yeah that sucks...
also, im having second thoughts about flying out tomorrow (what with bluejet & the hurricane). im hoping it doesnt clog airlines tomorrow. but i guess the route from atl to ny is pretty straightforward.
im going to play it by ear tomorrow @ the airport
basically, i just dont want to be stuck in ny on monday
ErstQuake 2: Sept 23-25, NYC
hello all. Sorry to hear about some of your travel problems. We will miss you. Im staying in new jersey and the public transportation ends at 11pm so that means I must drive into the city each night. Are there any good parking spots to look out for? I do not mind walking several blocks, especially in nyc. I hear the west side has free public parking, which isn't too far away from the venue.
thank you and I hope for a great weekend
thank you and I hope for a great weekend
directions
The A & C are both very close but here are most/all of your options:
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Who wants to get a late lunch at Temple: http://www.asiafood.org/restaurants/feature_temple.cfm on Saturday, then we can walk down to DBA and get loose, get loose, Method Man, get loose before the gig? Herr Flaum?
i've driven to the nearby knitting factory a few times, never had any problems parking in that area. you shouldnt have any problems, just cruise the sidestreets right off church street. i think its free parking after 7. im planning to drive in every night too, trains are a hassle.onion wrote:hello all. Sorry to hear about some of your travel problems. We will miss you. Im staying in new jersey and the public transportation ends at 11pm so that means I must drive into the city each night. Are there any good parking spots to look out for? I do not mind walking several blocks, especially in nyc. I hear the west side has free public parking, which isn't too far away from the venue.
thank you and I hope for a great weekend
blah, that's terrible newsLittle Dwight wrote:hi.mudd wrote:hey you, what's your story? gonna flee the hurricane? surely you classes got canceled?Little Dwight wrote:grr
i'm in connecticut now.
m
the airport's going to close at noon tomorrow, and i can't seem to get an earlier flight.
i think i'm angry.
I'd be up for dba on saturday, but there's a good mexican place nearby that has seriously great carne enchilada tortas and goat (!!!) a few blocks away that's totally killer.MRS wrote:Who wants to get a late lunch at Temple: http://www.asiafood.org/restaurants/feature_temple.cfm on Saturday, then we can walk down to DBA and get loose, get loose, Method Man, get loose before the gig? Herr Flaum?
ok, day late and dollar short, but here goes.
1. Barnes/Wastell - they set themselves up with a full-sized gone each and various periphery, with the gongs face to face, preventing them from seeing each other. neither armed with what i think of as their 'standard' equipment. furthermore, they don't stay in any sort of standard sound-space: the scrapes and drone are present, but the highlight of the set was washes of feedback-like gong from tim with mark bubbling a rhythm underneath. a shockingly noisy set, though i have to say it rarely settled into really powerful parts.
2. korber/rowe - the first awesome set of the fest. keith started playing mostly subtle textural changes, while tomas slapped the remains of a guitar to produce a rich, roaring tone. then tomas set his guitar aside, and both he and keith took off into noisier terrain.
3. ottavi/workman - the beginning of their set was marred by some knocking, though i'm still undecided if the sound came from the restaurant next door or from on of their laptops. they sizzle and rushed, rumbled and shook the room for a little while, then drifted to a quiet space where i wasn't really able to hear them over the sounds of people in the room (it wasn't a huge room, and quite full). the drift-away ended left me rather unsatisfied, but the meaty part of the set was quite nice.
4. colley/lescalleet. holy shit. i told jon before hand this was one i was looking forward to most, and it still exceeded my expectations. two great big guys on a small stage, lescalleet up and down winding and repalcing tape loops from two (?) playback setups on the floor, and colley first walking around the stage throwing i guess a microphone around, and catching the sounds in loops that he then settled down to pummel us with. loud, abrasive, and totally wonderful.
5. rowe/nakamura. was this the north american debut of keith's laptop? marred briefly by technical difficulties, we got our first taste of the 'new' duo sound jon has referred to. the biggest changes are from toshi, though it really effects the entire dynamic of the duo. he's playing louder, with leaps of static and thumpy beats. his solo work is finding its way back into his collaborations, and both are feeling stronger for it. as expected, keith responded excellently, though i'm not 100% sure they ever recovered their presence after keith blew a transformer.
also, i met SO MANY people from this board. i won't even try.
m
1. Barnes/Wastell - they set themselves up with a full-sized gone each and various periphery, with the gongs face to face, preventing them from seeing each other. neither armed with what i think of as their 'standard' equipment. furthermore, they don't stay in any sort of standard sound-space: the scrapes and drone are present, but the highlight of the set was washes of feedback-like gong from tim with mark bubbling a rhythm underneath. a shockingly noisy set, though i have to say it rarely settled into really powerful parts.
2. korber/rowe - the first awesome set of the fest. keith started playing mostly subtle textural changes, while tomas slapped the remains of a guitar to produce a rich, roaring tone. then tomas set his guitar aside, and both he and keith took off into noisier terrain.
3. ottavi/workman - the beginning of their set was marred by some knocking, though i'm still undecided if the sound came from the restaurant next door or from on of their laptops. they sizzle and rushed, rumbled and shook the room for a little while, then drifted to a quiet space where i wasn't really able to hear them over the sounds of people in the room (it wasn't a huge room, and quite full). the drift-away ended left me rather unsatisfied, but the meaty part of the set was quite nice.
4. colley/lescalleet. holy shit. i told jon before hand this was one i was looking forward to most, and it still exceeded my expectations. two great big guys on a small stage, lescalleet up and down winding and repalcing tape loops from two (?) playback setups on the floor, and colley first walking around the stage throwing i guess a microphone around, and catching the sounds in loops that he then settled down to pummel us with. loud, abrasive, and totally wonderful.
5. rowe/nakamura. was this the north american debut of keith's laptop? marred briefly by technical difficulties, we got our first taste of the 'new' duo sound jon has referred to. the biggest changes are from toshi, though it really effects the entire dynamic of the duo. he's playing louder, with leaps of static and thumpy beats. his solo work is finding its way back into his collaborations, and both are feeling stronger for it. as expected, keith responded excellently, though i'm not 100% sure they ever recovered their presence after keith blew a transformer.
also, i met SO MANY people from this board. i won't even try.
m
day 2.
1. joe colley solo. more holy shit on this one. he started with some sort of electronic whistle toys in his pockets, some little things he could squeeze or push to produce moderately loud high-frequency drones. then he got on the floor with a couple of small glass jars, and had his little droners resonating in and between the jars. then he brought out a mic connected to his noise kit, and things got a little wild. he had some extra sounds hidden underneath the seats, even. massive rumbling drone noise monster when he got it to its feet, though. he seemed to end it semi-acidentally, but i think i really liked that.
2. nakamura/unam/meehan - this was another highly anticipated set for me, and one that i didn't think was totally successful. toshi with his mixing board, and sean with his snare, and taku brought perhaps the strangest 'instrument' i've seen in this context: max-controlled speaker cone full of rocks, shells, glass, and marbles, and then some sort of toy motor thing i didn't understand at all. i might have gotten more from unami's gear if i could get up and see it better while he played, but he really didn't seem to have it under control enough to really interact with the other two performers. he had no gestures with subtlety, to my ear, which was a great loss up against near-perfectly matched drones nakamura and meehan would create when he left them more space.
3. korber/barnes - this might have been the set of the fest so far. certainly miles from what i expected. who would have thought these would have moved rather abruptly into a really nicely textured noise shoot-out? or that it could have jumped so perfectly into quiet, subtle space? tim worked the full swing of the 'electron-acoustic' angle, and tomas was with him at every step. really great stuff.
4. nmperign with jason lescalleet. i'm tempted to review this one in two words: no horns. greg on keyboard, bhob on keyboard and laptop, and jason on keyboards and duct tape. believe me, the duct tape is where it's at. greg started everything off with a melodic bit, which built into a really nice and thick slab of droney goodness.
5. rowe/ottavi. battle of the short waves. there was other stuff going on, but the real meat of this performance was the toe-to-toe sampling of the airwaves of new york city. i personally found ottavi's half of the battle heavy-handed and too drawn out. or maybe even a lot. near the end, julien was waving around his shortwave tracking a light classical piece (did anyone recognize it?) and keith leaned over to him an suggested they let the piece finish the set for them. they left the stage, and stood in the back while the radio struggled to carry the piece on alone. i didn't like most of the set, but it was a perfect ending.
m
1. joe colley solo. more holy shit on this one. he started with some sort of electronic whistle toys in his pockets, some little things he could squeeze or push to produce moderately loud high-frequency drones. then he got on the floor with a couple of small glass jars, and had his little droners resonating in and between the jars. then he brought out a mic connected to his noise kit, and things got a little wild. he had some extra sounds hidden underneath the seats, even. massive rumbling drone noise monster when he got it to its feet, though. he seemed to end it semi-acidentally, but i think i really liked that.
2. nakamura/unam/meehan - this was another highly anticipated set for me, and one that i didn't think was totally successful. toshi with his mixing board, and sean with his snare, and taku brought perhaps the strangest 'instrument' i've seen in this context: max-controlled speaker cone full of rocks, shells, glass, and marbles, and then some sort of toy motor thing i didn't understand at all. i might have gotten more from unami's gear if i could get up and see it better while he played, but he really didn't seem to have it under control enough to really interact with the other two performers. he had no gestures with subtlety, to my ear, which was a great loss up against near-perfectly matched drones nakamura and meehan would create when he left them more space.
3. korber/barnes - this might have been the set of the fest so far. certainly miles from what i expected. who would have thought these would have moved rather abruptly into a really nicely textured noise shoot-out? or that it could have jumped so perfectly into quiet, subtle space? tim worked the full swing of the 'electron-acoustic' angle, and tomas was with him at every step. really great stuff.
4. nmperign with jason lescalleet. i'm tempted to review this one in two words: no horns. greg on keyboard, bhob on keyboard and laptop, and jason on keyboards and duct tape. believe me, the duct tape is where it's at. greg started everything off with a melodic bit, which built into a really nice and thick slab of droney goodness.
5. rowe/ottavi. battle of the short waves. there was other stuff going on, but the real meat of this performance was the toe-to-toe sampling of the airwaves of new york city. i personally found ottavi's half of the battle heavy-handed and too drawn out. or maybe even a lot. near the end, julien was waving around his shortwave tracking a light classical piece (did anyone recognize it?) and keith leaned over to him an suggested they let the piece finish the set for them. they left the stage, and stood in the back while the radio struggled to carry the piece on alone. i didn't like most of the set, but it was a perfect ending.
m