Date: Sat, 20 Jul 1996 06:34:12 +0200
>> for me all the wonderful brit/techno/pop was THE defining
>> element of my musical development. Ultravox was my band
>I remember them days! It was late summer of 1980 when I first
>heard "Vienna" and "Sleepwalk." Even went so far as to try for
I was there, too... that were the days!
>"Primitive Man." And what about former Ultravox front man John Foxx's
>1980 album "Metamatic"? Any of you fans remember this stuff?
I still have to listen to a more evocative song than "A blurred girl". I am
trying to play this and other stuff like this to a club of young (20-25)
dark friends... maybe they let me do an hour or so of nostalgia dj-ing.
I let them listen to Messages and Modern Love is Automatic (what titles...)
from the 1st lp of A Flock of Seagulls, and one of these guys told me
enthusiastically to lend him the record. "are you going to record a
cassette with it?" I asked. "no, I'm going to masterize it on cd". I felt
a little like a grandfather...
anyway, the last time I heard of Fox, 8-9 years ago, he was into composing
religious music (cfr. his version of Pater Noster).
Date: Fri, 19 Jul 1996 13:53:57 +0000
Emiel Efdee wrote:
> >Japan; DuranDuran; Tears For Fears (first album);
> >Blancmange; Flock of Seagulls; Classix Noveau;
> >Talk Talk; Human League; Heaven 17; Spandau Ballet;
> >Tubeway Army/Gary Numan; Visage; Ultravox;
> >Simple Minds; OMD (early); Naked Eyes (first album);
> >Howard Jones; Nik Kershaw; Eurythmics (1st couple of albums);
> >T Twins (as mentioned); Alphaville (first LP)
> Yeah, and what about:
> Bronski Beat, China Crisis, Cabaret Voltaire, Anne Clark, Dead Or Alive,
> Depeche Mode, Freur, Kissing The Pink, Rainbirds, Scritti Politti, Soft
> Cell, Yazoo and Richard Clayderman...
> Emiel Efdee
> the Netherlands, July 19, 1996
> ... [email protected]
allright!......is chlorophyl, vitamin z can be included!
avoh in atlanta
Date: Sat, 20 Jul 1996 14:51:59 +0900
virginia is as tender and calm as her past records before "hope in a
the smell of ryuichi sakamoto has swept away almost perfectly. that is a
music of her style come back with the harmony of piano, strings, wood winds
and her angelic voice. i love this cd more than "all shall be well".
one more thislisty thing with the cd.
a fryer was included in this cd.
photos (monochrome) of lush was on the fryer. the fryer told that lovelife
was released on 1st March and previous cds (gala, spooky, split, cookie)
were reissued on 20 March.
an unknown photo (monochrome) of virginia and her daughter florence was on
export from japan:
i will export this cd only for 4ad-lers.
please note that i'm not so fast as professional cd shops. i only buy the
cd at local cd shop and send it to you.
the cd is $28 and postage is $4.
please send 3300 japanese yen by International Postal Money Order, 30
sheets of International Reply Coupon, or cache ($32 US). I won't take
check, for the bank takes most of the money. Please drop me a email before
you send me money.
My address is:
Nansei, Mie 516-01
I also handle
virginia astley /all shall be well
spoonfed hybrid /spoonfed hybrid (2 extra track) $25
belly /baby silvertooth $11
please email me before you send money, for i'm not sure if it is still in stock.
190-25 Nansei,Mie, 516-01 Japan
Date: Sat, 20 Jul 1996 03:13:01 -0400
i got my copy of the new scala ep, "lips and heaven" in the mail today, and
all i have to say is, wow...this is not what i expected at all, but still,
what an ep...
here's the raw data:
1. VDT (3:22)
this song has to be one of the hardest too pure songs i've heard (except for
mixus, but they're terrible) starts out with lots of fuzz, thwomping bass
drums and high hats, and sensual sarah peacock crooning (yes, crooning),
"what would you do if i told you i wanted you to choke me...what if i told
you i want you so much i glow unbearably with infatuation so much..after what
i've told you, i can't even look you in the eye..." this is a whispery, sexy
half-dance (in that wild, tribal sort of way) tune that manages to
grab you and yank you screaming (half with joy, half with fear) into the rest
of the ep...stylistically similar to laika meets medicine meets pj
harvey...seefeel? who are they?
2. Pain & Pleasure (3:41)
starts out with bass, electronic drums...slower than the last one, but still
sexy in a dreamy/creepy sort of way...sarah's voice sings softer on this one
as floating keyboard mini-scales work their way in and out of the
melody...she sings a lot higher than the last one...some lyrics..."maybe it
seems some perverse way to survive, but it's the things i keep from you that
keep me alive..." not pure brilliance like the first song, but decent
3. Tears (4:40)
noisy like the first track, but the raw sexual energy is replaced with dubby
beats and bass groove...vocals aren't as good on this one, but they're the
kind of thing you should get used to after awhile...this is the song that
probably sounds the most like seefeel as uses more loops than the other
songs, though sarah singing WORDS instead of sounds makes a big difference in
how this song sounds as compared to seefeel..."does it hurt to be so certain?
ever thought it might hurt me?..." a little weaker than p&p, but still a
4. Triptych (4:54)
starts out with a twangy, reverby, westernish guitar...dubby beats (slower on
this one) -- sounds like snare and some kind of sequencer pattern or
something...the slowest song on the ep, and much more song-oriented than p&p
-- actually reminds me a bit of that "lounge music from hell" category of
music that portishead and pram occupy..." seemingly fades out, then comes
back again a little faster and a little louder, but still essentially the
same song, whatever that means...
so overall, a really solid ep, with one brilliant track and three good ones
that get better each time i listen to them...categorically speaking, it's
shoegaze meets dub meets trip-hop meets lounge...i sure hope scala sticks
with too pure because it seems like everyone's jumped ship and i doubt mouse
on mars, jack, and long fin killie can save the label (though i haven't heard
jack or the new lfk...mouse on mars, while being an excellent group, doesn't
seem to have as many fans as some of the bands that jumped.)
the lyrical style reminds me a bit of insides in spots (though sarah can sing
better than kirsten)
oh, btw, the disc compiles the two 7" they released for too pure...i doubt
american will be releasing it in the u.s., and a lot of the lyrics i quoted
came from excerpts in the liner notes (though all the lyrics aren't in
i got mine for around $9 from stinkweeds, though i know parasol has it,
BiZ, who really will give a negative review someday...
Date: Sat, 20 Jul 1996 10:51:42 -0700
there was an 80's (no-wave?) band called Way of the West, who did a song with
the lyric "don't say it's just for white boys"? i have only a scratchy tape of
it, can't find anything by them anywhere, woudl really like to.
> sigh... my adolescence there... how many memories... I was working in an ice
> cream shop, from 4 pm to midnight or so, and then went to clubs that played
Date: Sat, 20 Jul 1996 15:02:28 GMT
Check ou this weeks online NME (http://www.nme.com/)for loads o lush: review
in Singles (plus audio extracts .wav and .au), snippets from this weeks
interview and lots of pics. They were very good at Phoenix festival last
Date: Sat, 20 Jul 1996 11:23:43 -0500
I must say it is a pleasure to be here again after about a 10 month absence...
My 54th consecutive semester of school has let up enough to allow me to come
out to play... I was just wondering if anyone wanted to do another
tape swap like the one I did last summer???
also, any word on that de-luxe this rimy river?
lisaroo missy pepper princess dragonlisa
p.s. - peter, hk, are you still alive? (sniff, sniff....)
Date: Sat, 20 Jul 1996 14:32:32 EDT
On my travels today, I came across a French promo CD of the new Muses
album. Also, the new Kelley Deal 6000 album and the new Disco Inferno. I also
saw a copy of Heidi Berry's new album, but since I'll be sent that within the
week, left it where it was. Nice cover though.
Anyway, I've listened to Limbo just the once so far, and initial
impressions are pretty good - but I'll need a few more plays before I reckon how
good. I'll post a review soon (maybe later tonight).
Date: Sat, 20 Jul 1996 11:33:49 -0700
> why are her albums so expensive and impossible to find?
All of her UK releases are out of print, but Nippon Columbia
has picked up some of them, and for some reason Japanese released
CDs are always terribly expensive and hard to find.
| Brant Nelson | 1817 Corinth Ave. #10 | open your eyes
| Dewdrops Records | LA, CA 90025-5567 | to northern skies
| Uncommon music that deserves to be heard |
Date: Sat, 20 Jul 1996 11:37:43 -0700
Since we have fallen into 80's redux and I would like to forget most of the
bands conjured up for nostalgic/traumatic recall, I must mention one that no
one has touched on that one group which to me are STILL one of the most
unique sounding bands ever--The Associates!!! There is a shard of 4AD
relevance here, since the "Fourth Drawer Down" album was released on
Situation Two. (for those lowly Cure completists, the 1st Associates album
was released on Fiction Records- "The Affectionate Punch"). Anyways, those
of you who remember their moment of Brit popularity circa the "Sulk" album
will remember days of Billie McKenzie's Scott Walker meets David Bowie meets
Billie Holliday drama, with Alan Rankine (of Disques de Crepuscule fame in
later years & producer of recent list obsessive topic, Virginia Astley)
creating the most weirdly rythmic synthetic music that still sounds
futuristic to me now. THe latter Associates, post-Rankine, were pretty
atrocious, but McKenzie's collaborations with Yello (!) and Holger Hiller (a
must for any 80's loving 4AD-er) are greatness. "The Peel Sessions" are
excellent as well. Anyone like them as much as I?
Feel Secure" last weekend in Sacramento Ca for only $18.oo new! Those
interested enough to see if they have more should call The Beat Records in
Date: Sat, 20 Jul 1996 13:52:27 -0700
Let me second Brant's recommendation. I've seen Scenic before,
and if you dig the CD, you'll dig the live show. I certainly plan
to be at the San Diego show (which with HNIA in August are the only
high points in the summer schedule).
P.S. I just saw a tape of Lush on the Pajama Party (thanks Neil!).
Oh my god. What an insipid show! It was unbelievably bad. I hope
Miki and Emma castrated whatever bastard PR guy booked them onto
it. Who watches that dross?!?!
Philosophy, UCSD --- http://mugwump.ucsd.edu/bkeeley/index.html
finger [email protected] for PGP public key -- NeXTmail accepted
Date: Sat, 20 Jul 1996 17:20:18 -0700
i haven't had time to read mail (tomorrow), but i've been scanning subjects
titles, and there seem to have been only 3 comments (incl. mine) on DCD's
wednesday nite nyc show, and hardly any postings on DCD at all...a couple weeks
ago they were a hot topic...wha' hoppen?
Date: Sat, 20 Jul 1996 18:07:20 EST
i am sure that some parties (i rather not mention names) "terminated" all
were posting about DCD. we might be one of the few survivors,
but not for
long, since i already hear footsteps on the hallway.......run,
"Connais-tu, comme moi, la douleur savoureuse,
Et de toi fais-tu dire: 'Oh! l'homme singulier!'
- J'allais mourir. C'etait dans mon ame amoureuse,
Desir mele d'horreur, un mal particulier"
Le Reve D'Un Curiex (Charles Baudelaire)
On Sat, 20 Jul 1996 17:20:18 -0700 "L.K. Grier"
Date: Sat, 20 Jul 1996 17:51:43 -0400
I havn't seen this on the list, but i'd guess there might be a few of you
who would want to know about this. The (American) National Public Radio
(NPR) show, "Hearts of Space" (HOS), will be featuring the music of Dead
Can Dance. The show, titled "Spiritchaser" (where *did* they come up with
that name? :) ) will be airing this week on those local public radio
stations who carry this program, call yours for the time/date.
music (they call it 'space music') hour long musical show carried on
public radio stations. i'd think most 4-ad listies would find it quite
here is the playlist for the hour long/uninterupted show. enjoy!
On Fri, 19 Jul 1996, Eric S. Theise wrote:
> HEARTS OF SPACE Program Playlist: 7/19/96-7/26/96
> PROGRAM NUMBER: 429 TITLE: "SPIRITCHASER"
> EPS ID NUMBER: 96-534-00029 FEED DATE: 7-19-96
> ARTIST TITLE/ALBUM PIECE CUM
> DEAD CAN DANCE "Nierika" 5:44 5:44
> "Song of the Stars" 10:13 15:58
> (SPIRITCHASER; 4AD 2/4-46230; England, 1996)
> Contact: 8533 Melrose Ave. Suite B,
> Los Angeles, CA 90069; FAX: 310-289-8680
> "Bird" 4:52 20:53
> (A PASSAGE IN TIME; Rykodisc RCD 20215; 1991)
> Contact: Pickering Wharf, Bldg C,
> Salem, MA 01970; FAX: 508-741-4506
> "Song of the Nile" 7:52 28:44
> "Indus" 9:20 38:08
> "Devorzhum" 6:14 44:25
> (SPIRITCHASER; see above)
> TEMPS PERDU? "Sundown-Sky" 6:35 51:04
> (TERRA INCOGNITA; Timebase time3;
> Germany 1995) Contact: PO Box 26 04 30,
> 40097 Dusseldorf, Germany
> FAX: 011-49-211-930-4710
> SOLITAIRE "Awakening" 6:59 58:09
> (FEARLESS; Recycle or Die ROD 008; 1995)
> Contact: Strahlenbergerstr.125A,
> 6050 Offenbach, Germany;
> FAX: 011-49-69 800 33 36
> email: [email protected]
> PROGRAM NOTE: Chasing the neo-shamanic spirit with Dead Can Dance
> PRODUCED BY: RICK KOVACIC and STEPHEN HILL
> SAN FRANCISCO WEATHER: F-f-fog salad
> SPECIAL WEATHER NOTE: After 23 years in foggy Frisco, this week
> Hearts of Space moves our headquarters across the
> Golden Gate to beautiful bayside Sausalito.
> Future weather reports will reflect our new and
> generally more optimistic microclimate.
> (c) 1996 Hearts of Space
> ! To subscribe, send the word subscribe to [email protected]
> ! To unsubscribe, send the word unsubscribe to [email protected]
> ! For archived playlists, visit our website at http://www.hos.com/
> ! For general questions, email to [email protected]
> Hearts of Space * P.O. Box 31321 * San Francisco * CA 94131
> http://www.hos.com gopher gopher.hos.com [email protected]
Date: Sat, 20 Jul 1996 18:49:04 EDT
Kelley Deal 6000 - Go To The Sugar Altar (Nice)
Well, I must admit I expected a kind of poor person's Breeders. 6000 aren't a
million miles away, but the instrumentation is a lot more varied than just
straight guitar/bass/drums, and eclecticism is the order of the day. Kelley's
voice hasn't got that same sexy 60-a-day quality that Kim's has, but obviously
it's not that different. Go To The Sugar Altar shares the same trashy quality of
Pacer, in that the songs sound like they've been carelessly thrown together, and
let's see if it works. But the majority of them do. Kelley isn't quite the
songwriter that her sister is, but after a few listens, it's clear that she
knows what she's doing. 'Head Of The Cult' is a great piece of mock-psychedelia
that shows a much better grasp of what psych-pop is than all the pathetic
Brit-Pop bands who attempt it (Kula Shaker - give up, you are fucking hopeless).
'Nice' is seriously wired, and 'A Hundred Tires' is ace garage pop. All in all,
it's rough, flawed, but a pretty cool record.
Sebadoh - Beauty Of The Ride (Domino)
Early reports suggest that Sebadoh's forthcoming album 'Harmacy' may well be
their best yet. If it's better than 'Bakesale', then it's going to be some
record. 'Beauty Of The Ride' is the first taster from it. It's a classic Lou
Barlow song (but then most Lou Barlow songs are classic Lou Barlow songs) -
short, crunchy, and with a hell of a tune. On the early records, Jason's songs
were less than highlights, but then he came up with 'Careful' and it's been
plain sailing since then - 'Sixteen' is great punk-pop. Third track is a cover
of Will 'Palace' Oldham's 'Riding' - a paen to brother/sister incest. It lacks
the world-weariness of the original, which is hardly surprising since nobody
sounds as world-weary as Will Oldham. The quartet of tunes is made up by
'Slintstrumental' which isn't really as Slint-like as they might like to think,
but it's pleasant enough.
Alex Reece - Candles (Island)
Truth be told, 'Candles' isn't much of a song. It drags a bit where 'Feel The
Sunshine' was full of vitality. Things are not helped much by Reece's beats
which are pretty uninspired. DJ Pulse's mix is much better - more urgent,
busier. But then DJ Pulse is a shit-hot DJ, so you'd expect that. The Blue
Amazon mix stretches a song that drags at four minutes to a frankly ridiculous
thirteen. Perversely, though, it's superb - a kind of trance-techno/drum 'n'
bass crossover. Sounds crap, but it really works.
Date: Sat, 20 Jul 1996 18:49:07 EDT
Disco Inferno - Technicolour (Rough Trade)
Nearly a year after it was first scheduled for release, Disco Inferno's (now
posthumous) third album hits the shops. Although it clocks in at only 33
minutes, it's certainly no disappointment. Relatively speaking, it's much more
'commercial' than DI Go Pop, and Ian Crause's lyrics are audible for the first
time. There are nine tracks including the final single, the magnificent 'It's A
Kid's World'. There is an awful lot going on at once during most of the tracks,
but the sound seems a lot less jumbled than on the previous record. 'Things Move
Fast' and 'Technicolour' itself are probably the most 'rock' things the band
have ever done with piles of rough guitar, and all the songs are strong, but
retain that DI mystique. It's a worthy epitaph, perhaps their strongest LP
(although, in truth, the eps were usually better than the two albums). If
Transformer maintain this standard, then they'll be a really strong outfit
Robert Forster - Warm Nights (Beggar's Banquet)
After the Go-Betweens split following the classic 16 Lovers Lane, Forster was
the first off the blocks with a solo album, 'Danger In The Past', a record that
contains some of his strongest songs. In the subsequent six years, his erstwhile
partner, Grant McLennan, has come up with three excellent albums, whereas
Forster has struggled to come up with the goods. 'Calling From A Country Phone'
was, basically, crap, and his album of cover versions was at best amusing, at
worst pointless. I saw him live a couple of years back, and his set reflected
his predicament, consisting largely of songs from 'Danger..' or old Go-Betweens
material. It's good to report that 'Warm Nights' marks a partial return to form,
although the best song on it is a rerecording of 'Rock 'n' Roll Friend'. But
there are a few other classic Forster tunes, and it's mostly a lot less
labouredly jolly than of late. 'On A Street Corner' and 'Snake Skin Lady' are
excellent songs, but the cod-reggae/neo-music hall of 'Jug Of Wine' and
'Fortress' are best forgotten.
Voodoo Child - The End Of Everything (Mute)
Whilst the world awaits his threatened 'rock' album, Richard Hall aka Moby has
come up with this album with a typically upbeat title. Seven instrumental epics
in a dream house/ambient mode, The End Of Everything is a lot more than a
stop-gap release. It's some of his darkest, most melancholy music to date.
Particularly 'Slow Motion Suicide' which is about as mournful a 'dark-ambient'
track as you could wish to hear. Some of the other stuff, though, is much more
upbeat, without exactly being cheerful or up-tempo. It even veers close to
Robert Miles territory at times, although unlike Roberto, our Moby has more than
one good idea. Excellent stuff.
Date: Sat, 20 Jul 1996 19:04:03 EDT
Re Snarlo's comments on the Associates (too long to quote)
I thought all these posts on dreadful 80s synth-pop bands (don't call it electro
- electro is stuff like Afrika Bambaata, the Peech Boys and the Jonzun Crew, not
insipid white-boy pop) were ironic at first. I still think a lot of them must
have been. The Associates, though, were something else entirely. Billy
MacKenzie's neo-operatic vocals were an acquired taste, admittedly, but the
records still stand up after all these years, unlike 99% of their
contemporaries. 'Sulk' was the classic album, but I thought 'Perhaps' was pretty
under-rated. The Situation 2 singles collected together on 'Fourth Drawer Down'
were all pretty amazing too. The first album hasn't aged so well, though.
Date: Sat, 20 Jul 1996 18:49:00 EDT
So, a few impressions of 'Limbo'. Like most veteran Muse-heads I found
'University' a fairly major disappointment. There were classic songs there, but
too many that weren't, and it sounded all too - I dunno - uninvolving. It's best
moments were wonderful, of course. 'Shimmer' and 'Hazing' - absolute classics.
So was it an aberration, or the sign of a decline setting in?
1 - Buzz. Crunchy Muses, great song, with a nice violin coda. Possibly the
closest thing on the record to 'House Tornado'-era stuff.
2 - Ruthie's Knocking. A wonderful piece of Kristin-pop. A kind of spiritual
sister to 'Bright Yellow Gun', though not as manic.
3 - Freeloader. Another great song, with a couple of acoustic-ish guitar breaks,
like it's almost going to break into 'Two Step' in the middle.
4 - The Field. Hammond organ alert. Well, it's kind of buried in the background,
really. A fourth brisk-tempo song in a row, but probably the least memorable
5 - Limbo. Fuck, this is a brilliant track. It's got that sexy gyrating rhythm
that epitomises the best Muses tracks, and some shit-hot guitar. It fades about
six minutes too soon though. Loping - nobody else can do this stuff like this
lot can (am I babbling?)
6 - Tar Kissers. I haven't really said anything about the lyrics yet. 'Kissing
you's just like kissing gravel.... You look so much better upside down'. Those
lyrics that have sunk in so far are possibly less obtuse, but still recognisably
Kristin - and still ace. I like Tar Kissers a lot too.
7 - Tango. The first average song so far.
8 - Serene. "Why do I like you, 'cause I do ....why do I like you, 'cause I'd
kill to be you". A kind of fast ballad, if that makes sense, with cello
accompaniment. It wouldn't sound out of place on 'Hips And Makers'. It's a
9 - Mr Bones. There's a bit of guitar near the beginning that sounds for a
second like the heavenly guitar on Pixies' 'Bird Dream Of The Olympus Mons'. A
10. Night Driving. The longest song on the album, with cello. I don't know who
plays the cello on this album - I would guess it's either Martin McCarrick or
Jane Scarpatoni (not that I can tell that from their playing - I'm no
musicologist). I reckon that this could well have been written for either Hips
And Makers, or the next solo album. It kind of has the same feel as her solo
11. Cowbirds. As you've probably noticed, I find describing Kristin's songs near
impossible. There's something about her best ones that sounds completely
different to anything by anybody else. Cowbirds is an average Muses song.
12. Shark. Won't get playlisted on the radio. Won't sell to anybody but the
converted. But this is an immense single. It's a brilliant way to close the
album... only it doesn't.
13. Uncredited track. Presumably this isn't just on the French promo, but will
be on all copies. 'Come clean on the white bikini sand. Hold me on the white
bikini sand'. It's a short acoustic track - stand-up bass, cello and hand
percussion - with a very minimal guitar solo to close. A nice way to end.
In conclusion, Limbo is the best Throwing Muses album since the first one. It's
a really heartening return to form - much better than I'd dared hope it would
be. Album of the year? Ask me in December, but possibly, yeah.
Date: Sat, 20 Jul 1996 19:48:15 -0500
On Sat, 20 Jul 1996, The Boy In Zinc wrote:
> on mars, jack, and long fin killie can save the label (though i haven't heard
> jack or the new lfk...mouse on mars, while being an excellent group, doesn't
> seem to have as many fans as some of the bands that jumped.)
but iarora tahiti was one of the best albums of 95! speaking of bands
that jumped, what about pram? i do hope they stay on too pure. does
anyone know if they have anything in the works? it's been a while since
sargasso sea... too long, for the best band on the planet...
Date: Sat, 20 Jul 1996 18:45:59 -0700
>This may be way off the mark, but while listening to Mouth to Mouth
>morning, I got the distinct impression that there is some Severed
>influence in Warren and company's music. Anyone heard of this
>They too use complex, unusual song structures, with all kinds of
>textures in the background. I'd like to know if anyone hears this at
all, or am
>I just crazy?
maybe a tad bit touched but not crazy. personally i hear far
industrial and mechanical sounds in severed heads, the pieces are very
challenging at times to listen and figure what is going on. to me HNIA
can have complex layering but the songs are much easier to digest and
follow. i once instroduced severed heads as the band to play at a
wedding reception if you wanted all the guests to leave so you could
enjoy the meal. i still play severed heads to piss of my frat
neighbors who can only play one tune over and over again--I think they
like Loverboy and Night Ranger the best.
euthlene, who swam with the sharks!!!
Date: Sat, 20 Jul 1996 19:03:38 -0700
For those of you who have access to the Hearts of Space program,usually
on NPR stations in the states, Dead Can Dance is featured on this
week's program...so set those timers and enjoy, the show is fantastic.
HEARTS OF SPACE Program Playlist: 7/19/96-7/26/96
PROGRAM NUMBER: 429 TITLE: "SPIRITCHASER"
EPS ID NUMBER: 96-534-00029 FEED DATE: 7-19-96
ARTIST TITLE/ALBUM PIECE
DEAD CAN DANCE "Nierika" 5:44
"Song of the Stars" 10:13
(SPIRITCHASER; 4AD 2/4-46230; England, 1996)
Contact: 8533 Melrose Ave. Suite B,
Los Angeles, CA 90069; FAX: 310-289-8680
(A PASSAGE IN TIME; Rykodisc RCD 20215; 1991)
Contact: Pickering Wharf, Bldg C,
Salem, MA 01970; FAX: 508-741-4506
"Song of the Nile" 7:52
(SPIRITCHASER; see above)
TEMPS PERDU? "Sundown-Sky" 6:35
(TERRA INCOGNITA; Timebase time3;
Germany 1995) Contact: PO Box 26 04 30,
40097 Dusseldorf, Germany
SOLITAIRE "Awakening" 6:59
(FEARLESS; Recycle or Die ROD 008; 1995)
6050 Offenbach, Germany;
FAX: 011-49-69 800 33 36
email: [email protected]
PROGRAM NOTE: Chasing the neo-shamanic spirit with Dead Can Dance
PRODUCED BY: RICK KOVACIC and STEPHEN HILL
SAN FRANCISCO WEATHER: F-f-fog salad
SPECIAL WEATHER NOTE: After 23 years in foggy Frisco, this week
Hearts of Space moves our headquarters across the
Golden Gate to beautiful bayside Sausalito.
Future weather reports will reflect our new and
generally more optimistic microclimate.
(c) 1996 Hearts of
! To subscribe, send the word subscribe to
! To unsubscribe, send the word unsubscribe to
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Date: Sat, 20 Jul 1996 23:54:26 -0400
I have the Glee Club's "Mine" and really love it. (Very worthwhile
purchase if you ever have an opportunity to get it.) I vaguely remember
someone mentioning that they were on weird indie label in the UK and
might have other releases. Is that true? Have they done any other work
under other names? I've been searching record stores on both the US and
UK sides without any luck, so I'm starting to run out of ideas.
Also, for those in the LA area, Moby Disc in Sherman Oaks has a pretty
good selection of used recent 4AD releases (or at least until I bought
all of them :-). List members just haven't been hitting that store
enough lately, I suppose.