "Don't Let 
On," a tune from his solo 4-track "band" Dump.  (Ira claimed that 
McNew co-wrote the song with Gheorghe Muresan, the 7'7" Romanian 
center for the Washington Bullets basketball team.  Muresan, by the 
way, is a monster of a human being, bearing not a small resemblance to 
Dr.  Frankenstein's creation.  When the guy is shooting a free throw, 
you could swear that the ball was a navel orange.  And his nose is the 
size of most people's fist.)

The next tune, which Ira wrote on the setlist as "Alrock's," [full 
name "Alrock's Bells"--az] is a very 
pretty, slow ballad from their first album.  Apparently they hadn't 
played it in front of an audience for years.  Two more quiet tunes, 
"Satellite" (from Fakebook) and "Nowhere Near" (from Painful) 
followed, with Georgia singing lead and playing the organ.  Without 
the drums, the band got remarkably quiet.  Even more surprising was 
the almost reverential stillness of the crowd.  Not exactly an opera 
audience, but I didn't hear anyone shout "rock 'n' roll!" or 
"Freebird!" once.

"Crispy Duck" from _May I Sing With Me_ came next, followed by an 
incredible version of "False Alarm." It's hard to believe, but one of 
the most intense moments of the show came when Ira was playing the 
organ on this tune.  It is so fast and driving, and he plays the organ 
with the same absurd abandon that he throws into his guitar abuse.  
"False Alarm" segued nicely into "Sudden Organ" (From Painful) and 
the set ended with "Blue Line Swinger" (from _Electr-O-Pura.)  If you 
know this tune from the record, that's only part of the story.  It 
started out with Georgia playing a simple, descending drum riff, 
followed by a couple second pause, repeated over and over.  McNew 
played searing organ notes over this, while Ira writhed on the floor, 
torturing his guitar into making screeches and squawks.  Eventually, 
the song's melody starts to coalesce out of this noisy mixture, and 
the tune goes on to build and build to an intense climax.  I would 
have smoked a cigarette, but I quit a couple years back.

They came back out for an encore and started with "Drug Test" (from 
President) much to my personal delight.  I mean, who can argue with 
lyrics like: "I think of the things that matter/ and I think of the 
things that don't/ whatever it is don't matter/ I hate feeling the way 
I feel/ I hate feelin' the way I feel today/ and I wish I was high/ 
frightened of nothing/ smarter than nobody/ not wastin' away." Next up 
was a highly energetic cover of the Wipers' "Could This Be," with 
McNew on guitar and lead vocal.  Then came the intensely pretty duet 
(Georgia and Ira) on "Summer" (from Fakebook).  Georgia played the 
organ, Ira a quiet, bluesy guitar, and McNew a subdued bass.  During 
an instrumental break, the band conferenced and then segued perfectly 
into a slow, bluesy version of "From a Motel 6" (from Painful).  Ira 
later told me that they had never played it like that before, but it 
just seemed to fit.  They left the stage again, but the crowd brought 
them back to play one more.  Ira played the drums, Georgia the bass 
and McNew the guitar on a tune Ira promised would prove that they had 
nothing left to offer.  it was a great cover of the Swell Maps' "Let's 
Build a Car." They left looking happy and appreciative, and so did the 

If you have never seen Yo La Tengo, do.  if you have, go back.  A 
talked to a guy after the show who has seen them 101 times (I don't 
think he's a stalker, but maybe a frustrated Deadhead) and he said 
this was the best he'd ever seen them.  Ira seemed pleased with the 
assessment.  Yo La Tengo is living proof that nice guys can get ahead 
in the world, artistically and even, to an extent, commercially.

---> Ed Poole, "King Nihilator"    ||
Nihilator Records <------------    ||'s difficult to remember
PO BOX 4986 WASHINGTON DC 20008    ||


From: Mark Cornick <>
polvo, tortoise, dead c

figured I'd check in with a few reviews to dispel any rumors of my
demise... :)

- Polvo, "This Eclipse" CD5 (Merge): Long-awaited new EP from Chapel
Hill's finest (sorry, Superchunk) shows they've still got "it" (that
indescribable "it".) First two tunes "Bat Radar" and "Bombs That Fall
From Your Eyes" are pretty catchy in addition to (in spite of?) being
nicely dissonant in spots. This is followed by two short tracks and a
closing instrumental "Title Track." I've made the inevitable Sonic
Youth comparison in the past, but now it seems to go the other way -
listen to "Washing Machine" then "This Eclipse" (and its predecessor,
the incredible "Celebrate The New Dark Age") and tell me who's
influencing whom. Essential for Polvo fans; a good taster for the
uninitiated, with a long-player due later this year.

- Tortoise, "Millions Now Living Will Never Die" LP (Thrill Jockey):
Tortoise follow up their much-loved self-titled debut with this second
LP of instrumental fun. Some of the stuff here is a little blah
(shades of the most recent Pell Mell LP, which I liked at first but
ended up deciding was completely blah) but in general it's a good
continuation of the ideas of the first LP, albeit with a slightly
stronger Moog flavor on a few tracks (at first this reminded me a lot
of an instrumental Stereolab, which is perhaps not surprising since
Tortoise's Dave Pajo (ex-Slint, of course) is now playing with
Stereolab as well, and they even thank a few of the 'Labs in the liner
notes.) "Djed", which fills side one of the LP, is a winner in a sort
of stream-of-consciousness vein. Minor flaws but a fine LP overall
(and, like the first, a nice sleeve to boot.)

- Rake, "Art Ensemble Of Rake/The Tell-Tale Moog" 2xCD (VHF): Massive
double-CD offering from the constantly-evolving Rake (the one from
Fairfax, VA.) This could actually be considered two releases - the
first disc is a collection of live performances in the noise-improv
vein they've been exploring recently (one track, aptly named "Klang
Co.." was recorded at the third night of Klang shows partly organized
by yours truly.) Bits of sax and Moog (as well as half of Pitchblende)
drop in between the drones and guitar squeals. I like this for many
reasons, one of which being it sounds (probably unintentionally) a lot
like my own band, Gospel Midgets. One could be forgiven for thinking
the second disc is by a completely different band - it's a haphazard
sequence of older tracks, samples, test signals, etc. reminiscent of
Rake's earlier days as a spazzy-punk kinda band. This disc is OK but
hard to listen to for more than about 15 minutes at one sitting. All
in all a fine introduction to all that is Rake, a fine band on what is
IMO one of the most consistently great labels running today (VHF also
has stuff from Flying Saucer Attack, Wingtip Sloat, Skullflower,
etc....) Visit VHF on the web at while you're at it.

- The Dead C, "The White House" CD (Siltbreeze): Despite having heard
much Dead C over the years (mostly thru my fellow G. Midgets Mike and
Jack) this is the first Dead C record I've bothered to buy. They're
renowned by some and despised by others (and ignored by most) due to
their abrasive sound, and this CD certainly won't change anyone's
minds. Lots and lots of distortion (and other effects) marks this
total free-form noise-fest, presented as six tracks that could
essentially be split up, recombined in any order, and still sound much
the same. Whether or not this is a good thing really depends on your
taste, and the Dead C is certainly an acquired one. If stuff like
Gate, Keiji Haino, "Metal Machine Music", etc. floats your boat as it
does mine, you'll feel right at home. Others might be a little
befuddled. Definitely one for the listening bar at your local record

and finally, a somewhat biased review (Pelt are my friends and
partners in Klang, and I play with them occasionally - but I've tried
to make this as honest as possible):

- Pelt, "Burning / Filament / Rockets" CD (Econogold; also available
thru Klang Industries, PO Box 14854, Richmond VA 23221): Pelt seem to
be making up for lost time, releasing two long-players in six months
after having gone three years without anything longer than a 7". Like
Rake, Pelt (now a trio) is another band that has metamorphosed over
the years - gone are the eerily catchy melodies and refined crunch of
the earlier releases, abandoned in favor of a wide-open,
"experimental" palette. The previous double LP "Brown Cyclopedia"
(available thru Forced Exposure) sounded much like a transition from
one state to another, and this is the "other" state: acting under the
influences of Skullflower, Sun Ra, the Master Musicians Of Joujouka
and many others, they've created a free-flowing, non-percussive fluid
of sound. It's like the aural equivalent of a fine brown ale: bitter
at first, but a well-blended concoction that grows smoother as you go
on, while retaining a bite the whole way. Bravo.

Well, that should do it for the next several months :) Seriously, by
the time you probably hear from me next, I'll have graduated
(finally), and if things go as hoped, be living in the
Raleigh/Durham/Chapel Hill, NC area. Anyone in the Triangle with
computing job leads, cheap housing, bands in need of drummers, etc. is
encouraged to get in touch. I'm looking forward to the move (which
will happen, unless I get a spectacular job offer elsewhere) - I lived
in NC for a few years early in the 90's and liked it a lot, in spite
of that Helms fellow. For now, I'm off to have a porter, look over the
week's Washington Post classifieds, and not go see Air Miami &
Danielle Howle (thus further distancing myself from the past?

explicitly yours,
--mark /

"Take away the right to say 'fuck' and you take away the right to say
'fuck the government.'" - Lenny Bruce


From: <dave ewald>

the vitals.

Friday February 23---  Guided By Voices/ New Radiant Storm King/ Space Bike

                        Council Fire Room of Davies Center  
                        University of Wisconsin Eau Claire   
                        Eau Claire WI
                        All ages with beer being sold in the beer garden   

                        Tickets--- $6 UWEC students/  $8 public
                        INFO-  715-836-2970

dave ewald


ANNOUNCE:  Destroy Amerikkka

A brief announcement:

the new issue of _Destroy Amerikkka_  is now available.

it features lengthy interviews with
John Mohr and Mike Greenless of Tar,
The Flying Luttenbachers,
The Scissor Girls,
Seattle's Punk Improv superstars Blowhole,
and  Steve Shelley's new project, Two Dollar Guitar.

it also features articles on
Racism in Indie Rock,
Mexican Death Metal by Zander,
Leonard Peltier by Standing Deer,
and the 104th Congress' "Revolution" by Mumia Abu-Jamal
_Destroy Amerikkka_ reviews hundreds of undeservedly obscure seven-inch
records, tapes, and DIY CDs and hips its readers to the very best in
Indie Rock artifacts.

_Destroy Amerikkka_ is  the PUNK 'zine for outside agitators and inside

_Destroy Amerikkka_  is available for the low, low, low price of $3 (us) to:
            B. Ewens
            1353 North Dean #2
            Chicago, IL 60622-210253


From: Kathleen Billus <>
ANNOUNCE: Escargot #2 questionnaire


Sick&Tired is putting together the second issue of our print fanzine, 
ESCARGOT. One of Escargot's main features is a Directory of intriguing 
and tasteful Independent Music Resources on the Net.  Essentially it's 
a selective yellow pages -- we call it the TASTY PAGES.

     We're collecting pertinent URLS and email addresses.  

Main Categories:
RADIO STATIONS (with "independent-label rock" programming)
URLS (cool sites that don't fit into the above categories)

If you've got an indie entity that you think should be included let us 

If you're not familiar with Sick&Tired, we've been online for 2 years, doing
such things as:
** SICK-N-TIRED-L mailing list for discussion of independent label music and
** TASTY THREAD e-zine bi-weekly review of shows and other mailing lists
available via email.
** Sick&Tired Mail Order 
** ESCARGOT the print fanzine with the TASTY PAGES.

Visit us at are not-quite-complete web site:
Or, email us for more information.

You should be able to pick up the last issue of ESCARGOT at your local
record store, but if not, we do have some copies available for mailorder.
$3.50 plus shipping.  Email us for details.



From: Matt Eash <>
ANNOUNCE: IndieCentre

New information web site:

Hey, indie label or self released band, if you haven't seen it yet, 
check out:

IndieCentre (indecentry?)

An independent label information site listing tons of North American 
companies related to releasing an album: mastering, vinyl pressing, 
compact disc duplication, cassette duplication, printing, custom 
merchandise, and bulk supply sales.  Also includes listings of other 
internet resources for getting a jump start with promotion or booking 
your own tour.

If you have any sort of information, what-so-ever, please pass it 
along!  I'm also looking for any comments about the listed companies, 
stories of your DIY "experiences", tips for others, etc.  I'm also 
starting areas regarding recording, mixing down, copywriting, 
advertising, making your own labels/j-cards, and anything else I can 
think of or that you submit.  Email '' with anything 
you've got....  Thanks!

Yow.  200 hits in the first month...  seems people like this place.  
Stop on by...

Permanent Records


From: Richie Suraci <>
ANNOUNCE: Back to the Garden at Bethel, NY, FUNKSTOCK '96

The 27th Annual Gathering, social, Non-Event of the Spirit of the 1969 
Woodstock Concert is set for August 14 - 19, 1996 in Bethel, NY, 
coined, Back to the Garden at Bethel, NY, FUNKSTOCK '96.

Mark your calendars, get your gear ready and get set for the time of 
your life......

Fine Art Productions, Richie Suraci Pictures, Multimedia, InterActive, 
News Organization
Richie Suraci
67 Maple St.,
Newburgh, NY 12550-4034
914 561 5866  p/f
mobile phone  Friday 8 PM - Monday 8 AM only  914 542 1585

[now how do we get in touch with him?  -es]


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