Ba-daba-da buh buh
Ba-daba-da buh buh
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Indie List Digest!
August 22, 1995
Volume 4 Number 37
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Alex Chilton, Mo Tucker live
One pure
Bardo Pond, Dissolve, others
ANNOUNCE SUMMARY: New Little Pop Kid catalog available
ANNOUNCE: SHOTMAKER TOUR ITINERARY
ANNOUNCE: A Boston Music Home Page
Intro:
We wound ourselves up after the move by attending the first show of
our Chicago experience - a gig by Number One Cup and out-of-towners
Butterglory.
Butterglory are in town to record their new album, and this gig (and the
one-song performance slated for the evening following) seemed to be
a bit of a lark, an opportunity to play out some songs that they
hadn't known were finished.
What I'd heard of Butterglory before sounded downright
Pavementlike. I like the Pavement sound well enough; we own the 7"s,
etc. Whether they deserved imitators is a judgement call for any
listener to make, but my opinion was that Butterglory did a nice job
of it.
But this show was a shift. Instead of sounding like baby Malkmuses
and Bob Ns, Butterglory, the three piece, sounded like a fine
mid-period VU band that had come back. And that's a sound to
support. At points they struck me as '70s power rock, a sound that
was an illusion from the hard strikes to the drum.
Number One Cup have a new album out, and this evening's gig was a
pre-promotion for it (the following night was to comprise several
bands and individuals (Sabalon Glitz, David Grubbs, Butterglory, Red
Red Meat, et al.) performing the album, one track at a time.
When we last saw (and reviewed) Number One Cup at the Cardigan
Festival, we thought of them as one of those bands that takes a lot of
the good parts of various other bands and mashes them into a shape of
their own. The sound hasn't changed much in the intervening months,
except to get a bit tighter. It's all in good fun, if a bit glib
somehow. I'm not cynical enough to play "spot the influence" with
Number One Cup, and I think they're trying to put together a sound
that defies that, at any rate. They're close to winning.
es
<------------------------------>
From: Leonard Nevarez <6500ljn@ucsbuxa.ucsb.edu>
Alex Chilton, Mo Tucker live
Indeed, not only do Alex Chilton and Mo Tucker live, but they played
separate shows at the Santa Barbara Underground, which (with last
month's Jonathan Richman show) has recently been booking a series of
shows by artists we could call "the parents of indie rock": now 40-ish
musicians whose musical heyday still looms large over independent
music and who are now themselves recording on indies. After each of
these shows, I've been struck by the same sentiment: When they all
finally go someday, there won't be another one like 'em. (Not that
every 40-year-old reminds me of mortality all the time!)
Alex Chilton @ the Underground, 7/23
Chilton's looking a little grizzled these days, but he kept from going
through the motions with a genuinely enthusiastic 90-minute set that
the far-from-capacity crowd cheered on like the Sunday night
alcoholics many of them probably are. His thing these days is to skip
his early, influential power-pop material in favor of a very loose and
loungy Memphis R&B that gives him the chance to croon it up and
generously dish out some tasteful lead guitar. In other words, if a
stranger were to walk in and think they were in the middle of a rather
eclectic musical set at Las Vegas, they wouldn't be far off --
especially when the performer says "Okay, now we're going into the
Italian-language portion of the set" and launches into the surfy "Il
Rebele" and the always-classic "Volare". Other covers included the
jazz standard "My Baby Just Cares For Me", "Ti-ni-ni-ni-no" (long ago
recorded on his "Feudalist Tarts" ep), some Frank Sinatra ("Got a Lot
of Livin' to Do") and Isaac Hayes ("As Long As I've Got You").
Perhaps the most characteristic aspect of where Chilton's music is at
today is found in his originals, all of which he plays like they were
_someone else's songs_: "What's Your Sign, Girl?" (sung with Big
Staresque falsetto), the wacked out reverb of "Devil Girl" ("scarier"
than anything the Cramps have done lately), and the
shoulda-been-an-R&B-standard "Take It Off". By distancing himself
from his own songs this way, Chilton doesn't invoke some easy
slacker-(sym)pathetic irony but instead showcases the immediacy of his
combo's performance: jaded and blase, perhaps (especially when the
horribly unfunky couples started dancing up front, forcing the
musicians to look away), but also tight, energetic, and exhaustive in
their expertise of musical idioms. For evidence, look no further than
Chilton's guitar work: tasteful, never self-indulgent, and sometimes
sublime in its Memphis conventionality.
So Chilton was there and he wasn't, in all the right places, which
will no doubt further fuel his notorious wise-ass reputation (which
has been known to deteriorate into contempt for his audience). But
let's not overdo the mystique. Last night he didn't look too pained
when people shouted out Big Star requests (although he certainly
didn't play them -- too bad they missed last year's reunion); he
interrupted his set list to play a requested "Take It Off" (but only
after some self- and other-deprecating audience dialogue along the
lines of who should take what off). He's an original, generally a
swell guy, and if he played your wedding (always an interesting litmus
test when it comes to playing these ageless musical genres), you just
know that a lot of people would get drunk and laid that night who
never usually do that sort of thing.
Mo Tucker @ the Underground, 7/30
First up was Acetone, an LA band I've seen twice previously that
continues to toil in relative obscurity (despite -- because of? --
being signed to faux-indie Vernon Yard Records). That's too bad,
since their unique sound, in which neo-Paisley Underground psychedelia
meets the shimmering guitar and vocal crooning of the Chris Isaak
band, always sounds refreshing to these ears. Subdued, almost never
rocking, Acetone is way cool.
Mo Tucker then hit the stage looking straight out of the VU, with a
leather jacket and the same haircut she's had since 1967. Her 3 male
back-up musicians looked almost stereotypical of what I'd imagine the
Hoboken NJ/Maxwells scene looks like: dyed black hair, not-quite-NYC
scowls, obviously on vacation from their day jobs at record stores.
Mo is playing guitar these days, by the way; she also reads (lyrics?
notes?) from a music stand to her side, which I guess constitutes
being upfront about how much time she has in her life these days to
memorizing lyrics... I guess.
Her songs sound quite VU-like, not surprisingly: "What Goes On"-like 3
chord figures typically played to Bo Diddley rhythms with a touch of
Half Japanese amateurism. Most lyrics were about how much everything
costs these days, how bosses suck, how life can drive you nuts; Mo
speaks for no-nonsense working class moms everywhere. "Mom-core", I
guess you'd call it. She did 2 Bo Diddley covers, including a rousing
"Hey Bo Diddley" for an encore. She didn't always keep my attention
-- hey, how interesting can VU-ish jams really be? -- but she's
certainly unpretentious and original. And like Dave Grohl's Foo
Fighters have done with Nirvana, if anyone is allowed to borrow
generously from a ridiculously influential band, it's Mo, who showed
who the real soul of the VU was. But that was always obvious with Mo,
wasn't it?
Leonard Nevarez
6500ljn@ucsbuxa.ucsb.edu
<------------------------------>
From: "Pim Vermaat" <pimz@pi.net>
One pure
Hi!
I promised, I would be posting all summer through. But I forgot since
we're all living in a greenhouse effect, it's become quite impossible
to live in a hot small (31 degrees celcius) dark room like mine. So I
spent my summer in the garden of my parents' house. Trying to stay out
of the sun. Reading books, listening to wonderful music and not
thinking about computers. Thankfully my father has connected himself
to the internet too. So I can translate you some of the stuff I've
been saving up. So this posting consists of a nice Mouse on Mars
article and some record reviews I strongly recommend. I'll write more
in a week or two..
Come to think of it. I think the Indielist have been having a break
too. So why am I writing this?
[hey, we've been unpacking boxes and living without cable. it's not been
easy. and it's hot here too, ya know? -az]
Mouse on Mars
They were without a doubt the high point of the Tegentonen festival in
Paradiso, Amsterdam earlier this year. Especially for the evening the
two Germans, Andi Toma and Jan St Werner, were joined by an English
drummer who gave the music some extra accents. Because of that, the
band really didn't sound like a techno act, but more like a guitar
based rock band similar to Seefeel, a Tegentonen high point of last
year. "We don't see ourselves as a techno band," Andi tells me. "The
festival organisation asked us to describe our music and we said they
could call it 'electro-kraut-dub-grind'. But they didn't understand
that, so it became 'krautrock' in the flyer." Even that description is
too limiting for Mouse on Mars' music. Andi: "We're really going in a
death-kraut or grind-kraut direction. During a recent Peel session we
almost sounded like Heavy Metal. We weren't very prepared, so we made
some things up on the spot. Nobody seemed to mind though, John Peel
broadcasted it." Jan: "I'm glad we don't have to behave like a techno
band. Thanks to Too Pure we have the freedom to do whatever we like."
Andi: "Our experience with many independent labels is that if you
suddenly make something completely different, they'll tell you, shocked,
that that wasn't really what they had in mind. But Too Pure seems to
have the fullest confidence in us, as long as we know what we do.
They are a great bunch of people. They came to Germany to meet us."
Jan: "That was really important to them. They had to get an idea of
what we are about. They are more interested in the development of
ideas by people instead of a certain style by a band."
Andi and Jan earn a living with music. Next to Mouse on Mars, they
separately work with a lot of other people. For instance the German
techno band Oval. But to earn more money, they sometimes make tunes
for German television. "Yes, they call us a lot for those kind of
things," says Jan. "We've worked for Vox, a reasonably experimental
German television station. At the station we were responsible for all
the sounds and tunes. Since then, we've made music for a lot of
programs. The weird thing is that most of the programs seem to stop
after a short while." Andi: "They always call to ask us to make
something really 'special' for the show. And if the hear the result a
few weeks later, they say: 'Gosh, that sounds very special. Could you
make it a bit less special?'" Jan: "The worst thing they can say is
that it sounds 'unique', because then the program will seize to exist
almost immediately." Andi: "But thanks to this extra source of income,
we've enough money to buy our electronic equipment. Recently we
bought a 'professional Super Robert voice'." Jan: "We found it in a
catalogue with equipment made by D.I.Y. people. If you have a sound
that you don't like, put it through a 'Super Robert' and it will sound
completely distorted and cool."
These and the sounds of everyday life are the kind of sounds Andi and
Jan get excited about. Jan: "One day we found out we forgot to
listen. If you listen to your surroundings then you'll discover music
in everything. Last year we did an experiment requested by the
Finnish techno label Sahko. For one week the label had started up a
non-stop experimental techno radio station in Helsinki and we were
allowed to fill an hour." Andi: "Our contribution was a recording
consisting of three levels. First we had put up microphones all
around the studio. Next to that we had sampled various everyday
sounds in the city. And during all that our shortwave radio picked up
all sorts of strange noises. We played everything live and it fitted
perfectly!" Jan: "As long as you don't set up a goal for yourself
nothing can go wrong. That's what people should think about more
often. If they would, there would be much less war and disagreement
a world without plans. If you don't plan it, you take one step at a
time. And you'll just see where you end up."
And finally.. some record reviews:
Labradford: "A stable reference" (Flying Nun)
...an echo reversed... ..hanging still.. Like drops of black ink in
a bowl of rippling water. Streaks of black everywhere, not a concrete
point to fixate on. Some tones seemed to have stopped before they
have begun, an echo reversed. Labradford make music in which slow
melodies are covered by the sounds they consist of themselves. Even
the lyrics disappear in the mist of sounds still hanging around or yet
to come.. ..yet to come.. ..an echo reversed...
Cul de Sac: "I don't want to go to bed" (Flying Nun)
Endless and unashamed, they fool around with guitars until they've lost
sight of their goal. Cul de Sac work that way, but they show that
fooling around can be a goal in itself. This record, a selection of
cleaned up recordings from their rehearsals, varies from totaly boring
to very experimental and new. Luckily, the balance swings to the
latter. But I would only recommend this to people who already know
Cul de Sac. If you've never heard them, try "Ecim" or wait 'till
their next one.
Aurobindo: "Involution" (Ash)
NOT FOR MUSIC LOVERS! This record by Mark van Hoen (Locust) and Daren
Seymour (bass player with Seefeel) could easily have been released by
the Finnish experimental techno label Sahko. Locust and Seefeel have
both been put in that same corner in the world of electronic music. A
corner called 'isolationism', a genre which did finally get a name
thanks to the excellent collection "Amb4: Isolationism" released last
year. Aurobindo shows us there's still much to experiment with. This
duo creates a dark palet of colors consisting of scary and seemingly
constant repetitive sound experiments. With just two little bright
points of light, a track with a happy bleepy melody and one with a
spoken voice telling us something unimportant over and over again,
both become completely fucked up by several distorting effects. ONLY
FOR SOUND LOVERS!
Revolution 9: "You might as well live" (Habana)
This record has been released in the wrong season. Because in the
world revolution 9 it is autumn forever. A romantic autumn, with
trees colouring red, early setting sun, candlelight, pain, the loss of
a loved one, the anger after a huge fight. These are just a few
elements out of the set most used melancholic elements in popmusic.
Melancholy they share with the best, Nick Drake, Leonard Cohen,
Palace, Lou Barlow, Idaho (add your own favorites). For the past six
years Revolution 9 got raving live reviews in Melody Maker. And
rightly so, because the trio using voice/guitar, cello and percussion,
bring a silent sound that would make any listener cry on a dark autumn
or winter day. Buy now and put it on as soon as the first leaf falls.
Annie Williams: "Ruby" (Apollo/R&S)
These four songs are just as important as the air we breathe. And
that's what Annie does. She doesn't sing, she breathes. She breathes
fairytales in the kaleidoscope of sounds Mark van Hoen is making for
her. She breathes and tells us things about her life, her love, her
lust... Do you think I'm overdoing it? Hear what I compare this
with: Moonshake, Laika, Pram, Mouse on Mars and Nico. Amazing, that a
thing like has been released by an 'ambient' label.
Mouse on Mars: "Bib" (Too Pure)
Electro-kraut-dub-grind they call it themselves. But from this EP
onwards they can just as well call it electro-kraut-dub-grind-jungle.
The German duo are completely out of this world again with this lovely
mixture of fast rhythms, acid bleeps and a Beach Boy female choir.
Scud Mountain Boys: "Dance the night away" (Chunk Records)
Mark my words, THIS BAND IS GOING TO BE VERY POPULAR. All the signs
are there. This record, produced by Thom Monahan (ex-Monsterland) in
the kitchen of one of the band members, has only just been rel eased
and already several labels are hunting for them. Sub Pop, Elektra,
Atlantic, Warner Bros, everyone would like a piece of this little
ingenious country band. Why? Because this will sell. A steel
guitar, three voices, almost no percussion, acoustic. The music
brings up memories of early Eagles or Crosby Stills Nash & Young in
their heyday. You can even hear a bit of Palace Brothers, especially
lyric-wise. As if three Will Oldhams are singing with perfectly pure
voices. Buy before half the world knows about them.
Coming: Laika,
Catherine Wheel,
live reviews,
more record reviews,
mu-ziq interview
/ v902160@si.hhs.nl (school)
(/oe/) The One Pure -> Joep Vermaat: pjoe@grafix.xs4all.nl (own)
/ pimz@pi.net (my father)
<------------------------------>
From: madnbut@vt.edu (Butch)
Bardo Pond, Dissolve, others
Bardo Pond-BUFO ALVARIUS, AMEN 29:15 (Drunken Fish)
These folks have recorded several 7" singles for Compulsiv and others
(?). Basement sludge/psyche that really gives you the creeps.
Droning, stumbling swamp glue; it's the aural equivalent of a cough
syrup shake. This is what Mazzy Star will sound like when they lose
their jobs and give up. The sad thing is that the best piece (the
"Amen 29:15" of the title, which is actually a 29-minute song) is only
a bonus cut on the CD (perhaps it's available on vinyl elsewhere?).
For once, LP buyers get shortchanged cause this is scary enough to
freeze your veins. A super-long droned-out jam that sounds just like
you and your friends in the basement stoned, except when you come
down, this still sounds cracked. I always want to imagine that folks
making music like this are truly deranged. The reality is that
they're probably just like you and I; perhaps a little more
high-spirited. (Drunken Fish: 8600 W. Olympic Blvd., Los Angeles, CA
90035) (Bardo Pond: 1801 N. Howard St., Philadelphia, PA 19122)
Dissolve-THAT THAT IS...IS (NOT) (Kranky)
Dissolve is a recent side project of New Zealand musician Roy
Montgomery (Pin Group, Dadamah). Dissolve move in sparse, repetitive
territory and put a greater emphasis on texture than on song
structure. These 4 track recordings (at least they sound like 4 track
recordings) mix some unearthly combination of Brian Eno, Throbbing
Gristle and the Dead C; occasionally, a low-key pop tune will shine
through, but it's mostly the starkly beautiful sound experiments that
draw you in. The sounds grate and swirl; multiple guitar lines, all
independently simple, combine into a repeating mantra of zen-like
quality. At first, you wouldn't really call this "easy listening",
but suddenly the clanging becomes the sounds of water in a fluttering
creek, and the swirling is the haze of the heat off the pavement, and
you're gone. Kranky: PO Box 578743, Chicago, IL 60657
Luxurious Bags-FRAYED KNOTS (Twisted Village)
The Luxurious Bags work in territory similar to Smog on "their" newest
release, Frayed Knots. LB (apparently the one-man band of "Luxurious
D. Bags Jr.") show a surprising pop sensibility on this release,
especially compared to earlier records like From Heaven to My Head,
which were much more experimental (that is, there weren't any songs,
just scrunchy noise). Like Smog, LB take relatively downbeat pop
tunes and turn them into epics of noisy heartbreak. The surprise
addition of structure to the LB oeuvre may disappoint some, but it
makes for a very moving and gripping listen.
Twisted Village: PO Box 35604 Brighton, MA 02135
Minerva Strain-BLUE TARANTELLA (Jettison)
This Chapel Hill quartet always reminds me of Echo and the Bunnymen
for some reason: it's not that they're overwrought and angst-ridden as
was Bunnymen front guy Ian McCulloch. It's got little to do with the
lyrical content (though the 'Strain shares some of the Bunnymen's
lyrical mystery), and much more to do with the stately, majestic
instrumental attack. Though American, it seems to me that they've got
more than a little in common with English bands such as My Bloody
Valentine and Ride. It's just that so few Amerikkan bands seem to
incorporate a pop/psyche feel with the kind of grace that M. Strain
is able to incorporate. Fluid, rippling guitar lines intertwine in a
trippy mush that finds me hugging my lava lamp for safety. I may just
start taking drugs again so I can "feel" this record.
Favorites include the disorienting "Jupiters" and "J. Edgar Hoover
Parachutes" (with guest guitar from Walker Martin of Bicentennial
Quarters) which sounds like an adolescent John Lydon stumbling
drunkenly home from a 13th Floor Elevators concert.
Just like the Bunnymen in their better days (or the best Creation
bands from '91 or so), M. Strain is a thoroughly modern take on
traditional psychedelia. Plus, they've got the good taste to include
covers of P.I.L. ("Poptones") and Dennis Wilson ("Cease to
Exist"-yup, the infamous Manson tune). Highly recommended, except
that it comes on CD only. Jettison: PO Box 2873 Durham, NC 27715
The Sea and Cake-NASSAU (Thrill Jockey)
The Sea and Cake share drummer John McEntire from another great
Chicago band, Tortoise, and also a willingness to explore sound
possibilities outside those usually found on "indie-rock" records.
This album sounds like it could have come out in 1966: they've managed
to distill the essence of the "cocktail" sound and put it to use in
the service of non-ironic, mostly lighthearted tunes. The sentiments
seem fairly breezy on the surface, but several listens uncover a
deeper emotional experience, both through the lyrics and through the
inspired musicianship. While the playing (again, at first listen)
seems largely hazy and light, there's a tension in the interplay
between the instruments that takes a little while to sink in, even
while you nod off for another morning hour in bed. Thrill Jockey: PO
Box 476794, Chicago, IL 60647-6794
Announcement:
Hey there! Yeah, you! You want to learn more about the lusty teen
love rock sounds of Blacksburg, VA? Do you want to have amazing
psychic adventures exploring the outer realms of "cyberspace"? Do you
enjoy the avante-garde squeak and doink of Refrigerator, Geezer Lake,
June, Rake and thousands (or tens) of others? Do you have way, way
too much free time on your hands? The Squealer Home Page is your
answer:
http://www.mal.com/~squealer
Over 100 served, and a few came back for seconds...
The Squealer home page is more than just another dumb URL. It's a
dumb URL alright, but IT'S OUR DUMB URL!!! Check out the SQUEALER
home page at: http://www.mal.com/~squealer
<------------------------------>
From: bh813@freenet.carleton.ca (Jon Georgekish-Watt)
ANNOUNCE SUMMARY: New Little Pop Kid catalog available
[Jon Georgkish-Watt sent along a catalog for the new Little Pop Kid
catalog. While it's too long for full inclusion (though I'll be happy
to send it along to those who wish to see it - and I suggest such!,
highlights included two girl afraid 7"s, and advance issues of some
other woks, including cassette releases. For more info, drop him a
line, or send snail-mail to pop kid, 2-90 charlotte st., ottawa, on,
K1N 8K2. Details (but not the rest) follows -es]
pop kid 001: girl afraid 7"ep (5 songs, 11 mins.)
pop kid 002: girl afraid / two for flinching split 7" (4 songs, 10 mins.)
coming soon(ish):
pop kid 003: pumpernickel 7"
pop kid 004: the yellowjacket avenger 7"
other stuff available from us (well, right now there's just one thing):
plainsongs #4: music from the home (lower than fi, volume 1...twenty-four
ottawa basement orchestras)...(27 songs, just seconds short of
90 minutes)...(cassette)...
mail order is the way to go: pop kid 7-inches cost 4 dollars.
canadian orders add $1 first item, 50 cents each additional, for
postage...u.s. orders pay in u.s. funds and the exchange will cover
the postage...plainsongs cassettes are $4 post paid to anywhere on the
continent....
if at all interested, send cash (well concealed!), cheque (canadians
only), or a money order to:
pop kid, 2-90 charlotte st., ottawa, on, K1N 8K2.
please make cheques or money orders out to me, jon georgekish-watt,
and not to pop kid...thanks...
questions? concerns? e-mail me!
later friends,
jon
<------------------------------>
From: an914@freenet.carleton.ca (Shawn Scallen)
ANNOUNCE: SHOTMAKER TOUR ITINERARY
the mighty shotmaker are hitting the road yet again this summer. they are
one of my favourite live bands of all time. they are heavy, noisy, emo-y
and cutey (pies) all at the same time. i urge you to check them out if you
can.
shotmaker rock my world, hopefully they will rock yours!
Shotmaker Tour Itinerary
August
18 Bakersfield, CA @ Romper Room
19 Berkley, CA @ Gilman w/ Bouncing Souls, Screw 32
20 Eugene, OR
21 Portland, OR
22 OFF -- HELP!!!
23 Seattle, WA
24 Olympia, WA @ Capitol Theatre
25 Missoula, MO
26 Rapid City, SD
27 Lincoln, NB
28 Minneapolis, MN
29 Milwaukee, WI
30 Chicago @ Fireside Bowl w/ Los Crudos
31 Kalamazoo, MI
September
1 Detroit, MI
for more info or to help fill in the dates with question marks call Tim at
613-967-1818 (before Aug 2) or Caroline at 705-324-2895 (after Aug 2)
thanx,
shawn
--
shawn scallen - an914@freenet.carleton.ca - 613-234-PUNX
CKCU-FM music director * photographer * vectrex/colecovision/2600 fan
---------------------------------------------------------------------
for info on ottawa shows/events email --> punx_subscribe@proton.com
<------------------------------>
From: RPMARR@ix.netcom.com
ANNOUNCE: A Boston Music Home Page
Dick & Bert's Boston Music Home Page, (a Multimedia Public Service
Data Base for Boston Music).
http://www.mw3.com/ima/fantastica/boston/d&b_home.htm
Thank You
Richard Marr
RPMARR@ix.netcom.com
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