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Tim Olive Tim Olive

Tim Olive has been writing about himself in the third person since the beginning of this century, when he left his minimal-prog-noise-rock band Nimrod, rejecting periodic rhythms and tempered pitch in favor of improvisation and open forms, exploring the full sonic possibilities of steel strings, magnetic pickups and simple analog electronics.

Extensive live action in North America, Asia, Europe and Australia has provided opportunities to play with a wide range of musicians in event-specific one-off contexts, as well as ongoing live and/or recording collaborations with Katsura Mouri (ex-Busratch), Alfredo Costa Monteiro, Kelly Churko, Takuji Naka (ex- Culpis), Jeffrey Allport, Francisco Meirino, Yukinori Kikuchi, Kazuya Ishigami, Cal Lyall and others. Recent collaborators include Madoka Kono, Crys Cole, Haco, Darren Moore, Takahiro Kawaguchi, Jin Sangtae, Ryu Hankil, Choi Joonyong and Che Chen.

A Canadian residing in Kobe, Olive has CD releases on Japanese, European and North American labels, receiving positive reviews in Musicworks, Signal To Noise, The Sound Projector and The Wire magazines. Upcoming releases include recordings with Mouri, Bryan Day, Horacio Pollard, David Brown, Ishigami, Lyall and Guilty Connector. He recently launched his artist-run label 845 Audio.


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Some Reviews:

Difference and Repetition Laptopper and TestToneMusic boss Yukinori also goes by the name Dexter, and listening to the scary shit he gets up to here with Canadian expat guitarist/electronician Tim Olive, it’s not hard to imagine him moonlighting as a serial kiiler himself. The album title is also the name of french maitre a penser Gilles Deleuze’s celebrated thesis, but if you’re into that post-structuralist stuff and buy records accordingly, you should be warned that this is about as far from Mille Plateaux (the record label) as you can get. From the opening “Wolf In Center Page”, which disappears into silence without warning about halfway through only to return to bite your ears off, via the menacing thuds of “Ontology” and the low queasy growl of “Multiples” to the banshee shriek of “Ghosts”, it’s a rough ride, nasty but nice

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