From an early age music has beguiled Brian Wantuch. He's studied bass, guitar, brass instruments, percussion, piano, and voice. This enchantment inveigled him into pursuing music as a career. At thirteen Brian started his first band: American Waste. In 1990, Wantuch actively participated in Buffalo’s music scene, fostering his first introductions to various artists.
Wantuch’s business chapter in the music industry commenced in 1998 when he opened Wasteland Music on Elmwood Avenue in Buffalo, New York. While operating the emporium, Wantuch befriended numerous bands. Out of these relationships, the Elavation Local Hour Radio Show manifested. The presentation entertained from WHLD 1400 AM on Friday nights. They created radio plays, maneuvering a spaceship and trekking off to casinos on Venus or through nebulas and star systems — chased by their nemesis Darth W. The Elavation Hour showcased local music, naturally, but stepped further by also focusing on the interpersonal machinations of the bands’ members.
In 2000, Wantuch initiated study of live production as an I.A.T.S.E. — International Alliance Theatrical Stage Employees — member, working in theatres throughout the Greater Buffalo-Niagara Region. In his tenure, Wantuch mastered set design, set construction, and sound design. In addition, he lit and sound designed rock-n-roll events at numerous venues, including but not limited to HSBC Arena, Shea's, Kleinhans Music Hall, etc… At twenty three he became the youngest audio engineer at the B.P.O — Buffalo Philharmonic Orchestra.
Wantuch created Wasteland Recording Studios, a natural progression in his career. He has provided original sound and compositions for local theaters, toys, video games, and radio/television commercials. He continues his exemplary work with local bands; however, this time as audio engineer and producer.
In 2002, the idea of rehearsal spaces came with the change in use of the Sidway Building. Wantuch’s band, Elavation, resided in the Sidway, but found itself forced to relocate. This expulsion created the foundation for Wantuch’s investigation of real estate — specifically, abandoned commercial properties suitable for practice session spaces and a recording studio. The realtors of an old firehouse on Plymouth and Jersey, the Ellicott Paint building on Genesee Street, in Buffalo, New York, sat as top contenders in his search. After frequent rejections, Brian Wantuch met with Harold Kopp, owner of EMI Building, inquiring with the uncommon question, "May I create a space for the art community in your building, which would encompass a salon and day spa, art gallery/venue, plus education?" Kopp understood the vision, saying a definitive, "Yes."
Artists could find a home in Wasteland.