Location: Red Jacket River Front Park (Buffalo, NY)
Date: April 29, 2012
Equipment Used: H2N Zoom
Setting: Stereo XY (stationary)
Recorder: Needles Numark
Description: Recording of a quiet day in a Red Jacket River Front Park, located in Buffalo’s Old First Ward. At the top of the park is a stone bench that overlooks the winding river and a crumbling concrete factory. Despite the departure of industry many years ago, the industrial noises of factories in the distance, along with passing trains headed elsewhere, still waft through the sound field and intermingle with the natural noise of birds and running water. An interesting soundmark.
Here is the latest mix from Buffalo’s Ghost Father. As usual, Ghost Father blends interesting, eclectic beats with off-kilter and strange sounding tracks from all sorts of different genres. Superbly mixed and highly adventurous. Enjoy.
Also, you can see Ghost Father perform this Friday as one half of UVB-76 at Hallwalls. UVB-076 will perform Kraftwerk’s The Man Machine as part of the ongoing Kraftwerkers of Buffalo series.
Stumbled on this while doing some research. A couple minutes into the video you’ll see Steve Baczkowski blasting his horn inside the Cargill grain silo found just south of Buffalo. Even over YouTube, the sound is unbelievable. The natural reverb here gives the saxaphone an incredibly haunted and eerie sound that will give you chills. Seriously.
From tuffrod’s youtube channel: Steve [Baczkowski] was telling me that there was abandoned grain elevator where he used to play when he was kid and it had gigantic silo. It must be interesting to make sounds inside of it. but we couldn’t make it for a while. Then one day time has come. should we go to the grain elevator? why not! Riding bicycles carrying big instruments and video cam.
The refrain of the pastoral phrase by Steve is enhanced by this silo which can be called the remains of the 20th century and reaches the extremity.
So we were totally beaten by this natural reverberation.
this is series of video that is trying to imagine pre-music field.
Kraftwerk’s music will come to life in Buffalo all this week thanks to the Kraftwerkers of Buffalo event. A host of musicians from around the area will take a stab at re-interpreting select works from the German groups’ catalog in honor of the MOMA retrospective happening next week. See the list of events below for more info.
To get you ready for it here is a cover of Kraftwerk’s 1975 track “Radioactivity.” The song is covered by German artist WOLKENKUCKUCKSHEIM.
You can catch a performance of the Radio-Activty album at Hardware’s Backroom on Wednesday by Martin Freeman and TJ Borden.
“Kraftwerkers of Buffalo: From Grain Elevators to Pocket Calculator”
April 6 – 17, 2012
Buffalo, New York
A Kraftwerk Documentary
Friday, April 6, 7pm
@ Hallwalls Theatre
Kraftwerk 1 (1970)
Scott Valkwitch, Gabriel Gutierrez, Patrick Cain, Jim Abramson
Friday, April 6,10pm
@ Hallwalls Theater
Rückstoß Gondoliero + Heavy Metal Kids (1971)
TU (Tristan & Ulysses)
Saturday, April 7, 10pm
@ 20 Auburn (warehouse courtyard)
Kraftwerk 2 (1972)
Sunday, April 8, 8:30pm
@ the Vault
Ralf and Florian (1973)
Monday, April 9, 8:30pm
@ Big Orbit
*Presented In: Quelle Verräumlichung acht Vier-Punkt-Licht
galeriesNFS “Kraftwerkers” Press Conference
Tuesday, April 10, 8:30pm
@ Sugar City
led by Gentleman John
Wednesday, April 11, 12:01am
@ Corner of Main & Huron (former New Century Theatre)
Apparently, Hitler is not the only one upset over their inability to see Kraftwerk’s retrospective concerts at the Museum of Modern Art in NYC next week. Headed by the GalariesNFS, a group in Buffalo is organizing a “mirror event,” or string of shows from April 6-17 to honor the German electronic music pioneers and to give those that won’t get a chance to see the group live in NYC to take part in the retrospective (Hitler, reportedly, will not be able to attend due to being dead since 1945).
Details are scant, but it looks like things will kick off on Friday at Hallwall’s with a viewing of the documentary Kraftwerk and the Electronic Revolution, followed by a re-interperation of Kraftwerk I by Jim Abramson, Scott Valkwitch, Pat Cain, & Gabe Gutierrez.
If more details emerge before airtime, I will be happy to impart them to you on the air. Regardless, we will do a block of Kraftwerk in honor of the event. *NOTE: The full schedule is now up on the FB Page.
Also! We have two tickets to give away to the Disappears, Lotus Plaza, and Location Ensemble show going down in Albany on Wednesday, April 18. These tickets are courtesy of WCDB Albany 90.9 FM. Make sure to tune in to find out how you can win the tickets.
Edwards and Friedberg's set up at EMPAC for 'Hant Variance'
Other stuff we will get to tonight include a preview of the Peter Edwards and Sabisha Friedberg’s Hant Variance exhibition at EMPAC (which is tonight), an absolutely INSANE re-construction of a famouse Beatles song by Buffalo artists Wendy Carlos Williams, and plenty of other awesome, amazing stuff that no doubt will make your head explode.
Show starts at 10pm on 91.3FM WBNY. Stream at WBNY.org.
Buffalo noise-rock group Bear Flames features a trio of the city’s musical mainstays including drummer Jim Abramson, guitarist Scott Valkwitch, and bassist T. Andrew Trump (and at one time also briefly included other notable artists Jax Deluca and KG Price). While the group had been on a lengthy hiatus with the three core members working on an array of outside projects (i.e. Poverty Hymns, Totem Pole, Downsampling, Tenet/Octet) they have recently reunited to perform live and work on new recordings. Before moving into this next phase, however, the group has (re)released two EPs and some demos that were recorded between 2006-2007 in a single collection.
This group of songs demonstrates that Bear Flames’s music is both fresh–despite being recorded over five years ago–and pleasantly familiar. Fans of any number of post-1970s musical genres will instantly hear a number of recognizable and appealing sonic elements, but will also be exposed to a number of different and interesting musical ideas (specifically the ideas of unconventional song structures that are prevalent throughout the music heard here).
The debt that they owe to the New York bands that populated the No Wave movement of the late 1970s is apparent from the first note to the last, right down to the cover of DNA’s “Blonde Redhead.” Songs like “Radio (Friendly)” and “Sabbath” are built around simple, chiming chords rife with slightly unusual intervallic structure. The chord progressions tend towards the minimalist, exploring the same trance-like grooving that No Wave experimented with (think Teenage Jesus & the Jerks, Theoretical Girls, etc., but slightly less abrasive and pretentiously ‘arty’). And of course, there is a heavy emphasis on ‘noise’, i.e. dissonant soundscapes that tend to evoke moods concurrent with the music around them; discomfort, paranoia, impending doom, and destruction all come to mind when listening to these barrages of amplified lightning.
The band possesses a powerful rhythm section that reminds me largely of Nomeansno; a style of playing by Trump that is both relatively simple and grounded yet sufficiently in the place as the ‘lead’ instrument (check out “Future of the House” for a good example). Abramson, meanwhile, is able to shift from absolute bare-boned to frenetically charged patterns at the drop of a hat and right back just as easily, as he does on “Bad Knee.” This leaves Valkwitch (who also handles FX duties) ample room to swing between the extremes of caustic atonality and feathery, chiming chords. The result is a band that is orchestrated in a very tempered way, where no one member overshadows another.
There are a number of standout tracks here, such as a “Social Security”– which starts out as a mock-up of what disco may have sounded like if acid was the drug of choice for the time instead of cocaine — with a wonderfully dissonant loop that seems to suggest running for your life while you dance. The song erupts in the middle, breaks apart, and regroups into a much more melodious but no less unnerving second half before once again falling apart.
Another great track is “Future of the House” where sections of hard-rock riffage alternate with more subdued sections of an almost dublike nature with the rhythmic entanglement of tremolo-bass and syncopated hi-hat. “IFSS” starts off with a tremendously flighty, off-kilter 3/4 strut before metamorphosing into a jumpy, even cheery 4/4 groove and finally combining the two in a beautiful moment of fusion before finally settling back into the original time.
This mixture of grooves is one of the defining features of the group, where they build up only to destroy and then rebuild often using one or more elements from the original construct. See “K/K” where the minimalist bass travels from two disparate sections, staying more or less the same while everything else around it shifts. This kind of trick shows up in a number of songs, and is thrilling each time.
To put it simply, there is a lot of really interesting, exciting music to be had here, especially the tracks recorded in 2007. Highly recommended for anyone into No Wave, post-punk, plain old punk, alternative, etc. Well worth your time.