Weston Olencki is a musician and sound artist working at the intersections of contemporary composition, improvised music, extended instrumental practice, and electronic noise. His work is primarily concerned with material conditions of sound and its diffusion, emphasizing geometrical construction, unconventional sound design, and extended durational processes with a focus on musical waste and detritus as a commentary on artistic efficiency, use-value, and ob/abjectivity of sonic material. 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], Mostly Mozart Festival [NYC], Weisslich [Manchester/London], Qubit [NYC], Constellation's Frequency Series [Chicago], Indexical [Santa Cruz], and OPTION [Chicago], and was awarded the Kranichsteiner Musikpreis for performance from the 2016 Darmstadt Ferienkurse. He also co-curates/presents the Chance and Circumstance festival, an annual festival for experimental arts in NYC. Recent collaborators include George Lewis, Ryuichi Sakamoto, Scott Walker, Michelle Lou, Katherine Young, Kevin Drumm, Jennifer Walshe, Jeff Snyder/Snyderphonics, yarn|wire, and vital contemporaries such as Lester St. Louis, John McCowen, Charmaine Lee, Dominic Coles, Max Murray, and Madison Greenstone. 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, Stanford, Northwestern, and was a 2018 visiting artist at CalArts. Various recording projects have been presented on 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]