Ogg make mission statement.


      Indie List Digest!

       October 28, 1994

     Volume 4   Number 8


Bruce Lee box set
Slinkies... (show reviews from Dann)
JSBX - Orange
Music in the Hinterlands
ANNOUNCE: Smears Tour Dates
AD: Splashdown!
AD: Gapeseed CD

Welcome once again to another issue of the I-L.  An administrivial 
note - some of the ILIJ/Core are running around the country, so your 
submissions/digests/subscription alterations may take a tiny bit 
more over the next week or two.

And, on an allied note, if anyone knows the coolstuff (tm) in SF 
over the weekend of 10-14 November, az and es wanna know, as we'll 
be there then.

And on to the content!



From: davidb@amgen.com (David Bennison)
Bruce Lee 7" Box Set

Various - Bruce Lee, Heroin & The Punk Scene 3x7"

Mine is No.83/800 and comes in a snazzy box set with photo of plastic 
pink Brucies and Elvises, a mini-poster and some useful artist info.  
The 3 7"s are yellow, black and minty green and identified as Bruce 
Lee, Heroin and Punk Scene, so what's new.  It's a neat-o looking 
consumer good and the theme is San Francisco retards/wayward maveric 

The Sun City Girls [of Seattle, nee Phoenix -es] contribute 3 tracks, 
'Kicking the Dragon' being the best by a merry mile - your typical 
Cantonese raga with accordian and amazing old-man-moaning-about 
-his-sore-joints-type Arabic vocals giving the impression that the 
track is some sort of sad religious lament - similar to some of the 
Eye Mohini 7".  'Harmful Little Armful (for Will Shatter)' is 40 
seconds of lethargic chords over a heap of surface noise while 'Suck 
Sun Town' documents their first ever live performance in 1982 
supporting Black Flag, taunting the skinhead audience with macho 
bravado, polite reasoning, a delay unit and an 'eat this shit' 

The Frogs give us another high point in 'Smack Goes The Dragon' which 
starts and ends with druggy backwards guitar, moaning chants and 
whispered 'Bruce Leeee's but leaps non-seamlessly into a rock opera 
finale in the middle displaying more of the genuine Frog-writing 
talents and ear for a catchy sing-along chorus with 'Needles in your 
arms tonight.  The Needle it's OK.  The Needles in your arms tonight.  
It's the American Way.' Another winner.

Dimebar Child gives us 4 pieces, 'Punk Is Dead' sounding like mid '80s 
N.Zealand sung punk, 'Mr Skinhead' seeming to have the outro to 
'Expressway To Your Skull' as background to a vocal spoken by a 
storyteller type ('nothing is as pure as the swastika that beats 
within my heart consequently or resultingly my nipples have become 
steel').  Hmmm.  Their best effort is the sinister 'Frere Nodda' with 
kids singing the 'Frere Jacqua?' nursery rhyme over some random 
recorder and flute noodling and someone singing a tuneless ditty very 
quietly like some old pensioner trying to remember a war tune and half 
getting there.  Scary stuff which makes 'Heroin Fuk' all the stranger 
as it's unbelievably catchy bubblegum pop that could genuinely become 
a 'hit' if Dimebar Child looked cute and could dance in formation.  'I 
don't know but I've been told.  Music makes me lose control'.

I've been told that Bean Church were/are some Caroliner offshoot.  
Well, their contribution is less interesting but not without merit, 
'Choose Your Favourite President' boasting an inept 1-chord guitar 
riff and little else except some well-disguised humour if you can 
catch a bit of vocal in there - it's 1987 and is it live or is it 

Everything is rounded up with the Zip Code Rapists efforts, both 
similar in their chilling use of deep spoken narrative over 
atmospheric kids organ mood music, 'The Suet Trees' informing us of 
the perils of drugs found on Suet Trees and 'Why People Do Heroin' 
incorporating banal, naive but reasonably reasonable reasons why they 
do ('Cause they're not happy') spoken by your average Mr and Mrs USA 
in the street.  So golden laurels go to The Frogs and Sun City Girls, 
a kick up the arse to Bean Church, a wary handshake and uneasy smile 
to the Zip Code Rapists and a happy fingers salute and knowing wink to 
Dimebar Child.  Very entertaining and it looks good too.  (Must stop 
talking about myself.)


From: dann medin <DLM94001@UConnVM.UConn.Edu>
slinkies & their defiance of gravity

shanananananananana! hi.  all of my mail disappeared earlier this week 
beacuse i am such a genius with working on computers & i lost all of 
my (actually, "your") addresses.  if you've written me in th past, in 
general, @ all, pleze send me a note so that i can punch you back in & 
keep in touch.  thanks.

kicking giant, team dresch, pirate jenny @ bowlers/worchester...
nice venue.  very spacy, though it somewhat interferes w/th sound, & 
large, w/out being too big.  whatever.  i liked pirate jenny, mixed 
genders from northampton mixing up instruments & playing nice, though 
sometimes repetitive toons.  plus they put their name up in 
litebrites.  team dresch was totally amazing.  i loved th 7" & tunes 
on th kill rock stars & yo-yo comps, but was really unprepared fr this 
kind of simultaneous aggresiveness, heaviness, fun, & sheer 
butchpower.  t.d.  is kaia,(adickdid) jody,(hazel) i forgot her name, 
(calamity jane) & of course, donna.(5th column,dino jr...much more) 
see them in yr town & be blown away.  kicking giant was nice.  not @ 
all as tight as last year's show @ th middle east, but loose & 
aggressive.  i don't think that i've ever heard them play a song th 
same way twice.  mostly new material off of their excellent new cd on 
k, "alien i-d".  a great 8-10 minute noise jam after one of th songs 
was my highlight.  rachel carnes is th coolest drummer.

team dresch, cheesecake @ th red barn/amherst...
yes, we followed to see them again, & not surprisingly enough, 
recognized a lot of familiar faces.  they were that good.  tonight 
took th cake tho.  mary lou lord was supposed to open up, but her car 
broke down.  th good news is that she has already recorded a new e.p.  
that comes out in january on k.r.s.  th bad is that she's moving back 
to seattle next week.  bad fr me that is.  i'd seen cheese cake a lot 
before anyways, but they were th best i'd ever seen them @ this show.  
th sound was nice.  as usual, lots of fun.  before t.d.  started, 
(they did this th night before too) they did a short self-defense fr 
women demonstration, which is pretty commendable.  just a point of 
interest.  their set was unbelievable.  they played, w/th help of 
encore demand, every song they've written as a band.  there's not much 
more to say.  one of my new favorite bands.

samiam, toadies @ el n'gees/new london...
i'm getting lazier.  th toadies were great, it's just that th drummer 
really bored me, so i only found them ok.  i dunno, i suck.  they 
sound like helmet on speed, but not really.  i think that they're from 
texas.  samiam was lots of fun, played all of my favorites off of th 
new one as well as "soar" & "billy".  a great live band.  th question 
is, whether touring w/bands like green day & bad religion is going to 
make them big & burn out their songs.  i hope not.

jawbox; built to spill, kicking giant @ middle east/cambridge...
this was weird.  we got a ride to boston @ th last second and didn't 
get up there until th 10:15ish.  we missed milk money, who i really 
wanted to see.  went back & forth between built to spill (upstairs) & 
jawbox,(down) which kind of stunk because they are both such excellent 
bands.  jawbox was so full of energy- played lots of new stuff & had a 
lot of fun.  built to spill is pure not-quite "pop" (i don't know what 
it is) genius.  they don't really tour either, so th 4 or 5 songs i 
caught were a special treat.  their new album on up is fabulous as 
well as their well-known side project w/calvin k, th halo benders.  
great.  kicking giant was even messier/slower this night than th week 
before.  like i said, i luv their music, & rachel and tae always go 
off, so it's no loss fr myself.  my friend, on th other hand, liked 
them a lot more last year.

ok.  thanks fr getting in touch w/me about studio 158.  to be brief, 
158 is a non-profit all ages alcohol/drug free club.  totally d.i.y.  
door prices usually $5, not more than $7.  it is 15 minutes away from 
th uconn campus...that's w/in 90 minutes of providence, boston, 
northampton, new haven, & worchester.  a little room that fits 200 in 
a plaza.  my 1st show is on friday th 28th; picasso trigger, bracket, 
bunnygrunt, big heffer, & steadfast.  if you want directions, email 
me, or call 203.427.4793 or 427.4286 fr upcoming dates.  among them- 
bikini kill, big mistake, nevergreen, bimbo shrineheads on th 29th, 7 
seconds, shades apart, mi6 november 11th, & just booked, huggy bear 
w/special guests to be announced on th 19th.  these are just th bigger 
names, tho, so call or email fr more info.

i'm tired.  grumpy grumpy grump grump.  (not you, silly, th mood) new 
stuff i dig that comes to mind right now...raooul/skinned teen split 
on lookout, th new candy machine on skene! is fabulous, & sun ra may 
not be new, but always lives up to expectations.  rock n' roll.  gimme 
caffeine.  smooches...

dann medin///dlm94001@uconnvm.uconn.edu


From: Jay Babcock <jay@DrMemory.nuc.ucla.edu>

"Orange" LP, Matador Records

Everyone knows that the best way to experience the Jon Spencer Blues 
Explosion is live.  But since it's unlikely that the Explosion will be 
playing my living room on a nightly basis anytime soon, I settled on 
simply purchasing the band's brand spanking new shiny silver cover 

Oh SHIT.  Like Samuel L.  Jackson in the new Tarantino, this album is 
one bad motherfucker.  This is IT.  When a band makes an album this 
good, usually the only thing they should do next is retire while 
they're on top.

"Orange" is the sound of the Blues Explosion swallowing practically 
all of American music's booty-shakin' genres whole and coming up with 
something that's, well...  damn! We're talking cinemascope- stylie 
production with Isaac Hayes Hot Buttered Soul-strings and some wild 
horn antics, freak-out harmonica nastiness and King Curtis Memphis 
soul stew guitars, northern-fried funk and southern- smoked country r 
& b, massed female choruses ("blues explosion MAN!") and Parliamentary 
keyboard squawks and squiggles.  Lyrics are mostly about how bad-ass 
the Blues Explosion is, plus some talk about the grooviness of bell 
bottoms (well...) and the particularly bad timing of a Jehovah's 
Witness's visit to Mr.  Spencer's home.

The Explosion proper -- Jon Spencer on guitar, vocals and theramin, 
Judah Bauer on some very riff-heavy guitar (remember, kids, there's 
no need for bass in the Blues Explosion!), and Russell Simins on drums 
-- is a lean, mean unit that doesn't hit any grooves...  it SMACKS em, 
on a regular basis.  Of course there's also a good deal of just cold 
kickin it -- after all, one can't just be exploding ALL of the time 
(that would be bad for you).

Yes, there's still some of the Crampsophiliac rockabilly of last 
year's "Extra Width" LP, and yes, there's still a bit of the Pussy 
Galore lo-fi franticism that marked the early Blues Explosion 
recordings.  But now there's even more of the really good, dirty stuff 
that makes you put on yr dancin shoes and get ridiculous...  and 
that's a beautiful thing.

Jay Babcock


From: Michael Fragassi <mfragass@nickel.ucs.indiana.edu>
Music in the hinterlands

Some reviews of bands from Chicago 
or, Wicker Park came to Indiana and all I got was this crappy 7"

Show #1: Quintron/Snaggletooth/Anthropod Vector/TBW! Jazz Posse (aka 
The Belgian Waffles!), Rhino's all ages club, Bloomington, Indiana, 

This show featured Quintron and Anthropod Vector, both from Chicago, 
and local jazzbo Monsters of Noise The Belgian Waffles!.  It was one 
of those shows where most of the crowd are in the bands.  I missed 
Quintron, which is basically Rob from Math, but I got one of his 
tapes.  For those of you who know about Math, where it had that 
gamelan-goes-klezmer sound to it, this stuff is rougher, "rockier", 
without that jouncy circus organ and clarinet thing going.  For those 
of you who don't know about Math, Quintron is one guy pounding on an 
assortment of drums, bongos, pipes, cowbells, and the metal drum from 
a Maytag washer, sometimes singing-shouting, sometimes with feedback 
going in the background.  I guess you'd file it under "experimental" 
except that it's got a better beat and a harder edge than most things 
that get lumped (and dismissed) under that name.

Snaggletooth was a Cincinnati four-piece with female vocals, added to 
the roster by the club manager at the last minute.  A bit of 
Sugarcubes, a bit of thrash, a bit of funk -- PhishBjork! No, that 
makes it sound too interesting.  They were very earnest, capable, and 
played with a decent amount of energy, but failed to float this 
audience's boat.  Blurb from the peanut gallery: "They're very cute.  
They'll go far."

Anthropod Vector was mis-billed as "Bacchus D," a defunct band some of 
the members came from.  I had never heard of either band, but they 
were a very pleasant surprise.  The bass had that Big Black Lizard 
sound to it, there were two guitars, one of which was playing with a 
kind of ringing, bell-like tone to the sounds.  The drummer was 
intense and fast, and the vocalist, wearing a lab coat and what looked 
like either new wave sunglasses or on-the-job fashion wear for welders 
sometimes played a synth.  The synth sound was Residentsy (as opposed 
to, say, Flock of Seagullsy), and allegedly the vocals were funny, 
although the sound man must not have liked them very much.  A friend 
said that they reminded him a little of 8-Eyed Spy.

Last were The Belgian Waffles!.  These guys are presently a 7 piece; 
drums, bass, guitar, vocalist/guitarist/trumpeter/shortwaver, and alto 
and tenor sax.  Post-punk free jazz, with the guitar going sonic while 
the horns Ayler out to hard, catchy rhythms.  Silly vocals and a 
loose, non-pretentious approach to the whole jazz/rock/noise thing.  
If you know and like the Flying Luttenbachers, these guys are a little 
more raucous then they are, and a little more freer in their free 
jazz.  If this sounds interesting, you should go and catch them in 
their current incarnation while you can; two of them are leaving for 
the east coast soon to study under Anthony Braxton.  (If you're in 
Chicago you can catch them on Saturday, Oct.  29 at the Fireside Bowl 
with Stamen and possibly Jack Wacker.)

Show #2:  Pencil/Mule, Second Story, Bloomington, Indiana, 9/24.

This is that Mule show that Anne reviewed a few digests ago.  And 
basically my opinion on this show is more or less What Anne Said.  
(Synopsis: fairly uninteresting rock in a Touch'n'Go-y style.) On the 
positive side, Pencil was surprisingly good when I showed up at the 
club; they were playing with a lot more vigor than I was expecting, 
and the songs were more interesting than what I was used to.  However, 
by the second half of the show, their energy faded some as they 
cranked into their "hits" and a friend and I sat in a back room and 
sang Big Black lyrics to the songs.  It turned out that the first half 
was mostly new material, which is a good sign.

While I didn't have high hopes for Pencil, I did for Mule, and I was 
disappointed.  It wasn't that they sucked, it was that most of the 
songs seemed to have very little variation to them.  Even though their 
overall sound was okay, I was deadened to it by the end of the show.

Show #3:  Dis/Tar/Shellac, C.O.C., Muncie, Indiana, 9/25

The next day, myself and a few others hopped in a car piloted by I-L 
Junta Generalissimo Sinclair for a trip down the 
giant-bowling-pin-lined road to Muncie.  Dis, a three-piece from the 
land of Laverne and Shirley, were another disappointment.  They played 
well, with a broader range of styles than Mule, but it was 
very...uninspiring, I guess.  They were fairly earnest about the 
songs, but it didn't carry over to get me interested.  It might have 
been the relatively slow rhythms, it might have been something about 
the singer's voice.

For Tar, we left to get dinner.  Most of us had seen Tar play a year 
and half ago with Jawbox, and were in agreement that we had all the 
Tar we wanted the first time.  They came off at the time as a very 
uninteresting, repetitive take on "Chicago style" hardcore.  I don't 
remember much of this from that show, but the others were struck by a 
tendency they had to move in synchrony at certain key Hard Rock 
moments, and I suggested that maybe they should wear suits to really 
get that Four Tops thing down.  When we got back, they still had four 
songs left, and much to our surprise, they sounded much, much better 
than they did previously.  More interesting and more dynamic.  They 
still had some of that synchronized slamming going (someone shouted 
"nice choreography" during a break) but it wasn't detracting from the 
music; or rather, the music was good enough that they could've worn 
suits and it might not have mattered.  (Maybe.)

I was unsure about what to expect from Shellac.  I hadn't had the 
chance to listen to any of their recordings, and though I'd heard good 
things over the net, I couldn't tell whether these reports were coming 
from people who'd pay to hear Albini flushing his toilet.  However, my 
fears proved unfounded, and they were excellent.  Less derivative than 
many of the bands influenced by Big Black; just comparing them to Big 
Black must be tiring and insulting to Todd Trainer and Rob Weston, 
since it implies that Shellac is really "Albini + 2", which it isn't.  
Trainer was particularly impressive, pounding away hard, hunched over, 
with his mouth sometimes open and grinning.  In contrast, Weston was 
deadpan, much to his chagrin when most of the audience didn't catch on 
to his jokes during the breaks.  Weston's playing didn't seem to call 
much attention to itself, either; I'd call it the "weakest" part of 
the band, but that would imply that it was somehow bad.  Albini was 
playing a lot more creatively than I was hoping for.

Show #4: Ut Haus/Squash Blossom String Pullers/Coctails, Second Story, 
Bloomington, Indiana.

Ut Haus is a side project of some local jazz musicians that wants to 
be silly in a woozy, Spike Jones/Frank Zappa kind of way with free 
jazz.  They're winking a little too much at the audience while they're 
playing, and don't succeed at being especially funny or interesting 

Squash Blossom String Pullers (no relation to the band Squash 
Blossom), for lack of a better label is a punk bluegrass band.  
Banjo/mandolin, harmonica, guitar, spoons, and washboard.  Singing 
with gusto, often wandering off-key.  They could be a total joke band 
-- "hey, we'll act like hillbillies, and it'll be hilarious! They'll 
dig it!" -- but they maintain a non-serious attitude without it 
disintegrating into parody.  This night, the soundman was hassling the 
band over the band's hand-held harmonica mike, so they came off the 
stage and played without mikes in the audience.  This created a nice 
party ambience, but only if you were within 10 feet of the band -- 
spoons don't carry so well in a club.

Rounding out this night of genre whiplash were the Coctails.  They 
started with the vibes and bass clarinets, with some smooth lounge-y 
jazz number, followed up by a swinging version of Raymond Scott's 
"Powerhouse." (Classic Warner Bros.  toon music, if you haven't heard 
of this.) They really revved up the audience with that one but didn't 
play many more songs in their jazz mode.  After a few instrument 
switches (each member played three instruments, well), they migrated 
to the sound of their current album, which is a kind of gentle, 
college-rock jangle-ballad style.  It reminds me of the Vulgar Boatmen 
or the Feelies.  Almost immediately, about half of the audience in 
front of the stage left to get beer, myself included.  Their 
ballad-rock just wasn't that energetic and interesting, even if it's 
technically skilled, in comparison