GREGOR ASCH AKA DJ OLIVE THE AUDIO JANITOR________
Olive aka Gregor Asch
DJ OLIVE TOUR 2005:
A few venues and Parties he has played:
Central Park Manhattan 2001
"Olive, is also one of the six who put together Lalalandia clubs in Williamsburg, Brooklyn in the early 90's. Their El Sensorium and Year 2077, the Futuristic Circus, are some of the most innovative experiences to come out of the underground art scene."
"The only work to display a visual ambition that approaches the scale of the Anchorage itself is the prefix-obsessed music and installation collaborative that calls itself Multipolyomni..."
Dj Olive .. In addition to spinning records at nearly every ambient party, said his goal was to bring the old and the new together in a way that's constructive" At the Cubs, Murmurs and Ambient Music, Neil Strauss, the New York Times, page C32, March 8th, 1996.
"multipolyomni...made the vault look like a subterranean grotto."
"dj olive...radical and beautiful." Ben Ratliff, The New York Times, Arts & Ideas, Music Review, page B16, Saturday, may 1, 1999.
"the term illbient was born as Dj Olive relates... i said as a joke that's illbient
remix's include work for:
remixed by we™:
DJ Olive has performed with:
Rich "Lloop" Panciera, Ignacio "Once11" Platas, Luc Ferrari, Marc Ribot, William Hooker, Christian Marclay, Kim Gordon, Christian Fennesz, Otomo Yoshihide, Derek Bailey, Charles Gayle, Steve Shelly, Ikue Mori, Jim O'Rourke, Cyro Baptista, Cornel Rochester, Ralph Peterson, Drew Gress, Mark Feldman, Yuka Honda, Don Byron, Micheal Formenek, Tim Barnes, Bavid Binney, Ralph Alessi, Alan Vega, David Moss, Khan & Walker, Elliot Sharp, Glenn Spearmen, William Winant, Ulricht Kriegler, Nuno Rebelo, Riina Saastamoinen, Fred Vaillant, John Zorn, Thurston Moore, Sylvie Courvoisier, Jim Black, Zeena Parkins, Toshio Kajiwara, o.blaat, Danny Bloom, Raz Mesinai, Marina Rosenfeld, Alan Licht, Bonemap, SpinFx, Chris Brown, Zach Danziger, Gala Drop, Dave Douglas, Mats Gustafsson, Shelley Hirsch, Soulslinger, Tom Surgal, Han Bennink, Massimo Zu, Eyvind Kang, David Gillmore, Barbara Walker, Ernaldo Bernocchi, Jamie Saft, John Medeski, Billy Martin, Chris Wood And also MMW, Min Xiao-Fen, Scotty Hard, Jah Wobble, Toshinori Kondo, Mike Watt, Brad Jones, Mat Hiemovitz, Lee Ranaldo, Aki Onda. Phillip Jeck, DJ Grasshopper, Dennis Delzotto, Carolyn "Honeychild" Coleman, Uri Caine, Erik M, Joke "Suddeninfant" Lanz, Martin Baumgartner, QPE, Bruno Amstad, Ben Perowsky, Hanzel Gretzel, Gerard Malanga, Matt Pass, Okkyung Lee, Bobby Previte, Charlie Hunter...
the “Vinyl Score”:
Dj Olive produces "Vinyl Scores" for the turntable. These are palettes of sound or compositional components produced in his studio and then pressed on 12"vinyl. Turntablists then interpret these scores. “What you mix and what I mix will always be different but the sounds are the same”.
Dj Olive on the “Vinyl Score”:
For the past 6 years I have been working on a concept I call "the vinyl score" these are compositions made for the turntable. In my studio I work with musicians recording sounds and noises. On the computer and the sampler I create a wide-ranging palette of sounds, which are somewhat minimal in their density so that they lend themselves to being mixed together. Through a trial and error process I arrange the sounds for vinyl. Then I manufacture the score on vinyl and publish it.
The dj must use three turntables and three copies of the vinyl palette without any other sound source. The piece should be played for around 10 min. effects are optional.
There is much more sound on the score than can be played in 10 min., so the point is not to play all the sounds but to find a series of sounds and work those with the personal skills and techniques which each dj brings to the piece.
When you hear one dj play a vinyl score it will sound radically different than hearing another play the same score. It is this difference that I am trying to expose with these compositions. There is no correct way to play beyond the minimal rules; no other records are allowed. Though the palette is limited, the variation and the personal interpretations are endless. It can be said that it is impossible to play these pieces the same way twice.
I have done a series of shows with four or more dj's playing the score, one at a time. Hearing it played by a few dj's and knowing that they are limited to the same sounds and the same instrument, the personal style and musicianship of each dj is clearly revealed.
It is my intent to help broaden the lexicon and techniques involved in turntablism as well as composing in an open-ended style specific to the embedded improvisational aspect of the instrument.
I would like to broaden the development of this concept to include “visuals” where a matching set of visuals accompany the vinyl score. The dj and the VJ would mix for ten min creating a unique interpretation of the limited material.
_Dj Olive Perth 2006
Some of the Vinyl Scores composed by Dj Olive:
Composition 11 for three turntables was commissioned by Roulette in NYC in '97, performed in '98 and was released as a vinyl score in '99. He developed and performed a vinyl score for Franz Triechler's "Copier/coller" in 99. He premiered his second vinyl score "perpetual sound check" in Brussels in '00. This event featured eight separate live interpretations by international dj's accompanied by VJ's. He collaborated with Luc Ferrari on a vinyl score, which was performed in Gent on, may 9th '00 and since played in Antwerp, Paris, New York, San Francisco and La Chaux-De-Fonds. This score will be published on the Phonomena record label. He developed a score for six turntables only using source sounds from Belgian cello master Jean Paul Dessy called Ixelles. This score premièred in Ixelles during Le Printemps Extra Large festival in 2003. “Ixelles” score will also be published on the Phonomena record label.