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Ewen, Sandy / Weasel Walter: Idiomatic (ugEXPLODE)

Uniquely voice free improvisation from the duo of guitarist Sandy Ewen, rejecting effects in favor of extended techniques and non-standard approaches that employ Ewen's simple preparations made with ordinary objects, and Walter's applying unconventional rhythmic strategies and live electronic processing, resulting in 3 detailed and unexpected dialogs.
 

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product information:


UPC: 191924553830

Label: ugEXPLODE
Catalog ID: ug69
Squidco Product Code: 26742

Format: CD
Condition: New
Released: 2018
Country: USA
Packaging: Digipack
Recorded at Seizure's Palace, in Brooklyn, New York, on September 12th, 2017, by Jason LaFarge.


Personnel:

Sandy Ewen-guitar

Weasel Walter-drums, live electronics

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Artist Biographies:

"Sandy Ewen was born in Toronto, Canada in 1985, Sandy Ewen received a Bachelor of Architecture from the University of Texas at Austin in 2008. Since then she has resided in Houston, TX where she pursues musical and visual projects and her architecture license. Ewen has released several albums, including a duo with guitarist Tom Carter, a trio with bassist Damon Smith & drummer Weasel Walter, and a rock album with Austin's Weird Weeds. Ewen's visual work is closely tied to her work in sound; she uses both mediums to explore texture, composition and materials.

Ewen's microcollages, enlarged through projection and digital printing, are an exploration of material and technique. Using a unique process pioneered by the artist, natural materials and polymers are torn, liquefied, scorched, melted, cut, and fused. When enlarged, the microscopic nuances of these manipulations are manifested in exquisite detail. Ewen has presented prints of her work at 14 Pews (2012), Spacetaker/Fresh Arts (2012), Khon's (2013) & Galeria Regina (2014).

As an improviser in both art and music, Ewen sees herself as guiding materials and space rather than executing a preconceived composition. "I like to explore mediums and materials and tease out their essence," says Ewen. "Working with slide projections has focused my eye on the subtitles of natural processes of decay and transformation. Through my work, I am asking questions of the materials rather than dictating answers." "

-Sandy Ewen Website (http://www.sandyewen.com/about/)
11/25/2020

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Weasel Walter (real name Walter Wyzowski) is a composer and instrumentalist who founded the band The Flying Luttenbachers in Chicago in 1991 with a current member of Cellular Chaos and Behold...The Arctopus. Over the years, The Flying Luttenbachers included noted Dylan Posa, and Michael Colligan, while creating a body of music drawing equally from no wave, death metal, gamelan, noise music, hardcore punk and modern classical. Walter moved to the San Francisco Bay Area in 2003, where he formed the latest of many Luttenbachers lineups, remaining on percussion with the addition of bassist Mike Green (Burmese), and virtuoso guitarist Ed Rodriguez (ex-Colossamite, Gorge Trio). Singular guitar phenomenon Mick Barr (Krallice, Octis, Orthrelm) joined the group in 2005. The Flying Luttenbachers ceased to operate in late 2007. On November 25, 2009, Weasel Walter announced that he was moving to New York City to join the band Behold... The Arctopus on drums and will be writing "new, more extreme material from scratch." He also formed Cellular Chaos with Marc Edwards (drummer), Admiral Grey and Ceci Moss."

-Wikipedia (https://en.wikipedia.org/wiki/Weasel_Walter)
11/25/2020

Have a better biography or biography source? Please Contact Us so that we can update this biography.
track listing:


1. (22:38) 22:39

2. (23:43) 23:49

3. (29:29) 29:29
sample the album:






descriptions, reviews, &c.

"Almost 80 minutes of jarring, surreal, raw improvised music by the duo of Sandy Ewen (guitar) and Weasel Walter (drums/live electronics) captured on this clear, powerful studio recording. Each musician speaks a distinctively deconstructed language on their respective instrument and their interaction is often surprising, always relentless and subtly alien.

Sandy Ewen's approach eschews the obligatory mounds of effects pedals (save one for panning) many guitarists use, instead concentrating on direct physicality, extended techniques and non-standard approaches using various simple preparations made with ordinary objects.

Weasel Walter's articulate, fleet drumming aims to constantly disrupt continuity, creating chaotic scaffolds of focused illogic, and his use of simple live electronic processing blurs the roles within the soundscape. This is fast-paced musical Modernism in action by two unique voices in modern improvisation."-ugEXPLODE



"When free improvisation first flowered in the latter half of the 20th century, it was often characterized as non-idiomatic. This description distinguished the music from the omnipresent practice of improvising within the context of an idiom. But it quickly became problematic, as it became clear that a community of players improvising outside the mandates of genre had created another one with its own proscriptions and practices. Guitarist Sandy Ewen and drummer Weasel Walter know that history, and plenty of others besides.

In addition to improvising in her old hometown of Houston, as well as her current base in New York, Ewen has played rock music with Weird Weeds; Walter's been playing rock, metal, punk, no wave and various free musics for decades. And the two have a shared history of their own, having recorded twice before with bassist Damon Smith. Combine those collective pasts with nonpareil approaches to their instruments and you've got an idiom unto itself.

Ewen sets her electric guitar in her lap and manipulates its strings and its body with bolts, rods, steel wool and lengths of chalk. Walter summons myriad timbres from a conventional drum kit, which he navigates with speed and precision, and muddies his clean attack with cheap microphones, digital delays and a synthesizer. They don't relate in terms of notes, chords and measurable meters, instead focusing on contrasting textures and densities of attack. Their collaboration yields plenty of visceral thrills, but becomes even more rewarding when they throttle back to devise exchanges of alien information in a language that is purely their own. It still makes perfect sense."-Bill Meyer, Downbeat



This album has been review on our magazine:

The Squid
The Squid's Ear!

Get additional information at Downbeat Magazine
Related Categories of Interest:


Improvised Music
Free Improvisation
Electro-Acoustic
Electro-Acoustic Improv
NY Downtown & Metropolitan Jazz/Improv
Duo Recordings
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Percussion & Drums
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