July 6, 2013
 |
| Your Mother Should Know at Victory Lounge |
Pouch
Your Mother Should Know
Peterman
Victory Lounge, Seattle
I will never accustom myself to the waiting for a dive-bar show to begin. I know that when the start time is 8pm they really mean "sometime after 9 but probably before 10", but since I'm the kind of guy who always gets places early I end up with a lot of time to observe.
Everybody nods in exactly the same way when asked to present their ID. No matter the quantity of leather goods, studs, piercings, or tattoos, the vast majority of folks are polite and courteous. Being in a place with constant loud sound is a little bit, I imagine, like being temporarily deaf.
Rock music is a music of and for people in transition. Youth to adult, single to connected, connected one-wise to connected (or un-) another-wise, there to here, then to now. Its energy is overlarge because the feeling of living in or through transition is over-wrought, juiced. It wants to be heard on both sides of the boundary, but it also wants to expand and prolong its own moment - as reluctant to move forward as it is desperate to efface its past. Hyperphoria can blind and paralyze, but it is essential for self-aware growth.
Ian "Old Man" Williamson played a short, spirited, acoustic set just a notch louder than the general din. Pouch gets more solid each time out, though the PA system for the vocals wasn't up to their rip-it-up instrumental wallop. YMSK mixed up their sound, with Neal and Karen sharing vocals, and Neal switching from keyboard to 6-string to 12-string. Their set is defiantly varied in affect. But of course it was Peterman's show and they are ripening into a high energy, roots-punk, feel-good act. My favorite moment of the whole evening was during their cover of I Can't Help Falling In Love With You watching two burly logger types giving each other an exuberant and heartfelt bro-bear-hug.
Recorded
July 9, 2013
Banned Mixer 8
fold over and in, like kneading bread, or forging sword
dissociation of conjointure
etched upon
a gouged surface through a scribbled screen
not softened
removed
July 10, 2013
Banned Sectional 9 KEE NWM - (July 1985, Keith Eisenbrey, Neal Meyer)
When an improvisation is just not working the best option is usually to stick with it. The point is not to redeem the session as a session, but rather the hope that eventually things will fall into an interesting place, even if just for a moment. This tape is a case in point. Mostly horrible, but now and then pretty amazing.
In Session at the Tintinabulary
July 8, 2013
Banned Rehearsal 840 - Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt, Neal Meyer
I put this one up on my soundcloud site because it was as lovely throughout as the evening was pleasant. We played on the porch for the passersby on the street. Enjoy!
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