{"id":7509,"date":"2019-07-04T21:46:00","date_gmt":"2019-07-04T20:46:00","guid":{"rendered":"http:\/\/www.cookylamoo.com\/boringlikeadrill\/?p=7509"},"modified":"2019-07-04T21:46:00","modified_gmt":"2019-07-04T20:46:00","slug":"lance-austin-olsen-look-at-the-mouth-that-is-looking-at-you","status":"publish","type":"post","link":"https:\/\/www.cookylamoo.com\/boringlikeadrill\/2019\/07\/lance-austin-olsen-look-at-the-mouth-that-is-looking-at-you.html","title":{"rendered":"Lance Austin Olsen: Look At The Mouth That Is Looking At You"},"content":{"rendered":"

<\/a><\/span>This gets dark and disturbing. I’ve written before about Lance Austin Olsen<\/a>, the artist and composer who uses his paintings as scores to be realised as music. “As with painting, the fabric of the music hovers between fragments of narrative and unspecified affect. It\u2019s an elusive music, part radio drama, part collage, part pure sound.” His new release, Look At The Mouth That Is Looking At You<\/a><\/em>, is the most overtly musical of his tape works I’ve heard so far yet is the one with the clearest, most present narrative. It falls into three equal parts, The Event<\/em>, The Descent<\/em> and Lost<\/em> – that middle title could describe the work as a whole. The triptych embodies a sinking into a new state of being, unwelcoming but inevitable. (In the accompanying booklet, Olsen obliquely relates the incident of an acquaintance having a stroke. The booklet includes the dense, black notebook drawings that form the basis of the work, of which this recording is only one version.) As with the previous recordings I’ve heard, Olsen has reworked and collaged recordings he made some years earlier, but here the materials sound less eclectic and more focused: voices, piano and organ recorded in a church. The feeling is less collage and more montage. The reverberant space casts the voices and sounds into a deep hollow that dominates all three parts. As implied by the titles, the three-act structure does not assure the listener with a redemptive arc, but guides into a personal abyss of private pain. <\/p>\n","protected":false},"excerpt":{"rendered":"

This gets dark and disturbing. I’ve written before about Lance Austin Olsen, the artist and composer who uses his paintings as scores to be realised as music. “As with painting, the fabric of the music hovers between fragments of narrative and unspecified affect. It\u2019s an elusive music, part radio drama, part collage, part pure sound.” […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[7,44],"tags":[167],"_links":{"self":[{"href":"https:\/\/www.cookylamoo.com\/boringlikeadrill\/wp-json\/wp\/v2\/posts\/7509"}],"collection":[{"href":"https:\/\/www.cookylamoo.com\/boringlikeadrill\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.cookylamoo.com\/boringlikeadrill\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.cookylamoo.com\/boringlikeadrill\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.cookylamoo.com\/boringlikeadrill\/wp-json\/wp\/v2\/comments?post=7509"}],"version-history":[{"count":6,"href":"https:\/\/www.cookylamoo.com\/boringlikeadrill\/wp-json\/wp\/v2\/posts\/7509\/revisions"}],"predecessor-version":[{"id":7516,"href":"https:\/\/www.cookylamoo.com\/boringlikeadrill\/wp-json\/wp\/v2\/posts\/7509\/revisions\/7516"}],"wp:attachment":[{"href":"https:\/\/www.cookylamoo.com\/boringlikeadrill\/wp-json\/wp\/v2\/media?parent=7509"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.cookylamoo.com\/boringlikeadrill\/wp-json\/wp\/v2\/categories?post=7509"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.cookylamoo.com\/boringlikeadrill\/wp-json\/wp\/v2\/tags?post=7509"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}