Sound

Below are a selection of Glazier's audio works in chronological order.
The uppermost are albums of compositions created independently of any visual element.
Scroll down for his earlier work where the audio was often part of an installation or visual work.
The two acoustic instruments most used in this album were a cello and an instrument which resembles a Japanese koto which has given some of the pieces a certain oriental feel. It's no coincidence that Glazier travelled to Japan in 2023, the last track of the album being an evocation of that journey.
The process of exploration and searching remain tangible, and is not polished away. This gives some of the pieces a certain fragility with rough edges, as Glazier carves into the block of silence.

12 tracks, released April 2024
The heart of ‘The Wind in the Sap’ grew around recordings made at 'Het Orgelpark’ (Organ Park), a concert venue in Amsterdam with a collection of nine antique organs. Glazier was given a few days to experiment with their amazing instruments and to create some new compositions. There is something primal and physical about sitting next to those colossal beasts when they’re playing. The sounds they produce evoke some elemental force of nature, and that is what Glazier embroidered upon in this album.

12 tracks, released April 2022
In the album ‘Wires’ Glazier explores rhythmical and melodic possibilities to a greater extent than in previous albums, though these elements are still very firmly embedded in the textures and colours of his soundscapes. The use of real instruments is also very evident here, sometimes giving quite an earthy feel to his sound palette.

14 tracks, released February 2020
For the album ‘Aviary’ Glazier uses many field recordings as a springboard for new compositions. Combining different sound textures, both electronic and acoustic, he creates rich sound worlds that still resonate with our daily experience.

13 tracks, released January 2019
Using extended techniques on a variety of instruments Glazier weaves evocative soundscapes, often with field recordings at their heart.
A strong sense of place and the elements permeates this album. With the use of field recordings we are sometimes offered glimpses of a specific time and place. At other times the sounds are more abstract. What is common to all the tracks is a sense of them being part of a larger narrative. The effect is very spatial, offering a sonic world in which we can immerse ourselves and drift.

8 tracks, released October 2015
Although certainly not exclusively electronic the emphasis in this album is on computer generated sound evoking more abstract or internal space. In fact much of this material was generated during Glazier's work on Edit Kaldor's multi-media theatre piece 'One Hour'. For the performance the sounds were designed to evoke and accompany images of the body on a cellular level. From that material Glazier has taken many elements to create this collection of new compositions.

11 tracks, released March 2013
This album contains instrumental soundscapes using a combination of acoustic and amplified instruments, sometimes augmented with electronics.
This time Glazier makes much use of the cello and zither using extended techniques to conjure up various sonic landscapes or soundscapes. Although the use of electronics on this album is minimal in some tracks it does play or more dominant role, the contrast between the hand produced sounds and the more rarified electronics building a compelling tension. As with his previous work this music has a certain cinematic feel whilst remaining very visceral.

8 tracks, released February 2013
All tracks from 'in someone else's play' are based on sampled records, arising from Glazier's continued fascination with old vinyl. (Except 'without a sigh' which is made from recordings of various doors.) It is the physicalness of vinyl and the opportunities for transformation that it offers that regularly draws Glazier to using old records as a source of inspiration.

16 tracks, released December 2010
Stories for Dusk', as the name implies, has a strong narrative feel. Using both played and sampled instruments, and mixing them with electronic textures, Glazier builds very evocative soundscapes. Some strong melodic elements make this perhaps the most lyrical album from Glazier to date.

6 tracks, released September 2010
Glider was composed entirely from improvisations on an electric guitar. It is a step away from the use of sampled sound in previous work and this gives it a raw edge and spontaneity, combining diverse emotions with dry humour.

10 tracks, released May 2009
In the album Flutter Glazier explores further the narrative possibilities of sound, using a mixture of field recordings, electronics and acoustic instruments.

7 tracks, released August 2008
'3 short pieces' was Glazier's first collection of compositions totally independent of any visual element or installation. Each track evokes a different narrative and mood, The first two tracks largely using field recordings and in  Prayer of Metal sampled payer bowls.

3 tracks, released 2007
Nana Canons was a performance and album created by layering Nana Mouskouri's ' Mouskouri International' album using 10 turntables and ten copies of the album. The records came from a collection of over 100 copies of the album gleaned from second hand shops over the years by Glazier and Simon ferdinando.

38 minutes, released 2007
This piece started it's life in 2003 with its first live performance. Then followed a 98 minute version (the length of the original film) for a surround sound installation, and then this one which is 57 minutes long. All the material in this work, both audio and visual, was drawn from the classic 1939 film ‘The Wizard of Oz’. Taking a magnifying-glass, both literally and figuratively, to the original film, ‘Yellow Brick Road Works’ examines the building-blocks of this icon and unfurls a new road to Oz and back.

57 minutes, released 2006
'Journey to Fuga' was composed from field recordings made in the Philippines during a journey to the remote island of Fuga in 2004. Even though the accompanying film is included here, the audio composition was always intended as a piece in its own right.

43 minutes, released 2005
'Kokend' (boiling / cooking) was composed from recordings made in the kitchen of restaurant Noord Cocagne in Amsterdam. This work was performed live during the opening of the restaurant. Whilst waiting for their orders guests were invited to listen to a live manipulation of the sound of their food being prepared.

8.5 minutes, released 2004
'Fabriek' (factory) was created for the exhibition 'De Fabriek' at the Zaans Museum in April 2004. It is composed entirely from sounds recorded in various factories from the Zaan area, close to Amsterdam.

13 minutes, released April 2004
All the sounds in this composition were recorded in the basement of Platform -1 in Amsterdam during the installation 'brug' (bridge) 2004. By placing a microphone under the Kinkerbrug Glazier brought the sounds of the street into the cellar. Here they were manipulated live by a computer with continuously shifting sets of parameters. The wonderful acoustics of the vast cellar also modified the sound which was played over 6 channels and 40 speakers. The result was a very spacial and physical experience.

9.5 minutes, released 2004
'Commercial Breakdown' (2003) was composed out of samples taken from T.V. commercials and was part of an exhibition about capitalism. 

12.5 minutes, released 2023 
'Carousel' (2003) was composed for Renée Kool's installation 'In Medias Res'. Entering first a chroma-key blue space, then continuing round a mirrored corridor, visitors arrived in a darkened room where Kool's animation of hundreds of her photographs of fairgrounds and especially carrousels flickered and danced.

16.5 minutes, released 2003
'Stoned Chicks' was part of 'Entre Nous' a collaborative performance /installation with Simon Ferdinando and also Edwin David and Petri Huurinainen of Drag Radio. At Five Years Gallery in London Glazier mixed 'Stoned Chicks' live from two turntables, two C.D. players and the live audio from a projected video of the 70's TV drama Abigail's Party by Mike Lee. Original source material was chosen in so far that it's cover art related to the album cover genre 'Stoned Chicks'.

60 minutes, released 2002
'Envy' was created as part of the installation / exhibition 'Envy', a collaboration with Simon Ferdinando and Arthur Neve that took place in Galeria 35 in Bucharest in June 2002.
It is an arrangement of four voices reciting all the possible declensions of the verb envy: I envy you, you envy me, we envy them etc. in English and Rumanian.

6 minutes, released 2002
'The Cacophonic Lounge' was a performance/installation which took place at the Outline Gallery in Amsterdam in November 2001. Having noticed that old vinyl LP covers frequently featured people on landscapes Glazier, together with Simon Ferdinando, started collecting albums with covers of this theme. The resulting collection was exhibited and during the opening the vinyl was mixed live by Glazier, Tim Benjamin and D.J. El Joe on 6 turntables. This was recorded and played back in the space for the rest of the exhibition.

57 minutes, released 2001
Carnival in Bavaria was created for 'Blondies and Brownies', a show addressing aspects of multiculturalism and racism in the old and new worlds. This took place in March 2001 in the Aktionforum Praterinsel in Munich.
'Carnival Dub' was mixed live at the opening of the exhibition from two old vinyl recordings: 'Keep the Faith Baby!' Adam Clayton Powell's message to the world recorded in 1967, and 'Carnival in Bavaria ' by Toni Witt and his orchestra , recorded in 1975 in a Munich beer-hall.

26 minutes, 2001
'Old George', (1999)was created by jogging a CD player that had stuck, to set up slightly different loops which were then doubled up to create some interesting phasing.

6 minutes 1999