Captured during a Japan tour by the duo of Tim Olive (one-string electric guitar) and Alfredo Costa Monteiro (electro-acoustic devices), this live studio recording showcases the duo's attunement and dramatic sense of structure.
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Edition of 250 copies.
Label: 845 Audio
Catalog ID: 845-1
Squidco Product Code: 16953
Packaging: Recycled Chipboard Sleeve
Recorded in Kyoto in October 2009.
Tim Olive-guitar, electronics
Alfredo Costa Monteiro-electro-acoustic devices
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• Show Bio for Tim Olive
"The music of Tim Olive arises from collaboration with fellow musicians/sound artists, collaboration with physical and temporal setting, and collaboration with those involved in the act of listening. Using simple materials (magnetic pickups, steel strings, tuning forks, metal strips, hand-wound motor mechanisms, magnetic tape, dental floss and analog electronics), Olive's work examines presence and the present, the interplay of the human with material/time/space, and the uniqueness, intensity and unrepeatability that lives in each performing and/or recording situation.
He is interested in music as a social activity, as a way of creating community, a way of countering the forces which lead to an increasing atomization of contemporary life; music as a felt experience rather than as a concept or a theory.
A Canadian residing in Kobe, Japan, Olive has released music on Japanese, European and North American labels, with Jeff Allport, Cristian Alvear, Pascal Battus, Alfredo Costa Monteiro, Samuel Dunscombe, Nick Hoffman, Anne-F Jacques, Jin Sangtae, Jason Kahn, Takahiro Kawaguchi, Francisco Meirino, Katsura Mouri, Takuji Naka, Makoto Oshiro and Ben Owen.
Olive has performed/recorded in Asia, Australia, North America and Europe, with the recording collaborators listed above, as well as with Akiyama Tetuzi, Maria Chavez, Che Chen, Kelly Churko, crys cole, Joe Foster, Haco, Hong Chulki, Bonnie Jones, Richard Kamerman, Kostis Kilymis, Siew-Wai Kok, Madoka Kouno, Tomasz Krakowiak, Fangyi Liu, James Rushford, Carl Stone, Fritz Welch, Nate Wooley, Jared Xu and Yan Jun.
In addition to organizing events in Japan, Olive runs the label 845 Audio."-Tim Olive 10/26/2020
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1. Track 01 27:51
2. Track 02 15:51
sample the album:
"33 bays was recorded in October 2009 in Kyoto, during a Japan tour by the duo of Tim Olive and Alfredo Costa Monteiro. Recorded live in the studio with no overdubs, the two untitled tracks were chosen from a number of pieces captured over several days, showcasing the duo's attunement and dramatic sense of structure. Olive (one-string electric guitar) and Costa Monteiro (electro-acoustic devices) produce a rough, feral music with moments of surprising calm and beauty, using basic technology to blast into other realms, dark atmospheres of varying density and great textural variety. Sharp transitions and gradual transformations carry the listener from seeming chaos to ordered spaces pierced by shafts of light."-845 Audio
"It's been a while since hearing anything from the bale hands of Tim Olive so it's good to report that his 2009 duo with the stalwart Alfredo Costa Monteiro is a solid, absorbing effort.
Both wielding electronics and metal of various sorts (I don't pick up any accordion or paper on the part of Costa Monteiro), they fashion a thick, rough, spiny set of two pieces, the music elbowing its way through, leaving shavings and unexpected bruises. The first track is quite packed but not overstuffed, several things usually in operation at a given moment--throbbing hums with erratic static and scoured metal here; when a couple of sources drop out, the remaining one or two acquire a ghostly effect, echoing, arguing. One of the impressive things is how varied the landscape is while feeling quite cohesive and of a piece. Not groundbreaking by any means and fans of the pair will find themselves in recognizable territory, but the decision toward fullness is one fraught with the "peril" of hyperactivity and these guys never get near that particular trap.
As with much good music of this character, it's tough (for me) to offer much more than a sonic description and perhaps to give an idea of the shape or scale of the piece(s). That latter is a subtle thing, but here one does get a feeling of breadth, of compass. The sounds range widely, shrill to deep, high to low, though the volume level is fairly consistent, resting in the medium zone and, as said, active without being overly busy. But, for example, when early in the second track, when you hear what sounds like large, hollow metal bars tossed down an empty, linoleum-tiled hallway (which I'm sure is not the actual source), it connotes something more than just the aural sensation, summoning a vague story line, some plot that can't quite be discerned. It's magical moments like this (and there are several) that make recordings like "33 bays" so valuable.
Don't let it slip by."-Brian Olewnick
Edition of 250 copies.
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