341 Delaware Avenue
Buffalo, NY, 14202
Doors 7:00 PM / Show 8:00 PM
This event is minors under 18 with parent or legal guardian
Watch & Listen
THROUGH HER FOLKLORIC MYSTIQUE, OTHERWORLDLY PSYCHEDELIA, AND A DASH OF ENIGMATIC PUNK, AHOMALE BY COMBO CHIMBITA CATAPULTS THE SACRED KNOWLEDGE OF OUR FOREBEARS INTO THE FUTURE. THEIR SECOND STUDIO ALBUM AND ANTI- RECORDS DEBUT SEES THE VISIONARY QUARTET DRAWING FROM ANCESTRAL MYTHOLOGIES AND MUSICAL ENLIGHTENMENT TO UNEARTH THE AWARENESS OF AHOMALE, THE ALBUM’S COSMIC MUSE. COMPRISED OF CAROLINA OLIVEROS’ MESMERIC CONTRALTO, ILLUMINATING STORYTELLING AND FIERCE GUACHARACA RHYTHMS, PRINCE OF QUEENS’ HYPNOTIC SYNTH STABS AND GROOVING BASS LINES, NIÑO LENTO’S IMAGINATIVE GUITAR LICKS, AND DILEMASTRONAUTA’S POWERFUL DRUMMING, THE LURE AND LORE OF COMBO CHIMBITA COMES INTO EXISTENCE.
The legend begins with their first EP, 2016’s El Corredor del Jaguar, and followed up with the occult psychedelia of Abya Yala. In 2019’s Ahomale, the New York-by-way-of-Colombia troupe fuse the perennial rhythms of the Afro-Latinx diaspora with a modern-day consciousness, while tracing the prophetic traditions of our ancestry. “The more we’ve played music together, the more we began to discover things within ourselves that we were previously unaware of, almost like a energy. And that’s being communicated through our music,” explains Prince of Queens in the making of Ahomale.
Inspired by a Yoruba term Ahomale, meaning adorer of ancestors, Oliveros reveals her quest to connect with ancestral cosmology, which the Combo pays homage to. “Ahomale resurges from the visions that we’ve been having via our music and life, and the lyrics reflect a manifestation passed on through our ancestors and the gods,” she explains. “I wanted the album to convey the search for spiritual awareness, which ultimately serves as a revelation.” In a similar spirit, Niño Lento conveys: “The protagonist of this album whose name is Ahomale possesses the ability to communicate ancestral wisdom through the music.”
With the help of producer Daniel Schlett (The War on Drugs, Modest Mouse), the group’s rootsy experimental alchemy and metal strangeness take centerfold. Oliveros howls, yowls and chirps with gut-wrenching emotion, like on the languid mirage of “El Camino,” or plaintive frenzy of the title track. Whether rock raw and soulful or bewitching like a shaman in a spiritual ceremony, her voice is always a multifaceted wonder. “Brillo Más Que El Oro (La Bala Apuntándome)” boasts alluring vintage synths that seem to time travel through the lush tropics of yore; then, the mood intensifies when its bridge brilliantly crosses into a spellbinding chant sung in unison: “Y si digo que / Que ahora ya lo se” (“And if I say that I now know”). “Testigo” is pure melodic witchcraft in action that strips away wordly façades into something bare and beautiful: “Desde principio a fin, yo siempre di mi verdad” (“from beginning to end, I always gave my truth), the singer vulnerably croons against a whirling guitar and galloping percussions.
Ultimately, Ahomale is a catharsis of divine feminine force helmed by their powerhouse vocalist, laden with the teachings from a bygone era, in tune with the spiritual realm. “Our spirit and energy have passed through multiple generations,” says Prince of Queens. “We might not be open or allowed to explore it because of Western society’s conditions. But the idea is that we are receiving messages from the past, and from our ancestors that each one of us carries.” In nearly 40 minutes of eye-opening thrills and chills, the listener experiences the pedagogy of Ahomale, journeying through her epiphanies and enlightenment. “Ahomale is a warrior, not the sword and shield type, but a woman who is ready to listen to her heart, follow her intuition and connect with her ancestors,” Oliveros avows.
Casperous Vine is an instrumental musical concept that American composer/muliti-instrumentalist Paul C. Kozlowski began to develop in 2001 following the break up of experimental jazz-grindcore outfit, Parade of the Lifeless, of which Kozlowski was the founding member. Originating from Buffalo, NY Casperous Vine has evolved from a solo project to an acoustic chamber quartet, formations as a sextet, and now in 2014 an electro-acoustic quartet featuring members from Lithuania, & Tenerife. Performing and bringing to life Kozlowski’s stylistically unorthodox compositions—deeply influenced by his encounters as a world traveler as well as his experience writing music for Buffalo’s avant-garde theater.
The concept behind Casperous Vine is to have various formations of musicians/instrumentation which depend on where on the globe Kozlowski is exploring. It is this formula which enhances the variety, depth, & dexterity of the group. Each release has been radically different but yet always remains sincere to their style, Casperous Vine does not simply try to mimic other genres but instead they embrace and weave details into a never ending tapestry.
Inspired by Classical, Experimental, Hip hop, Eastern European gypsy, Afro-beat, Latin-jazz, Cinema, arabic, and Progressive fusion, Casperous Vine’s genre-defying sound is that of a transplanted nostalgia, the chaos of distant memories and the whimsical reinterpretation of tales. This music is new, subtle, raw, & beautifully unique.
Now with the release of their new album "IMMIGRANT" these neo-nomads drop an album full of funky brickbat drumming interlocked with syncopated electric bass, moody accordions, sonically sweet flutes, soprano sax, & pensive spanish and 8 string guitar playing. Featuring Aidas Buyvidas (drums) & Monika Zulpaite (Flute) of Lithuania, Juan Carlos Leon (Soprano Sax/Clarinet) of Tenerife, & Paul C. Kozlowski (Compositions/Arrangements, 8-string Electric Guitar, Spanish Guitar, Electric Bass, Accordion, Organ). "Immigrant" also proudly collaborates with famous Dutch painter Lambert van Bommel whom designed and painted the artwork featured on the CD and the 12 page booklet included.
“Kozlowski’s skill as a composer (especially given his lack of formal training) is formidable, and particularly evident on the songs ‘Granite’ and ‘Li Fong’…” - Colin Dabkowski, The Buffalo News
“Although this music has a Spanish-tinged ethnic flavor, it doesn't really sound like it has a distinct link to any one culture. What I dig is that it has a minimal yet kaleidoscopic quality… sounds seamlessly woven together into an endless story that changes scenery every few minutes.” - Bruce Lee Gallanter of Downtown Music Gallery NYC reviews debut album “Ginger
Lovers Volume I”