Label: 845 Audio - 845-16

国内は神戸を拠点に活動、別ユニットにて1990年代より音盤を残し続ける大ベテラン即興演奏家のTim Olive氏。様々な音楽家との共作音源を限定100部にて出版する自身のレーベル845 Audioのコラボレーション・シリーズ。カナダのマルチインストゥルメンタリストにして主にインプロヴィゼーション系の音源を手掛けるBug Incision RecordsのオーナーChris Dadgeとの2019年録音。ヘビーながらも時に心地良く響く金属摩擦/持続音をベースとした2編を収録。シンプルなデザインのクラフト・スリーヴ仕様。マスタリングはSean McCann。

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Creaig Dunton, Brainwashed:
The first of two lengthy pieces leads off with sustained bass amp hums and scraping metal. Dadge’s improvised percussion gives a pseudo-rhythmic throb, punctuated with more amp noise and feedback. There is overall a loose free improvised sound here, with Dadge’s toy piano undercutting some of the more chaotic electronics throughout. On the second piece, low frequency rumbles bounce through open spaces and what sounds like clattering bottles or other rattling noises functioning as percussion. Later a semblance of rhythm is constructed via knocking noises baked in reverb that rumble through the spacious and metallic mix. From there a mass of what resembles anemic strings, massive oil drum vibrations and sustained electronic notes extend throughout. The opening sounds stay consistent throughout, but overall there is a dynamic feel, with other parts swirling and slowly flowing from one moment to the next, balancing that feeling of consistency with spontaneity.

Mark Wharton, Idwal Fisher:
“Nice You!” has two tracks, the first of which becomes one of those glorious ‘pull you under’ drones that could have at its heart a frotted drum skin or is perhaps a recording of a steel door swinging on its rusty hinges; the second is full of resonating gongs, steel pipe clank, whining scrape and a wheezing tuneless harmonica that floats in and out of proceedings. Drone being the key here with the pair gelling easily in all that they do.

Frans de Waard, Vital Weekly:
The placement of microphones around the space gives both pieces a fine additional colouring; in the first piece (both are untitled, as much of Olive's output has no title) there is a somewhat crude overlaying of mildly distorted sounds, scraping the objects together as it were, whereas in the second piece, once the ball is rolling, there seem to be all sorts of loops in place; loops, so it seems, of what could be wind instruments, wrapped together and around that Olive and Dadge spin together with a curious play of more percussive exploration, rather than some sort of rhythmic game plan. It sounded all very post-punk to me, lifted from the early '80s, onto a record of improvisation in 2020. Both pieces I thought were great, but especially the second (and longest) blew me away.