A decade ago, as one-third of the legendary Minneapolis trio Hüsker Dü, he pioneered the fusion of punk, metal, and pop that the media has deemed "alternative rock."

In 1992, he returned to the indie rock fold after a two-album, major-label, solo venture and released Sugar's stunning debut, COPPER BLUE.

That record sold over 350,000 copies, setting the stage for a successful world tour and for BEASTER, a stark, noise-drenched short-form album that asserted Sugar's uncompromising vision

FILE UNDER: EASY LISTENING is Sugar's new album, released Sept. 6. Produced by Mould and recorded in and around Austin, Texas, may not be as harrowing as BEASTER, but it's just as potent.

The high-octane opening track, "Gift," and the disc's first single, the appropriately-named pop gem "Your Favorite Thing," find an unusually optimistic Mould looking on the bright side of life...or so it seems.

Tonight's moderator is David Kushner, a freelance music journalist whose work has been published in Mondo 2000, Details and Spin, and who is a regular contributor of articles to SonicNet.

HELLO, WELCOME

(BOB MOULD) Hello, Bob Mould here.

IS THIS YOUR FIRST ONLINE CONFERENCE?

(BOB MOULD) Yes, in fact it is. I'm hoping I can figure this out. I suppose it's like writing a letter, huh? Except you get an answer right away?

(JIM SANTO) Can I ask a question?

(BOB MOULD) Certainly, fire away.

(JIM SANTO) This question was posed to me by my friend F.M. Cornog, a/k/a East River Pipe. Fred said he read somewhere that you once had a bad LSD trip and that experience continues to influence your music. Is this true?

(BOB MOULD) No, not at all. Actually, LSD is one of the few drugs I haven't tried, and I'm not sure I ever will.

(JIM SANTO) Are you afraid of it?

(BOB MOULD) It doesn't interest me, that's all.

(JIM SANTO) Fair enough.

(HARRY GOLDSTEIN) Hello. New album doesn't seem as grim/dark as Beaster -- why?

(BOB MOULD) The new album, FU:EL, The new album is sort of a reaction towards Beaster, in that Beaster was a "suite" of music accompanied by one long lyrical idea, and the self-analysis theme wears a little thin on me. I wanted this record to be very direct and understandable, which I think it is.

BOB, THERE'S NO SELF-ANALYSIS ON THE NEW ALBUM?

(BOB MOULD) Yes, but not in the long-winded sense of Beaster. This record is more "conventional", in structure. But I'm sure there's something in there I haven't figured out yet. The format is different.

ANDY, GO AHEAD.

(ANDREW SARNOW) Bob, any directions outside of Sugar?

(BOB MOULD) There's a lot of music written that hasn't been heard yet. Right now, most of my energy is focused on Sugar, but I've been trying to figure out what to do with this other stuff. It would be great to come up with another record like Workbook, but those things happen when they're meant to happen.

ANDY, RESPONSE?

(ANDREW SARNOW) What about film scores?

(BOB MOULD) I was approached to work on the scoring for "Frisk", the movie based on Dennis Cooper's book. Unfortunately, by the time they finished shooting (a month ago?), the Sugar thing was in full flight. It's something I'd like to do, if the film was right, artistically.

KEN, YOU'RE ON.

(KEN JOHNSON)Hi Bob. A lot of attention has recently been paid to your work with Hüsker Dü, a band name-checked far and wide these days. Do you feel vindicated for that work, finally? If not, how do you feel about the praise?

(BOB MOULD) The recognition has always been there, in one form or another. It's flattering, but as far as vindication, I guess SUGAR's success in the face of non-support from the corporate music system is much more pleasant.

JIM, GOT A RESPONSE?

(JIM SANTO) It's interesting for me to hear that, Bob, and I understand it, as someone who has been making music well into my thirties, I've found I am more able to enjoy what is happening to my career than I did when I was younger. Do you agree, Bob?

(BOB MOULD) Well, the music should always take precedence over measurable success. I find, as I approach 34 next month, that I feel more at ease with the process, and feel more and more detached from the "mechanics" of the industry. It's about self-satisfaction, and if other people like it, that's cool too.

ANDY, YOU'RE ON.

(ANDREW SARNOW) Bob, do you feel working with Ryko allows you to be removed from the industry networks?

(BOB MOULD) Not entirely. For example, this past week, I was in 9 cities over the course of five days doing promo work for the LP. With a company like Ryko, I feel like it's something that benefits both of us, as opposed to the subserviancy that always seemed to exist with majors. They (majors) will continue with/without you, whereas I thin Ryko's growth parallels SUGAR's growth, and it's a mutually beneficial situation. That, I can take pride in. It's not like picking up your check at the end of the week, or something.

JOSHUA, ARE YOU READY? SPEAK.

(JOSHUA HOOVER) Bob, when playing live, do you feel the need to provide an aural impact on the audience, or are you satisfied by softer approaches?

(BOB MOULD) With SUGAR, it's definitely a workout, as far as volume goes. A lot of it is about getting the right amount of sustain out of the guitar, and loudness helps me with that. The acoustic shows are fairly assault-oriented as well, although not as shattering as the SUGAR gigs. Maybe it's something akin to weakening the listener, so that the message gets in clearer. Like when they bombarded the Branch Davidians with sound during the WACO deal!

MITCH, YOU'RE ON.

(MITCH BROWN) I'm sorry bout changing the subject, but I just have a few quick questions. What do you think of this new so called rebirth of punk?? And what did you think of the rise of bands such as Nirvana who were pulled into the mainstream? Also, what prompted you to host a recent episode of 120 Minutes?

(BOB MOULD) What I can't figure out with the "punk rebirth" is, in fact, did it ever go away? It's almost like revival bands, or something. Re: Nirvana, I'm not sure they were pulled into the mainstream, they did sign a contract with Geffen, I believe. Regarding 120: exposure, plain and simple. The nice thing

was, when we suggested to them that we would like to bring Lou Barlow on the show, as well as being able to pick some videos (Magnapop, GBV), they consented. So, we had our little moment of influence over the airwaves.

HARRY, RESPONSE?

(HARRY GOLDSTEIN) What do you think about the media bestowing the mantle of "voice of a generation" on a cold Kurt Cobain?

(BOB MOULD) Kurt was the voice of Nirvana. Hindsight, and revisionist history, are two of the most popular forms of selling stories these days. I think Kurt's music spoke to a lot of people who live in a country where every other

teenager comes from a broken home. I'm sure there was a lot of media people who couldn't wait 'til the funeral to canonize him. The whole predicament was a real bummer, and that's all I could add to what's already been said.

OKAY, ANDY?

(ANDREW SARNOW) Re: exposure plain and simple. Bob, why Entertainment Weekly?

(BOB MOULD) I have no say over that, Andy. They seem to be big fans over there, as this week was not the first time they've featured us in their mag. I really can't justify why, nor do I feel I have to. It's just part of the procedure around releasing a record.

ROBERT, YOU'RE ON.

(ROBERT SPRANCE) I have a few questions. I admire that you always help up and coming bands with your singles only label. Do you still have this label, and if so, what can I do to be considered?

(BOB MOULD) The label still exists, although at the present time, I am not involved. Main reason: I don't want to bring bands into a situation like SOL, when the next six months of my life are consumed by SUGAR. SOL's address is: POB 966, NY NY 10009. Send a tape.

(ROBERT SPRANCE) Will you continue to give David Barbe more songs in the future? His live performance is very good but I feel he is even better on the record.

(BOB MOULD) To date, David has composed two songs for SUGAR, "Company Book" and "In the Eyes of My

Friends." All the other material is either from Buzz Hungry or Mercyland days. I wish David would contribute more, but seeing as he has a family with three kids, I presume he doesn't have as much time to write as I do. The more songs like "Company Book" he brings in, the more will show up on records.

BOB, WHO ARE YOUR LITERARY INFLUENCES?

(BOB MOULD) Mishima, Burroughs...oh, who else? Brautigan, to a small extent. Harry Crews, too, I guess.

HAVE YOU EVER WRITTEN FICTION?

(BOB MOULD) I've written prose and short stories, but I don't think they're anything special. Some of them have been adapted for songs, like "Compositions" off of Workbook. Maybe in the future, I'll get serious about that.

LOKKE, GO AHEAD.

(LOKKE HIGHSTEIN) My question is about the Hüsker Dü days, specifically a song called "Erase Today." I've only found it on one compilation, and I'm wondering if it was on any album, or if it was an outtake, and if so, from what year?

(BOB MOULD) "Erase Today" was a "Metal Circus" outtake, and appears on a Giorno Poetry Systems compilation. There's a few other tracks from those sessions that appear on other comps. The time period, exactly, was 1983, January, maybe?

(JIM SANTO) May I ask a question?

(BOB MOULD) Yes.

(JIM SANTO) Do you ever become frustrated by the song format? If so, how do you deal with it?

(BOB MOULD) Beaster was one way! Sometimes, yes, but there is something to be said for having 4 minutes to state your case. I have other things at home, of a very different nature from "songs," sort of these neo-classical pieces composed on keyboards. One in particular that I started working on as HD broke up, I had it up to about 11 minutes, with about 9 variations on a theme, very strange stuff. Someday I'll finish it.

(JIM SANTO) You're well-suited to this format. On-line, that is.

(BOB MOULD) Good. I type pretty fast.

HARRY, YOU'RE ON.

(HARRY GOLDSTEIN) What was it about Minneapolis that spawned HD, The Cows, Soul Asylum, and the whole garage band sound, and the Replacements o' course, and similarly, what does Austin have to offer?

(BOB MOULD) Cold winters, cheap beer, truckstops, trucker speed. As far as Austin goes, long summers, cheap food and trucker coffee. Seriously, a very supportive music community will do wonders. Radio, things like the Texas Music Office, good clubs, all those things go a long way in helping bands get started.

(ANDREW SARNOW) So how's Austin treating you in relation to your last home & how do you stay so cool there?

(BOB MOULD) NY is no place to come home to after being on the road for extended periods of time. If I didn't tour, I could easily live in NY. Staying cool: aircon set at 75 degrees.

PUDDLE, YOU'RE ON.

(AK PUDDLE) Hi, Bob. I was wondering about SOL. Do you think that you and Nicholas were on the forefront of the latest resurgence of 7" single popularity among "indie", unsigned, etc. bands?

(BOB MOULD) Maybe we were like the paramedics that kept the patient alive 'til he/she got to the hospital.

(AK PUDDLE) Good. You've been very bold about signing certain bands to release on SOL. I'm glad my friends Continental Drifters (New Orleans) were on.

(BOB MOULD) Good band. That was Nicholas' call, not mine, but a fine group anyhow.

(AK PUDDLE) In one interview, I believe you said that there were a lot of bands that cited HD as an influence, but you didn't feel that they had any idea what y'all were really about. Can you explain further?

(BOB MOULD) Some bands simply lifted the "sound" wholesale. Others probably heard what could be done with music, and took their own sound one step further. Those are the ones who got it right (Pixies, MBV, maybe?).

(LOKKE HIGHSTEIN) I saw HD perform during the Candy Apple Grey tour, and you had Dwight Yoakam open for you. I felt the crowd was extremely hostile. What made you choose him, and what do you feel about the crowd's reaction?

(BOB MOULD) It was a suggestion from WB people, and it might not have been the wisest thing, although, when talking to c/w people, I can always say, "hey, I gave Dwight his big break in NY" :-)

SARNOW, YOU'RE ON.

(ANDREW SARNOW) Bob, I saw a great acoustic show in NY (Irving Plaza), plus Sugar. Are you hesitant to play songs from Candy Apple Grey? If so, why?

(BOB MOULD) In the acoustic context, anything I've written (that I can remember) is fair game. SUGAR only plays SUGAR stuff, with the exception of a couple older David tunes. The last thing I would want is to be on a stage, playing electric guitar in a 3 piece, and not be sure what two guys are behind me (does that make sense?). I made the mistake of trying that once, with Tony/Anton/Jim, and it scared the hell out of me. Never again.

(ROBERT SPRANCE) Question, please.

GO AHEAD, SPRANCE.

(ROBERT SPRANCE) What happened to the song "After All These Roads?"

(BOB MOULD) We wore it out on tour, and it just didn't fly in the studio this spring. Maybe we'll find a live version to release.

BOB, WHAT'S THE MOST DIFFICULT SONG FOR YOU TO PERFORM LIVE?

(BOB MOULD) "Too Far Down," hands down. That shit still tears me up.

WHY?

(BOB MOULD) It's not real fun to recreate that emotional level, especially in front of people. I would say "The Slim" is up there, too.

WHAT'S THE STORY BEHIND "THE SLIM?"

(BOB MOULD) SLIM was an early terms for AIDS, in Africa. Again, the emotional level. There's some nights where I'm having a great time playing, and a song like that can really throw me off for the rest of the night. Maybe if I played them more often, I'd get over some of it, but it might wear the emotion out.

HARRY, RESPONSE?

(HARRY GOLDSTEIN) Why did you choose to "come out" in Spin?

(HARRY GOLDSTEIN) Why Spin and why now?

(BOB MOULD) Well, in my eyes, I thought it would be best to deal with this non-issue in a setting where it might come off right. What I mean by that is, Dennis Cooper is a good friend, and a sympathetic ear. Rarely will a situation like that present itself in the context of the media these days. Better now, I suppose, than if/when SUGAR becomes widely recognized, and someone with less of a sympathetic ear splashes it across (fill in the trash media outlet). It's no big deal, it was no secret. Just seemed like time to be done with it and move on to the music.

SARNOW, YOU'RE ON.

(ANDREW SARNOW) Any plans for an acoustic album or live acoustic?

(BOB MOULD) No live acoustic for a while. Like I said earlier, I'd love to make an acoustic record, a la Workbook again. When the time is right, I will, I'm sure. I need to have some time away from the "cycle" to get something like that right. When I say "cycle", I mean recording/press/media/touring/exhaustion.

BOB, DO YOU CARE THAT YOU'RE MISSING. THE MTV AWARDS SHOW?

(BOB MOULD) Sorry, had to use the bathroom. Let me regroup.

(BOB MOULD) In a way, yeah, cause I bet Roseanne's kicking some punk rock ass around Radio City tonight.

DON'T WORRY, THERE'LL BE A RERUN. LENNY, YOU'RE ON.

(LENNY ZENITH) Without getting too personal, when you write, what kind of circumstances are most common in producing "output"? Do you have to be in complete solitude? Do you have to spend time at it everyday (I think you said you did)?

(BOB MOULD) Yeah. I have trouble writing on the road, because I always feel like it's going to come out sounding like a road song. I work best at home, in my studio room, surrounded by all my different instruments and tape machines. It allows me to go off on tangents that wouldn't be available to me elsewhere. I always work alone. And I do work almost every day.

(LENNY ZENITH) One more. Will you be "hanging" with SonicNet at all in the Future? Do you have the "hardware" to utilize the downloading capabilities of the bands that have stuff on here?

(BOB MOULD) This is my first day on. I moved around a little bit before coming in to the conference, and it looks real cool. I have computer peoplein town that could tell me if I've got the right gear to access everything. I've only been using e-mail as a business tool this past year and a half, but as the technology speeds up, I know I'll be using the services for most everything.

IF YOU COULD COLLABORATE WITH ANY ARTIST, LIVING OR DEAD, WHO WOULD IT BE?

(BOB MOULD) Kevin Shields from MBV is my first choice. I'm sure if I sat and thought, I'd come up with more.

(HARRY GOLDSTEIN) What's MBV?

(BOB MOULD) My Bloody Valentine.

GO, JIM.

(JIM SANTO) You and Shields would be my dream come true. Do it!

DEB, ASK AWAY.

(DEBORAH KLEIN) What song will open the next Sugar tour?.

(BOB MOULD) Don't know yet. We start rehearsals a week from now. Maybe "Gift?" If I knew, I wouldn't tell.

(DEBORAH KLEIN) Can I suggest "Gift?"

(BOB MOULD) Sure. Seems like a likely candidate.

(DEBORAH KLEIN) That's great.

SARNOW, GO AHEAD.

(ANDREW SARNOW) Do you parents respect what you have accomplished in your career?

(BOB MOULD) Yeah, my mom's a big fan. I think they're happy that I'm happy, regardless of what that involves. An interesting anecdote: my late aunt tried to convince my grandma that I was a drug runner, and that HD was just a front.

(DEBORAH KLEIN) Hey Bob, what's "Granny Cool" about?

(BOB MOULD) "Granny Cool" is a story based on the notion of an aging "scenester", maybe an LA starlet or something, who holds onto the past, and his/her 15 minutes of fame. Never lets go, surrounded by a few disciples. Someone we might like, but don't have the time for anymore. So

sad a story, but so true. It could be me someday.

SANTO, GO AHEAD.

(JIM SANTO) Bob, I'm listening to "Copper Blue" as we're doing this, and it occurred to me, you always seem to use the same vocal sound, or very similar; rather compressed and double-tracked (a la Lennon). How come? Ever experiment with a more open, natural sound?

(BOB MOULD) "Explode and Make Up" is one live vocal take, top to bottom. I use compression to eliminate some of the nasal resonances. Double tracking helps to reinforce the sound, as opposed to chorusing or any other effect available. It's what I hear in my head when I sing, so that's why I favor that approach.

(JIM SANTO) I dunno, I think double-tracking tends to remove a layer of personality. Not that you don't have personality. Besides, Bob, we all LOVE your nasality!

(HARRY GOLDSTEIN) We love your nose!

(BOB MOULD) Well, thank you, Jim! I dunno, it's just something I do Thank you too, Harry!

CHERI, YOU'RE ON.

(BOB MOULD) I'm done.

THANKS, BOB. HOPE TO SEE YOU HERE AGAIN SOON.

(CHERI CHENG) Bob, who would you like to tour with this year?

(HARRY GOLDSTEIN) Thanks Bob, for all and everything.

(ANDREW SARNOW) Thanks Bob.

(BOB MOULD) This year, Oh no, I meant done with that response. I'm still here.

(DEBORAH KLEIN) Oh good.

JIM SANTO: Great conference. Oops!

THANK YOU. THANK YOU WE WERE SCARED.

(LOKKE HIGHSTEIN) Do you have a favorite venue to play in, a place which you feel has truly excellent acoustics, and a great vibe, or are you not that picky?

(BOB MOULD) This year's opening band menu: in UK/Europe, Puppy Love Bomb, and some shows with the Boredoms. In the US, Magnapop, and some shows with Velocity Girl.

OKAY, CHERI, GO AHEAD.

(BOB MOULD) Vibes of a venue...Great American Music Hall in SF is good for solo... Metro in Chicago is real good for everything. There's some I'd rather not play again, but, yes I do notice and try to discern what rooms are good.

OKAY, CHERI...AT LAST. SPEAK.

(CHERI CHENG) Dudes - I had a question??! That was my question answered I think uh oh ignore the crap before this - but I got my question in - thank you.

(ROBERT SPRANCE) question

GO AHEAD.

(ROBERT SPRANCE) What exactly happened between you and Virgin to dissolve that relationship, and did you have anything to do with the best of collection???

(BOB MOULD) Management digging me a hole that I could never get out of, financially, with Virgin. They were OK (V) at first, but they didn't care for "Black Sheets" at all. Re: comp - not a damn thing I could do, nor did I have anything to do with it. if anyone feels compelled to get those live tracks, buy the friggin thing used.

(ROBERT MOLCHON) Bob, how did you first get into e-mail, computers, etc?

(BOB MOULD) I used to use e-mail back in 86, some company in Nashville. Computers in general, it's a necessary knowledge these days. Mostly got into it for bookkeeping, and of course, once you're in, you're into all of it.

LOKKE, GO AHEAD.

(LOKKE HIGHSTEIN) You mentioned that you like Burroughs, what do you think of his doing an ad for Nike?

(BOB MOULD) It's OK. Doesn't change the impact "Naked Lunch" (the book) had on my life. He can do anything he wants, he's William Burroughs.

WHAT SPECIFICALLY DO YOU LIKE ABOUT BURROUGHS' WORK?

(BOB MOULD) Free association, dream state babble, very valuable stuff indeed.

TANJA, YOU'RE ON.

(TANJA KUZMIN-COADY) Who in your opinion are the five best songwriters?

(BOB MOULD) Lennon was pretty good. Pete Shelley/Steve Diggle, for some reason I always count as one person. Townsend has his moments. Currently, Lou Barlow is pretty amazing. And, of course...me.

(JIM SANTO) Ha ha ha

(BOB MOULD) Hey, who said anything about modesty?

HARRY?

(HARRY GOLDSTEIN) What about J. Mascis?

(BOB MOULD) J's OK, I keep waiting for the next step, though.

(ANDREW SARNOW) Any secret influence, i.e. Manilow?

(BOB MOULD) Not that I can think of off the top of my head. I've absorbed so much music in the last 30 years, I'm sure there's something atrociously bland that snuck in somewhere.

WHAT'S YOUR IMPRESSION OF THE AUSTIN "SCENE?"

(BOB MOULD) Oh, you mean Slacker Central? Johnboy (RIP) were amazing live. Bedhead, from Ft. Worth, are real cool. Those are first impressions, having lived here for only 15 months.

(LOKKE HIGHSTEIN) At Irving Plaza, you commented on the weed in Austin, is it still all that?

(BOB MOULD) There's plenty to be found, if that's a good enough answer.

SPRANCE?

(ROBERT SPRANCE) What bands are you listening to lately and have you heard any of the "new thing" like Sunny Day, Lotion and Painted Smile?

(BOB MOULD) Sunny Day I've heard, they're OK. There's some promise there. Lotion, OK as well. Big fave lately is Sebadoh/Sentridoh stuff, Guided By Voices, just...

(BOB MOULD) Bought Shellac LP yesterday, will listen to it tonight. That's all that comes to meat the moment.

LENNY, YOU'RE ON.

(LENNY ZENITH) Bob...uh shit I forgot oh yeah... what did you like/dislike about the music "scene/community or lack thereof in NYC (poseurs/art bands?) etc.

(BOB MOULD) Most of the folks I hung with in NY, I still stay in touch with. I was never one to make the scene, really. NY is always a tough proposition, because of the sheer volume of scenes happening. I don't have much patience with anyone who's got an attitude (read as art pose scheme) This is the 90's, get it together, or get out.