Search for other titles on the erstwhile label.
Electronic artist (and on this release, pianist) Olivia Block and radical trumpeter Greg Kelley meet for five works that range from breathy meditations to active "slapstick" routines of bewilderingly interesting sound.
Out of Stock
Shipping Weight: 3.00 units
Quantity in Basket: None
Log In to use our Wish List
Catalog ID: 063
Squidco Product Code: 15421
Recorded by Alex Inglizian at Experimental Sound Studio, Chicago in August 2010.
Olivia Block-electronics, piano
Click an artist name above to see in-stock items for that artist.
Highlight an instrument above
and click here to Search for albums with that instrument.
• Show Bio for Olivia Block
"Olivia Block is a media artist and composer. Her body of work includes sound recordings, audio-visual installations, performances, sound design for cinema, and scores for orchestra and chamber music concerts.
Over the last twenty years, Block has pioneered the utilization of audio field recordings and found materials in the realms of music and sound art. She combines field recordings, chamber instruments and electronic textures, resulting in mysterious and vivid electroacoustic sound pieces including Pure Gaze, Mobius Fuse, Karren, and others. Block creates multimedia installations and performances utilizing found sounds from micro cassette tapes, field recordings, video, and curated 35mm slides.
Block's work reflects her interests in site specificity, ethnographic sound, architectural sound, and found/archival materials from the 1950's-1990's. Her work with expanded cinema and film artists has led to interests related to cinema sound, and visual phenomena like shadows and reflections. Block has developed a body of partially-improvised compositions for inside-piano with various materials, including metal pieces and shards of broken glass. Her scores for orchestra and chamber instruments emphasize timbre and dynamics. Her most recent orchestral pieces include portions of "easy listening" inspired music from the 1970's, playing underneath recordings of room ventilation, white noise and commercial spaces like malls. Her solo performances include partially improvised pieces for electronics, amplified objects, and piano, presented in a slow and deliberate gestural style that Steve Smith of the New York Times described recently as having "palpable sensations of volition and emotional involvement."
Block has performed, premiered and exhibited her work throughout Europe, America, and Japan in tours in festivals including Incubate (Tilburg), Festival del Bosque Germinal (Mexico City), Sonic Light (Amsterdam), Kontraste (Krems), Dissonanze (Rome), Archipel (Geneva) Angelica (Bologna), Sunoni per il Popolo (Montreal), and many others. Additionally, she has presented work at the ICA (London), MCA (Chicago), La Biennale di Venezia 52nd International Festival of Contemporary Music, The Kitchen (NYC), ISSUE Project RoomExperimental Intermedia (Brooklyn), and TIFF (Toronto).
She has completed residencies and premiered works at Mills College of Music, The School of the Art Institute of Chicago and The Berklee College of Music. Block has presented talks at additional universities in film, music, media arts, and anthropology departments, including Yale University, University of Chicago, and Indiana University.
Block has created sound installations for public sites and exhibition spaces including the Museum of Contemporary Art in Chicago, CONTEXT (Miami and NY), Millennium Park (Chicago), the library at Wesleyan University in Connecticut, the Lincoln Conservatory Fern Room (Chicago), and at the "Echoes Through the Mountains" exhibit at the 2006 Winter Olympics (Turin, Italy).
Her 2013 LP/download release, Karren (Sedimental, 2013) was chosen as "Best of 2014″ by The Wire, Pitchfork, and Artforum, among other publications. She was selected as a 2014 "Person of the Year" in the Chicago Reader. Aberration of Light, her latest solo release, is now available on NNA tapes. She recently completed her large-scale multi-speaker sound installation, Sonambient Pavilion, in Chicago's Millennium Park, utilizing sounds from Harry Bertoia's Sonambient sculptures. She is currently working on several projects, including a multi-speaker presentation of her forthcoming release, Dissolution (Glistening Examples), and pieces for piano and organ. Olivia Block is based in Chicago."-Olivia Block Website (http://www.oliviablock.net/bio-2/)
Have a better biography or biography source? Please Contact Us so that we can update this biography.
^ Hide Bio for Olivia Block
1. Pinholed and perpetual light, part 1 11:12
2. Looking through bone 9:26
3. How much radiance can you stand? 8:09
4. Some old slapstick routine 8:23
5. Pinholed and perpetual light, part 2 9:07
sample the album:
"[...] Olivia Block makes her label debut, paired with Greg Kelley in his first appearance on Erstwhile since "Forlorn Green", although the overall cast of the session seems more firmly located in her neck of the woods, which is to say very thick and richly layered, possessing a massiveness and spatial volume. She plays a bit of piano here and there (once unfurling a couple of strikingly Tilbury-esque arpeggios, elsewhere within the piano's string-bed) but it's her electronics that predominate, finely integrated with Kelley's trumpet, enough so that it's often difficult to pick out the horn from the diverse soundscape.
Though the five pieces have enormous dynamic range, there's never a sense of sparseness; even at its quietest, you get the impression that even the gossamer strands that are barely discernible are tightly connected and possess great tensile strength. And when things get churning--or tumbling--look out. The sheer sound is marvelous through most of the set, especially those moments, beloved of Block, wherein one experiences loud but slightly dulled bangs, like crates being jostled in the hold of a cavernous ship, similar to the ambiance of her "Heave To" but here augmented by Kelley's ferocious rushes of wind power and tin plate-induced buzz. The fourth cut, "some old slapstick routine" is almost bravura in its deployment of crashes, wheezes, bangs and piano, a marvelous explosion of densities, colors and plasticity.
It's interesting re: the title, Resolution that had we read this in 1970, wed likely think of "moral determination" whereas today, I daresay, we think in terms of sensual acuity. In any case, I hear this as quite a sensual release, and a very good one. [...]"-Brian Olewnick, Just Outside
Get additional information at Brian Olewnick's Just Outside
Chicago Jazz & Improvisation
lowercase, micro-improv, sound improv
Search for other titles on the erstwhile label.