Jeberrekeñelle were rockin'. A blend of art, punk, poetry and, of course, metal. We were a band sort of put together by circumstance, and we stuck through with it for some time before moving on.
The history of Jeberrekeñelle would have to start with "Rotten Metropolis #2." Rotten Metropolis was a cassette label started by Sam Bennett, at that point a new friend of mine. We had sort of jammed a little here and there, but had never really sat down to create music. I had a four-track. Sam had access to some instruments, and the know-how to work my four-track better than I did, and so, one spring break, we decided that Sam would spend the week at my house and we would crank out some music. There is definitely a place in this world for "Rotten Metropolis #2," if only as a document of my "musical beginnings," but I feel that the most important thing was the formation of Jeberrekeñelle.
Jeberrekeñelle started off nameless, and as a duo. Actually, we weren't nameless, but we didn't have a steady name. One day we would be "Chuck Trichinosis and the Kosher Coalition," or, as we were known at our final "nameless" show, "Why This?" For a very brief point, we also expanded and became a trio, with Mike Ruehle playing drums with us. But two factors put a damper on the fun for a couple of months—a damper that led to an amazingly new and improved band. First, Mike had to go on tour with this other band, and would be gone at least all summer. Second, I had to do this summer program at the University Of California, Santa Barbara that would leave me only with my weekends free.
Being the center of efficiency in our group, Sam decided this was unacceptable, and started asking some drummers in other bands if they would be willing to "fill in" for the summer while Mike was gone. We were graced with a stroke of great fortune when Brian Tamborello agreed to fill the role. He had heard "Rotten Metropolis #2," thought the songs were decent (and I think, also simple enough that it wouldn't be too demanding on him). Sam and Brian practiced during the summer, and at the end of my six week program, I stepped into Brian's practice space and had myself blown away with the first true Jeberrekeñelle practice.
We continued for at least a year, I believe, playing usually at least one or two shows per month. I don't know if anyone really liked us much, but we liked what we were doing. In retrospect, I think the best thing was the growth we had. All three of us became great listeners, and playing together was loud, sweaty and fun. Whatever thoughts of simplicity Brian might have had when he started playing with us quickly disappeared. With such a solid foundation on drums, Sam and I went nuts and really put a lot of strange, artsy stuff into our songs. Everyone pushed each other to the limits. I distinctly remember the final song of our final show, with Brian falling off his drum-stool, getting back up, and just rockin' the place. It was one of my all-time favorite shows. It's a shame we didn't record our later songs....
At the same time, however, it was clear that Jeberrekeñelle was more of a concept. Our shows became less frequent. We spent less time practicing. We spent more time getting more complicated. In a performing arena, that's just not what you do. So, we stopped doing what we were doing, and everyone went on their respective musical journeys.
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