I didn’t know this until after my review of Magic Markers’ Balf Quarry went to press, but the violinist who plays on “Shells” off that album, Julian Amrine, was 12 years old when he recorded the piece with MM’s Elisa Ambrogio and Pete Nolan. Julian does a very good job on this track, which I described as “a lowing, gothic dirge marked by the lugubrious droning of Nolan's harmonium and Julian Amrine's violin.”

Turns out Julian’s dad, Eric Amrine, read the review and contacted me to fill in some details about his talented son; he also reflected on his own experiences in Seattle rock history, including a brush with Sub Pop and several luminaries circulating around that label in its early years. Read on after the cut.

Since [Julian] was 12 when I drove him to [producer Scott Colburn]’s studio last fall to record the tune (after answering the ad Elisa and Pete placed on Craigslist seeking an improvising violinist) it really adds new meaning to your closing line, “'Maturity" suits them well.”

I’m a bit overexcited that the press took note of his first foray in the studio, so pardon my enthusiasm. He’s been playing in public his entire life since K on one instrument or another. In the studio, the band applauded after each take, genuinely impressed. Anyway, you’re on to something.

He’s quite the kid, now playing jazz in a trio with a sax player I used to improvise with back in the era of the first 10 Seattle Improvised Music Festivals, which I used to co-organize with Wally Shoup and Dennis Rea when I wasn’t recording with the original Sub Pop stable of horses. That affair is now in its 25th year …

If you open up LOSER, the oversized, way comprehensive, but undersung softcover history book of Seattle’s music scene written by Clark Humphrey, you’ll find my name in the index that points to a few pithy quotes and a shorter version of the following:

I hung out with one of the SubPop founders in the days just preceding Bleach and afterwards. I was just about the first to hear the tape demo of that recording, i.e., after Poneman and Jack Endino of course. Poneman brought it over to my apartment the same day or next day, which I shared with his ex, who was my current flame at the time and still his confidant. He said, “I’m planning to take these guys as far as I can get them. This is awesome.” Or something. I mentioned the vocals more than anything, thinking they had all the right elements I need to hear in a vocalist. I laughed at him but nodded in approval.

I was in Color Anxiety, another also ran. It was a musician’s musicians band, but we hung out/played with Matt Cameron and Kim Thayil since we had friends in common and back then, everyone went to everyone’s shows or opened up for each other.

We were NOT on SP, (on one CZ release), but Jon booked us some great gigs, interviewed us on KCMU/now KEXP, suggested I join TAD — which I balked at. At the Vogue, for Nirvana’s first show, I talked to Kurt after their insanely inspiring set and imagined joining his band but decided it was presumptuous. Why would he ever want a second guitarist? He needed to wait a few years first apparently. My take is the trio ruled far more, but that’s just me.

Poneman had a pet project that has stayed in the can ever since, as it finished just before Warner Bros. came along and wrote that famous check for Nevermind. The mystery recording included my guitar, Poneman on bass/vocals, Jason Finn from (everyone … now PUSA), Steve Turner from Mudhoney on a bit part, someone from Best Kissers in the World/Dwarves, christ I can’t recall who else. Basically anyone who was around that day. Yeah, an afternoon is all it was. Quick learn it, then record it. All in about 4-5 hours.

I co-wrote one of the four songs we did (also solo’d on all), which resembled at its best moments the melodic timbres of mid-period, pre-Geffen Sonic Youth.

In the end, Poneman never needed to release this stuff. Some of it really was good shit. But business became the imperative. Can’t fault him much, considering.