Sunday, December 1, 2013



November 27, 2013
Dead Bars
Chop-Suey, Seattle

If each band's set were successive acts of a chamber opera the evening's dramatic arc would be distinctly Schumannesque, Florestan to Eusebius, centering focus to a single point, to a single low thwung on guitar, to a single attitude of neck, to a single sung note carrying all.

Or, as root context trajectory: From (Dead Bars) street music doo wop girl group deep ground punk, similar ur-milieu to the Ramones, but from longer back now and un-admixed with keep-your-distance up-yours attitude, all joy and hopping, the sheer noise a naked mask to bare confession behind; through (Swearin') a mid-ground to brake the tempo down, twisting chromatic bass lines (you know, for us music nerds), filling the dragon with fire of ride and crash, as though Velvet Underground were jamming with Red Ribbon; to (Waxahatchee) where it all boils in the end, blues at its most minimal, somewhere far out near Star Anna's constellation, in the nebulae of Whitney Ballen and Jonathan Richman, at the edge of, as we leap.


November 24, 2013
Sonata (Partita) in C, Hob. XVI:1 - Haydn - Christine Schornsheim

The spirit of the age is scholarly and impatient of the performance practices of our Romantic forbears. For better or worse, it is no longer the time to blithely play old music on modern instruments in the assumption that, the new instruments being improvements upon the old, all the music played upon them is improved thereby. I'm not a baby-and-bathwater idealist in this regard - I will cling to Milstein playing the Sonatas & Partitas and Richter's WTC and much beside - but there is plenty to be said for the clarifying decrustification possible on replica instruments, and for the imaginative delights unleashed by impromptu embellishment. Ms. Schornsheim plays this early Sonata on a harpsichord, taking every repeat as an opportunity for gloriously transformational ornament.

Me, ca. 1965
Give Me Your Tired, Your Poor - Bellevue First United Methodist Church Chancel Choir, Betty Eisenbrey, conducting - ca. 1965

November 26, 2013
Rapper's Delight: The Best of the Sugarhill Gang

Old tracks: power retrieval by nostalgia engine
Affirmative self-promotion: Not I hope you love me or even You will love me if you buy me, but You do love me and you are beautiful therefore and you are here therefore and you exist therefore
The only possibility is this party

In Session at the Tintinabulary

November 25, 2013
Banned Rehearsal 848 - Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt, Neal Meyer

November 30, 2013
Interview 131130 BGE CRE KEE KEE - Betty Eisenbrey, Dick Eisenbrey, Karen Eisenbrey, Keith Eisenbrey

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