803 lines
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803 lines
26 KiB
Plaintext
From: dkletter@adobe.com (SUGAR in their vitamins?)
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Newsgroups: rec.music.industrial
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Subject: Re: Who's the first?
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Summary: This posting contains the Frequently Asked Questions
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Keywords: it's crunchy and munchy!
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Message-ID: <1992Nov22.203925.2103@adobe.com>
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Date: Sun, 22 Nov 1992 20:39:25 GMT
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Organization: Flying Esophagus Productions
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Lines: 792
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Archive-name: music/industrial-faq
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Last-modified: October 25, 1992
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Version: 3.0.8
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to answer your question (to some degree) here is the Frequently Asked
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Questions file for rmi. nothing has changed lately because i just haven't
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had the time, but there are a few new additions and edits sitting on
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my desk just waiting to be added in.
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hasta.
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+-------------------------------------------------------+
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| F R E Q U E N T L Y A S K E D Q U E S T I O N S |
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| (FAQ) file for rec.music.industrial |
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+-------------------------------------------------------+
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Edited and collected by:
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<dkletter@adobe.com>
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This is version 3.0.8 of the Frequently Asked Questions (FAQ) file
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written for the rec.music.industrial (rmi) news group. Copies are
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available on ftp sites and on request. Comments, corrections, and
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queries regarding this file should be sent to the above address.
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Many thanks to: (in no apparent order)
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Al Crawford Mason Jones Jeff Dauber
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David Vessell Dave Stein Greg Earle
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Adam Weitzman Rob Vaughn Seth Robson
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Joshua Buergel "Uncle Klaus" Dave Datta
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Valerie Ohm Andrew Russ Adrian Le Hanne
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Leo Breebaart Ben Cox Terry Reed
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Mark Gunderson John Davidson Kritt Gierlefzen
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Georg Wallmann "hortonee" Jutta Degener
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<X>orcist Paul Moore Anders Holmberg
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Franck Arnaud "@Man" and Jennifer Davis
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if there is anyone that i have forgot, my apologies.
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This file will be posted approximately every two weeks.
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Last modified: October 22, 1992
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----------------------------- 8< cut here >8 ------------------------------
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<table of contents>
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PART 1 - Frequently Asked Questions File:
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[1] Intro
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[2] History
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[3] Our Charter
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[4] Important Facts
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[5] FTP servers
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PART 2 - Directory of Record Labels/Mail Order Sources/Contacts:
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[6] Major Record Labels
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[7] Distributors and Smaller Record Labels
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[8] Mail Order Sources and 'Zines
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..........................................................................
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<intro>
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"In the gap caused by the failure of punk rock's apocalyptic rhetoric,
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[the term] 'industrial' seemed like a good idea."--Jon Savage, London 1983
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Experimental. Aggro. Techno. Cutups. Alternative. Noise. Ambient. Musique
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Concrete. Sound Collages. Performance Art. Difficult. Improv. Industrial?
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So many names and so many labels. It gets confusing when from all around
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us, publications continue to spew out more complex and different names in
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an attempt to pinpoint a source, while at the same time converging on one
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obvious thought: industrial. To demonstrate this idea, we could even trace
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these origins of industrial back to dadaism if we wanted to. This FAQ file
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is less an attempt to force people into their place and more to widen the
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flow of information. Sharing the precious information allows us to
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experience more in our learning than by strange militaristic actions.
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..........................................................................
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< History >
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It is generally accepted that the term "industrial music" was coined in
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1976 when members of Throbbing Gristle formed Industrial Records. It was
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to be a vehicle to explore a new form of expression through analysis,
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presentation and aural stimulation. All of the individuals involved used
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different means to achieve their goals, but the ideas they shared were
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on common ground. Examples of early people on the industrial label
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include Monte Cazzazza, Clock DVA, Cabaret Voltaire, Throbbing Gristle,
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Leather Nun, and William S. Burroughs. Although critics felt they were
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too deviant, their brand of confrontation signaled a desire for a change
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in the political and social system currently in place. However bleak and
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distressing, their music was merely a reflection of the society that
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surrounded them. But what's really important is that they cultivated
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ideas on topics ranging from serial killing to sex and censorship as well
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as countless others which are not encouraged in genteel discussions. This
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was the first strike against the information war launched by the
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propaganda leaders and it positioned them as more than just a musical
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movement, but a culture. To paraphrase, these essential ideas are the
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makeup for the movement:
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ORGANIZATIONAL AUTONOMY. A conscious choice to record independently. To
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preserve the intention of music and to take it away from the tainted
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and greedy major record companies who enjoyed success at others expense.
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ACCESS TO INFORMATION. With the perception of control techniques leaving
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any physical boundaries and moving into the realm of the mind and the mouth,
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it was of vital importance to discuss and be aware at all times.
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USE OF SYNTHESIZERS AND ANTI-MUSIC. Using found materials and unconventional
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means of composition industrial music was more antagonistic to its intended
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audience, than being music true itself. It was "sounds without content".
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EXTRA-MUSICAL ELEMENTS. Because television has become a more powerful agent
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of control than any pop music song, the use of films and video arrangements
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often accompanied these aural counter attacks.
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SHOCK TACTICS. The final blow in the scheme for control has to be the use
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of hitting home what you have to say, making sure that it gets noticed.
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By far, this last technique is what is most often used by modern day
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"industrialists" and most probably the connecting puzzle piece that gave
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them such a distinction at all. Unfortunately, we've all witnessed death
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and war so often in this day and age, that we're far too jaded to care,
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rendering such an attempt almost useless.
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Does this mean that industrial is now dead? Perhaps. But it cannot prevent
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the presence of their past actions from being muted or lost. In the early
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to late 80's a number of other groups began to interpret some of the audio
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ideas to formulate their own territorial grounding. Mixing the use of new
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technology, imaginative found (or homemade) materials, and the incorporation
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of percussion and rhythm helped guide it into the new decade. Examples of
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some of these bands would include: Non, SPK, Einstuerzende Neubauten,
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Test Department, Laibach, Rhythm and Noise, Ono, and Trial.
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By the end of the 80's, "industrial music" had more than just changed, it
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had more or less, continued to progress and evolve alongside its society.
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These days, it has often come to be known as electronic instrumentation used
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to create a form of dance beats blended with harsh noises and sound bites
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such as Skinny Puppy, Revolting Cocks, Ministry, Front 242 and Front Line
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Assembly. Today, there are musicians who create industrial music from both
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sides of the fence; and the list is ever growing.
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[ for more information about industrial (experimental) music/history/
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culture there are a few books you can read:
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TAPE DELAY - SAF Publishing Ltd. (ISBN 0 946719 02 0)
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REsearch #4/5: Burroughs/TG/Brion Gysin (ISBN 0-940642-05-0)
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REsearch #6/7: The Industrial Culture Handbook (ISBN 0-940642-07-7)
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REsearch #8/9: J.G. Ballard (ISBN 0-940642-08-5)
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REsearch #11: Pranks! (ISBN 0-940642-10-7)
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for more info on how to contact REsearch Publications or SAF Publishers,
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see the directory listing below. ]
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............................................................................
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< Our Charter >
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rec.music.industrial is an unmoderated newsgroup which passed its vote for
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creation by 411:80 as reported in news.announce.newgroups on 23 May 1991.
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For your newsgroups file:
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rec.music.industrial Discussion of all industrial-related music styles.
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The charter, culled from the call for votes:
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Rec.music.industrial is for the discussion of all industrial-related music
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styles, including traditional industrial (i.e. Einstuerzende Neubauten,
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Throbbing Gristle, Cabaret Voltaire, etc.), dance-industrial ('cyberpunk'
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i.e. Ministry, Skinny Puppy, Front 242, Foetus, etc.) and hard techno music
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(i.e. Kraftwerk, etc.). Reviews of new releases, related news items,
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concert information, and other types of discussion are encouraged.
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..........................................................................
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< Important Facts >
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-> The ADRV in Crash Worship's name stands for "Adoracion de Rotura
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Violenta," which more or less means "Crash Worship" in Spanish.
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-> No member of Front 242 is a member of Bigod 20. Jean-Luc DeMeyer, the
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lead singer of Front 242, was a guest on Bigod 20's song 'The Bog,' and he
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sang it and wrote the lyrics. Aside from the similarities in the two bands'
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music, this is the only direct connection between the two bands. (And also
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the fact that they are five-letter words followed by numbers.)
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-> There is some confusion over what is at the end of Front 242's album
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TYRANNY FOR YOU. According to Transmission 242 originally,the songs were
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called simply 'Bonus Track I' and 'Bonus Track II.' However, upon further
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prodding, they replied that the pieces do have titles. The first one is
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called 'Hard Rock.' The second one, according to the letter received, is
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called 'Trigger 3.' However, it is believed that this is a misprint, and
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instead it should be called 'Trigger 1,' because the band had released
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a (longer) song also called 'Trigger 3' on one of their TRAGEDY remix EPs.
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-> The proper spelling for the band Negativland is without the 'e'. Their name
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was lifted from the Neu album BLACK FOREST GATEAU. On that album one can find
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tracks named "Negativland" and "Seeland." The first one is obviously the band
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name, and the second is the name of the band's record label (before they got
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on to SST, of course). Negativland means "negative country" or "country of
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negativity" in German and Seeland means "country of the sea."
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-> the NiN releases go as follows: Halo One is the 'Down In It' vinyl 12".
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Halo Two is PRETTY HATE MACHINE, Halo Three is the 'Head Like a Hole' 12"
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and the CD single, Halo Four is the 'Sin' single, Halo Five is the
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'Broken' single and the UK 'Head Like A Hole' single is Haloless.
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-> Additionally, it is important to note that Nine Inch Nails is only one
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person, Trent Reznor from Cleveland (he does tour with a band but they don't
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appear on the album). There is only one album out, but a new EP containing
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a 3" CD single has been released.
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-> the correct definition of Einstuerzende Neubauten is "collapsing new
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buildings" where "collapsing" is an adjective, not a verb. examples:
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einstuerzen - v., to collapse
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einstuerzende - adj., collapsing, in a state of collapse
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-> "Neubauten" generally refers to buildings built in a particular style,
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rather than to *any* recently constructed buildings. The style in
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question is the impersonal concrete-box modernist style. Most housing
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projects (especially the huge towers built in the 60's) are perfect
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examples of Neubauten.
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-> Einstuerzende Neubauten chose their name when the Berlin 'Kongresshalle'
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collapsed around 1980. The building is located close to the Reichstag
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and was a gift of the US allies to the city of Berlin. The Kongresshalle
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is shaped a bit like an oister, was used for all kinds of exhibitions
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and meetings and finally collapsed due to its cheap 60's concrete/metal
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construction. A journalist died, a few more were injured and several cars
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were smashed. After a rather long public discussion the Berlin government
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decided to rebuild the Kongresshalle since it was a symbol for the
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friendship between Germany and the US.
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-> Additionally, to be strictly correct on a Western keyboard, it should be
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Einstuerzende (the proper way to indicate an umalut over the 'u' is to just
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write it as 'ue').
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-> "Sozialistische Patienten Klinik" or SPK named themselves after a
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group of mental patients who formed an anarchist collective (inspired by
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the Baader-Meinhoff Gang) and then blew themselves up trying to make
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explosives. Their name changed on every release to things such as
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standing for "Systems Planning Korporation", "Surgical Penis Klinik",
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and "SePpuKu."
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-> Concerning folks in sKINNY pUPPY: Nivek Ogre's real name is "Kevin
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Ogilvie". He grew up in Calgary. David Ogilvie is no relation to Ogre. The
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same last names are a coincidence. He moved to Vancouver from Montreal in the
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very early 80's. David Ogilvie's nickname is "Rave" and has been for a very
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long time. Rave's wife (Rosie) is credited as "Mowse" on the old CLEANSE,
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FOLD & MANIPULATE track 'Tear or Beat'. All of the above (and the other
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members of the Vancouver cadre) are very nickname-happy. cEVIN and Dwayne
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both have nicknames as well. Other people outside the camp get branded with
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nicknames if they're around Rave or Ogre too long.
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-> Just because sometimes "Rave" is listed and sometimes the more formal
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"David Ogilvie" is listed doesn't mean they aren't the same person. There are
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credits that say "Ogre" just as there are credits that say "K. Ogilvie".
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-> "Green guy" is a context-sensitive descriptor. It can mean a particularly
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potent form of Pot, or the person who is the delivery boy for said Pot. it
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is also used as in the credits for some pUPPY albums.
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-> Everyone thinks that BACK AND FORTH exists in 50 copies. After all, it
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does say words to that effect on it, right? This is not the case. There's
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only *35* real copies. cEVIN made all of them himself. He "pooped out"
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after those 35, so #36-#50 DON'T EXIST. There's more. Of those 35 copies,
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there's "Mark I" and "Mark II". The first 10 (or was it 15?) were hand-
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dubbed by cEVIN from the four-track master. Those are the "good" ones. The
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remainder were dup'ed on a high-speed double-cassette deck, and are thus
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deemed (by cEVIN) to be of "lower quality".
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-> BACK AND FORTH has been re-issued on CD. it is the first part along with
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other "rarities" and unreleased material as part of a "10 year Skinny Puppy
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retrospective CD" that is in the works. The BAD news is that it (B&F) is
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*re-mixed* and not just re-issued :-( It is being re-done by "Hi-Watt"
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Marshall, the guy who engineered the last Hilt album. (Rave Ogilvie is livid
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over this.) there are two flavors of the re-issued Back and Forth CD:
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the regular limited edition release and the "ultra" limited edition
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release that comes packaged in a steel box with a numbered and signed
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photo.
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-> the recording of sKINNY pUPPY's AIN'T IT DEAD YET was mastered as one
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long track because it's intended to be listened to from start to finish, like
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watching a concert. In order to get the whole experience, you have to listen
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to the whole thing.
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-> For LAST RIGHTS, "song 4 on side 2" of the cassette is the same thing as
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"song 10 on the CD" which is the same thing as "Left Handshake", the track
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that samples Timothy Leary from "Tune in, turn on, drop out" which is the
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same track that isn't there because the copyright holders on said Timothy
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Leary quoted speech rescinded permission for the band to use the samples.
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It may emerge as a one-sided 7", to be given away to people at their
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upcoming tour shows if you buy some tour merchandise; or it may suddenly
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appear out of (K)nowhere courtesy of some annoited bootleggers.
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-> Re: Tear Garden's album, TIRED EYES SLOWLY BURNING, the credits in
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vinyl copies for the song "You and Me and Rainbows" clearly state:
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Edward Ka-Spel: Voice, keyboards, tapes
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cEVIN Key: Keyboards, rhythm box, guitar, radio, tapes, voice
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D. Rudolph Goettel: Keyboards
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Lee Salford: Drums
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N. Ogre: Voice
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Lisa: Lady voice
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Rave: Guitar, tapes
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Note that "Lee Salford" was the drummer for Section 25 at one time, and "Lisa"
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is a woman who I believe was Cevin's girlfriend at the time.
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-> 1000 Homo DJs work was originally done as an Al Jourgensen solo project
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concurrent with the LAND OF RAPE AND HONEY work. The vinyl EP of APATHY was
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released about six months post LORAH. When Al decided that Trent Reznor
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should do the vocals for 'Supernaut', Steve Gotlieb (president of TVT), who
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was already unhappy with Trent because of his legal filings against him,
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told Wax Trax that any productions using Trent Reznor's voice is in
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violation of Trent's contract with TVT. So the CD5 was released with the
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original Jourgenson vocals. the CD5 itself was released containing the two
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new songs, 'Supernaut' and 'Hey Asshole' as well as what was on the APATHY
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EP, 'Apathy' and 'Better Ways'.
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-> KMFDM stands for Kein Mitleid fuer die Mehrheit which in English
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means "No pity For The Majority." It has been argued that the name
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really means nothing because the liner notes for their album, WHAT DO
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YOU KNOW, DEUTSCHLAND (WaxTrax! Records) have it listed as meaning:
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"Kein Mehrheit fur die Mitleid"
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however, the proper use of the prhase would be:
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"Kein Mitleid fuer die Mehrheit"
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(mit=with,leid=pain -> Pity; Mehr=more,heit=-ness -> Majority)
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which also uses the genders correctly.
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-> other uses such as "Kill Mother Fucking Depeche Mode", "Krispy Mutant
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Fish Dealing Mescaline" or even "Kyle Minogue Fans Don't Masteurbate" is
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just a joke.
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-> Survival Research Labs now has an answering machine system which you can
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get info from. Unfortunately, the current messages do not give any dates for
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performances. It does however have a menu which allows you to get info on
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past shows, legal problems, being an SRL volunteer, and current machines
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working or being developed. Call: 1 + 415 641-8065
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...........................................................................
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< FTP servers >
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-> The anonymous FTP address for the rmi FAQ is:
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bradley.bradley.edu or (136.176.10.11)
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and for the most part contains the EFN back issues. Also present are
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transcribed lyrics (currently Ministry and Negativland) and a few
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discographies.
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-> The discography archives are currently available via e-mail request
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from Dave Datta <datta@cs.uwp.edu> and/or via anonymous FTP at:
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ftp.uwp.edu (131.210.1.4)/pub/music/discog/*
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There are currently over 400 discographies in the archives as well as
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tons of lyrics at this time. Submissions are always welcome. A sample
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FTP session/help file is also available via mail request from the
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administrator.
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-> The files that comprise Factsheet Five Electric (the zine of zines)
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are available for online reading or downloading from the WELL, via ftp
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from either:
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ftp.msen.com (148.59.1.8) /pub/newsletters/F5-E
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or src.doc.ic.ac.uk /literary/newsletters/factsheet-five
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These are freely distributable. Questions regarding F5 Electronic
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should be addressed to Jerod Pore <jerod23@well.sf.ca.us.>
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-> The general rule for all anonymous ftp sites is:
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1. When prompted for a user name, type 'anonymous'.
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2. When prompted for a password, type your full e-mail address.
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This will work for the vast majority of ftp sites, including the two above.
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...........................................................................
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< Directory of Record Labels, Mail Order Sources and Contacts >
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MAJOR RECORD LABELS:
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^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
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Danceteria
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222 rue de Solferino
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F59000 Lille, France
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Dossier Records
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Prinzenallee 47b
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D-1000 Berlin 65, Germany
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The Grey Area of Mute Records
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5 Crosby Street, 5th floor
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New York, NY 10013, USA
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The Grey Area of Mute Records
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attn: John McRobbie
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429 Harrow Road,
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LONDON, W10 4RE, UK
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Nettwerk Productions
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1755 Robson Street, Box 330
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Vancouver BC, Canada
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V6G1C9
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Parasol/Cargo
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201 North Coler
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Urbana, IL 61801, USA
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217-384-4835 (tel)
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217-384-7933 (FAX)
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PIAS-US/Caroline Records
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114 WEST 26th Street
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New York, NY 10001, USA
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Play It Again Sam Records
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90 Rue de Veeweyde
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1070 Brussels, Belgium
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ROIR
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611 Broadway, Suite 411
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New York, NY 10012, USA
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212-477-0563 (tel)
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212-505-9908 (FAX)
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Touch and Go
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P.O. Box 25520
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Chicago, IL 60625, USA
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312-463-8316 (tel)
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WaxTrax! Records
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1659 N.Damen Avenue
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Chicago, IL 60647, USA
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DISTRIBUTORS AND SMALLER RECORD LABELS:
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^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
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!Alarma!
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P.O. Box 404
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Encinitas, CA 92024, USA
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Alchemy Records
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1-15-9-202 Nishishinsaibashi
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Chuo-ku, Osaka-shi, Japan
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Anomalous Records
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PO Box 38267
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Los Angeles, CA 90038-0267, USA
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Artware Audio
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Taunusstrasse 63B
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D-6200 Wiesbaden, Germany
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Barooni
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PO Box 12012
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3501 AA Utrecht
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The Netherlands
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Charnel House Productions
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P.O. Box 170277
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San Francisco, CA 94117-0277, USA
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CoC
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Postfach 7009
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W-5800 Hagen 7, Germany
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Cold Meat Industry
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Elsa Brandstroms g.4
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582 27 Linkoping, Sweden
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Cthulhu Records
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c/o R. Kasseckert
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Im Haselbusch 56
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4130 Moers 2, Germany
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Dionysus Records
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P. O. Box 1975
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Burbank, CA 91507, USA
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818-953-4036 (tel)
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Disaster Area (Send 2 IRCs for catalog)
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AM Forst 2
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D-2907 Huntlosen Germany
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Death Of Vinyl Entertainment, Inc.
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2 Bloor Street West, Suite 100-159
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Toronto, Ont Canada M4W 3E2
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416-766-9612 (tel)
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416-766-1041 (FAX)
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DOM
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Horngasse 2
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5100 Aachen, Germany
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Dom America
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P.O. Box 971
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Olympia, WA 98507, USA
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Front De L'est
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13 Rue Verrier Lebel
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80000 Amiens, France
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Flying Esophagus Productions
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1289 Balboa Court, #243
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Sunnyvale, CA 94086, USA
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Independant Project Records
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544 Mateo Street
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Los Angeles, CA 90013, USA
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IRRE-Tapes
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Matthias Lang
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Barendellstrasse 35
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6795 Kindsbach, Germany
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Korm Plastics
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c/o Frans de Waard
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Opaalstraat 19
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6534 XK Nijmegen, Holland
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Ladd-Frith
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PO Box 967
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Eurekea, CA 95502, USA
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Normal Records
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Bonner Talweg 276
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5300 Bonn 1, Germany
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0228-213041 (tel)
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Nux Organization
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3-690-47 Hibarigaoka
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Zama, Kanagawa,
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Japan 0462-52-0579
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Odd Size Distribution
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6 Rue Dupuis
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75003 Paris, France
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Permis de Construire
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26 rue Saint Julien
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F54000 Nancy, France
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Priapismus
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c/o Franz Liebl
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Steinerweg 14
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D-8000 Munchen 60, Germany
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RRRecords
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151 Paige Street
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Lowell, MA 01852, USA
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508-454-8002 (tel)
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Silent Records
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540 Alabama, suite 315
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San Francisco, CA 94110, USA
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415-252-5764 (tel)
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415-864-7815 (FAX)
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Soleilmoon Records
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PO Box 83296
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Portland, OR 97283, USA
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503-621-3202 (tel)
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503-621-3248 (FAX)
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Sound of Pig
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c/o Al Margolis
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PO Box 150022
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Van Brunt Station
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Brooklyn, NY 11215, USA
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(cassettes $4 - $6)
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Staaltape Records
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PO Box 11453
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1001 GL Amsterdam
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The Netherlands
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Subterranean Records
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PO Box 2530
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Berkeley, CA 94702, USA
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415-821-5880 (tel)
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TOUCH:Records
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13 Osward Road
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London SW17 7SS, UK
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081-767-2368 (tel)
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081-682-3414
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Trance Records
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P.O. Box 49771
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Austin, TX 78765, USA
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512-454-3148 (tel)
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Turbine Cassettes
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P.O. Box 4585
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Santa Clara, CA 95056-4585, USA
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Vis-A-Vis Audio Arts
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2-12-3 Hamadayama
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Suginami, Tokyo 168 Japan
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V2 Organization
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Muntelstraat 23
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S-Hertogenbosch, Netherlands
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MAIL ORDER SOURCES AND 'ZINES
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^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
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21st Circuitry Records
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396 Waller Street
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S.F. CA 94117
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AMOK Data Institute
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P.O. Box 777
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Oakland, CA 94604, USA
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call (800) 428-7825 Ext. 320 toll free to receive an up-to-date free copy
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of the AMOK Bulletin. The AMOK Buletin is published quarterly. ADI accepts
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VISA and MASTERCARD and has a 24-hour toll free order line.
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AMOK
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P.O. Box 861867
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Los Angeles, CA 90086, USA
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(Send all refund requests to AMOK and not ADI)
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Auricular Records
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575 Haight Street
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San Francisco, CA 94117
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(monthly audio magazine $7)
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Bananafish Magazine
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P.O. Box 424762
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San Francisco, CA 94142-4762, USA
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Ben Is Dead Magazine ($2)
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PO Box 3166
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Hollywood, CA 90028, USA
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Cadence
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Redwood Bldg.
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Redwood NY 13679, USA
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EAR/Rational Music
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1118 Castillo St.
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Santa Barbara, CA 93101
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805-564-4949 (tel)
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805/893-8553 (fax)
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Electronic Cottage International Magazine
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P.O. Box 3637
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Apollo Beach, Florida 33572, USA
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EC has a 3-issue subscription rate:
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$9.00 U.S.
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$12 Canada/Mexico
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Overseas $15 air-mail or $12 surface mail
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Make checks payable to Hal McGee
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Emergency Broadcast Network
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114 Vinton Street
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Providence, RI 02909, USA
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(videos are $20ppd)
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The Evolution Control Committee
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P.O. Box 10391
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Columbus, Ohio 43201, USA
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FactSheet Five Magazine
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1800 Market St.
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San Francisco CA 94102, USA
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Questions, comments, donations and subscription business for
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the printed version of FactSheet Five should be sent to:
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Seth Friedman
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PO Box 170099
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San Francisco CA 94117-0099, USA
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File 13 Magazine
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P.O. Box 175
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Concord, MA 01742, USA
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Gajoob Magazine
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P.O. Box 3201
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Salt Lake City, UT 84110, USA
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Godsend Fanzine ($1.50)
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c/o Todd Zachritz
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1401 Fuquay Road
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Evansville, Indiana 47715, USA
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Music From The Empty Quarter ($3.75)
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P.O. Box 87
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Ilford, Essex, IG1 3HJ, UK
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MOLE magazine
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P.O. Box 5033
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Herndon, VA 22070, USA
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N-D Magazine
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P.O. Box 4144
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Austin, TX 78765, USA
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Negativmailorderland
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c/o T.E.C. Tones
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P.O. Box 1477
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Hoboken, NJ 07030, USA
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201-420-0238 (tel)
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201-420-6494 (fax)
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Negativmailorderland is selling photocopies of the _EFN_ booklet, "Is
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It Over Yet", for $3.00. They are also selling Car Bomb stickers for
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$2.50. This is according to their Oct/Nov flyer.
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Negativland (band contact)
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c/o Seeland Records
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1920 Monument Blvd, MF-1
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Concord, CA 94520, USA
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The Ooze
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2190 W. Burnside St.
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Porland, Oregon 97210, USA
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Out Of Nowhere
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55 rue Albert
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F75013 Paris, France
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(regular zine + CD comp)
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REsearch Publications
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20 Romolo Street, #B
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San Francisco, CA 94133, USA
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415-326-1465 (tel)
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SAF (Publishing) Ltd.
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PO Box 151
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Middlesex HA3 ODH, England
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01-904-6263 (tel)
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S/M Operations
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P.O. Box 611282
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Port Huron, MI 48061, USA
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Sound Choice Magazine
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P.O. Box 1251
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Ojai, CA 93023, USA
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Technology>>Works Magazine ($1.50)
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c/o Paul Moore
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P.O. Box 477
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Placenta, CA 92670-0477, USA
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VITAL Magazine ($0.75)
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Opaalstraat 19
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6534 XK Nijmegen, HOLLAND
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Wayside Music
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P.O. Box 8427
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Silver Spring, MD 20907-8427, USA
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We Never Sleep
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c/o Paul Dickerson
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P.O. Box 92
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Denver, CO 80201, USA
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(free catalog)
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Zine Exchange Network
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c/o Gary Pattillo
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5920 Victor Street
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Dallas, TX 75214, USA
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--
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Yes. Beautiful, wonderful nature. Hear it sing to us: *snap* Yes. natURE.
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