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1.
Part One 34:14
2.
Part Two 15:28

about

Dan Warburton, Paris Transatlantic:
Olive’s last outing with Bunsho Nisikawa, the intriguingly-titled Supernatural Hot Rug And Not Used, was mysterious and compelling; Eagle Keys is even better. It’s superbly paced, carefully constructed and above all sounds terrific. Check it out.

Ed Pinsent, The Sound Projector:
Everything Tim Olive does seems to end up suggesting some real steps forward for the improvisation genre, rich in possibilities and exploratory notions. Regardless of who he plays with, he always offers useful platforms for ideas to develop.

Marc Masters, Noiseweek:
Since I last spewed about Tim Olive, he’s put together the great Supernatural Hot Rug And Not Used (and a great self-titled album) with Nishikawa Bunsho, which I implore you to seek out if you haven’t. This is his new project, and it’s the standard kind of high-level, attentive improv that Olive has trademarked…Olive knows how to coax smart shit out of his equipment and his colleagues, and Eagle Keys is perhaps the best example of one of his most unique talents – the ability to mix and match sounds so that nothing ever sticks around too long, but no contrivances or artificial shifts ever emerge.

credits

released May 13, 2020

Francisco Meirino: computer and acoustics
Tim Olive: electric bass
Original release on Even Stilte, 2006
Cover by Marc Bell
Thanks to Stephane Perrin and Francisco

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Tim Olive Kobe, Japan

Magnetic pickups and analog electronics generate sound-textures and scraps of pitched material evolving, shifting and mutating in real time; uncanny, uneasy, and yet somehow beautiful, with a focus on collaboration with fellow musicians and sound artists, predicated on the uniqueness, intensity and unrepeatability in every musical situation. ... more

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