Just where IS Pepperidge Farms?


      Indie List Digest!

       October 5, 1994

     Volume 4   Number 5


ADMIN: That old label-list
Concussion Ensemble, Sloan
Box Set
"hell in a handbasket for breakfast"
Ruins, et al.
Biafra & Nixon + other stuff....
Wake Ooloo, Miles Dethmuffen
ANNOUNCE: You Could Do Worse Concert
ANNOUNCEMENT : upcoming Envelope dates
ANNOUNCE"  Danger Gens fall 94 Tour
AD: silver girl

Our apologies for the delays in bringing the Indie-List to your mailbox 
this week.  If we hadn't told you of our job-suckabilities before, you'd 
probably be confused....

One small Administrative note from me, before I hand the torch over to 
Sean.  The FAQ is available online now via any Web browser (Lynx, 
Mosaic, Cello, et al).  Just point your browser at 


And it's in a slow revision right now, so if you find areas confusing, 
please let me know.

There are some archive sites for the I-L popping up on the Web - I'll be 
summarizing them in an upcoming issue.



From: Sean Murphy <grumpy@access.digex.net>
ADMIN: That old label-list

Hi.  As some of you may remember, once upon a time there were a number of 
large lists of "independent record labels who do mail-order." I inherited 
one version of that list, and then decided to overhaul and expand the damn 
thing - I had a LOT of free time on my hands, and it seemed like a 
worthwhile thing to do.

Last spring, at about the same time I gave up editing the I-L, I also 
handed off the editorial supervision of that label list.  It seems, 
however, that the list is about to disappear into a black hole.  I'm still 
getting occasional questions about it, and I was able to track down a copy 
which may or may not be the most up-to-date version.  While I don't want to 
see the list simply die through ignorance and forgetfulness, I don't have 
the time, energy, inclination, or information to keep it alive by myself.  
It's close to 6 months since I last "edited" the thing, meaning that some 
labels have died, many have appeared, others have moved, and probably some 
new descriptions should be written since labels do tend to change or refine 
their interests over time.

If anyone out there is willing to take on some of this task, I'd like to 
hear from you - I'm even willing to do the edits and mailings if others can 
do the info-gathering for me in a coherent fashion, though I offer that as 
a last resort, not as a starting point for discussion.

As usual, I can be tracked down at <grumpy@access.digex.net>.  Thanks for 
your help.

Grumpy Sean 

P.S. I do not claim to have a monopoly on the moniker "Grumpy" - it was
simply a way to distinguish myself from 3 or 4 other people named "sean"
or "shawn" on one mailing list, and it sorta stuck. :)


From: "Steve Baragona" <baragona@ariad.com>
Concussion Ensemble, Sloan

I saw Concussion Ensemble @ Middle East downstairs, Saturday, September 
17.  What a weird show.  Concussion Ensemble has 4 drummers, 2 guitars, 1 
bass, 0 vocals.  But that wasn't what made it weird.

First of all, Buffalo Tom opened for them.  Twice.  OK, so Buffalo Tom 
didn't actually open for them at all, but the first band sounded like a 
cross between Buffalo Tom and Loverboy, and the second sounded like Buffalo 
Tom and Offspring.  Or something like that.  Anyway, I'm sorry I don't 
remember names, but I wasn't really impressed.

Another weird thing was: What were these bands doing on this bill? 
Concussion Ensemble is, as you'd guess, a pretty heavy band.  Hard to be 
any other way with four guys beating the tar out of stuff.  So why would 
Buffalo Tom types open for them? The crowd really puzzled me, too.  It 
really didn't look like a scenester crowd, even though Concussion Ensemble 
has a pretty good following and hasn't played around here in a while.  They 
looked older and more professional than your average club crowd.  I saw 
things I haven't seen in ages at a show, like full beards.  And dancing.  I 
mean regular dancing type dancing, like they do at...I dunno, those 
places where people go to dance.  Weird.  Must have been friends & family 
or something.
Anyway, Concussion Ensemble was pretty impressive.  The sheer force of 
that many drums is enough to get you, but they're more than a novelty act.  
The guitars have their work cut out for them to make an impression above 
all that battering, but they really pull it off with plenty to spare.  (I 
sound like a press release.  Sorry.) And just to be fair to everybody, the 
bass was really good too.  Not for the meek.  Which is what puzzled me 
about why those full-bearded dancing types were there.

On a completely separate note, I have to foam at the mouth about this new 
Sloan album, Twice Removed.  I've only listened to it once so far, and that 
was at work, so it didn't have my undivided attention.  But...wow.  It's 
really great.  My only complaint so far is kind-of a compliment: there are 
times when they sound a lot like the Beatles.  Where'd all those buzzing 
guitar noises from Smeared go? Was that just a trick to get into the ears 
of Nirvana-loving DGC A&R dudes? I liked them, but I don't miss them here.  
"Underwhelmed" made a brief appearance on commercial "alternative" radio 
here in Boston, but it quickly disappeared from sight, never to be heard 
from again...unless Twice Removed goes multiplatinum.  I hope this album 
doesn't go multiplatinum.  I'll look like a big wuss for having such a 
beautiful, pure, pop album in my collection.  I don't see any real barriers 
to keep this album from being utterly huge, though.  I hope they've got a 
really bad publicist.  Pencil in Fairfax, Nova Scotia as the Next Seattle 
of the Week.  And put Sloan on the list of '90s alt-pop greats.  And you 
can write that one in pen.  No sign of sophomore slump here.  Not even a 
sophomore slouch.  (Or am I an ignoramus and missed some indie release?

Enlighten me, for if there is one, I must own it.)  
Steve B

Get back to work.


From: Thomas Edward Dively <teddyd@well.sf.ca.us>
Box Set review in SF

Box Set show review:

I don't know about you, but the idea of folk rockers jokingly asking if 
it's alright to "shoot up" before a radio interview knocks me a bit off 
kilter, which is, I suspect, one way the guys in Box Set try to jar us all 
out of stereotying what it is they do.  Normally, the folk music scene 
suffers little better than benign neglect from my ears and fingertips; 
however, this San Francisco-based band bears both watching and listening.

I first ran into these guys about a year ago when they played on West Coast 
Live, a two-hour live variety public radio show (nationally syndicated and 
shamelessly plugged herein....) I help produce in San Francisco, and since 
then, I've tracked their moves and growth with mounting interest.  In 1992, 
when they self-published their first cassette, "On The Busk," until earlier 
this year, they were staunch members of the coffeehouse set--two guys with 
guitars, hooky licks, and insightful lyrics.  With the release about a 
month ago of their newest effort, a self-titled CD, Box Set has swollen 
into a four-piece featuring co-front men, Jeff Pehrson and Jim Brunberg, as 
well as a funkadelic-wanna-be bassist in Chad Heise, and a hyperkinetic 
drummer named Mark Abbott.  Part-timers Matthew Twain and Sunshine Garcia 
assist as needed with bluesy organ/keyboards and vocals, respectively.

This might sound funny in a review of a decidedly from-the-folk-tradition 
band, but in my opinion, these guys really rock with their combination of 
surprisingly refreshing hip-shimmying rhythms, driving beats, punchy 
harmonies and sense of fun.  I liked their new CD so well after just one 
listening, I threw my Indie Rawk leanings and cynical skepticism in my sock 
drawer, and hopped the bus for the Last Day Saloon to see them perform 
along with another local jangly guitar band, Five Year Plan.  (A note: 
While I do enjoy Five Year Plan, I think ex-Dead Kennedys bassist Floss 
Flouride--now playing as Klaus Floride-- could be mined to a fuller extent 
by the group.)

So after attending just one relaxed small-venue Box Set show, I wondered 
what their set at the Last Day Saloon would be like--a bigger hall, a 
challenging opening act, and a larger, more anonymous crowd.  I arrived as 
Five Year Plan was winding up their set of stark, strong 
social-commentary-as-music, and noticed that while many in the audience 
were swaying to the beat, no one was dancing or sparing much attention for 
the performance.

During the between-band break, I settled in with my Red Hook next to a 
dad-esque guy who turned out to be Jim Brunberg's father; his lensy 35mm 
camera, age, and slightly out-of-place demeanor were the big clues.  
Anyway, before too long, Jeff Peherson, followed by the rest of the guys, 
mounted the stage, strapped on his acoustic gee-tar, said some hellos, 
tuned and shared some smoke with an audience member.  Box Set's show was 
shortly in full sway, and the dance area (a space about 10 feet deep from 
the stage to the tables by about 35 feet wide) was instantly jammed with a 
couple hundred folks bouncing and bopping to one upbeat, tightly wound 
song.  Three pieces into the set, I figured out what was different about a 
Box Set show from others I'd seen--everyone not only knew the lyrics to the 
songs, but they were singing right along with the guys on stage! Bear in 
mind that this wasn't some hokey campfire sing-along, but a grooving, 
loud-assed, kick-'em-in-the-head kind of deal, and practically everyone in 
the place was shouting happily right in time with the band.

It heartened me to see that Box Set attracts a diverse bunch, including 
cable knit sweater setters, nose ringers, black clad neo-hipsters, leather 
heads, hippies, hippie wanna-bes, and lots of nondescript types like 
moiself.  The amazing thing to me was the way in which Box Set brought all 
these seemingly different people together just for a while for a hell of a 
kicking show.  No sentimental Kum-ba-yahs here--just fun, funked up 
guitars, bass, drums and cheesey organ.  Of course, with songs like, "Hit 
Me Like a Train," "Gen.  Schwarzkopf" ("This is not a mind that's sick/I'm 
living in America/And I'm learning all the tricks--about how sinister and 
yet goofy the U.S.  gov't can be"), "Nose Ring," and "Signs of the Times" 
("A mind is a terrible thing to...uh..."), how could anyone not like these 


Ted Dively

Ted Dively, Group D Communications
email: teddyd@well.com or ted_dively@bmug.org
Phone: (415) 861-5399
FAX:   (415) 861-0722
1645 Page St., Suite 4
San Francisco 94117-2086


From: dann medin <DLM94001@UConnVM.UConn.Edu>
hell in a handbasket for breakfast

duh.  please forgive me if sections of this entry make little sense (lingu- 
istically).  if you've ever seen th old monty python gumby episode where 
they all run around screaming "my brain hurts!" & colliding into walls/each 
other, perhaps it would serve as a proper metaphor for my workload.  good 
news, on th other hand:

1) came up w/funds fr "i love you", will update upon completion

2) (in reversd choronological order) velocity girl, magic hour, damn near 
red, & hanna cranna @ uconn: wow.  made me proud to be involved w/college 
radio & expose stone crash crow screaming willie fans to different sounds & 
styles of independent rock these days.  hanna cranna was, fr me, what th 
gigolo aunts would be if they were good.  (my opinion, of course.  g.a.  
bore th shit out of me & i never got th hype) sugar-honey coated songs 
w/righteous harmonies & a fun stage presence doing th 

damn near red was just too much fr words.  (in a good sense) i think they 
stole th show fr a lot of folks, & if you've seen th "dixie flatline" comp.  
or their split 7" w/pelt i recommend listening to their tracks, altho their 
performance & stage presense were incredibly moving.  every song a 
catharsis, great drumming, spacey to insane guitars, etherally desperate 
female vox, & solid bass.  i hereby blow a kiss to th op/p.d.  @ whus that 
got them to come up from virginia because of those 3 songs & astound us 

magic hour= d&n from galaxy 500 + ex-whus p.d.  & freeform drums.  th least 
like (student perspective) & most experimental sounding of th performers.  
i luv'd em.  20-minute pretty-noise-pretty-noise- noise-noise jams almost 
in th vein (emo, not sound wise) of unwound's live closures complete 
w/flipping out, broken cymbals, & th frustration of th 2 guitarists of 
wanting to completely decimate their instruments fr th sound, but th 
knowledge that they can't afford to & have to settle fr ruining th strings 

vg was, well, you know...poppy, cute, fun, unserious, & adorable.  played 
my favorite songs off of both lps & sounded fine.

3)rancid/queers/avail @ th tune inn in new haven...i'd wanted to see rancid 
in ca but missed 'em by a week, so this was my second chance.  avail 
rocked, musically all over th place & aggressively wild on stage.  
righteous lookout material, i say.  i'm not a huge fan of th queers.  
they're ok, you know, they sound like th ramones.  rancid was a hyperactive 
battery that refused to die.

to be continued next week...(5'10",combustible edison,chavez, dinobore & 
more) 1/2 of this review just got eaten by th computer & i'm late fr class.
connecticut, dood. xoxoxoxxoxoxoxoxoxoxoxoxoxoxoxoxooxoxoxoxoxooxoxoxxoxoxox

dann (bettsy) medin


From: Jill Emery <llje@utxdp.dp.utexas.edu>
the ruins

Polio, Glorium, The Ruins--At Emo's, Austin Tx Thurs. 9/29/94

Polio--luckily I missed them which I consider a good thing since I don't 
like them.  The last time I saw them play, they were really sloppy sounding 
and I guess I should give them another chance, but I don't think I will.

Glorium--They were ok...I wasn't all that impressed with them...I kept 
feeling that they wanted to be Big Black and were failing miserably...They 
were minimal-sounding but not tight and they always seemed to reach this 
very vague plateau of sound that they could have pushed much further, but 
didn't in their attempt to be minimal.  Walter Daniels joined to play harp 
on one number and despite his talented harp playing, he couldn't bring this 
band out of their mediocre stupor.  They have a cd out on the UnDone label.

The Ruins---This a duo out of Japan that sound in many ways like the 
Boredoms.  They don't rip off the Boredoms but you hear faint echoes of the 
Boredoms during their set.  The duo consists of guitar & drums with 
thousands of dollars spent on every pedal attachment available as well as 
bass synthesizer and other nifty gadgets that I couldn't name.  The guitar 
player was really talented and incorporated just about every guyitar style 
imaginable into every song, whether it was 12 minutes long or only 2 
minutes long.  The drummer was also extremely talented and listening to 
them play was like being on a roller coaster ride and being jerked first 
one way and then the other and thoroughly enjoying it.  They had this 
incredible capacity to switch from metal riffs to punk riffs to Caspar 
Brotzmann sounds and back again in a matter of seconds.  About halfway thru 
their set I started to lose interest but I think I was more tired than 
bored....They are on an indie label, i just haven't checked to see which 
one.  -j

[Actually, the Ruins are all over the place on Jap-a-friendly labels in the 
US, like Charnel Music or Nipp Guitar, and are all over Japanese labels.  
My estimation of them is a little more positive than Jill's, but never 
having seen them live, I can't refute her assessment of their staying 
power...  -es]


From: Rob Thornton <rt@clark.net>
Biafra & Nixon + other stuff....

Bet THAT got yer attention, eh? Well, I just wanted to point out a 
dreadfully underappreciated release that everybody has seemingly missed 
for well, maybe a good reason, 'cause our man Jello Biafra really hasn't 
been the same since the DKs broke up and only hard-core Tentacles fans 
have really stuck by him. But without any further messing about, I want to 
tell you about a good Biafra project. This is an actual P.S. that I wrote 
to a friend of mine:

     I borrowed "Prairie Home Invasion" by Jello Biafra and Mojo Nixon 
from a coworker. It's actually pretty good! Dare I say that the ghost 
of the DKs rears its sardonic head on some of these cuts? Naturally, 
"Convoy In The Sky" is on there and I enjoyed that thoroughly, along with 
their version of "Plastic Jesus"(I don't care if it rains or freezes/Long 
as I've got my plastic Jesus/Sitting on the dashboard of my car....) They 
didn't write that, but it suits Biafra just right. It's all very country, 
but it's very entertaining and the music's great! They even venture into 
DK country with "Mascot Mania."

     Jello aims his satirical barbs and hits in "Buy My Snake Oil"(old punks 
decide to sell out and go "alternative"), "Mascot Mania" (he talks about 
how silly mascots are and suggests new ones like the "Washington Bribes" 
and the "Jersey Dumps"), and "Nostalgia For An Age That Never Existed (The 
best and most accurate tune that goes after "fake '50s clothes/fake '50s food"
and gently tears apart our romanticization of the past, execpt at one point 
he almost praises MTV?!?!). However, Biafra misses on "Burgers Of 
Wrath," his silly version of Phil Ochs' "Love Me I'm A Liberal," and 
"Will The Fetus Be Aborted?" 

     If only Biafra was on this record, I'd have to say that it barely makes 
the grade. But Mojo's tunes and another country cover tune saves the day 
for this CD. "Where Will We Work (When The Trees Are Gone)" is really good, 
and the Nixon tunes "Are You Drinkin' With Me Jesus?", "Hamelin Chicken 
Plant Disaster"(I think that name's right, but this is actually the 
best activist song on the CD, and it tells the story of how a chicken 
plant in NC exploded but the workers couldn't get out because management 
chained the fire doors shut to discourage absenteeism), and the 
traditional Mojo destuction song, "Let's Burn Ole Nashville Down," are 
all great! Dig these "Burn Ole Nashville" lyrics: "Any fool can wear a 
hat/and not move when they play/but the lonesome howl of the white trash 
wolf/can't be heard today...." and "Burn burn soul-less swine/Cross-over 
igit pukes/burn burn lyin'cheaters/Country don't have flutes!"

     But to sum it all up, the country music is rippin' and it 
ranges from bluegrass hicksville to electrified country rockabilly-ish 
pickin'. Jello actually resurrects the satire that made him famous, but 
it's weaker now, and Mojo comes through with some of the best work he's 
done since "Elvis Is Everywhere" or "Debbie Gibson Is Pregnant With My 
Two-headed Love Child." 

There ya go! So to wrap up things, I'll leave you with a list of a few of 
my favorites out of the 7" stuff I've reviewed for my zine-to-be (which 
will hopefully be in print by the end of the month):

Viva Satellite!--Qu'enfin n'y lui-meme facon l'orgueil aussi ou.... 
(Happy Go Lucky) -- Rob Christiansen from the Eggs & Lauren Feldsher plus 
some French foreign exchange students put out some neat stuff. First side 
kinda long and alright but the second side is a gloriously wonderful mess! 

Frances Gumm--"Mercy" (Sweet Portable Junket) -- Lots of rattling 
guitar-y lo-fi goodness without sacrificing musicianship!

Tuscadero--"Mt. Pleasant"/"Nancy Drew" & "Angel In A Half-Shirt"/"Poster 
Boy" (Teen Beat) -- D.C.'s best pop hope! Pleasant/Drew is good, but 
Angel/Poster is the way to go for a first intro! Catchy as all get out.

Rake--"Subterranean Marijuana Garden"/"U.S. TV" -- WHOOOEEE!! This is a 
breathtaking little single. It's got a Minor Threat headrush, a "Metal 
Box"/"Second Edition"-era PiL shimmery guitar sound, and it's spiced with 
a few Reid-esque free jazz melt-yer-mind guitar solos and general noise.  
We're talkin' adrenaline epiphany folks!  

Antimony--"Red Herring/Longetivity" (Dischord) -- Best new act for the 
D-folk, as this band rips a few pages from AmRep and the J. Lizard crew 
then uses them to its own advantage. Herring and Longetivity are full of 
hurtling burbling bass with a stinging guitar weaving in and about; drums 
set the pace while singer rants around them.  
There you go. The list may cover some ground that's been covered, but 
hope you enjoyed it....


From: BocAd@aol.com
Wake Ooloo, Miles Dethmuffen

Wake Ooloo and Miles Dethmuffen, The Middle East upstairs, 10/1/94

Those of you who haven't heard Miles Dethmuffen's second album, Clutter, 
(released earlier this year on Rainbow Quartz/Dutch East) are missing out 
on one of the best pop efforts of the year.  Sensitivity and intelligence 
abound on this disc, and without a hint of pretension.  Live on stage at 
the Middle East, though, the band was just plain rocking - energy and 
jubilence dominated.  This band's ignore-the-trends attitude is more than 
welcome in this dark age of tougher-than-thou grunge bands and 
underachieving noisemakers.  Even their impromptu cover of The Records' 
_Starry Eyes_ (which blew away the original) seemed apt.  Two days later I 
still regret missing the beginning of their set.

I have to say that Wake Ooloo paled in comparison to Miles Dethmuffen's pop 
onslaught, partly due to Wake's lower key/lower energy approach and partly 
due to the fact that they just aren't much to look at.  Glen Mercer hardly 
seems at ease as front man.  He had some minor technical problems, and Dave 
Weckerman rarely hit his crash cymbal hard enough to make it audible.  The 
band seemed rather unsteady for the first few songs, suddenly finding a 
comfortable groove on _Higher Ground_.  All the old Feelies numbers they 
played had this kind of steadying effect on them, even though the new 
material is in the same vein.  Although Wake Ooloo doesn't cover a ton of 
musical ground, they're champs on their own turf, and the songs are 
pleasantly engaging in a low-key kind of way.


From: Rob Galgano <0005338863@mcimail.com>
ANNOUNCE: You Could Do Worse Concert

Join us on the evening of October 8 at the Kirkland Cafe in Somerville, MA, for
the first installment of the You Could Do Worse National Concert Series. Show
should start around 9 p.m.

The bands that are scheduled to play are:

Miles Dethmuffen (latest album: Clutter, on the Rainbow Quartz label)
Miranda Warning (latest album: *Twelve Speed Pop Blender*, on the Presto! 
The Wrens (latest album: Silver, on the Grass label)

All staff, subscribers, friends, music industry types are invited. The club is
kinda small, so get there early!

Rob Galgano
You Could Do Worse.




The Kirkland Cafe is at 471 Washington St. in Somerville/Cambridge, at the corner
of Beacon Street just outside Inman Square. It's right next door to a restaurant
called Dali. You can get there by the Rindge Ave bus out of Central Square. 

Driving: from Central Square, take Prospect St to Hampshire (where the Merit
station and KFC is), turn left on Hampshire. Hampshire goes through Inman Square
and turns into Beacon St. Six or seven blocks down Beacon St is Washington St.
Left on Washington and the club is right there on the right. 

The club's phone # is (617)491-9640. 


Next stop: Minneapolis? San Francisco?


From: GERARDC@delphi.com
ANNOUNCEMENT : upcoming Envelope dates


the Stickee Bird broke down and crashed into a radio tower (I think
WFMU lost their signal for a few hours). This time we're driving...
all the way to Avenue A.

10/14 - Agora, Cleveland, OH (w/ Cobra Verde, Moviola)
10/15 - Halfway Inn, Ann Arbor, MI
10/16 - Stache's, Columbus, OH (w/ Cobra Verde, Moviola)
10/22 - Middle East, Cambridge, MA (w/ Flying Nuns)
12/3 - Khyber Pass, Philadelphia, PA
12/9 - CBGB, NYC

new double 7" out 10/10, twice the music for twice the money
(4 songs, 3 studios, 3 states, 2 singers, 4 sleeves).



The Teenbeat Circus will be at Longwood College in Farmville, VA, on 
Saturday, October 22, at 9 pm.  It's a free show!

The bands scheduled to play include AIR MIAMI, BLAST OFF COUNTRY STYLE, 
ROMANIA< and EGGS.  We need all the people we can get, so if you need more 
info or whatever call jennie at 804-392-4920.

It's the only Teenbeat Circus show in Virginia, by the way!


p.s. if you e-mail me, don't get the l's and 1's mixed up!


From: "Bill G." <billga@eskimo.com>
ANNOUNCE"  Danger Gens fall 94 Tour

Danger Gens are a mostly female trio that play what we like to call
Burly Pop (tm).  They have a CD ep and full-length CD out on
Crunch Melody Records, and they're on-tour now.  Go see them if you get a 
chance.  For those of you who heard the story, this is what we were able 
to put together after the psycho who was supposed to book our tour 
totally ripped us off.  Fok.

DANGER GENS Fall 1994 US "Bottomless Cup O' Rawk" Tour

Oct   6  Albany      NY  QEZ
     10  New York    NY  Under Acme
     14  New Orleans LA  Hungry Wolf
     15  Houston     TX  Harvey's
     19  Austin      TX  Electric Lounge
     20  Dallas      TX  Galaxy
     22  Albuquerque NM  Golden West
     23  Tucson      AZ  Dowtown Perf. Ctr.
Nov   3  Chico       CA  Juanita's
      4  Eugene      OR  John Henry's

Bill G.   Crunch Melody Records
Web Page: http://eskinews.eskimo.com/~billga/crunch.txt


From: kyork@sciences.SDSU.Edu (Keith York)
AD: silver girl

for anyone who cares what is going on with silver girl records, send a 
couple of stamps for the first edition of our new in-house zine "silver 
boy: a space shuttle adventure" -- all you never wanted to know about 

send to

silver girl records
po box 161024
san diego, ca  92176 usa



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