Carl Weingarten | An Endless Premonition

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Electronic: Freestyle Jazz: Progressive Jazz Moods: Type: Soundtrack
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An Endless Premonition

by Carl Weingarten

Carl returns to his space music roots with AN ENDLESS PREMONITION, a CD of ambient and symphonic space guitar. Also featuring Windham Hill bassist Michael Manring.
Genre: Electronic: Freestyle
Release Date: 

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  Song Share Time Download
1. Spurlos
7:49 album only
2. Landreth Lights
10:37 album only
3. An Endless Premonition
15:23 album only
4. The Far Away
13:44 album only
5. Blue Rendezvous
6:21 album only


Album Notes
Following the successful ambient jazz CD Life Under Stars, slide guitarist and producer Carl Weingarten returns to his space music roots with the evocative and atmospheric CD, An Endless Premonition. Those familiar with Weingarten’s early work will be reminded of several recordings including, Submergings, Living In The Distant Present and Panomorphia. On those recordings Weingarten, an early pioneer of “looping”, produced exotic ambient music by layering guitars, percussion, keyboards and other instruments into cinematic soundscapes. An Endless Premonition takes a new direction. On this CD, the guitar work is sparse, but melodic. Rather than simply layering tones, Carl weaves an interplay between guitar and effects, similar to call and response. Like clouds passing overhead, the music constantly changes, often with the guitar disappearing entirely into the mist. An Endless Premonition is nearly an hour long, and with tracks up to 15 minutes each, there’s plenty of time to get lost in the music. Two of the pieces feature Grammy Award Winner Michael Manring, adding rich orchestral bass lines to Weingarten’s symphonic adventurous, exploratory, and intriguing music.



to write a review

Kathy Parsons

From MainlyPiano
"An Endless Premonition" a suite of five extended pieces of what SF Bay Area composer/guitarist/producer Carl Weingarten refers to as “symphonic space guitar.” Grammy-winning bassist Michael Manring is featured on two of the tracks, but all of the other instrumentation and sound effects are created on electric slide guitar with looping and atomic delays. This really surprised me, as I assumed that many of the sounds were generated with synths and electronic keyboards. It is interesting to note that Weingarten started exploring long-form atmospheric sounds as far back as 1979 and on his early recordings such as "Submergings" (1981). Of course, the tools and toys have changed dramatically over the last 35 years, and Weingarten didn’t want his new album to sound like the many other artists in the field who use looping techniques, so after experimenting for awhile, he started using the guitar as a “trigger” to produce sounds that are in constant change whether or not he is actively playing. As a result, the effects are usually in the foreground rather than the usual more melodic sounds of the guitar. The tracks were all recorded live in the studio and are first-takes with no overdubs. It is also very interesting to learn that Weingarten’s college degree is in film-making, not music, and that before he started playing the guitar as a teenager, his focus was in the visual arts. An avid photographer as well as a musician, Weingarten’s music has many of the characteristics of a film soundtrack that evokes vibrant, colorful images in the mind.

The five tracks range in duration from about 6 1/2 minutes to almost 15 1/2, with three tracks well over ten minutes each. So, writing a brief summary of each is difficult at best - especially when the music is so ambient and ethereal. The overall effect of the album is one of slowly and peacefully floating through deep space, unthreatened and unencumbered by any earthly ties. I find it extremely relaxing.

"An Endless Premonition" is a masterful creation that sounds effortless. If you like ambient and/or space music, this is a must!

Michael Diamond (

Review excerpt from Music and Media Focus
“An Endless Premonition” is somewhat of a return to the style that Carl Weingarten has been exploring for three decades. While his previous album, “Life Under Stars” had more earthy influences, this new release is more like life “in” the stars, with its decidedly celestial ambiance. Carl refers to this music as “symphonic space guitar.” Although it is technically a “guitar album”, it is not in the sense that most people would think of in regard to that term. The sound processing equipment that the guitar is channeled through is equally important as the instrument itself. A single plucked note can become a soundtrack as it expands through a maze of sound shaping effects. In places, if you didn’t know, you might assume you were listening to layers of keyboard synthesizers. Carl has had a long association with fretless bass superstar Michael Manring, and the maestro lends his considerable talents on two of the five extended tracks, the longest of which is over 15 minutes in length.

Right from the beginning of the opening track, “Spurlos,” a visually evocative ambiance is created that takes the listener deep into the theater of their imagination. Notes are launched from the guitar that travel through Carl’s electronic effects into uncharted realms of space, expanding and evolving as they go, merging into overlapping layers of ethereal echoes. While it is at least somewhat obvious that the sounds on the first track are being created on guitar, it is quite the opposite on the next piece, “Landreth Lights,” where long sustained tones drift in and out creating synth-like clouds of sound.

Track 3, which is the title track, marks the first of two collaborations with Michael Manring on fretless bass. This piece combines elements of the first two with its combination of plucked notes and expansive sonic textures. With an occasional strummed chord, there were moments, especially towards the beginning that reminded me just a wee bit of David Gilmour and Pink Floyd. Michael’s bass playing is stellar, as always, utilizing a combination of fingered notes and the use of an E-bow, a handheld electronic device that creates infinite sustain on a string. The album concludes with the dreamy “Blue Rendezvous,” which features just a bit of more conventional guitar phrasing, although the effects take it into another dimension altogether.

I would not hesitate to say that people who like the music of ambient guitarist Jeff Pearce would be equally entranced by Carl’s extraterrestrial explorations. “An Endless Premonition” provides a dream-like journey to deep space and beyond. After listening to this album with headphones, I had to make sure my feet were on the ground before trying to walk. As I have said of Carl’s music, his style is adventurous, exploratory, and intriguing, and to be able to create a distinct sound in today’s crowded music market is quite an accomplishment in itself.

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