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. indie-submit@indiana.edu for submissions, grumpy@access.digex.net 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 write... 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 http://www.mathcs.duq.edu/~richwals/ld.html. 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! -es <------------------------------> From: Mark Cornick Adminisnontrivia: indie archive at evol RIP The indie-list archive that was on my machine, evol.resnet.jmu.edu, 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 archive.uwp.edu and the mirror at wit.com - you can still use those. Mark Cornick, editor emeritus and (former) backup archivist mark@evol.resnet.jmu.edu -- ==> mark@evol.resnet.jmu.edu / http://evol.resnet.jmu.edu/~mark/ <== "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 <------------------------------> From: SAMUEL.DELAENDER 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' ....) thanks [go to it... -es] <------------------------------> From: smchugh@mv.us.adobe.com 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 themselves. 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 chaos. 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. Mike P.S. Were any other Toronto SloanNetters in the audience? <------------------------------> From: nihilatr@clark.net (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 crowd. 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 <------------ || ...it'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 http://members.aol.com/vhfrecords/vhf.htm 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 store... 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? maybe...) explicitly yours, --mark mark@evol.resnet.jmu.edu / http://evol.resnet.jmu.edu/~mark/ "Take away the right to say 'fuck' and you take away the right to say 'fuck the government.'" - Lenny Bruce <------------------------------> From: ewalddb@uwec.edu ANNOUNCE: GBV/NRSK/Space Bike 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 ewalddb@uwec.edu dAVE eWALD <------------------------------> From: bce2@midway.uchicago.edu 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 infiltrators. _Destroy Amerikkka_ is available for the low, low, low price of $3 (us) to: B. Ewens 1353 North Dean #2 Chicago, IL 60622-210253 U.S.A. <------------------------------> From: Kathleen Billus ANNOUNCE: Escargot #2 questionnaire Greetings! 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: FANZINES E-ZINES MAILING LISTS (email) RADIO STATIONS (with "independent-label rock" programming) RECORD LABEL BANDS 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 know. tired@sirius.com kbillus@world.std.com 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 more. ** 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: http://www.big.net/sat 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. Thanks, Jeanne tired@sirius.com Kathleen kbillus@world.std.com <------------------------------> 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?) http://www.csd.net/~muji/indiecentre.html 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 'meash@dataware.com' with anything you've got.... Thanks! Yow. 200 hits in the first month... seems people like this place. Stop on by... Muji 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 http://www.geopages.com/Hollywood/1077 http://www.lookup.com/Homepages/61239/home.html 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 the Indie-List Infotainment Junta, Unltd. What Who Where Editors Eric Sinclair esinclai@tezcat.com Anne Zender azender@tezcat.com Mailings Sean Murphy grumpy@access.digex.net Archives Chris Karlof karlofc@seq.cms.uncwil.edu FTP ftp://ftp.uwp.edu/pub/music/lists/indie FTP/WWW evol.resnet.jmu.edu/indie/ FAQ http://www.tezcat.com/~esinclai/il/ Consultants: Mark Cornick, Joshua Houk, Sean Murphy, Liz Clayton and K. Lena Bennett. Indie-List is not copyrighted. It may be freely reproduced for any purpose. 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