Playlist

Piano Recital Saturday June 23

The composer ca. 1987 Bickleton, WA

A Greek Nickel and Change – A Recital   
Keith Eisenbrey, piano
Saturday, June 23, 2012, 8 pm
Chapel Performance Space at the Good Shepherd Center
4649 Sunnyside Avenue North, Seattle
$5 - $15 sliding scale

Seattle composer/pianist Keith Eisenbrey will present a recital on Saturday, June 23, 2012, at 8pm, in the Chapel Performance Space at the Good Shepherd Center, 4649 Sunnyside Avenue North, Seattle. Keith will perform from his own compositions, as well as exciting works by local composers Emily Doolittle and Aaron Keyt, and J. K. Randall’s exhaustive and exquisitely strange study of the spaces between notes: Greek Nickel #1. The program will include the pianist’s recently renovated Sonata in Two Movements (1988), and the first public performance of Seven Cues Without Film (1984).

Live

June 9, 2012
Live at The Funhouse, Seattle
Pouch, Antique Scream, White Orange, Ancient Warlocks

This was a very loud show.

Pouch at EMP

Pouch is the apotheosis of shredded. The quintessential movement of this local two-piece is from high-energy power riffs to scream. Jake, who plays drums, has gotten better about keeping hold of his drumsticks than when I first heard them at EMP Skychurch last July.

Antique Scream

Antique Scream (another two-piece) features a vocal leap to a high warble that, in another musical universe, would have been a yodel. Late in the set the drummer cranked out a 70's throw-back solo, during which the guitarist/vocalist put down his axe, walked offstage, into the greenroom for a beer, back onstage leisurely, on with the axe again to finish the song. Nice piece of showmanship.

White Orange

White Orange, visiting from Portland, twists wahwah through flange through wahwah through flange to remarkable effect. They also have a modest but considered light show and a very large kick drum. Their amply tattooed drummer plays in just his boxers and a grin.

Aaron Krause of Ancient Warlocks

Ancient Warlocks play music about magic and stuff. Scholars of kick-ass.

This was indeed a very loud show. The default transition involved heavy multiformations of feedback. Ear protection would have been a good idea. Next time. There wasn't a slacker in the bunch. Everybody played hell-bent for leather. Any of these bands could have headlined any ordering of the others.

But as much as I enjoyed the show, and I did, I realize that this music isn't really for me, and my place within the community is more like that of a curious and sympathetic anthropologist than that of a fan. This testosterone steeped wallow of frustrated rage is not a feeling I remember having, and the need to vent it is not a need that is an essential part of me. Be that as it may, I think I can get my head around where they are coming from. Better to make loud music than to shoot up Iraq.


Recorded

June 13, 2012
Banned Rehearsal 580 (August 2000, Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt, Neal Meyer)

Rattles of cans in giant rattles of cans. Viscous atmospheres and dulcimerical spittery percussion pulling through multiple layers of skittery drones and resonant string space. It was so hot in the studio that day that when it was done I went outside and lay down in the wading pool fully clothed. Felt great!

In Session at The Tintinabulary

June 11, 2012
Gradus 213 - Neal Meyer


Upcoming

Saturday June 23, 2012 concert begins at 8:00 PM
Keith Eisenbrey - piano recital at The Chapel Performance Space, Good Shepherd Center, Seattle
music by Emily Doolittle, Keith Eisenbrey, Aaron Keyt, and J. K. Randall

Saturday October 20, 2012 concert begins at 8:00 PM
 Keith Eisenbrey - piano recital at The Chapel Performance Space, Good Shepherd Center, Seattle
Preludes in Seattle Part 4: Preludes by Ken Benshoof, Keith Eisenbrey, Lockrem Johnson, and Greg Short