BNW - Stories from Other Bloggers

While I've been collecting up listeners' reminiscences about Brave New Waves, a couple of Toronto-based writers have been documenting the on-coming changes at CBC and pretty much offering a blow-by-blow for their readers.

Michael Barclay's Canuckistan blog has been keeping up with the changes, staff dismissals (including one Michael Barclay), and broadcast stoppages of late. However, being a longtime fan, Barclay also has a storehouse of old interviews with CBC late night personalities such as David Wisdom and former BNW host Brent Bambury to draw from to inform his position. Barclay is open about his love of BNW and seems a fan of the radio format generally. His stuff is worth checking out, if only because it balances a real respect for the show and its importance, while acknowledging that it probably should have been cancelled. Not an easy position to maintain, but one he is capable of.

Also of note would be Carl Wilson's Zoilus blog, which has been following the switch away from BNW and listening to the proposed replacements with interest. Wilson's position is similar to Barclay's in that he believes in the importance of radio, the significance of BNW, and the logic in its demise. His blog is worth reading through even if you are not in Toronto (which is an official medical condition now), because even if Wilson's posts about BNW's end are balanced and even, the comments from his readers speak to the anger and confusion a lot of CBC listeners feel. It is an interesting way to cross-reference the reaction to the end of BNW.

Personally, I don't understand a lot of the changes at CBC, both literally (as in, I don't know what shows have been cancelled, are in short-term re-runs, or are on permanent hiatus), and strategically (as in, why certain shows have been cancelled in the first place). Why Brave New Waves was not given the opportunity to become a podcast, especially given the popularity of Grant Lawrence's Radio 3 podcast, I will never understand.

The saga continues, I suppose. I just wanted to post about some of the more skilled commentary that has been tracking the end of BNW, to promote the understanding that these changes are being felt across the country.

Amon Tobin - Foley Room

Amon Tobin
Foley Room
Ninja Tune, 2007

A couple of years ago I had the opportunity to get a guided tour of CBC’s Foley studio from the resident sound technician. It was pretty incredible. She explained how she created the sound of many oars in a lake with a bathtub, some baffles, and a few strategically placed microphones. She took me down a long, gravel-filled hallway, noting how the echo deadened as we walked further, until the crunching sound underneath us was completely isolated. The craziest thing, though, was she said she is so attuned to listening for sounds-within-sounds that she can wake up and know whether it is going to rain or not by the sound of the trains by her house; the sound of the train differs, she explained, depending on the barometric pressure.

When she said this, the only sound in the room was my mind being blown.

So it is with Amon Tobin’s latest release, Foley Room. Recorded in various settings around various cities, the album shows Tobin utilizing different source material for his experimental, head-nodding electronics. After many years of success cutting and re-sampling, this album marks Tobin’s first attempts to make an electronically-inspired album that combines found sound and “real” instruments. The concept is not especially new, as Tobin acknowledges on the DVD that accompanies the disc, but I have a lot of respect for an artist who is willing to push themselves toward change, and broaden their sound. And Tobin’s previous work informs Foley Room as well: there are thickly thudding bass sounds, high-end twitters and whirs, and an overall drive that seems out of keeping with such an experimental album. However, on this release, those electro sounds are provided by Kronos Quartet, the Bell Orchestre and field recordings from silos, farms and other non-traditional recording spaces.

My only complaint about Foley Room is that it seems to still root itself firmly on the dance floor, whereas I would have liked more tracks that let the sounds grr and whorl in their own beauty. However, this is merely a matter of taste (aaaaand the fact I almost never go dancing), and Foley Room remains an interesting, texturally rich album worth exploring.

On tour through europe now.

BNW Stories - Keep Them Coming

Okay, so I have started talking to people about Brave New Waves and its impact on their lives growing up. I am working on this idea that BNW acted like the internet to many of us, providing a music resource of depth and breadth before the internet was as widespread and ubiquitous as it is now.

A couple of conversations have happened and an email or two have come my way. However, I am still looking for more snapshots from former BNW listeners. And frankly, I think almost everyone has a story or two. Here's something Andrew Wedman said in a note:

"bnw was definitely important to me. not only did it expose me to all sorts of new music, but they were also one of tinkertoy’s biggest supporters. patti was playing the first cdr shit that we made. I always loved that she would play pretty much anything from anyone as long as she thought it was interesting."

And these are the sorts of reports that I am trying to track down. Drop me a note with a couple of lines about your favourite BNW stories, and maybe I'll try to cook up some sort of prize pack.

(Note: prize pack will not actually involve cooking)

BNW Stories - Philly

My request for peoples' Brave New Wave stories is beginning to yield results. Today I received an anonymous comment on the original post about this, but it was so moving to me, I thought it deserved a post of its own.

I don't know how this little blog was seen by someone in Philadelphia, but I am honoured to have such honesty shared with me. So thank you, Anonymous, for your story. Have a read:

"I'm a rare breed, I'm a long time American listener of BNW. I don't live in Detroit/Windor, or Seattle/Vancouver. I live in Philadelphia, PA. And by some force of sheer luck, one night 15 years ago, scanning the dial I discovered this show was simulcasting on one of the local public radio stations here. I was 12, about to turn 13, and at the time I was living with my family in a shelter. I hated being there, the food was awful, and the beds were not that much better. I heard this crazy cut-up of Heatwave's "Grooveline", and everything changed. I had no idea what it was, but it was the escape I needed every night since. To make a long story short, the simulcast didn't last long, and then when we found a new place to live and I got online I have been listening ever since. All I can say that it wasn't just my musical tastes that have been altered by this show. It also affected my philosophies as well. Losing this show is losing the driving force of my life, and as much as it has changed over the last few years, I still come home from work listening to it and being blown away by what I hear. There will be nothing on Earth like Brave New Waves again, and I'm glad I got to know it so well and for so long."

If you have a comment, or a story you'd like to share, by all means, send it my way. Thanks again for such candour.

National Registry of Recordings - Inductees for 2006

My accomplice and I watched the News Hour with Jim Lehrer last night (reason enough to support PBS) and toward the end of the broadcast, James H. Billington of the (US) National Registry of Recordings was on, discussing their 2006 inductees.

The Registry is part of the Library of Congress, and their objective is to preserve (in digital format) the audio recordings that have shaped America, in one form or another. Many of these recordings are on brittle pre-78 forms of vinyl, audiotape or wax cylinders, none of which are particularly well-suited for long-term storage. But delicious on a salad.

Generally, the list of recordings is impressive, and contains significant speeches such as Martin Luther King's "I have a dream" speech and , important sports events recordings (including the second Joe Louis-Max Schmeling fight of 1938) , and otherworldly audio (such as Neil Armstrong's remarks on the moon), along with a great deal of jazz and soul, country and folk, classical and contemporary musical recordings. Take a look at the complete list - it is pretty cool.

Impressive to me, of course, is that in 2004 the National Registry deemed fit to include Nirvana's Nevermind and Sonic Youth's Daydream Nation. Likewise, in 2006's crop of inductees there is the seminal VU album The Velvet Underground and Nico, released in 1967, alongside Roosevelt's "Day of Infamy" speech, Ginsberg's Howl, and the National Defense Test by John Joseph Pershing.

One strange thing I noticed with the Registry is the inclusion of the Beatles Sgt Pepper's. I couldn't find any American affilation, other than its impact on the US, or minor pressing differences. My people are working on it.

Lastly, the coolest thing is that you can make suggestions to the Registry for pieces you feel should be included. Billington and his team sort through everything I guess.

Music Docs - Crossing the Bridge: The Sound of Istanbul

Last night I watched Fatih Akin's Crossing the Bridge: The Sound of Istanbul. The film essentially tracks ex-Einsturzende Neubauten frontman Alexander Hacke across this Turkish metropolis in 2005, as he interviews and records various Turk musicians from different generations and different traditions.

To me the most interesting material was found in younger musicians either resurrecting, or re-envisioning traditional Turkish music. The Turkish tradition of composing a dirge was seen through the lens of metal, postrock and rap, and the translated lyrics would make most Smiths fans feel like glee-club members.

While these younger musicians often cited the musical influence of groundbreakers such as Erkin Koray (once stabbed for having long hair!), Orhan Gencebay (whose acting career is briefly summarized in a hilarious montage) and Sertab Erener, I found Crossing the Bridge spent too much film-time showcasing their often sentimental pop hits. Far more interesting was hearing the struggles of younger artists singing in Kurdish tongue, which was outlawed despite being a native language in Istanbul, or reconciling living in a city culturally divided between Asia and Europe by the Bosprus Strait.

As noted, the film drags in places, and Alex Hacke often seemed a little too aware of when the camera was following him, but Crossing the Bridge offers a unique view of music in a city of contrasting cultures and traditions, and is an inspiring example of how musicians strive to follow their own artistic vision.

Plus, there was Turkish breakdancing.

Circuit Bent Casio Played in Silo Number 5

On a whim I thought it would be fun to play the little piece from the modded Casio through the Silophone, located in downtown Montreal.

The Silophone is an interesting thing: essentially it is an abandoned grain silo, outfitted with microphones and speakers, with an internet connection. The idea is to play pieces in the grain silo, and take advantage of the natural acoustics and reverberations that colour the sound. The internet connection takes this experiment one step further: it allows home users from around the globe to upload their audio and play it back to themselves through the Silophone.

To hear the modded Casio through the Silophone, visit the site, click the 'play the silophone' tab, and find the track by Faunaflage, posted on March 1st (Faunaflage is a project name I am working under right now).

Bear in mind that the Silophone uses RealPlayer, which is easily the worst file player possible (though one of the most common, internationally). Also, take note that it will take about 1 minute or so for the sound to come back to you. It may, in fact seem like nothing is actually happening, but I can confirm it does work. I think sometimes you have to wait for other files to stop playing first, too.

I thought this was an interesting experiment. All the sharp trebles in the piece are muted, and the thick, glitchy organ is rounded off and warmed up considerably. Also it is a very cool thing, to hear your stuff played at some remote industrial location downtown. Playing it back once I heard some random dude in the building talking. The unexpected happenstance of an experiment like this.

Give it a try. Leave a comment and let me know what you think.

(photos provided by the Shearwood photo essay in The Reservoir section)