Just where IS Pepperidge Farms?
#############################
Indie List Digest!
October 5, 1994
Volume 4 Number 5
#############################
ADMIN: That old label-list
Concussion Ensemble, Sloan
Box Set
"hell in a handbasket for breakfast"
Ruins, et al.
Biafra & Nixon + other stuff....
Wake Ooloo, Miles Dethmuffen
ANNOUNCE: You Could Do Worse Concert
ANNOUNCEMENT : upcoming Envelope dates
ANNOUNCE: TEENBEAT CIRCUS
ANNOUNCE" Danger Gens fall 94 Tour
AD: silver girl
Our apologies for the delays in bringing the Indie-List to your mailbox
this week. If we hadn't told you of our job-suckabilities before, you'd
probably be confused....
One small Administrative note from me, before I hand the torch over to
Sean. The FAQ is available online now via any Web browser (Lynx,
Mosaic, Cello, et al). Just point your browser at
http://www-sc.ucssc.indiana.edu/~esinclai/indie-list-faq.html
And it's in a slow revision right now, so if you find areas confusing,
please let me know.
There are some archive sites for the I-L popping up on the Web - I'll be
summarizing them in an upcoming issue.
-es
-------------------------------
From: Sean Murphy <grumpy@access.digex.net>
ADMIN: That old label-list
Hi. As some of you may remember, once upon a time there were a number of
large lists of "independent record labels who do mail-order." I inherited
one version of that list, and then decided to overhaul and expand the damn
thing - I had a LOT of free time on my hands, and it seemed like a
worthwhile thing to do.
Last spring, at about the same time I gave up editing the I-L, I also
handed off the editorial supervision of that label list. It seems,
however, that the list is about to disappear into a black hole. I'm still
getting occasional questions about it, and I was able to track down a copy
which may or may not be the most up-to-date version. While I don't want to
see the list simply die through ignorance and forgetfulness, I don't have
the time, energy, inclination, or information to keep it alive by myself.
It's close to 6 months since I last "edited" the thing, meaning that some
labels have died, many have appeared, others have moved, and probably some
new descriptions should be written since labels do tend to change or refine
their interests over time.
If anyone out there is willing to take on some of this task, I'd like to
hear from you - I'm even willing to do the edits and mailings if others can
do the info-gathering for me in a coherent fashion, though I offer that as
a last resort, not as a starting point for discussion.
As usual, I can be tracked down at <grumpy@access.digex.net>. Thanks for
your help.
Grumpy Sean
P.S. I do not claim to have a monopoly on the moniker "Grumpy" - it was
simply a way to distinguish myself from 3 or 4 other people named "sean"
or "shawn" on one mailing list, and it sorta stuck. :)
------------------------------
From: "Steve Baragona" <baragona@ariad.com>
Concussion Ensemble, Sloan
I saw Concussion Ensemble @ Middle East downstairs, Saturday, September
17. What a weird show. Concussion Ensemble has 4 drummers, 2 guitars, 1
bass, 0 vocals. But that wasn't what made it weird.
First of all, Buffalo Tom opened for them. Twice. OK, so Buffalo Tom
didn't actually open for them at all, but the first band sounded like a
cross between Buffalo Tom and Loverboy, and the second sounded like Buffalo
Tom and Offspring. Or something like that. Anyway, I'm sorry I don't
remember names, but I wasn't really impressed.
Another weird thing was: What were these bands doing on this bill?
Concussion Ensemble is, as you'd guess, a pretty heavy band. Hard to be
any other way with four guys beating the tar out of stuff. So why would
Buffalo Tom types open for them? The crowd really puzzled me, too. It
really didn't look like a scenester crowd, even though Concussion Ensemble
has a pretty good following and hasn't played around here in a while. They
looked older and more professional than your average club crowd. I saw
things I haven't seen in ages at a show, like full beards. And dancing. I
mean regular dancing type dancing, like they do at...I dunno, those
places where people go to dance. Weird. Must have been friends & family
or something.
Anyway, Concussion Ensemble was pretty impressive. The sheer force of
that many drums is enough to get you, but they're more than a novelty act.
The guitars have their work cut out for them to make an impression above
all that battering, but they really pull it off with plenty to spare. (I
sound like a press release. Sorry.) And just to be fair to everybody, the
bass was really good too. Not for the meek. Which is what puzzled me
about why those full-bearded dancing types were there.
On a completely separate note, I have to foam at the mouth about this new
Sloan album, Twice Removed. I've only listened to it once so far, and that
was at work, so it didn't have my undivided attention. But...wow. It's
really great. My only complaint so far is kind-of a compliment: there are
times when they sound a lot like the Beatles. Where'd all those buzzing
guitar noises from Smeared go? Was that just a trick to get into the ears
of Nirvana-loving DGC A&R dudes? I liked them, but I don't miss them here.
"Underwhelmed" made a brief appearance on commercial "alternative" radio
here in Boston, but it quickly disappeared from sight, never to be heard
from again...unless Twice Removed goes multiplatinum. I hope this album
doesn't go multiplatinum. I'll look like a big wuss for having such a
beautiful, pure, pop album in my collection. I don't see any real barriers
to keep this album from being utterly huge, though. I hope they've got a
really bad publicist. Pencil in Fairfax, Nova Scotia as the Next Seattle
of the Week. And put Sloan on the list of '90s alt-pop greats. And you
can write that one in pen. No sign of sophomore slump here. Not even a
sophomore slouch. (Or am I an ignoramus and missed some indie release?
Enlighten me, for if there is one, I must own it.)
Steve B
Get back to work.
------------------------------
From: Thomas Edward Dively <teddyd@well.sf.ca.us>
Box Set review in SF
Box Set show review:
I don't know about you, but the idea of folk rockers jokingly asking if
it's alright to "shoot up" before a radio interview knocks me a bit off
kilter, which is, I suspect, one way the guys in Box Set try to jar us all
out of stereotying what it is they do. Normally, the folk music scene
suffers little better than benign neglect from my ears and fingertips;
however, this San Francisco-based band bears both watching and listening.
I first ran into these guys about a year ago when they played on West Coast
Live, a two-hour live variety public radio show (nationally syndicated and
shamelessly plugged herein....) I help produce in San Francisco, and since
then, I've tracked their moves and growth with mounting interest. In 1992,
when they self-published their first cassette, "On The Busk," until earlier
this year, they were staunch members of the coffeehouse set--two guys with
guitars, hooky licks, and insightful lyrics. With the release about a
month ago of their newest effort, a self-titled CD, Box Set has swollen
into a four-piece featuring co-front men, Jeff Pehrson and Jim Brunberg, as
well as a funkadelic-wanna-be bassist in Chad Heise, and a hyperkinetic
drummer named Mark Abbott. Part-timers Matthew Twain and Sunshine Garcia
assist as needed with bluesy organ/keyboards and vocals, respectively.
This might sound funny in a review of a decidedly from-the-folk-tradition
band, but in my opinion, these guys really rock with their combination of
surprisingly refreshing hip-shimmying rhythms, driving beats, punchy
harmonies and sense of fun. I liked their new CD so well after just one
listening, I threw my Indie Rawk leanings and cynical skepticism in my sock
drawer, and hopped the bus for the Last Day Saloon to see them perform
along with another local jangly guitar band, Five Year Plan. (A note:
While I do enjoy Five Year Plan, I think ex-Dead Kennedys bassist Floss
Flouride--now playing as Klaus Floride-- could be mined to a fuller extent
by the group.)
So after attending just one relaxed small-venue Box Set show, I wondered
what their set at the Last Day Saloon would be like--a bigger hall, a
challenging opening act, and a larger, more anonymous crowd. I arrived as
Five Year Plan was winding up their set of stark, strong
social-commentary-as-music, and noticed that while many in the audience
were swaying to the beat, no one was dancing or sparing much attention for
the performance.
During the between-band break, I settled in with my Red Hook next to a
dad-esque guy who turned out to be Jim Brunberg's father; his lensy 35mm
camera, age, and slightly out-of-place demeanor were the big clues.
Anyway, before too long, Jeff Peherson, followed by the rest of the guys,
mounted the stage, strapped on his acoustic gee-tar, said some hellos,
tuned and shared some smoke with an audience member. Box Set's show was
shortly in full sway, and the dance area (a space about 10 feet deep from
the stage to the tables by about 35 feet wide) was instantly jammed with a
couple hundred folks bouncing and bopping to one upbeat, tightly wound
song. Three pieces into the set, I figured out what was different about a
Box Set show from others I'd seen--everyone not only knew the lyrics to the
songs, but they were singing right along with the guys on stage! Bear in
mind that this wasn't some hokey campfire sing-along, but a grooving,
loud-assed, kick-'em-in-the-head kind of deal, and practically everyone in
the place was shouting happily right in time with the band.
It heartened me to see that Box Set attracts a diverse bunch, including
cable knit sweater setters, nose ringers, black clad neo-hipsters, leather
heads, hippies, hippie wanna-bes, and lots of nondescript types like
moiself. The amazing thing to me was the way in which Box Set brought all
these seemingly different people together just for a while for a hell of a
kicking show. No sentimental Kum-ba-yahs here--just fun, funked up
guitars, bass, drums and cheesey organ. Of course, with songs like, "Hit
Me Like a Train," "Gen. Schwarzkopf" ("This is not a mind that's sick/I'm
living in America/And I'm learning all the tricks--about how sinister and
yet goofy the U.S. gov't can be"), "Nose Ring," and "Signs of the Times"
("A mind is a terrible thing to...uh..."), how could anyone not like these
guys?
Cheers!
Ted Dively
--
Ted Dively, Group D Communications
email: teddyd@well.com or ted_dively@bmug.org
Phone: (415) 861-5399
FAX: (415) 861-0722
1645 Page St., Suite 4
San Francisco 94117-2086
--------------------------------------
From: dann medin <DLM94001@UConnVM.UConn.Edu>
hell in a handbasket for breakfast
duh. please forgive me if sections of this entry make little sense (lingu-
istically). if you've ever seen th old monty python gumby episode where
they all run around screaming "my brain hurts!" & colliding into walls/each
other, perhaps it would serve as a proper metaphor for my workload. good
news, on th other hand:
1) came up w/funds fr "i love you", will update upon completion
2) (in reversd choronological order) velocity girl, magic hour, damn near
red, & hanna cranna @ uconn: wow. made me proud to be involved w/college
radio & expose stone crash crow screaming willie fans to different sounds &
styles of independent rock these days. hanna cranna was, fr me, what th
gigolo aunts would be if they were good. (my opinion, of course. g.a.
bore th shit out of me & i never got th hype) sugar-honey coated songs
w/righteous harmonies & a fun stage presence doing th
in-and-outta-love-toon-thing.
damn near red was just too much fr words. (in a good sense) i think they
stole th show fr a lot of folks, & if you've seen th "dixie flatline" comp.
or their split 7" w/pelt i recommend listening to their tracks, altho their
performance & stage presense were incredibly moving. every song a
catharsis, great drumming, spacey to insane guitars, etherally desperate
female vox, & solid bass. i hereby blow a kiss to th op/p.d. @ whus that
got them to come up from virginia because of those 3 songs & astound us
all.
magic hour= d&n from galaxy 500 + ex-whus p.d. & freeform drums. th least
like (student perspective) & most experimental sounding of th performers.
i luv'd em. 20-minute pretty-noise-pretty-noise- noise-noise jams almost
in th vein (emo, not sound wise) of unwound's live closures complete
w/flipping out, broken cymbals, & th frustration of th 2 guitarists of
wanting to completely decimate their instruments fr th sound, but th
knowledge that they can't afford to & have to settle fr ruining th strings
instead.
vg was, well, you know...poppy, cute, fun, unserious, & adorable. played
my favorite songs off of both lps & sounded fine.
3)rancid/queers/avail @ th tune inn in new haven...i'd wanted to see rancid
in ca but missed 'em by a week, so this was my second chance. avail
rocked, musically all over th place & aggressively wild on stage.
righteous lookout material, i say. i'm not a huge fan of th queers.
they're ok, you know, they sound like th ramones. rancid was a hyperactive
battery that refused to die.
to be continued next week...(5'10",combustible edison,chavez, dinobore &
more) 1/2 of this review just got eaten by th computer & i'm late fr class.
connecticut, dood. xoxoxoxxoxoxoxoxoxoxoxoxoxoxoxoxooxoxoxoxoxooxoxoxxoxoxox
dann (bettsy) medin
--------------------------------
From: Jill Emery <llje@utxdp.dp.utexas.edu>
the ruins
Polio, Glorium, The Ruins--At Emo's, Austin Tx Thurs. 9/29/94
Polio--luckily I missed them which I consider a good thing since I don't
like them. The last time I saw them play, they were really sloppy sounding
and I guess I should give them another chance, but I don't think I will.
Glorium--They were ok...I wasn't all that impressed with them...I kept
feeling that they wanted to be Big Black and were failing miserably...They
were minimal-sounding but not tight and they always seemed to reach this
very vague plateau of sound that they could have pushed much further, but
didn't in their attempt to be minimal. Walter Daniels joined to play harp
on one number and despite his talented harp playing, he couldn't bring this
band out of their mediocre stupor. They have a cd out on the UnDone label.
The Ruins---This a duo out of Japan that sound in many ways like the
Boredoms. They don't rip off the Boredoms but you hear faint echoes of the
Boredoms during their set. The duo consists of guitar & drums with
thousands of dollars spent on every pedal attachment available as well as
bass synthesizer and other nifty gadgets that I couldn't name. The guitar
player was really talented and incorporated just about every guyitar style
imaginable into every song, whether it was 12 minutes long or only 2
minutes long. The drummer was also extremely talented and listening to
them play was like being on a roller coaster ride and being jerked first
one way and then the other and thoroughly enjoying it. They had this
incredible capacity to switch from metal riffs to punk riffs to Caspar
Brotzmann sounds and back again in a matter of seconds. About halfway thru
their set I started to lose interest but I think I was more tired than
bored....They are on an indie label, i just haven't checked to see which
one. -j
[Actually, the Ruins are all over the place on Jap-a-friendly labels in the
US, like Charnel Music or Nipp Guitar, and are all over Japanese labels.
My estimation of them is a little more positive than Jill's, but never
having seen them live, I can't refute her assessment of their staying
power... -es]
------------------------------
From: Rob Thornton <rt@clark.net>
Biafra & Nixon + other stuff....
Bet THAT got yer attention, eh? Well, I just wanted to point out a
dreadfully underappreciated release that everybody has seemingly missed
for well, maybe a good reason, 'cause our man Jello Biafra really hasn't
been the same since the DKs broke up and only hard-core Tentacles fans
have really stuck by him. But without any further messing about, I want to
tell you about a good Biafra project. This is an actual P.S. that I wrote
to a friend of mine:
I borrowed "Prairie Home Invasion" by Jello Biafra and Mojo Nixon
from a coworker. It's actually pretty good! Dare I say that the ghost
of the DKs rears its sardonic head on some of these cuts? Naturally,
"Convoy In The Sky" is on there and I enjoyed that thoroughly, along with
their version of "Plastic Jesus"(I don't care if it rains or freezes/Long
as I've got my plastic Jesus/Sitting on the dashboard of my car....) They
didn't write that, but it suits Biafra just right. It's all very country,
but it's very entertaining and the music's great! They even venture into
DK country with "Mascot Mania."
Jello aims his satirical barbs and hits in "Buy My Snake Oil"(old punks
decide to sell out and go "alternative"), "Mascot Mania" (he talks about
how silly mascots are and suggests new ones like the "Washington Bribes"
and the "Jersey Dumps"), and "Nostalgia For An Age That Never Existed (The
best and most accurate tune that goes after "fake '50s clothes/fake '50s food"
and gently tears apart our romanticization of the past, execpt at one point
he almost praises MTV?!?!). However, Biafra misses on "Burgers Of
Wrath," his silly version of Phil Ochs' "Love Me I'm A Liberal," and
"Will The Fetus Be Aborted?"
If only Biafra was on this record, I'd have to say that it barely makes
the grade. But Mojo's tunes and another country cover tune saves the day
for this CD. "Where Will We Work (When The Trees Are Gone)" is really good,
and the Nixon tunes "Are You Drinkin' With Me Jesus?", "Hamelin Chicken
Plant Disaster"(I think that name's right, but this is actually the
best activist song on the CD, and it tells the story of how a chicken
plant in NC exploded but the workers couldn't get out because management
chained the fire doors shut to discourage absenteeism), and the
traditional Mojo destuction song, "Let's Burn Ole Nashville Down," are
all great! Dig these "Burn Ole Nashville" lyrics: "Any fool can wear a
hat/and not move when they play/but the lonesome howl of the white trash
wolf/can't be heard today...." and "Burn burn soul-less swine/Cross-over
igit pukes/burn burn lyin'cheaters/Country don't have flutes!"
But to sum it all up, the country music is rippin' and it
ranges from bluegrass hicksville to electrified country rockabilly-ish
pickin'. Jello actually resurrects the satire that made him famous, but
it's weaker now, and Mojo comes through with some of the best work he's
done since "Elvis Is Everywhere" or "Debbie Gibson Is Pregnant With My
Two-headed Love Child."
There ya go! So to wrap up things, I'll leave you with a list of a few of
my favorites out of the 7" stuff I've reviewed for my zine-to-be (which
will hopefully be in print by the end of the month):
Viva Satellite!--Qu'enfin n'y lui-meme facon l'orgueil aussi ou....
(Happy Go Lucky) -- Rob Christiansen from the Eggs & Lauren Feldsher plus
some French foreign exchange students put out some neat stuff. First side
kinda long and alright but the second side is a gloriously wonderful mess!
Frances Gumm--"Mercy" (Sweet Portable Junket) -- Lots of rattling
guitar-y lo-fi goodness without sacrificing musicianship!
Tuscadero--"Mt. Pleasant"/"Nancy Drew" & "Angel In A Half-Shirt"/"Poster
Boy" (Teen Beat) -- D.C.'s best pop hope! Pleasant/Drew is good, but
Angel/Poster is the way to go for a first intro! Catchy as all get out.
Rake--"Subterranean Marijuana Garden"/"U.S. TV" -- WHOOOEEE!! This is a
breathtaking little single. It's got a Minor Threat headrush, a "Metal
Box"/"Second Edition"-era PiL shimmery guitar sound, and it's spiced with
a few Reid-esque free jazz melt-yer-mind guitar solos and general noise.
We're talkin' adrenaline epiphany folks!
Antimony--"Red Herring/Longetivity" (Dischord) -- Best new act for the
D-folk, as this band rips a few pages from AmRep and the J. Lizard crew
then uses them to its own advantage. Herring and Longetivity are full of
hurtling burbling bass with a stinging guitar weaving in and about; drums
set the pace while singer rants around them.
There you go. The list may cover some ground that's been covered, but
hope you enjoyed it....
------------------------------
From: BocAd@aol.com
Wake Ooloo, Miles Dethmuffen
Wake Ooloo and Miles Dethmuffen, The Middle East upstairs, 10/1/94
Those of you who haven't heard Miles Dethmuffen's second album, Clutter,
(released earlier this year on Rainbow Quartz/Dutch East) are missing out
on one of the best pop efforts of the year. Sensitivity and intelligence
abound on this disc, and without a hint of pretension. Live on stage at
the Middle East, though, the band was just plain rocking - energy and
jubilence dominated. This band's ignore-the-trends attitude is more than
welcome in this dark age of tougher-than-thou grunge bands and
underachieving noisemakers. Even their impromptu cover of The Records'
_Starry Eyes_ (which blew away the original) seemed apt. Two days later I
still regret missing the beginning of their set.
I have to say that Wake Ooloo paled in comparison to Miles Dethmuffen's pop
onslaught, partly due to Wake's lower key/lower energy approach and partly
due to the fact that they just aren't much to look at. Glen Mercer hardly
seems at ease as front man. He had some minor technical problems, and Dave
Weckerman rarely hit his crash cymbal hard enough to make it audible. The
band seemed rather unsteady for the first few songs, suddenly finding a
comfortable groove on _Higher Ground_. All the old Feelies numbers they
played had this kind of steadying effect on them, even though the new
material is in the same vein. Although Wake Ooloo doesn't cover a ton of
musical ground, they're champs on their own turf, and the songs are
pleasantly engaging in a low-key kind of way.
------------------------------
From: Rob Galgano <0005338863@mcimail.com>
ANNOUNCE: You Could Do Worse Concert
Join us on the evening of October 8 at the Kirkland Cafe in Somerville, MA, for
the first installment of the You Could Do Worse National Concert Series. Show
should start around 9 p.m.
The bands that are scheduled to play are:
Miles Dethmuffen (latest album: Clutter, on the Rainbow Quartz label)
Miranda Warning (latest album: *Twelve Speed Pop Blender*, on the Presto!
label)
The Wrens (latest album: Silver, on the Grass label)
All staff, subscribers, friends, music industry types are invited. The club is
kinda small, so get there early!
Rob Galgano
Editor
You Could Do Worse.
YCDWorse@aol.com
****
DIRECTIONS
----------
The Kirkland Cafe is at 471 Washington St. in Somerville/Cambridge, at the corner
of Beacon Street just outside Inman Square. It's right next door to a restaurant
called Dali. You can get there by the Rindge Ave bus out of Central Square.
Driving: from Central Square, take Prospect St to Hampshire (where the Merit
station and KFC is), turn left on Hampshire. Hampshire goes through Inman Square
and turns into Beacon St. Six or seven blocks down Beacon St is Washington St.
Left on Washington and the club is right there on the right.
The club's phone # is (617)491-9640.
***
Next stop: Minneapolis? San Francisco?
------------------------------
From: GERARDC@delphi.com
ANNOUNCEMENT : upcoming Envelope dates
Envelope
the Stickee Bird broke down and crashed into a radio tower (I think
WFMU lost their signal for a few hours). This time we're driving...
all the way to Avenue A.
10/14 - Agora, Cleveland, OH (w/ Cobra Verde, Moviola)
10/15 - Halfway Inn, Ann Arbor, MI
10/16 - Stache's, Columbus, OH (w/ Cobra Verde, Moviola)
10/22 - Middle East, Cambridge, MA (w/ Flying Nuns)
12/3 - Khyber Pass, Philadelphia, PA
12/9 - CBGB, NYC
new double 7" out 10/10, twice the music for twice the money
(4 songs, 3 studios, 3 states, 2 singers, 4 sleeves).
------------------------------
From: $JFENNEL@LWCVM1.LWC.EDU
ANNOUNCE: TEENBEAT CIRCUS
The Teenbeat Circus will be at Longwood College in Farmville, VA, on
Saturday, October 22, at 9 pm. It's a free show!
The bands scheduled to play include AIR MIAMI, BLAST OFF COUNTRY STYLE,
ROMANIA< and EGGS. We need all the people we can get, so if you need more
info or whatever call jennie at 804-392-4920.
It's the only Teenbeat Circus show in Virginia, by the way!
jennie
fennell
$jfennel@lwcvm1.lwc.edu
p.s. if you e-mail me, don't get the l's and 1's mixed up!
------------------------------
From: "Bill G." <billga@eskimo.com>
ANNOUNCE" Danger Gens fall 94 Tour
Danger Gens are a mostly female trio that play what we like to call
Burly Pop (tm). They have a CD ep and full-length CD out on
Crunch Melody Records, and they're on-tour now. Go see them if you get a
chance. For those of you who heard the story, this is what we were able
to put together after the psycho who was supposed to book our tour
totally ripped us off. Fok.
DANGER GENS Fall 1994 US "Bottomless Cup O' Rawk" Tour
Oct 6 Albany NY QEZ
10 New York NY Under Acme
14 New Orleans LA Hungry Wolf
15 Houston TX Harvey's
19 Austin TX Electric Lounge
20 Dallas TX Galaxy
22 Albuquerque NM Golden West
23 Tucson AZ Dowtown Perf. Ctr.
Nov 3 Chico CA Juanita's
4 Eugene OR John Henry's
Bill G. Crunch Melody Records
Web Page: http://eskinews.eskimo.com/~billga/crunch.txt
-------------------------------
From: kyork@sciences.SDSU.Edu (Keith York)
AD: silver girl
for anyone who cares what is going on with silver girl records, send a
couple of stamps for the first edition of our new in-house zine "silver
boy: a space shuttle adventure" -- all you never wanted to know about
nothing.
send to
silver girl records
po box 161024
san diego, ca 92176 usa
keith
<------------------------------------------------------------>
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