Weston Olencki is a South Carolina-born musician working at the intersections of improvisation, contemporary composition & extended instrumental performance, new media technologies, and noise-based practices. His work is concerned with material conditions sound and its diffusion, using experientially-driven structures to examine sonic relationships with metaphor/signification, informational complexity, technological mediation, psycho-acoustic perception, and geographical identity.

He has presented work at the Borealis Festival, ISSUE Project Room, REDCAT, bludenzer tage zeitgemäßer musik, Ghent Jazz Festival, Blanton Museum of Art, Squeaky Wheel, Mostly Mozart, the American Academy in Rome, Frequency Festival, Indexical, and the OPTION series, and was awarded the Kranichsteiner Musikpreis from the 2016 Darmstadt Ferienkurse. He has received commissions from line upon line percussion, Ensemble Pamplemousse, Wet Ink Ensemble, wild Up, and the Talea Ensemble.

Weston has held residencies at the University of California Santa Cruz, Harvard, NYU, Columbia, Princeton, Stanford, Northwestern, and was a 2018 visiting artist at CalArts. Various recording projects have been released by HatHut, Not Two, Sound American, Parlour Tapes+, Carrier Records, Clean Feed, Anticausal Systems, and Dinzu Artefacts. He is an active member of RAGE THORMBONES, Ensemble Pamplemousse, the Wet Ink Large Ensemble, tunnels, and performs regularly as a soloist and ensemble member on low brass instruments, modular synthesizers, and various electronic media. He lives in New York City, and is also a curator/sound engineer for Spectrum NYC.

what others say:

‘…a wild, exhilarating, disturbing picture of our pixelated times…’ [LA times]

‘…this is no bullshit music'…’ [SEISMOGRAF, DK]

‘…these exhalations are wondrously vaporous things, streaming out in gassy, overlapping wafts, like some beatific guru practising breathing exercises in a cruiser liner’s boiler room…’ [We need no swords, writing on Gram, released by Dinzu Artefacts]