After trudging through the skeletal slush of a weekend snowstorm, I finally arrived at the NE address of one Erik Bruner-Yang to talk about the long life, and soon the departure, of DC indie rock songbirds Pash.
We wandered to the back of his artfully adorned home until we found a suitable place to sit down with a cup of warm tea and coffee, respectively, and have a long chat about music. Having personally been there for a large part of Pash’s career, and that musical era of the last decade in DC, I knew it was going to be more than just idle chat about a band and two records.
Erik was more than happy to go above and beyond. Starting with the intimate workings of Pash, he waxed poetic about what made the last ten years special for him, the importance of a D.I.Y. ethic, and the crossroads we, the collective music community, find ourselves standing in the crux of today.
Suggesting that Pash had transitioned from a band invested in house shows and hand shakes, to a serious entity in the mainstream independent current, Yang lamented the difficulties of letting go of a life dedicated to music, and the changes that time brings to one’s personal life. The flipside of all of this being that, from his point of view, every member of the group can leave with the pride of doing everything they intended, and, something else, only a very few bands can pull off, going out on the highest of notes.