UNDERGROUND SOUND
11/20/96

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 Interview With Robert Rampley

> What kind of trends do you see emerging in the electro/industrial
> scene, especially here in southern california?
>

I have noticed two basic trends in the music I've been hearing from
this genre.  There are those refining their style, exploring within a
given or preferred direction, and there are others venturing far
outside the normal scope of what we've been hearing.   In both cases,
it is completely possible to be original, that's what will keep it
interesting.  Electro/Industrial, whatever that is anymore, has been
swamped with a lot of new and interesting spinoffs and hybrids, it is
usually possible to pinpoint most of the major influences in a lot of
it.  Someday we will have a new genre name for electro music and
people will talk about having "industrial" roots, we're almost there.
As far as Southern California specifically?  I don't follow the scene
here that closely, I go to clubs, see bands when I can, and if I like
them, I'll make it a point to see them again, I think it's important
to support the local scene.

> How did you first get interested in this genre of music?
>

From the first time I played a Korg Mono/Poly 16 years ago, I was
interested in this genre.  I didn't know it existed at the time, but I
kept thinking how great it would be to take the aggression of heavy
metal, and execute it with synthesizers.  After a while, I discovered
Skinny Puppy and later, Ministry.   These are definitely my greatest
influences in aggressive, meaningful, electronic music.

> Do you work a day job to make a living?
>

Oh yes, I would be starving to death otherwise.

> Does your day job conflict or compliment your music career?
>

It does both, although I am fortunate enough to be working with
synthesizers and music technology at my day job as well.  I work in
the synthesizer engineering dept. for a major studio electronics
manufacturer, designing software, sounds, and playing a major role in
the design of the synth/sample products.  I don't even really consider
it to be my day job, it is my technology career, as opposed to my
music creation career.  I have two careers that I enjoy very much, one
of them pays the bills, the other one does not, at least not yet.  One
of the greatest things about my day job is that I am exploring some of
the deepest levels of music synthesis all day, dreaming up new ways to
manipulate and emulate sounds, then later when I am in my studio, I
will also apply this knowledge to my personal projects.

> Do you have any plans on working with any local musicians involved
> in the electro/industrial scene in the near future?
>

I am currently working on a new full length aggressive
electro/industrish project with local synthesist , Taiho Yamada.
Taiho released his debut electro/ambient compact disc earlier this
year on Think Tank Media's indie label.  We are both synthesists and
experienced programmers... definitely taking the technology road with
this one, very explorative.

I am always open to working with new people, it is always beneficial
to have another viewpoint, especially in the creation process, or just
spending time in the studio streaming ideas... just going for it,
letting tape run and see what becomes of it.

> How did the idea and songwriting for the Winds Died Down project
> come into being?
>

Chris and I have been working together for a long time, we have
written literally hundreds of songs together, so it has become a very
natural process.  The "Winds Died Down" project is something we've
always wanted to do, one day a few years ago, we decided it was time
to take it on for real.  I began to write music in my studio here in
LA, then send tapes to Chris in Seattle, he would come up with lyrics,
comments, and ideas there.  We'd be on the phone 3 or 4 times a month
and talk about the songs.   Later, Chris would fly to LA and we'd go
into the studio and record his vocal tracks, then I'd refine the music
tracks around his voice, edit it, and later I'd mix it.  We completely
recorded about 14 songs for this project, however we only ended up
with five that we felt good enough about to include on the CD.  It's
all part of our sick process.

> Describe your studio set-up for us?
>

It's overkill!  I wouldn't have it any other way.  The studio size has
at least tripled since the completion of the "Winds Died Down" album.
I've moved to a new house since then also, so I took that time to
completely re-wire and layout the new system.  I set it up this time
for complete speed for idea-moving and the flexibility to be very
meticulous.  I designed it around the way I work.

Currently For gear, well there's about 22 synths, some are keyboards
and some are modules.  The main recorders are 3 ADATs with the BRC.  I
have a PC and a Macintosh, they are networked and both connected to a
pair of MIDI Time Piece's for MIDI routing and simultaneous SMPTE Sync
from the ADATs.  I mainly sequence with Cakewalk on the PC, I use the
Mac for Sample Cell and hard disk recording/editing.  I love bizarre
equipment, most importantly gear that can be controlled and radically
manipulated.  I seek out the weird processes, I recently purchased a
SAM1 sample expander for my Wavestation A/D, I've just started to burn
my own EPROMS for the Oberheim DMX, I use Alesis' Sound Bridge
software to burn my own samples in the Quadrasynth Plus and QS6.  The
engineers who designed this stuff knew that a handful of people would
use these deeper features, I am one of those people!

> Are samples a large part of your composing array?
>

Instrument samples, especially drum and percussion are used a lot from
the time I begin writing a song.  It really depends on what "feels"
good.  Sometimes a synth, sometimes the sampler.  As far as newsreel
or vocal samples, they were never a large part of the composition
process, but always there in production, usually after the major
portion of a song was laid out.  I try to integrate those kinds of
samples that will complement the idea, feel, and story of a song.  On
the other hand, with this new project I am working on,
non-conventional samples are a huge part of the compositional process.
 Right now, I am sifting through hours and hours of newsreel and radio
samples, speeches, and other stuff, piling it all up in my Macintosh.
Once this procedure is done, I'll archive all of these edited samples
to CDROM for quick access once the music writing begins,  all of this
tedium will pay off then!

> What kind of success have you had with Winds Died Down as far as
> domestic or foreign radio?
>

It has been a pretty fair split between the US and Europe, along
with some airplay in Canada.  Quite a few stations, especially at the
colleges, began spinning the CD right away.  We've been getting a
fair amount of airplay since the album was released, the internet
newsgroups have been great, it has really helped bridge the gap
internationally.  A lot of the stations are posting their playlists
now, it's cool to see it when you get a spin, the instant
gratification thing.

> In your opinion, how does the european electro music stack up
> against american styles?  Do you see many differences or
> similarities?
>

I don't know if it's quite fair to say that one might be better than
the other.  Generally, I do hear differences in style, the European
electro, seems a bit more structured and focused than most of their
American counterparts.  There are always exceptions, though, for
example, Battery, they could easily pass for a European group.

> Has the internet played a large part in the emerging domination of
> independent labels over majors regarding new music market-share?
>

Abso-fuckin'-lutely!  The internet has not only allowed the
independent labels to emerge and reach the fans, but it has been a
huge breath of life for independent music in general.  Artists can
reach their fans, radio, magazines, both domestically and
internationally.  Contact with international media has never been
easier, it has brought the world of communication much closer
together.  We have utilized the internet for about 90% of our
promotion and regular correspondence with the industry, with the web
site anyone can get information about us 24 hours a day, and we don't
even have to be there!

> What kinds of new technology involving the internet do you think
> will be important in the next few years?
>

I just read that David Bowie released a single exclusively on the
internet.  I think it will take time, but that sort of approach will
be fairly practical at some point.  In reality, the music industry is
only a small portion of the internet technologist's attention.
Multimedia, access, and general communication will continue to be on
the forefront of the development cycle.  We will benefit from these
advancements, and music will continue to adopt the newest technology.
We've already seen the number of multimedia music CDs, like EBN,
coming out, eventually it will become commonplace.  People will expect
it, have you seen a new release without a website and email addresses
on it?

> How about the concept that hard rock is making a comeback, do you
> feel in part that electro/ industrial is leading this charge?
>

Is hard rock making a comeback?  (Sorry, Todd, this is news to me.)

> Overall, do you forsee hard rock dominating the popular charts like
> it did in the early-mid 1980's? (*note: despite popular
> misconception, in part because of the "grunge" revolution", hard
> rock has not dominated the popular charts for any of the years in
> the 90's decade, as of yet, pop, rap and dance have)
>

I think we're seeing more 'hard music' rather than just 'hard rock'.
Having it dominate the popular charts?  I haven't a clue, I've really
never concerned myself with popular charts, I like the music that I
like, sometimes it is popular, sometimes it is not.

> Do you think the power of such pouplar mediums such as MTV or movie
> soundtracks will lessen or increase over the last few years leading
> up to the millenium?
>

These mediums have been consistently and exponentially increasing.  I
see no reason for it to slow down as long as the end consumer keeps
demanding these mediums, or at least supports them.

> Will there be another Winds Died Down album?
>

That's the plan.  Chris and I are planning to get together in the next
few months to begin writing for it.

> Do you feel there is life yet for the vinyl medium? What about
> tapes?
>

Cassette tapes suck!  The only reason they have life anymore is
because they are so convenient and cheap.  Vinyl is strange, it will
probably continue on for quite a while, especially in the DJ and dance
circles.  A lot of people I know are still releasing on vinyl because
of the "vibe" they get from it.  I don't really care, but I do
understand why people like vinyl, for the same reasons I like my old 8
bit samplers!

> What are the two biggest misconceptions that people who are
> basically "mainstream" in mind have about electro/industrial
> artists?
>

There is the idea that electro/industrial artists are mean and violent
people.  The ideas and music are usually very extreme and aggressive,
you might think that the artists must also be this way, usually it is
quite the opposite.  Most industrial artists are educated, rational,
and sincere people that are simply angry at the fucking stupidity
going un-noticed in our world.

It is also thought that our electro/industrial music is not 'real'
music, meaning there is no musicianship behind it because of the
electronics involved.  We are artists using tools to create music, who
cares how it was created?  Real music is art, a sincere and honest
auditory expression of yourself and your views on anything for any
number of reasons.  If it is anything less, then it is not your art, I
don't care what genre you belong to.

> Are drugs, especially some of the new designer kinds, a boon or
> danger to the electro/industrial scene?
>

Drugs definitely present a danger when misused or abused, regardless
of your situation, scene, or anything else.  I have
stayed away from hard drugs for a number of years now, I have to be in
control, hard drugs cause me to lose it.  Occassional I will
intentionally get drunk when I need to just get stupid or blow off
steam, with alcohol there is a certain level of predictibility.  I
also smoke cigarrettes and abuse caffeine, so I am dependent on
something, however these are not radically mind altering either.
Everyone self destructs in their own way, the trick is to not take
others with you.

> In the generations that will follow, is it your opinion they will
> embrace industrial as their "metal", or do you forsee a different
> kind of hybrid making the cross-over into mainstream?
>

Many people are looking for the heaviest offerings from music, in the
80's metal was easiest access.  We'll always have those creating and
those wanting heavy, aggressive music.  A lot of industrial music and
fans have grown from the 80's metal scene.  It is already happening,
sometimes for the better, sometimes not.

> How about these religious "industrial" bands, or religion in
> general, do you think it will influence the kinds of music to make
> breakthroughs in the future?
>

Religion in general has always been a source of creativity in music.
Whether you support a particular religion or oppose one doesn't really
matter, as long as you believe in what you are doing.  The track
"Hypochrist" was inpsired by abuse of religous leadership, we are not
a religous band, but we do not ignore it either, it is part of
humanity.

> Also, the idea of many industrialists that guitars are not
> "industrial"...if I remember correctly, in the late 70's, very early
> 80's industrial was more akin to the type of sound, not what
> instrument's were used or not used in it's creation...what do you
> think about guitars in industrial music?
>

When I think of early industrial, I think of groups like SPK and
Throbbing Gristle, based on ideals and experimentation.  It has since
been used to label any music that is aggressive with a heavy
electronic and/or noise base.  We've become accustomed to the term.
Guitars or no guitars, it doesn't matter, I did not use guitar heavily
on the Winds Died Down album because that's not what I was going for,
I might use guitar a lot more on another project, I'll use guitars as
they are needed.  I still get a laugh from the fans that still say
'guitars are not industrial', it reminds me of the idiots in the 80's
that said 'synths are not heavy metal'.  Either comment is utterly
ridiculous, not to mention close-minded.

> One of the reasons I myself moved to Los Angeles was in hopes of
> finding electro/industrial musicians to play with.  To my dismay I
> find a very fragmented scene with very few innovators, too many
> "stars" and egotists...why do you think this kind of attitude has
> emerged here?
>

I've seen this attitude in LA as long as I can remember, long before I
moved 5 years ago.  There are a lot of electro/industrial innovators
here, it is unfortunate that they are overshadowed by the "stars" and
personna of Los Angeles.  It has never really been considered a
serious site for industrial and electro, not like Chicago or Germany,
that might explain the fragmented scene, it's just not a trendy
California thing yet (sarcastic laugh).

> What, in your opinion, needs to happen here in southern california
> for industrial music to gain a bigger share of the local market?
>

If we want industrial music at our clubs, we need to support our own
scene.  When industrial bands play at our local clubs, we need to go
support them, show the club owners that this type of music will sell
beer.  We need to drink more beer!  Yeah, that'll fix everything!

> How do you think Robert Rampley will contribute to the overall
> picture?
>

I am always pushing my own envelope, creating electro/industrial music
and technology.  This is my contribution.  The new project with Taiho
is already underway, and very exiciting.  There are some rough plans
for creating a sample CDROM of my industrial, noise, and tweaked
sounds.  It has been very rewarding to see a lot of bands, especially
industrial and electro, using synth products with sounds and designs
that I helped create.  I will continue to challenge myself and this
genre with my music as well.  

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SUGAR FIX News Flash:

Sissy Bar November shows:

Saturday, Nov. 23rd, Als Bar, 305 S. Hewit, Los Angeles, CA.  Appearing with
Miss Murgatroid and Bennet.

Tuesday, Nov. 26th, Spaceland, 1717 Silverlake Blvd, Silverlake, CA.  Smilex
Records CD release party for The Patio Collection, Volume 2.  Sissy Bar will
be playing with Sukia, 10 cents, Nels Cline, Thingy, the Devics and Jackass.
Show starts at 8:00pm.

Sissy Bar continues to climb the CMJ charts.  Request Statutory Grape often!

Friday, Nov. 22nd, Hotel Utah, San Francisco, CA.  Record Release Party!!!

Thursday, Dec. 5th, Bottom Of the Hill, San Francisco, CA.

Friday, Dec. 6th, The Starry Plough, Berekeley, CA.

Making movements up those fabulous college charts.  Demand Severe Comfort.

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ALVERAN RECORDS

hi there,
this is sascha from alveran rec. i put out several stuff in the past, so if
anyone of you is interested in trading or dsitributing my stuff than please
write me back. here's a list with the wholesale rates

stale cd: 45 min music like dawnbreed

bittersweet cd: sounds like rusty james, lifetime

endwise 7" : sounds like quicksand, lifetime

wholesale rates are:
cd is $ 5 each
7" is $ 2,5 each

+ some money for postage

so if you are interested in trading or distro my stuff........here's my
address
                                          later to you......bye bye
love,sascha

alveran records
nordring 50
44787 bochum
germany
fax: ++ 234 9160682
AlveranRec@aol.com

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BARBER'S ITCH

===================================================
Brad Barrish
bbarrish@falcon.cc.ukans.edu
Barber's Itch Records Owner/Operator
545 Louisiana Street, Lawrence, KS 66044-2232
Home of Action Man, Todd Newman,
Arthur Dodge & the Horsefeathers, and The Glitter Kicks
http://www.copilot.com/barbers_itch/
BarberItch@aol.com
===================================================

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New Raleigh, NC Industrial / Gothic Music Zine

The blossoming gothic and industrial music zine entitled Smothered Hope is
looking for submissions for the zine. Smothered Hope will concentrate on local artists
and events in the immediate and surrounding area. We are looking for music reviews,
commentary on the local scene, personal opinion - anything relating to the
genre (except for bad poetry). Send email to smothered@interpath.net or
leave a message at (919) 859-4760 for more information.

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RIOTGUN!!!!!!

@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@                      

riotgun.
                riotgun@cosmoslink.net
Larry Hernandez                   PsychoTribe Recordz
Vince Zeno                              P.O. Box 7273
Matt Ramos                              Fullerton, CA   
Scott Votaw                                     92834

********* http://www.cosmoslink.net/~riotgun ********

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ROCKFEST IS COMING!!!!

RockFest is an annual showcase held yearly in Atlanta, GA.  UGR invites all major
and independent labels to attend, as well as select media outlets including printed publications,
television and radio broadcasters, retail owners and buyers, industry marketing and
promotional personnel, venue owners and agents, product sponsors and other entertainment
related personnel.  Primarily the showcase is to offer independent bands the opportunity to
display their talents to all these personnel.  Artists are invitation only.  
The showcase is open to the public.

In 1997, Underground Records will host a special Rockfest which will also be a celebration
of the distributorship's 15th year, in Atlanta GA during the month of July.  The date and venue
will be set during or before early 1997. The NYC and Canadian RockFests are still being planned
with information coming soon.  To be considered for a spot in the showcase, or to attend
RockFest as an industry VIP, send promo kits or contact:

Underground Records: (for Atlanta and NYC)
Attn: RockFest 1997
6422 Hwy 140 NW
Adairsville, GA 30103

Industry:  Todd West 213-483-5779

For RockFest Canada: (In Vancouver)
Lori Lynn Munro
#240-222 Baseline Rd.
Suite 101
Sherwood Park, Alberta
Canada T8H, 1S8

Industry: 403-449-0679

ROCKFEST NYC:  Eric Sammer email:  speck 100@aol.com

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SKINNERBOX TOUR DATES

NOV 22  Fireside Bowl, Chicago, IL
NOV 23  High Point, St. Louis, MO
NOV 24  Bottleneck, Lawrence, KS
NOV 25  TBA - Indianapolis?
NOV 26  Skankland, Columbus, OH

SKINNERBOX + SLACKERS WEEKEND EXCURSION:
Dec 6, 7, 8  Cleveland OH, Huntington WV and Pittsburgh PA

WATCH YOUR E-MAIL FOR MORE DETAILS!
If anyone can help us find places to stay or put us up in any of these cities,
please e-mail ASAP!!! THANK YOU VERY MUCH!!!

==================================================
Check out the Stubborn Records web page at
http://www.interport.net/~stubborn/
==================================================
STUBBORN RECORDS               ROOTICAL AND ROUGH!
504 GRAND STREET #F52          NEW YORK STYLEE!
NEW YORK, NY 10002-4101
SEND SASE FOR CATALOG & NEWSLETTER
E-MAIL US TO GET ON OUR ELECTRONIC MAILING LIST

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THE MIGHTY SONICNET!!!!

Go to http://www.sonicnet.com/sonicore/chat/

SonicNet and Loud Records invite you to chat with MOBB DEEP!!  Please
join in on Monday, Nov. 18!  Chat about the newest release, "Hell on
Earth" and let the Mobb put a little fire in ya!

SonicNet/Prodigy and Priority Records invite you to chat with HELTAH
SKELTAH!  Join the "Boot Camp" on Tuesday, Nov. 19 at 7pm and get the
"Therapy" you need!

Call 1-800-PRODIGY for free software. Or, for the web-savvy, go to
Prodigy (http://www.prodigy.com) to download the goods.

SonicNet and Payday Records invite you to chat with JERU THE DAMAJA!
Join in on Wednesday, Nov. 20 at 7pm and feel the "Wrath of the Math"!!

SonicNets Alt-X invites you to a special chat with RICHARD HELL!
Come to the Alt-X lounge Wednesday, Nov. 20 at 8pm to talk with Richard
about his book, "Go Now"!

Look for chats coming soon with LOOP GURU, FROSTED, AND ESQUIVEL!!

Logging on is easy!  Point your IRC client to irc.sonicnet.com OR go to
SonicNet's Web Central (http://www.sonicnet.com/sonicore/chat) for more
information. You can download Global Chat software directly from
http://www.globalchat.com

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dEUS LIVE IN PARIS!!!

Hello everyone,
I'm back from Paris where I saw an extremely great gig: of course I'm
talking about dEUS.
The show was excellent, and they were very-very good.
This is what they played but not in order:

NON ALBUM SONGS
-The german song that Danny sings (they played this one as well in sheffield)
-The kind of funky song that Danny sings as well (also like in sheffield)
-Horror party Jokes
-WCS, II draft
-New song

WCS SONGS
-Suds & soda
-Jigsaw you
-Mortichiachair
-Via
-Hotellounge
-Shake your Hip

IABUTS SONGS
-Fell on the floor man
-Opening night
-Turnpike
-L. Arithmetics
-A shocking lack thereof
-Supermarketsong
-Roses

Their performance on stage as I said before was great, but I didn't like the
crowd too much: too much of moshing and crowd surfing.. It seemed more
like a President of the USA gig from our side!!
I have noticed a big difference between the band form the gig I've seen in
sheffield (and Craig, who recognised me after the gig :-))) ,confirmed my idea)
as now you can see they are very together. Especially Danny: now is
very integrated in the band.
An important thing is that Tom announced a new song saying it will be
on their forthcoming album that will be out in '97. And he didn't seem like
he was joking. So maybe.....let's hope.
The gig started with Turnpike and ended with Mrticiachair (with Tom singing
before and at the end of it a few lines of "Into your arms" from the
Lemonheads). A blond woman (which i belive is Danny's wife) came up on
stage dancin' and singing during the song he plays the guitar and sing.
Now I have to admit it: Danny is a perfec replacemnt for dEUS. He's excellent
and groovy. He was the highlight for me of the night.
And after the gig when I went to speak with Craig I was so happy that he
remembered me!!! We've been laughin' for about 10 mins. together: that was very cool as well.
I think that's all, but if anyone want to ask whatever just mail me.
Now i can't wait to see them in Brussels in a bit less thana month.
Bye

        Stef
a.valvassori@arcadis.be

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SPECIAL CHRISTMAS PRESENT FROM THE SOUND::::::::::::::::::::::::

Get a 500 word (or less) ad which will appear in both the email and webzine version of the
Underground Sound for only $10.00!!!!!!

Get additional 500 word ads (or less) for $1.00 each after the first one is purchased at $10!!!

You can schedule the ads to appear in whichever issues you want, both versions, email and
webzine, are published every 14-21 days!!!

You can get your band or label's logo, picture or graphical ad, up to 200x200 pixels, in
the Underground Sound webzine for only $20...save $15!!!!! We'll link the graphic
to your site (clickable graphical link).........

You must purchase your ad, and have your artwork/text in or up on your site by

DECEMBER 25TH , 1996  !!!!!!!!!

We'll do the html and links............

Make all payments out to:

Todd West
6546 Hollywood Blvd.
Suite 210
Hollywood, CA 90028

See the webzine at:

http://ourworld.compuserve.com/homepages/ugr/sound.html

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GET BLIND!!!!

*************************************
*(LAND OF) THE BLIND                  
*<lanblind@teleport.com>
<http://www.teleport.com/~lanblind>*
snail mail: 3439 NE Sandy Blvd. Suite #266
Portland, OR 97232
(503)  321-5093   
*************************************

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MY, WHAT A BIG HEAD YOU HAVE!!!

Several years ago the United States funded a study to determine why the head on a
man's penis is larger than the shaft.  The study took 2 years and cost over $180,000.00.  
The results of study concluded that the reason the head of a Man's penis is larger than the
shaft to probide the man with more pleasure during sex.  After the results were published.  
Germany decided to conduct their own study on the same subject.  They were conviced that
the results of the US study were incorrect.  After three years of research and cost in excess of
$250,000.00, they concluded that the head of a man's penis is larger than the shaft to provide
the women with more pleasure during sex.  When the results of the German study were
released, Poland decided to conduct their own study.  The Poles didn't really trust the US or
German studies.  So after nearly there weeks of intensive research and at a cost of right around
$75.00, the Polish study reached a conclusion.  The Polish study came to the final conclusion
that the reason the head on a man's penis is larger than the shaft is to prevent your hand from
flying off and hitting you in the forehead.

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NETSOUND LOUNGE

Netsound Lounge is now online giving all artists an opportunity to
display their work to the world for free.  It is quickly becoming a very
popular site with independent artists from all over the world.

Featuring:

- Audio playback via RealAudio 28.8.
- 2 pages of text.
- 1 song no longer than 6:00.
- 1 picture no larger than 20k.
- Updates of upcoming gigs.
- E-Mail & home page links.

Check us out, its free to submit your music.

http://www.netsound.com

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WORLD DOMINATION

Brief update - New tour dates by Scenic, Latimer and Psyclone Rangers have
been posted on our web site, http://imusic.com/worlddom

The World Domination site has recently been overhauled and is now beginning
to look spiffy. More renovations are in progress so bear with us if you
can't get in on some occasions. Also we have been experiencing some trouble
with our email catalogue order form, keep trying it is being
repaired..........

And meanwhile,
>SonicNet invites you to chat with LOOP GURU!  Join them on Thursday,
>November 21 @ 2pm EST, as they talk about their latest release
>"Amrita...all these and the Japanese Soup Warriors"!  Mmm Mmm!  Yummy
>Soup!
>Logging on is easy!  Point your IRC client to irc.sonicnet.com OR go to
>SonicNet's Web Central
>[http://www.sonicnet.com/sonicore/chat/index.html]
>for more information  OR  download Global Chat software directly from
>Quarterdeck [http://www.globalchat.com].

Upcoming releases in January/February - Latimer, Kristeen Young and Lizard
Music.
The new Sky Cries Mary album will be released by Warner Bros in late
February. For those of you who can't wait for new SCM material you can
assuage your desires by picking up the "Into Topological Space" double cd
featuring an entire cd of Sky Cries Mary music.

The World Domination offices will be closed Friday Nov 15th while the
entire staff boogies on down in Las Vegas for a couple of days. Back
Monday!

As always, thanks.

Dave Allen
World Domination Recordings
Dave@World-dom.com
On the web- http://imusic.com/worlddom

Loop Guru, Sugar Plant, Perfume Tree, Scenic, Latimer, Malacoda, Psyclone
Rangers, Sky Cries Mary, Stanford Prison Experiment, Kristeen Young, Travis
John Alford, Low Pop Suicide, Lizard Music, Contagion, Shriekback,
Gigantaur, Rick Boston, Noah Stone, The Elastic Purejoy, The Miss Alans,
Knownothing, Moonshake, Penthouse.

##########################################################################

YOU NEED TO CONTACT THIS PERSON!!!!!
**Underground Records Minnesota Agent**

Greetings:

My name is Civitas and I am from Minneapolis, MN. I am currently
producing many "Gatherings" such as "Nocturnal" and "Masquerade" here in
Minneapolis and the Midwest Region. Also, included in my work, I publish
a zine called Nocturnal Emissions -
it covers Gothic/Industrial related bands, live acts, label promotions,
interviews, etc. If you could put me in touch with your Promo People, I
am looking to receive in CD format preferably, any upcoming new releases
that you might have available for DJ Play and Review purposes. Also any
video & poster promo for such releases would be helpful too. Free stuff
to give away!

My address is as follows:
Civitas Hall
Nocturnal Emissions
180 E. Kellogg #76042
St. Paul, MN. 55175
U.S.A.
Email: tyre0007@maroon.tc.umn.edu

UNDERGROUND AGENT PROGRAM: STREET LEVEL TEAMS:

http://ourworld.compuserve.com/homepages/ugr/agents.html

##########################################################################

TECHNOHOUSE

I would like to introduce irdial discs.
They have just moved and are now located at
http://www.technohouse.com/   under the "infected hosting" section.

thanx
dan
--
        -----------------------------
        http://www.technohouse.com/
        http://www.relaxed.com/    
        http://www.relaxed.com/plasticdynamics/  
        -----------------------------

T e c h n o H o u s e

|info:
|daniel@technohouse.com
|phone: (914) 684-0828
|fax: (914) 644-8070

##########################################################################

THE ZOOKEEPERS!!!!

Hello! The Zookeepers will be performing locally (finally!). Here's the scoop:

Saturday, November 23
at Brennan's (in Marina del Rey)
9pm to close, $3 cover
4089 Lincoln Blvd. (just south of Washington)

We'll be recording the show live on A-DAT (multi-track digital recorder).
And we may use some of the tracks on our forthcoming new CD.

As a bonus, Patrick's brother, Fox, will be sitting in with the band for a
set or two.

Hope to see you there.

-------------------
The Zookeepers
4470 Sunset Blvd. Ste. 429
Hollywood, CA  90027
1-800-465-9448
(213) 465-9445
zookeeps@aol.com
http://www-scf.usc.edu/~rvernon/zoo.htm

##########################################################################

DIGITAL DISTRIBUTION:

Underground Records is developing an online digital distribution system which
will be combined with a bulletin board (bbs system) and live chat. Currently
testing formats in our Compuserve Forum, check it out at:

http://ourworld.compuserve.com/ugr

and join us for live chats with the bands and fans. Create your own profile
in our forum, listen to new music examples and download our latest catalog
materials. I will also be doing early reviews in the forum prior to the
reviews coming out in the zines, get your stuff reviewed today

Send recordings to:

Todd West
6546 Hollywood Blvd.
Suite 210
Hollywood, CA 90028
##########################################################################

That's all for this issue, boys and girls!! See the webzine for more info, reviews
and extra goodies!!!

later.......

The Underground

^Since 2013^

^Since 1996^


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