Sintered by Tim Olive
Tim Olive: magnetic pickups, metal objects, radios, spring reverb
Rec. Winter 2023/24, Kobe
Mixed by Tim Olive
Mastered by James Armstrong
Cover by Tim Wisniewski
Originally Released on Spleen Coffin, June 2024:
https://spleencoffin.com/shop/tim-olive-sintered/
Tracklist
| 1. | Sintered 1 | 6:57 |
| 2. | Sintered 2 | 7:57 |
| 3. | Sintered 3 | 7:00 |
| 4. | Sintered 4 | 7:45 |
Credits
released June 25, 2024
From the label:
Tim Olive lives in and operates out of Kobe, Japan, where he has built an impressive discography of solo and collaborative recordings using magnetic pickups as a primary instrument. Sintered was created with several of these magnetic pickups, along with metal objects, radios, and spring reverb. Working with such temperamental technology, it’s clear that Olive’s intuition and timing are assets put to good use here, sharpened from decades of collaboration and improvisation, from his early work as a core member of avant noise-rock group Nimrod through his continuing collaborations with Anne-F Jacques, Jason Kahn, Takuji Naka, Kayu Nakada and many others. With a sharp ear and a steady hand at the helm, Sintered unfolds almost as if the hum and interference of the electronics were simply being presided over, carefully guided to elegant compositions of their own internal logic.
Frans de Waard, Vital Weekly:
Armed with his array of magnetic pickups, metal objects, radios and spring reverb, all trusted partners in creating some of the more exciting forms of noise and drone music. It's at times quite heavy, and the four pieces on 'Sintered' seem notably louder than some of the other recent solo releases. From the information, I learned that he was a member of the noise-rock group Nimrod, which I may have known, but wasn't aware of. Maybe Olive thought it was about time to do something relying more on the noise aspect for this release. Each piece has a mildly distorted undercurrent or some downright feedback, such as in 'Sintered 3'. The music weighs heavy on the eardrums, but it is a pleasant sort of noise, in my opinion—nothing too loud, not too abrasive and yet with a hard edge. My favourite is the last one, where Olive puts extra menace on the drones and creates a creepy, dark atmosphere. Olive's music is somewhere between improvisation and composition and once again, excellent stuff.
AV, Rocker magazine:
Pleasant tape of slowly paced drones, hypnotic rhythmic patterns, and crude electronics. Sintered is a relatively minimal affair overall, with some harsh tones used in service of something other than “noise”, calm electronic drones that don’t become hazy ambient, feedback that never seems shrill. Crescendos that rise in intensity but don’t give way to full explosions of chaos, creating a nice, lasting feeling of light tension throughout the release. Olive’s subtlety and tact are on full display, not going overboard in any direction, and calmly letting the sounds play out. I could see this as being nice to zone out to, particularly the third track, with its rolling metallic patterns, kind of an electronic take on Satie’s furniture music.
From the label:
Tim Olive lives in and operates out of Kobe, Japan, where he has built an impressive discography of solo and collaborative recordings using magnetic pickups as a primary instrument. Sintered was created with several of these magnetic pickups, along with metal objects, radios, and spring reverb. Working with such temperamental technology, it’s clear that Olive’s intuition and timing are assets put to good use here, sharpened from decades of collaboration and improvisation, from his early work as a core member of avant noise-rock group Nimrod through his continuing collaborations with Anne-F Jacques, Jason Kahn, Takuji Naka, Kayu Nakada and many others. With a sharp ear and a steady hand at the helm, Sintered unfolds almost as if the hum and interference of the electronics were simply being presided over, carefully guided to elegant compositions of their own internal logic.
Frans de Waard, Vital Weekly:
Armed with his array of magnetic pickups, metal objects, radios and spring reverb, all trusted partners in creating some of the more exciting forms of noise and drone music. It's at times quite heavy, and the four pieces on 'Sintered' seem notably louder than some of the other recent solo releases. From the information, I learned that he was a member of the noise-rock group Nimrod, which I may have known, but wasn't aware of. Maybe Olive thought it was about time to do something relying more on the noise aspect for this release. Each piece has a mildly distorted undercurrent or some downright feedback, such as in 'Sintered 3'. The music weighs heavy on the eardrums, but it is a pleasant sort of noise, in my opinion—nothing too loud, not too abrasive and yet with a hard edge. My favourite is the last one, where Olive puts extra menace on the drones and creates a creepy, dark atmosphere. Olive's music is somewhere between improvisation and composition and once again, excellent stuff.
AV, Rocker magazine:
Pleasant tape of slowly paced drones, hypnotic rhythmic patterns, and crude electronics. Sintered is a relatively minimal affair overall, with some harsh tones used in service of something other than “noise”, calm electronic drones that don’t become hazy ambient, feedback that never seems shrill. Crescendos that rise in intensity but don’t give way to full explosions of chaos, creating a nice, lasting feeling of light tension throughout the release. Olive’s subtlety and tact are on full display, not going overboard in any direction, and calmly letting the sounds play out. I could see this as being nice to zone out to, particularly the third track, with its rolling metallic patterns, kind of an electronic take on Satie’s furniture music.
