Glenn Weyant | Seven Transharmonic Explorations in Multitonal Omnivibrationalism, Vol. Six (Nice Squid Electric SOund and Industrial Transmorgification Presents)

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Jazz: Free Jazz Jazz: Weird Jazz Moods: Type: Experimental
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Seven Transharmonic Explorations in Multitonal Omnivibrationalism, Vol. Six (Nice Squid Electric SOund and Industrial Transmorgification Presents)

by Glenn Weyant

Baleful nothings sigh discreetly, completely, sharp rider lost defers it though sweetly, suggestive undisciplined enticements weeping, unhoped nothings narcissistic seeming.
Genre: Jazz: Free Jazz
Release Date: 

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1. As Dawn Forms
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8:35 $0.99
2. These Thoughts Reel
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18:02 album only
3. Across Forgotten Meadowlands
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6:58 $0.99
4. Snug in Acid Washed Genes
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14:08 album only
5. One Hand Raised
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11:41 album only
6. Spinning
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5:09 $0.99
7. In the Sea of Key
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13:39 album only
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ABOUT THIS ALBUM


Album Notes
About this recording:

Application of intuitive-now reactions and chance processes developed in a slow multi-tracking environment were implemented throughout, allowing Glenn Weyant to respond and create unpremeditated, organic and chaos driven sonic solutions as if newly heard.

Weyant increased the potential for non-deterministic happenstance by performing upon found, unique and traditional instrumentation.

It is the intent of this recording to offer listeners sonic possibilities beyond the confines of their own being and circumstance.

Listen deep and experience.

Track Background:

1. As Dawn Forms: This piece began as a blind duet between running water and an upright piano cluttered with cultural ephemera such as picture frames and statues. The left/right microphones were placed upon a tile floor at either end of the piano during the recording to emphasize the keyboard's extremes. Strings were suspended to enhance natural drones. A second pair of microphones were situated beside a ceramic glazed iron sink into which water poured from a 50 year old chrome faucet. Six days later an accompanying track for processed tenor saxophone was added. A month later a track for guitar prepared with bolts, paper clips and strung with industrial steel wire of various gauges was added.

2. These Thoughts Reel: A monaural improvisation on the Kestrel 920 (see below) served as the foundation for this piece. The Kestrel 920 was modified to utilize one bungee chord instead of the usual seven. In so doing, a section of iron mattress buttress suspended from a satellite dish mount was given greater leeway to create bell-tone harmonics when played in conjunction with the tuned dust pan. The following day the guitar track was added utilizing traditional tuning and strings but prepared with two one-inch galvanized steel washers. A week later the clarinet, Tibetan death mask flute, chimes and brass bell were included within one hour of each other usually after a short meal or lite snack.

3. Across Forgotten Meadowlands: Following an unusually wind-driven morning spent watching leaves and birds this piece was recorded. Each track was added separately but never as a whole. IE: A.Guitar solo/ B.Flute played while listening to guitar/ C.Alto played while listening to flute/ D.Clarinet played while listening to alto/ E.Chimes while listening to clarinet/ F. Singing bowl played while listening to chimes. While the wind instruments were played without modification, the microphones were strategically placed to enhance spatiality. Locations included: suspended from the ceiling, inside a brick fireplace, facing an adobe brick corner and inside a tin can. The guitar was prepared with a child's metal hair clip.

4. Snug In Acid Washed Genes: All tracks were played as a duet with a stereo recording of three washing machine cycles (wash/rinse/spin) over the course of three weeks. As a result the precise cycles and random sounds created via interaction with water, detergent and clothes served as conductor/composer determining the final arrangement.

5. One Hand Raised: For this piece, recorded in a single day over a period of six hours, the Kestrel 920 acted as the initiator track. An improvisational piano performance was then played in response. Subsequently the first Kestrel 920 performance was erased and a second performance was recorded in response to the piano track. The piano track was then erased and re-recorded in response to the newly recorded Kestrel 920 track. This process of improvising and rerecording was completed ten times. The result is a blending of evolution and divine intervention.

6. Spinning: Initially this piece began as a solo performance for shortwave signal altered and processed utilizing the radio’s SFO, gain and tone controls. Eventually overdriven guitar/feedback was played in response. Piano was then added based on the guitar performance. Alto sax was added in response to the piano. The piece was recorded over a period of roughly two months.

7. In The Sea Of Key: Kestrel 920 processed.

About Glenn Weyant:

Glenn Weyant is (among other things) a sound-sculptor living in Tucson, Arizona. While the majority of his work/performance is solo exploration, over the past five years he has worked with The Running Dogmas Collective, Prepping Finger Salad, The High On Out Duo, and George Haslam.

About the Kestrel 920:

The Kestrel 920, is a sound transmogrifer designed and calibrated by Glenn Weyant to amplify and exploit the nano and overt vibrations created through percussive blows, bowing, electromagnetic fields and assorted manipulation.

At the heart of Kestrel 920 is a segment of found lumber that has been hollowed to create a resonation chamber for the mounting of a contact microphone. The lumber has been strategically mounted with found objects mostly including: a tuned dust pan, a deconstructed satellite dish mount, assorted screws, nails, bungee cords, wires and springs. The vibrations and subsequent tones created by the manipulation of these objects passes into/and is translated by the grain of the lumber where it is captured by the contact microphone, boosted, processed and eventually broadcast.

Discography:

1. Red Eye: 1991(Cassette • Out of Print)
2. The Nantucket Sessions: 1994(Cassette • Out of Print)
3. Squid: 1996 (Cassette • Out of Print)
4. Tucson Mountain Chaos: 1998(Cassette• Out of Print)
5. Best of The Running Dogma Collective: 2000 (CD • Ltd.)
6. Prepping Finger Salad Live @ MBI: 2001(CD • Ltd.)
7. Sound Collage #18 For Trains and Rails: 2004(CD • Ltd.)
8. Red Coffee/Black Wine: 2005(CD • Avail./ CDBABY)
9. Seven Transharmonic Explorations: 2006(CD • Avail./ CDBABY)


Reviews


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Austin Publicover

solid & enjoyable without compromising sonic adventure
Glenn grapples with myriad avant garde precedents and ultimately wins the match, hands down... equal parts playful & thoughtful, accidental & composed, nods to the past & the future. Isn't this the cliched motif of poetry reviews (it *is* and it *isn't* AT THE SAME TIME). Aural poetry, then, teasing out your interpretation then soundly trouncing it with its own flippant terms... fugitive and desirious, STEXIMO V6 is a solid accomplishment.

mjy

More essential sounds from a fantastic musician!
On this fantastic new cd, Glenn Weyant's music continues to defy classification- like that's a bad thing.... anyone with a taste for ambient sounds, improv, and good old fire breathing free jazz should find plenty to dig into here. Mr. Weyant's music stands head and shoulders above much of the other "experimental" sounds that it's often lumped in with. Unfamiliar listeners might be intimidated by the massive list of instruments/sounds that make up this recording, but Glenn ignores self-indulgence in favor of mixing track upon track of improv/chance into beautiful compositions. "As Dawn Forms" starts with a rhythmic drone of piano or guitar ( i can't decide which, and that's half the fun)that gradually builds to a cascade of sound, while never losing the theme that started the piece. Likewise, "These Thoughts Reel" is a dark, ambient piece that casts the listener adrift in a sea of textures, courtesy of the amazing Kestral 920. Just when the listener is totally immersed in this soundscape, a simple chime melody makes its way to the surface. These 2 pieces would not sound out of place at all on a contemporary classical music compilation. By the same token, "Snug In Acid Wash Jeans" had me double checking the CD case to make sure I hadn't popped in Anthony Braxton by mistake..... This music demands dilligent listening, but is about as far removed from the pretensions of similar "scholarly" music as can be... I hate to use a cliche, but Mr. Weyant's music exhibits a "soul" that is often missing from many bigger name EAI musicians... honestly, the term "experimental" is often far too accurate when used to describe certain improv records. Some sessions sound more like exercises rather than transcendence. I listened to this entire CD first, without looking at the track listing, and then was surprised to see that the ambiguous percussion in "Snug" was actually a washing machine, and that the kestral 920 uses everyday items like a dustpan or bungee cord to produce it's beautiful tones. Lesser musicians would use these found sounds and ambience as window dressing for their songs, making them sound pompous and self indulgent in an attempt to be "experimental" just for it's own sake...Glenn Weyant takes these things and extracts beauty from them, like less adventurous artists could only dream of. Do yourself a favor and dive into this cd, it will show you that music can be constructed from anything that you could possibly imagine.