Date: Sat, 28 Oct 1995 13:09:39 -0700 
      From: Matthew Polder (mpolder@SUN1.PS.UCI.EDU) 
      Subject: the end of 4AD ?

I think I'd have to agree with a lot of what is being said, though to be
honest I haven't heard any of the new bands (Scheer, the Amps, Mojave3,
other...) so I don't know about the really new stuff. I still think
though that 4AD puts out some of the best music available, or at least
has been doing so. I play to death all my RHP, Cocteau, DCD, UVS, TWP,
etc and some times force myself not to listen to "Down Colorful Hill"
since I like it so much (though I must confess I listened to the first
three tracks this morning. Wow.)

But after going to the Lisa Gerrard show Wednesday night I am still
convinced that their is no better label overall. Sure there are lots of
good bands out there on other labels depending on your taste, but how
often can you go to a show featuring a medley of songs arranged for the
Yan Ching and lute (or whatever it was Robert Perry was playing) that
just left you breathless. That and 4AD still has the coolest artwork
around. My office at school is adorned with various paraphenilia and I
just added a promo poster from the Gerrard tour. Dang it looks cool.


      Date: Sat, 28 Oct 1995 16:40:55 -0500 
      From: cz (ckemnitz@STUDENTS.WISC.EDU) 
      Subject: Take the "End of 4AD" challenge!

The end of 4AD?  I don't think so ...

        It may be popular to be a cynic and say "The end of 4AD is at hand"
but i think that it's more a psychologic phenomenon.  Let me explain.  Most
of us had a period in which 4AD existed but we didn't already own everything
they put out (there may be a few exceptions and i'd like to hear from them).
 The point is that when you first get into 4AD as a label (not just one band
or two on the label) then you get introduced to all sorts of new bands too.
My initial introduction was through Cocteau Twins (one of the early EP's)
then on to Lonely is an Eyesore then points as disparate as Voix Bulgares
and Bauhaus.  The concept of a "4AD sound" is as much of a farce then as
ever (Cf. Matt Johnson, Bulgarian Choir, Bauhaus, Modern English, MARS).
But what made 4AD *seem* so much greater then is that there were already a
stockpile of bands and albums which were thrust upon me all of a sudden.
Many of them were great, some were mediocre, and a few just sucked IMO (can
anyone say *pump up the volume*).
        I thought "the end of 4AD is at hand" around 1989-1991.  The Cocteau
Twins had left, Throwing Muses were starting to sound, well, worse,  some of
the new acts weren't *my thing*, etc...   but it wasn't any of these things
that were the more important reasons that i felt this way.  The more
important reason was that i was buying and enjoying less *new-to-me* music
per year than i had in the previous years.  But when i look back *now* at
some of the things that were released near then (forgive me, i'm at work:
Blood, Livonia, Pale Saints, Lush, DCD) i realize that i was caught in this
mindset that had very little to do with the general "quality of 4AD."
        So here's my challenge:  list all the albums you consider "good
enough" by release date and divide them up in 2 or 3 year sections (be
consistent).  Don't be picky about excellent vs. good vs. somewhat good
since that changes depending on too many factors.  "Good enough" is good
enough to listen to pretty often and *enjoy*.  I listened to HNIA's Livonia
pretty often but i wouldn't have listed it as *excellent* then--now i do
consider it excellent.
        I think that although there have been several releases by 4AD that i
consider *so-so* lately there have also been several very good albums.  I'll
go home and do this myself and see how it turns out BUT i'm willing to bet
that this latest 3 years has a comparable number of "good enough" releases
compared to the previous 3 year periods.

-cz