July Construction: The Velvet Red Bug (Parts 1-3)

Glenn Weyant
Glenn Weyant


The Velvet Red Bug: July Ghost Constructions

The trax in The Velvet Red Bug: July Ghost Constructions series of recordings are designed as a sonic exploration of elastic time.

I became interested with exploring elastic time while waiting on the front stoop of my home in Tucson, Arizona waiting for a late night monsoon storm to arrive from Mexico.

The storm, as is often the case with monsoons, first made its presence known with an outflow of wind that tore at the trees and filled the air with tendrils of fine dust that drifted like wisps of fog beneath the orange halogen street lamps.

In those initial moments following the atmospheric burst, a vacuum set in, leaving time to seemingly expand and elongate.

And within that change in perception, I still found I moved at my normal speed, leaving me to wonder: What would I look like to someone perceiving time at “normal” speed. A blur is what I imagined, not unlike those surreal moments when engaged in an accident such as the collision of two automobiles.

After what seemed like five minutes (but was a few seconds on the watch), time snapped back with a fury and the rains began, leaves blew, cats scurried, the streets steamed and the storm was in full swing.

Later, as I mulled over that moment and the idea that “elongated,” “hyper,” and “normal” time could all exist simultaneously, I was led to thoughts about the nature of ghosts (of which I seemed to have momentarily become), collective perceptions and other ruminations best pondered late at night and by candlelight if possible.

Taking this path further, I decided to undertake a sonic exploration which would illustrate and perhaps recreate the application of these principles.

I began by making some initial recordings and then manipulating/processing those sounds in a variety of ways which emphasized time changes: playback speed alterations, delay and non-linear composition.

Next I interacted with those manipulated trax in “real time,” recording new responses then manipulating them before recording new responses etc. and letting the process spiral outward from there.

A saxophone solo slowed to a resonating drone might then be responded to with a recording of a bowed steel dog water bowl (half full), then sped up and responded to with steel springs played percussively delayed, etc. etc.

I also worked with highly amplified micro-sounds normally beyond the point of human hearing.

In the end it is my hope that each ghost recording offers a palate of conceptual time possibilities representational of the dimensional existences swirling about us.

I also hope they provide the listener with an aesthetically pleasing journey.

And what about The Velvet Red Bug?

It appeared where it had not been at the exact moment elastic time ended. I probably had simply not noticed it before, but maybe it manifested itself from another dimension.

If so, it would finally explain the mystery of single socks.

Instruments: Kestrel 920, bowed-plucked-banged-rubbed found objects, tenor/alto sax, piano, feedback.

Absolutely no synthesizers were used in the making of these recordings.

A full 60 minute disc with additional tracks is available by contacting me directly.

Glenn Weyant
Glenn Weyant
Glenn Weyant
Glenn Weyant