LAURA COCKS & WESTON OLENCKI: MUSIC FOR TWO FLUTES
Boring Like A Drill -
”Her composition SLUB pushes her interest in physical limits and the pursuit of extreme and even ugly sounds with elemental directness…It harks back to a bolder age of experimentation, recalling Kagel’s determination to find a music deprived of cultural and institutional support. Both pieces are monumental slabs of sound and it can all get a bit frightening.”
Noise Not Music -
”the topographies of the flutes themselves are sketched out in increasing detail, every curve and key lit up by sonic contrast dye.”
Nowhere Street -
”This stuff is more about texture-rich, fucked psychoacoustic mayhem that what you might call flute music… moving sound and ideas around constantly, in response or as an interrogation to what’s unfolding in real time”
Foxy Digitalis -
”Weston Olencki and Laura Cocks are two of the best around and each of their pieces here is obliterating… There’s a captivating fragility to these asymmetric patterns, the feeling that everything could scatter and break without warning. “SLUB” feels like it could swallow us whole. A spellbinding duo of tracks. Highest recommendation.”
Beyond the Dust -
“a comprehensive insight into the physical exertion involved in the performance, which in turn gives the music – extremely rich in twists and turns – a more pronounced improvisational component… reaffirming the talent of these modifiers of instrumental complexions.”

KIM CASS - LEVS (Pi Recordings, 2024)
Pop Matters - Best New Jazz of Summer 2024
“The compositions on Levs are breathtaking in their nuance and precision…Then, as if he were floating a cool mist across the rim of a volcano, Cass brings in Laura Cocks’ flute and Adam Dotson’s euphonium in haunting harmony to nudge this performance into mysticism.”
DownBeat
”His compositions are complex, dark and eerie, played with great force and intensity… each player is a master of their instrument…”
The Wire
”subtle colors and weird harmonies…a woozy counterpart to Mitchell’s halting phrases and the rhythmic section’s temporal splinters, or within the murky stasis…”
Something Else -
“The performances are constantly shifting…Kim Cass challenges a lot of prevailing notions about what is jazz, what is jazz composition and the relationship between rhythm and harmony. Most of all, Cass challenges himself. He and his star colleagues meet these challenges head-on, making Levs such a breathtaking ride.”
Transitional Technology -
“Something of a 1970’s bad boy fusion, as if Weather Report or Mahavishnu Orchestra understood Schoenberg, Boulez, and Stockhausen.”

Nate Wooley & Mutual Aid Music - Four Experiments (Pleasure of the Text)