Tell it like it is...
#############################
Indie List Digest!
July 27, 1994
Volume 3 Number 44
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This issue includes:
Blueboy LP Review
Spearhead Live
Motards, Crying Out Louds, Miss Universe, Steel Wool
Rodan, Polvo
Stereolab, Drive Like Jehu, Prolapse, Flying Saucer Attack
KCMU Loses Lawsuit
ANNOUNCE: Screaming Trees Listserv
ANNOUNCE: Ringo (a new music service)
ANNOUNCE: Green Magnet School Tour Dates
ANNOUNCE: Grout tour dates
ANNOUNCE: Richmond, VA show
AD: Interzone
Another week goes by, and the clamor stays on. Submissions come in,
editing transpires, and your Indie-List comes out.
Notable, but in this issue is a piece submitted (as a forward) by K
Lena Bennett: an article by Dave Miyares on what resources and methods
he uses for self-release and DIY stuff. It's brisk and informative
reading, with a handy address list at the end. However, at 17K, it's
about half the size of a normal Indie-List on its own! I do advocate
reading this, if you're interested, and can mail people copies.
Alternately, later today a copy will be available at
ftp://leopold.union.indiana.edu/Public/I-L/DIY_my_way.txt
if all goes well. It'll remain there about 90 days, and should be
regularly available. Let me know if you have problems...
T-Shirt Update: Apathy.
Keep those cards, letters and comments coming!
-es
And now for some content:
------------------------------
From: julian@sahiber.demon.co.uk (Julian Lawton)
Blueboy LP review
Have you Ever Had It Blue?(Boy)
A ramble, of sorts, about the new Blueboy LP 'Unisex' (Sarah Records).
Blueboy, says I, are one of my all time favourite Sarah acts, and have
been since the moment I first heard their 'Clearer'
single.Stylistically they're an anachronism, but the lyrics engage
with the 'real world', and I don't see many other bands using similar
influences these days. Plotting those musical co-ordinates, the
inputs are various Cherry Red bedsit jazz-pop LPs (Benn Watt, Tracey
Thorn), Felt circa 1984 (the last Cherry Red stuff), a slight touch of
Robin Guthrie & Vini Reilley (Keith is a big Cocteaus & Durutti fan,
but it's never obvious, like a Sundays record), the Smiths of 'The
Smiths', an ambition to be the Pet Shop Boys AND R.E.M, The Lilac
Time, Penguin Cafe Orchestra, Kitchens Of Distinction, Nick Drake,
Michael Nyman's less formal stuff, Heidi Berry, Sundays, Shelleyan
Orphan - there are hints of all of them in Blueboy's music (and yes,
I'm aware there's musical duplication there, but I bet more people on
here know Heidi Berry than Nick Drake). It's a return to the mid-'80s
when beauty was allowable rather than 'indulgent', and politics meant
more than the volume you played your guitar, or how young/ working
class you can pretend to be. Rather it's sky-blue, deck-chairs at
dusk, half-smiles, a knowing look.
Last summer, drunk again, heat-hazed summer eve, Archway, London.
Keith's crouched down on the stage, staring at the floor, Paul sat
playing soft guitar - it's 'Marble Arch', and he can't look anyone in
the face while singing it. Later the full band, 'Meet Johnny Rave' is
electric freshness, something like the Smiths in lust. Orlando
supported - Soft Cell meets Orange Juice, Sarah try & sign them, they
refuse, then promptly split up.
'Blue protects white from innocence,
Blue drags black with it.
Blue is darkness made visible' - Blue, D.Jarman.
Blueboy - well someone else on this list knows what it means, and it's
not the Orange Juice song, although that maybe has the same source :-)
Style Council's 'Cafe Blue', with its fake cappucino jazz
sophistication, Nick Drake's introspective blue songs, Juliette
Binoche's face - a cipher of those moods - something lost, a sense of
resignation, a deep Radox bath of melancholy, cut through with life, &
optimism, & hope, rather than the cold dead depression, catatonic,
beyond pain, of something like Codeine. Keith sings of desperation,
anti-depressants and alcohol, drunken sex, city life . . . and I'm
thinking me too. . . or, well, maybe a couple of years ago, anyway.
Drinking ice cold Pimm's & lemonade, Gilberto on the stereo, the
Bristol skyline and canalside bars - brown paper parcels tied up with
string. . .
So then there's this, this LP, almost delivering what I always hoped
they could, but not quite, just enough to know the best (should) be
yet to come . . . a prelude of strings, sort of Penguin Cafe
Orchestra, maybe a touch of Nyman, but too delicate & pretty really,
just a hint in that bass, all dying down to the cool ocean blue of a
single cello, while an acoustic guitar dapples lighter blue above,
bouying Keith's precious vocals - 'I have the needs of a
temple/Devotion & hope/Because life's about dying'. And then the
violins & cellos return, arranged as gorgeously as anything on Nick
Drake's 'Bryter Later'. And somewhere round here it hits me that this
is going to be played an awful lot. It even manages to get away with
the line 'I'm falling down' without it sounding like a cliche.
'Cosmopolitan' comes in after, and though it's a live favourite, it
seems it's in the wrong place here - too fast a change in pace, the
most obviously 'indie-pop' & Smiths-eque track here - "now you've got
my everything/ my furniture and my best friend". A few listens later
& I'm singing along, and the position doesn't annoy as much, but it's
just these little bits that keep it away from perfection.
'Marble Arch' - the most minor key, sparse song on the LP, a single
cello and guitar again, as Keith sings about a typical Sarah subject
matter :-) "I sold my flesh with eager glee/but that was back in '83"
"In a street off Marble Arch/I jumped into his black Daimler car", the
final repeating of 'All he ever wanted was a lover" being a line
worthy (if not stolen from) a Pet Shop Boys ballad. . . the song
dies down, then returns, a London cab pulls across the speakers, with
(gasp) a clarity I thought I'd never hear on a Sarah record.
'The Joy of Living' - a Sundays-esque drum & strum, Keith sounding
kind of Steven Duffy-ish, Gemma being quite Harriet Wheeler,
especially her 'do do do doo' as the cello speeds up, 'Of course it's
not love/ but then I'm not choosey'. And a line about kisses stolen
from an Orlando song.
'Fleetway' - softest percussion, Lilac Time acoustic session guitars,
one vocal each side of the stereo, different lines sometimes (OK, it's
an old trick), joining when the reach the chorus together, boy one
side, girl the other . . . 'a girl alone/is just the same/as a boy
alone/sadness is unisex'.
'Also Ran' - an instrumental better than even the ones on the Field
Mice's 'So Said Kay', Gemma's wordless vocals like something from the
Durutti Column's 'Vini Reilley' (in particular, the piano based one,
side 1). At the end as the piano dies down, you get the feeling, just
possibly that it could actually turn into a Meat Loaf track - it
sounds like one of those soft bits before the bombastic finale, but
instead it doesn't.
'Boys Don't Matter' - a perhaps cousin of 'Kinky Love' - listen
carefully to the bass & structure, the Guthrie spangled ending
underneath the acoustic strums. . . 'It's a view I've held for
years/running home in tears/I guess I'm kind of shy/But I'll give
anything a try'.
'Self Portrait' - the alleged 'bitchy about Suede' one, 'This nation's
narcissist Laureate/I like mirrors in bedrooms' - the most obviously
'rock' thing here (in terms of chords/timing), but not a parody. Not
my favourite either.
'Lazy Thunderstorms' - allo, Robin Guthrie's back! Even the title is
pretty Victorialand. As gorgeous as some lost ambient version of St.
Et's 'People Get Real' - just lose yourself in circles of sound, as
clouds of guitar chords float by, while a second guitar leaves stratus
trails of quiet noise (that suitably cliched enough a description for
you?).
'Finistere' - 'Monochrome waves crashing into view/My father said I
would never walk alone/But here I sit & into coffee cups I moan',
painting a view of seaside small-town melancholy (tres Ben Watt/Tracey
Thorn, this one) the mood broken by the joyous chorus - 'suddenly, it
is like Finistere, she said'. . . (even if it is half-inched off
the Lilac Time's 'Finistere'!).
'Always There' - not the jazz-funk classic, but the return of the
strings, and Gemma's singing has really improved since the first LP -
'How funny life can be/but the again it was always you & me' gets the
Sundays treatment, vocals diving down over descending violin, then
lifting with 'I want you near me', multi-tracked harmonies, and one of
the best string arrangements I've heard in ages, ending in a not at
all pretentious :-) flourish of violin.
'Imipramine' shatters the mood totally, which annoyed me at first,
again, but by 20 seconds in you've forgotten that & what a storming
closer it is! A very Pale Saints/Boo Radleys structure (i.e. fast
heavy riff over light drums, then a sudden switch to heavier drums &
lightly played guitars), but without the same production values (in
the same way that 'In Ribbons' doesn't have 'that' sound, either).
'and beyond the blue horizon/where dreams caress the night'. Builds
up, changing, 'Freaking out on Katie's bathroom/Red tablets/ Screwing
you/Screwing you .. . pessimistic angel'. Somehow it becomes
Galaxie 500 play New Order on speed 'Imipramine/you know what I
mean/Drug that I need/The drug that you need' vocals distorted & high,
Dean Wareham style, the guitar let loose, feeding back, as the song
locks in for the final straight, the drums on THAT drumbeat (the
'Stereolab' one), the other guitars riffing around it, starting to
flange, as the song fades away. . .
and a final unlisted pretty instrumental closer.
------------------------------
From: 6500ljn@ucsbuxa.ucsb.edu (Leonard Nevarez)
Spearhead live
I figured there might be more than a few of you interested in reading
about Spearhead, the new ensemble led by Michael Franti, "formerly of
the Beatnigs and Disposable Heroes of Hiphoprisy" (so it's true; DHOH
are no more), even though they won't exactly qualify as indie (their
upcoming album will be released in September by Capitol). This show
at the Santa Barbara Underground caught me kind of by surprise, having
heard nothing more about Spearhead than a little blurb in Drooling
Bone magazine (you know, that corporate music rag that chronicles
today's tunes for yesterday's audiences). Remembering the fantastic
performance put on by the Disposables the last time they came around,
I jumped at the chance to see Franti's new band live without hype.
I'll skip with the opening acts: Santa Barbara's own Rice and Beans
and a couple songs by a reggae/hip-hop toaster named Boogie G,
apparently an associate of Spearhead. Speaking of which, the band,
seven members strong, plays a more immediate, soulful, and
groove-oriented hip-hop (read: mersh) than DHOH's heady fusion of rap
and Consolidated-like industrial. Lyrically, Franti has moved away
from explicit political commentary toward an identity-oriented
narration; I think of it as a switch from Z Magazine to the _Cultural
Studies_ anthology.
One thing has remained constant in Franti's career: Spearhead is as
visually arresting as his previous groups. He's flanked by two
vocalists, homegirl Mary (who doubles on drums, jamming as tightly
as... well, as Mike D, to name another obvious rapping drummer) and
the obligatory toasting sidekick whose name I didn't catch but who
looked like a skankin' Fagin (from _Oliver Twist_; you know, with the
raggedy clothes). The three of them immediately reminded me of Black
Uhuru if they came from 1994 San Francisco. Another woman played
keyboard and samples, and three other guys played guitar, bass and
drums.
I recognized some tunes that the Disposables did the last time they
played but never recorded: one about getting tested for AIDS called
"How am I going to live my life if I'm positive" and a love song
(uncharacteristic for DHOH, but which makes more sense in the context
of this group) called "Love is the shit that makes life bloom". Lots
of audience singalongs, arm-waving and "Hooooo"s (all of which
Disposables resorted to in concert, it should be noted). Franti has
also made quite a melodic turn, injecting many na-na-nas and other
onomatopoaeic phrases into his songs which work surprisingly well as
hooks.
So I guess the big question is: Does the new music work? The band,
while quite energetic and successful in getting the crowd to shake its
asses, didn't quite gel together totally, although this was obviously
some of its first performances out of its hometown, so I'll let them
off the hook. Fans of the Beatnigs and Disposable Heroes of
Hiphoprisy might be disappointed by what seems like a move by Franti
toward a more accessible, less provocative sound, but I'd like to wait
for some recorded music just to hear all his new lyrics before I rush
to that judgment. Taken on its own merits, the music does its job,
although I think we've heard this kind of groove before (e.g., the
Family Stand, Arrested Development). Will Franti finally storm the
marketplace with Spearhead, above and beyond the virtues of such a
quest? Theoretically, it could, although I doubt he'll find many new
listeners or cross over into the real hip-hop market with his
musically more accessible but lyrically probably still too demanding
new sounds.
Leonard Nevarez
6500ljn@ucsbuxa.ucsb.edu
------------------------------
From: Jill Emery <llje@utxdp.dp.utexas.edu>
Austin Shows - Motards, Crying Out Louds, Miss Universe, Steel Wool
$1 night at Liberty Lunch: Motards, Hurtbox & Miss Universe
Thurs July 14, 1994--Austin TX
$1 night is a great concept...a buck to get in & buck beer which
turned out to be miller high life & lone star in cans.
Motards--opened the show around 10:30...the mix was weird & apparently
none of the band could hear anyone else...they still rocked even
though john (the singer) kept having hissy fits & throwing the mike
around. theyre one of my favorite bands in town so i have trouble
finding fault with them... the crowd was tame & there werent many
people there so audience participation was missing...what can i say, i
like them.
Hurtbox--These guys (woman drummer) are from port natchez, tx, on the
gulf... a trio-guitar/singer, bass & drummer...the bass player wants
to grow & be flea...they sounded all right, rather repetitive...lots
of show-off bass parts & average guitar playing. the best thing about
their show is their stage entourage; one guy doing yoga on the left &
two guys break dancing on the left...they break dancers were
cool....at some point they merged together on the left hand of the
stage....more of a theatrical performance rather than a musical coup.
Miss Universe--from Austin...They seemed to be enjoying themselves &
so did alot of the audience but i wasnt impressed....they'd been
listening to too much husker du and late, late husker du at that...the
band was comprised of a bass player, lead singer(female), guitar
player & drummer... hopefully this isn't the wave of austin music to
come
Crying Out Louds, Steel Wool, Sons of Hercules at Emo's: Sunday, 17
July 1994 Austin, TX
Crying Out Louds--Great as usual. They are sounding tighter & quicker
then previous shows. They still don't have a single out but hopefully
they will soon. They really got the audience going for the rest of
the show.
Steel Wool--They are from Seattle and have singles out on Bag
O'Hammers. The first three, four songs rocked but then they slipped
into this seattle sound--almost pearl jam-esque--that lost the
audience here. Apparently, this band sounds better on vinyl than
live.
Sons of Hercules--They are from San Antonio & they rocked...I was
really impressed by them...specifics: they are comprised of two guitar
players, bass player, drums & lead singer. They rocked...the audience
went crazy...first time in a long, time for a (semi)local act. They
have a CD out on the UNCLEAN label (unfortunately, I don't have a name
for this CD). I highly recommend purchasing anything you can find by
these guys...it would be well worth it.
------------------------------
From: stoneji@scan.si.edu (Jim Stone)
Rodan/Polvo Review
Rodan and Polvo @ Black Cat (DC), 7/20:
Polvo up to bat first, starting with "Fractured" from the new album,
remarkable mostly for how similar it sounded to the record at the
start, but they slowly loosened up through their too-short set and put
out some terrific sounds, largely from the new album. They
experimented more with their older material, with really fine results.
The interplay of the guitars is a real treat, but I end up wishing
they'd take things farther than they do (both live and on record).
The best part of the show came after one of the guitarists broke a
string, and as it was being repaired the other guitarist started
vamping, with the rhythm section gradually picking it up, until
finally the guitar was fixed and they plunged into their next number
without skipping a beat... really nice.
Excellent choice of music over the PA between sets: Stooges' _Raw
Power_.
Not knowing Rodan's music very well in advance I didn't really know
what to expect. I also didn't expect them to have such a following of
fratty-looking types -- one of the most testosterone-laden audiences
I've been in lately -- but once they launched into their head-banging
set it made more sense. Their version of the Slinty (tm)
tension-release bit is weighted heavily toward the release end, so
instead of
tension tension tension tension tension tension tension tension
RELEASE
you get a lot of
tension RELEASE RELEASE RELEASE RELEASE RELEASE RELEASE RELEASE
RELEASE
which seemed ok with the crowd but wore a little thin for me. The
drummer is fun to watch -- he seems to have a weird passive-aggressive
relationship with his kit.
If only Rodan's energy/stage presence and boffo rhythm section could
be combined with Polvo's neat-o guitars and melody/chord structures...
jim
--
-------------------------------------------:::::---------------------------
"as long as the music's loud enough, ::::: Jim Stone
we won't hear the world falling apart." ::::: Smithsonian Institution
-derek jarman, "jubilee" ::::: stoneji@scan.si.edu
-------------------------------------------:::::---------------------------
------------------------------
From: James Nash <CCX020@raven.coventry.ac.uk>
Stereolab, DLJ, Prolapse, FSA - live
I must get around to reviewing some records soon. New Laika on Too
Pure is essential listening for Moonshake ("Two Trains"- style) fans.
Kissyfur album is top. New Prodigy is good, a bit one-dimensional
until the last 3 tracks. Sack - avoid. In the meantime, it's back to
seedy venues...
Stereolab/Drive Like Jehu/Prolapse/Flying Saucer Attack
@ Camden Electric Ballroom, London, 12th July 1994
Phew! what a scorcher! The best line up to hit London this year on the
hottest day of the year. A rail strike the next day meant an icky
afternoon coach ride but it was worth it. Quite why the Electric
Ballroom saw fit to pass all the tickets onto an agency that charges
1.50 cover, I don't know. Moan, mutter, grumble, complain.
Flying Saucer Attack opened proceedings in fine style, they played
just under half an hour of total magic. Anyone expecting the poppier
"Drowners"-type FSA was sorely disappointed as they ambiently, tribal
rhythmically feedbacked and wibbled away. I think they played 3
songs, it was hard to tell as the set drifted from noisefest to soft
beauty and back again. I grinned all the way through as the excess
continued. Clarinet! Finally, the singer steps up to the (previously
unsullied) microphone, lets out a scream and runs off stage to leave
the other 3 winding down the set and fairly healthy applause.
So Prolpase came on and blustered and blathered for a while. Another
night may have been more receptive to their alternately punky/spiky
guitarwork and shouty bits but they were out of their depth in this
company. Lots of promise; they need to hone their ideas and give the
good ones more space to breathe in, just like Stereolab do so well.
By this time, our brains were overly frazzled by the heat and the
brown liquids consumed so it was quite a struggle to come to terms
with Drive Like Jehu's dense and intricate sound; they don't make
things easy for the listener with scattered rhythyms and power
playing. The struggle was worthwhile and after a few songs, you ended
up entering into and believing their screwed-up world. Then when
you'd sorted out the toe-tapping sequence, you could appreciate the
energy and skill on show. Maybe they dragged towards the end but
afterwards it was the nice buzz of "boy am I glad to get THAT out of
my system... now for some fun!"
And fun there was. Stereolab were mightily impressive. So you've all
heard 'Transient Random...' by now and they played a fair selection.
I was too gob-smacked to properly digest the new stuff, most of which
was sublime. Or was I drunk? Whatever, critical faculties were out of
the window by now. Stereolab "took me there" a couple of times, the
way My Bloody Valentine used to in 1988. Yes, cynical old me falling
for those tricks again; we all have our weaknesses and I happen to
like mine.
2AM and everyone streamed out exhausted to grapple with the
complexities of the London nightbus system. A night to stiffen the
resolve and remind you what this indie-rock lark is all about.
--James Nash (ccx020@cov.ac.uk)
the proof of the pudding is in the eating and the goalkeeper has
footballing pie all over his jersey <Alan Partridge> EAT MY GOAL!
------------------------------
c/o: "K. Lena Bennett" <keb@u.washington.edu>
KCMU Loses Lawsuit (fwd)
---------- Forwarded message ----------
Date: Thu, 21 Jul 94 13:28:55 PDT
From: Julie Carter <a-julic@microsoft.com>
To: [forwards deleted]Subject: FW: KCMU Loses Lawsuit
----------
From: Kathy Fennessy
To: SOC MS Alternative Music Group
Subject: KCMU Loses Lawsuit
Date: Thursday, July 21, 1994 12:55PM
Judge Zilly has finally handed down a summary judgment today on a
lawsuit filed against KCMU by 11 former volunteers & three former
listeners. This free speech/civil rights suit was filed early in
1993, if I recall correctly. In 12/92, a strike had already been
called against the station after a number of volunteers had been fired
unjustly by station manager Chris Knab for protesting recent
controversial programming (& other) changes @ the station. Altho' the
judge has not reinstated all 11 volunteers (those who have not been
reinstated will be appealing), he has reinstated several (incl. the
entire news team), & they will finally be able to return to the
station soon. Former station manager Chris Knab, Director of
Broadcast Services Wayne Roth, & the UW itself were the actual
defendants in the lawsuit (rep. KCMU).
Expect CURSE (Censorship Undermines Radio Station Ethics) to call off
its strike against KCMU soon.
K.
__
For more info. about CURSE, call (206) 298-CURS.
Remember: CURSE condemns all threats, violence, and other illegal acts.
------------------------------
From: "Greg Schmitz (LIS)" <gschmitz@luna.cas.usf.edu>
ANNOUNCE: Screaming Trees Listserv
*******BUZZ-FACTORY*******
Buzz-factory is a listserv dedicated to the discussion of the
Screaming Trees and all other pertinent subjects, such as Mark
Lanegan's solo work, the Purple Outside, and Solomon Grundy, (side
projects of the Conner brothers) but discussion could certainly be
expanded to include any artist, event, etc. that might appeal to
other Screaming Trees fans.
"subscribe buzz-factory" messages can be sent to:
listserv@nosferatu.cas.usf.edu
The address for posting messages is:
buzz-factory@nosferatu.cas.usf.edu
*Sub-Pop does have a mailbox for Mark Lanegan at:
lanegan@subpop.com. There is no guarantee that all mail will be seen
by him, but it will be seen by someone :)*
Problems, list questions can be directed to me, the friendly
neighborhood list owner at:
***********************************
*** gschmitz@luna.cas.usf.edu ***
***********************************
------------------------------
From: "Greg Schmitz (LIS)" <gschmitz@luna.cas.usf.edu>
ANNOUNCE: Ringo (a new music service)
Here's a new service that fans of indie-rock could really add
something to (get something back) It's cool, try it!
> rec.music.info (moderated) #3945 (0 + 28 more)
> From: shard@media.mit.edu (Upendra Shardanand)
> Subject: INFO: A Music Recommendation Service
> Originator: dallin@CS.ColoState.EDU
> Date: Sat Jul 02 17:52:59 EDT 1994
> Organization: MIT Media Lab (Music & Cognition)
> Followup-To: rec.music.misc
> Lines: 29
>
> Introducing.. RINGO, a personal music recommendation service, being
> created at the MIT Media Lab. You tell Ringo what kinds of music
> groups you like. Then you can query Ringo and ask for
> recommendations for artists you should check out or should avoid. Or
> you can find out how mainstream your tastes are. Or retrieve other
> information, like reviews and top 20 charts.
>
> HOW RINGO WORKS: How does it work? Well, how do you do it ordinarily?
> You listen to songs that some D.J. plays, or you hear about stuff
> from your friends who have tastes similar to your own.
>
> That's how Ringo does it. People all over the internet tell Ringo
> about their listening tastes. It then finds people who are similar in
> their tastes to you. If they really like some artists that you
> haven't heard yet, Ringo will recommend them to you.
>
> HOW TO USE RINGO: Send an e-mail to ringo@media.mit.edu, with only
> the word 'join' in the body. It will then send you a list of 125
> artists. You rate the artists that you are familiar with. Send it
> back. You will then receive a 'help' file describing how to use all
> the features of Ringo.
>
> The more users that use Ringo, the better Ringo's predictions. As
> time goes on and more people use it, you will find that the
> predictions become more accurate. So tell a friend.
>
> Thanks,
>
> Upendra
[For my part, I gave this a shot. It's pretty easy to use, and an
interesting experiment if nothing else. Still, trust your friends,
not your computers... But experiment. -es]
------------------------------
From: mhibarge@chipcom.com (Mike Hibarger)
ANNOUNCE: Green Magnet School Tour Dates
Green Magnet School Tour Dates
_________________________________________________
Tue July 26 Memory Lane Baltimore, MD
Wed July 27 Gumby's Huntington, WV
Thu July 28 The Factory Richmond, VA
Fri July 29 King's Head Inn Norfolk, VA
Sat July 30 Club Axis Savannah, GA
Sun July 31 Midtown Music Hall Atlanta, GA
Mon Aug 1 Rockafella's Columbia, SC
Wed Aug 3 The Knick Birmingham, AL
Thu Aug 4 Vino's Little Rock, ARK
Fri Aug 5 Cell Block Shreveport, LA
Sat Aug 6 TBA Tulsa, OK
Sun Aug 7 Duffy's Lincoln, NE
Mon Aug 8 Uptown Minneapolis, MN
Tue Aug 9 Hairy Mary's Des Moines, IA
Wed Aug 10 Cicero's St. Louis, MO
Thu Aug 11 Blind Pig Champaign, IL
Fri Aug 12 Unicorn Milwaukee, WI
Sat Aug 13 Thirsten's Chicago, IL
Sun Aug 14 Zootz Detroit, MI
Mon Aug 15 Euclid Tavern Cleveland, OH
Thu Aug 18 Maxwell's Hoboken, NJ
Sat Aug 20 Local 186 Boston, MA
------------------------------
From: Michael S Khoury <khourymi@student.msu.edu>
ANNOUNCE: Grout tour dates
Here are some tour dates for Uprising Records recording artists Grout.
These guys have an urban blue-collar punk sound and hail from Detroit.
July 29 Erie, PA Shooters Tavern
July 30 New York, NY ABC-NO-RIO w/product & astroland
July 31 New Brunswick, NJ The Court Tavern
Aug 3 Wilmington, DE location unknow w/Jake & the Stiffs
Aug 5 Baltimore, MD location unknown w/Liquor Bike
Aug 6 Cleveland, OH YMCA w/Corrupted Peasant Farmers &Flagpole
Check 'em out if you can. They're nice guys so feel free to introduce
yourself too.
-mike
khourymi@student.msu.edu
------------------------------
From: MGANGLOFF@gems.vcu.edu
ANNOUNCE: Richmond, VA show
SHOW ANNOUNCEMENT for those in reach of Richmond, Va.
30 July, Saturday, the Klang Co. Picnic, featuring Labradford, Harry
Pussy, Rake and the Charalmbides. Cookout starts around 7 p.m., music
sometime after, all at THE PLANT, outside on the riverfront in scenic
downtown Richmond (rain location at house nearby). BYOB and food,
admission $5. Email mgangloff@gems.vcu.edu for directions............
------------------------------
From: stuart.mchugh@aldus.com (Stuart McHugh,AE-TS)
AD: Interzone
Hello fellow music (and arts) lovers,
this is a cheap plug for the network mixed media (my description)
fanzine INTERZONE. This is a mag of musical and non-musical writings
which is at present bi-monthly. This month featured are live reviews
of The Wedding Present/Scrawl, Morphine, Depeche Mode and others, plus
record reviews of The Beastie Boys, Nick Cave, Beck, Ecstacy of St.
Therasa, Sonic Youth, and many many more. There are also film
reviews, stories, poetry (!), a horoscope (!!), and lastly, my
interview/feature on John Peel.
It's available in printed form in the Seattle area for $3, (in black
and white, but also featuring a cartoon), in particular from Elliott
Bay Books, but also can be downloaded from the internet from the
following address. ftp.netcom.com, interzone/pub
Stuart
stuart.mchugh@aldus.com
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The Indie-List Digest is published a few times each week (usually
Tuesdays and Fridays) by the Indie-List Infotainment Junta, Unltd.
What Who Where
Editors Eric Sinclair esinclai@indiana.edu
Anne Zender azender@indiana.edu
Mailings Sean Murphy grumpy@access.digex.net
Archives Chris Karlof karlofc@seq.cms.uncwil.edu
FTP ftp://ftp.uwp.edu/pub/music/lists/indie
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. Please cite Indie-List as your source.
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please send your articles for the next
issue to <indie_submit@indiana.edu>.
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