Homer’s GM Mike Fratt forwarded the following letter that he received in mid-November. I can’t tell if what’s happened to Southern — once a leading indie music distro — has anything to do with the economy or not.

Dear Friends,

On November 21st, 2008, Southern Records Inc. of Chicago (SRI) will cease operations. Chicago Independent Distribution, which is owned and operated by SRI’s current General Manager Jim Zespy, will take over distribution operations without interruption.

Southern Studios began operating in London in the late 1970’s, first as a recording studio, then as a group of record labels. With time, the activities of Southern grew and several affiliate companies were formed in the UK. A U.S. company was first established in the late 1980s and eventually led to the establishment of the U.S. distribution facility, SRI, in Chicago in 1993.

2005 saw the passing of the company founder and principal shareholder, John Loder. John’s family has since moved to allow the sale of each company to its existing management. The Chicago-based company, Southern Records Inc., will cease operation as part of such an arrangement.

Southern Studios will continue to manage its record labels from their London office, including Black Diamond, Bluurg, Crass, Exitstencil, Latitudes, Southern, Truth Cult, and Wrong.

Chicago Independent Distribution and Dischord Records have established a new partnership for North America. Chicago Independent Distribution will also continue to distribute the record labels owned and/or operated by Southern Studios in North America.

Chicago Independent will remain the exclusive home of the following labels in the USA: Aurora Borealis, Black Diamond, Bluurg, Constellation, Crass, DeSoto Exile on Mainstream, Graveface, La Societe Expeditionnaire, Latitudes, Marriage, My Pal God, Outer Himalayan, P.W. Elverum & Sun, Permanent, Retard Disco, Sickroom, Southern Records, Truth Cult, Upset! The Rhythm, and Wrong Records.

OK, so what’s this really mean? The first paragraph seems to indicate that no one will notice a change as a result of this business transaction. I asked Fratt. “Depending on the deal they did, this could mean small artists are left holding the bag, so to speak,” he said. “Even though the new company has their product, artists may have to do a new ‘deal’ on that with the new company and then try to navigate the closure of Southern to collect for what they sold. Or, it may be seamless and no outstanding accts payable issues.”

Fratt foresees nothing but gloom for the music industry and business in general deep into next year. “The volume of national chain closures (in every sector; retail, food, services, etc) as well local businesses will be staggering in the next 6 months,” he said. Hold onto your hats.

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I listened to No Blood Orphan from the bar at The Barley St. Saturday night — I was too glued to the Oklahoma/Okla St. game, and besides, there was no place to sit/stand in the music room anyway. As the third quarter rolled into the fourth and the Sooners began to pull ahead, the crowd began to overflow into the bar. I don’t know if it was because of the Thanksgiving holiday or a pseudo family reunion, but there were lots of older folks (re: older than me) cramming up the place. I think they were probably there to see either Answer Team or Fortnight.

BTW, it didn’t matter that I was in the bar when NBO was playing — I could hear them just fine. I don’t need to see Saklar’s guitar ballet to hear its splendor and beauty. My take on NBO and their new music: They’ve never sounded so poppy and so hooky and embraceable as on their new CD or on stage Saturday night. The sound is kick-back but not rustic or rural or Americana. It’s modern indie rock with a definitive beat.

By the time The Answer Team came on the game was pretty much over or at least no longer interesting. I’ve never heard of these guys — a five piece that included a lady on violin and a guitarist who looked like McLovin’ with a perm and headphones. Their instrumentals-only music sounded influenced by Tristeza or The Album Leaf. One person compared them to Race For Titles without vocals, though Answer Team was no where as hard as those guys. I do like what they did, though inside the Barley St. their overall sound was tinty, with no low-end at all. Their guitars sounded too bright and metallic and I wondered how they’d sound on the Waiting Room’s stage with beefed up amps.

Finally, on came Fortnight, a combo that includes Jenn Bernard (ex-Park Ave, ex-Magic Kiss). Bernard looked like she hadn’t aged a day since I last interviewed her more than seven years ago. They began playing a song during their pseudo soundcheck — just started playing — and it was among the coolest things they did all night. The guitarist walked onto the dance floor and faced the band and began riffing and everyone joined in. I’m not familiar enough with their music to say if that was just an interlude from another song or not, but they should consider starting their sets that way.

As a whole, Fortnight came off as a fun loving indie band featuring two vocalists — Bernard and frontman Corey Degner — taking turns and singing together without harmonies a la Tilly-style. Sitting in on bass was intern Brendan Walsh-Greene — no idea what that was all about, but he did a yeoman’s job with just a week’s worth of practices. This is a band to keep track of.

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