Weston Olencki is a musician and sound artist working at the intersections of contemporary composition, improvised music, extended instrumental practice, and electronic noise. He has presented work at the Borealis Festival [Bergen], ISSUE Project Room [NYC], Transparent Sound [Budapest], Time of Music [Viitasaari], REDCAT [LA], bludenzer tage zeitgemäßer musik [Austria], Blanton Museum of Art [Austin, TX], Squeaky Wheel [Buffalo], The Stone [NYC], Mostly Mozart Festival [NYC], Music Current [Dublin], Qubit [NYC], Frequency Festival [Chicago], Indexical [Santa Cruz], and OPTION [Chicago], and was awarded the Kranichsteiner Musikpreis for performance 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, 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]