Reviews 048: Carl Weingarten & Walter Whitney
The long awaited re-issue of Carl Weingarten & Walter Whitney’s Dreaming in Colors is finally here, courtesy of the reliably brilliant Emotional Rescue. This album kicks off an exciting string of Weingarten related re-issues on the label, bringing to a wider audience the art of this absolute champion of guitar-based kosmische and new age. Recorded in the early 80s during the off-time for Delay Tactic’s Any Questions? and serving as the final vinyl release on Carl’s Multiphase label, Dreaming in Colors sees the duo fusing cosmic aquatic synthesis, dreamy sampling, and gigantic waves of echo guitar, resulting in a shimmering gem of American space music.
Carl Weingarten & Walter Whitney - Dreaming in Colors (Emotional Rescue, 2018 Re-issue) “Mermaid” is well named, evoking both the beauty and mysterious darkness associated to those mythical beings. Aquatic percolating synth bubbles and thick ominous Blade Runner pads surround breathy vocal sounds, and we occasionally swim towards the light with bright chord progressions and climactic fuzz guitar opalescence. “Dreaming in Colors” inhabits a similarly darkened space, with glossy drops of liquid guitar sitting aside cascading zither/harp tones. Dusky fuzz soloing is accented by hugely cosmic washes of echo guitar, vibrant and glowing, reminding me of Mark Banning’s Journey to the Light. And “Pathways” starts with shadowy e-bow effects and layers of sci-fi synthesis before smash cutting to a majestic passage of spellbinding prog sequencing. It’s a triumphant sunrise celebration with new age piano sprinkled over top, light as morning dew, and a soporific ending of airy synths and birdsong. I can’t help but think of the ambient interludes in Yes’s prog epics. Similarly exuberant and progressive is “Pipe Winds”, beginning on trippy vocal sequencing and Berlin school arps. Flutey reverb sounds…the titular pipe winds…dance playfully with abstract flashes of fading fuzz guitar, as soft percussive clicks and snare give everything a heady krautrock pulse. The A-side ends with “Rainsong”, which is especially notable for being an unreleased bonus track. Rain patters and thunder roars while seabirds and other oceanic fauna converse underneath the clouds. Magical waves of space guitar are joined by synth-wind and cascading chimes, all the elements coming together for an organic yet barely there driftscape.
The B-side opener “Ritual” is the album’s most explosive cut. Bouncy sequencing, draped in fog, underlies these angelic waves of synth and guitar while massive stadium sized fuzz leads roar across the sky. It’s positively unhinged space guitar brilliance, presaging Steven Wray Lobdell and his Davis Redford Triad. Blissed out pads and dark droning bass synths move in and out of the mix, with twinkling starlight sequences and propulsive cymbals helping shape the triumphant glide. “Maiden Flight” maintains the intensity, as romantic and mountainous string synths float over swirling bass drones and rapid fire sequencing. Things take on a darker hue as cerebral feedbacking guitar weaves in and out of the entrancing electronic orchestrations and thundering timpanis signal a cinematic climax of emotional soloing and sparkling arpeggiations. There are more fiery guitar atmospherics to be had in “Obsession”, alongside hypnotic loops, meandering bass synths, and some totally alien pads that splash like liquid neon. At times, the disjointed sonic elements come together for these huge and wonderful laser blasts of galactic sound, and the track ends on strange effected vocal samples atop seasick looping. “Painted Lake” is an island of calm amid these three intense tracks, featuring clean guitar curlicues, joyous piano chords, and placid synth leads over methodical bass pulses under panning echo. Another moment of light comes with closer “In the Sun”, here remixed by Noah Perry (who also did a fantastic job on the mastering). It’s a peaceful coda for acoustic guitar, backed by psychedelic synth effects and noisy waves washing ashore on some cosmic beach. The guitar line is is simple and plaintive, bringing a touch of Americana as we return to Earth.
(images taken from my personal copy)
