Quince
by Takuji Naka/Tim Olive
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Quince
26:06
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about
Takuji Naka: tapes, electronics
Tim Olive: magnetic pickups, electronics
Recorded at Munster Black Box (April 2016) and Kyoto Soto (November 2017)
Edited, superimposed and mixed by Tim Olive
Mastered by Oshiro Makoto
Cover Image by Tim Olive
Original release on Kendra Steiner Editions, 2018
Tim Olive: magnetic pickups, electronics
Recorded at Munster Black Box (April 2016) and Kyoto Soto (November 2017)
Edited, superimposed and mixed by Tim Olive
Mastered by Oshiro Makoto
Cover Image by Tim Olive
Original release on Kendra Steiner Editions, 2018
credits
released May 13, 2020
Frans de Waard, Vital Weekly:
The rhythm machine that starts out 'Quince' is a bit strange; it is just a rhythm machine and a bit of delay, but I would think very much an odd-ball for Takuji Naka and Tim Olive, who I happen to know love their electronics, pick-ups and hissy cassette tapes. Maybe the rhythm machine is a residue left behind on one of those tapes? The music of 'Quince' is a combination, super imposition if you will, of two concert recordings. One is from their April 2016 European tour and a recording from Kyoto some eighteen months later. Both Naka and Olive have a long history when it comes to playing densely orchestrated improvised music and 'Quince' is such. The bottom end, the groundwork if you will, is laid out with some heavily textured drone-like sounds, built from radio waves and electrical sources, whereas on top things burst and bubble with Olive suggesting construction site field recordings, mixed with again with more chopped up short wave recordings. It's all about electronics, feedback, and disruption and, for the lack of a better word, noise, but all of this with a rather spacious approach. It is delicate yet dense; open in approach and closed in execution. Having spent some time with both gentlemen I am surely a bit biased, but I love it.
Frans de Waard, Vital Weekly:
The rhythm machine that starts out 'Quince' is a bit strange; it is just a rhythm machine and a bit of delay, but I would think very much an odd-ball for Takuji Naka and Tim Olive, who I happen to know love their electronics, pick-ups and hissy cassette tapes. Maybe the rhythm machine is a residue left behind on one of those tapes? The music of 'Quince' is a combination, super imposition if you will, of two concert recordings. One is from their April 2016 European tour and a recording from Kyoto some eighteen months later. Both Naka and Olive have a long history when it comes to playing densely orchestrated improvised music and 'Quince' is such. The bottom end, the groundwork if you will, is laid out with some heavily textured drone-like sounds, built from radio waves and electrical sources, whereas on top things burst and bubble with Olive suggesting construction site field recordings, mixed with again with more chopped up short wave recordings. It's all about electronics, feedback, and disruption and, for the lack of a better word, noise, but all of this with a rather spacious approach. It is delicate yet dense; open in approach and closed in execution. Having spent some time with both gentlemen I am surely a bit biased, but I love it.
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