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