Sonic exploration and studio composition from Kobe, Japan-based, Canadian sound artist Tim Olive, using amplified objects, cast-off electronics and home made instruments including metal teeth, tuning forks, clockwork motors, electromagnets, cassette playback heads and magnetic pickups, recording each and layering them in the studio to create corrosively captivating aural journeys.
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Label: Notice Recordings
Catalog ID: NTR069
Squidco Product Code: 31237
Recorded in Kobe, Japan, in January and February, 2021, by the artist.
Tim Olive-metal strips, rubber tubing, tuning forks, clockwork motors, metal teeth, bow, electromagnet, cassette playback head, magnetic pickups, octave divider, preamps
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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 1/19/2022
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1. Ribbon 1 06:15
2. Ribbon 2 08:12
1. Ribbon 3 05:38
2. Ribbon 4 08:39
sample the album:
"Tim Olive returns for his third album on Notice, a rare solo outing from this avid collaborator. Ribbon is a document of his highly developed relationship with amplified object manipulation, in a manner most cathartic and engaged, and yet informed by compositional sensibility.
This release is constructed from multiple tracks of a variety of sound sources recorded in his studio in Kobe, Japan; these tracks have then been edited and layered, in shifting densities and evolving textures. Despite the abrasiveness of these recordings, there is a certain kind of sensuality in their interactions.
One may sense that these pieces can be touched, as if the air has become solidified, like slowly forming glass, flecked with mineral impurities, a movement shuddering in locked-place, she
"[...] Olive works at home with his tools, including objects and amplification. These are his primary tools, but unlike his live work, he creates various layers of his playing at home. Effectively he plays with other people, even when the 'other' is Olive himself. In good musique concrète, these layers are edited and mixed to make a more or less coherent whole. What I find interesting is that Olive, at the same time, maintains an improvised music sensibility. Not in a chaotic way, hectic rumbling and shaking of his amplified objects, but moving them around carefully, giving room to them, not editing too precisely, but carefully letting a mistake (what is a mistake anyway), and at the same time taking care that sounds don't overstay their welcome. Using amplification allows for a particular distortion in his music, but that too is worked on with the highest effort, not to create a noise record, but allow the noise to be an equal partner in the music. At times this sounds like a classical noise record, early New Blockaders in 'Ribbon 2', and then again, something introspective and 'quiet', culminating in the excellent drone ending of 'Ribbon 4'. At thirty minutes, perhaps short, but all the same, quite powerful as well."-Frans de Waard, Vital Weeklydding, bristling with multi-textured shards and strands of sonic material."-Notice Recordings
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