Seitdem er zum ersten mal Mitte der 1990er Jahre in Brooklyn mit seiner Band WE™ auftauchte, hat Gregor Asch als DJ Olive seinen Dubsound mittlerweile auf der ganzen Welt verbreitet. Seine Installationsarbeiten mit verschiedenen Kunstkollektiven im damals noch völlig unbeachteten Williamsburg hat sich zu dem Punkt entwickelt, an dem DJ Olive bereits zweimal an New Yorks berühmter »Biennial at the Whitney Museum« sowie bei der »Venice Biennali« teilnahm. Er ist bekannt für seine experimentelle Zusammenarbeit mit unzähligen Musikern, wie Sonic Youths Kim Gordon, Christian Marclay, oder jazzgrößen wie der Harfistin Zeena Parkins oder dem Pianisten Uri Caine, deren Sounds er mit seinen Beats vermischt. Zuletzt veröffentlichte er im September zusammen mit dem kanadischen Dub-DJ Deadbeat die Compilation »Air Texture III« auf dem unter anderem jeweils auch eigene Tracks der beiden zu finden sind. Für uns hat er zehn Alben zusammengestellt, in denen neben Dub auch Old School Funk, R’n’B, Clicks’n’Cuts, oder Schallplatten mit Walgesängen und Furzgeräuschen auftauchen.

1 – »Love Rollercoaster, Honey« by Ohio Players
taken from the LP »Love Rollercoaster, Honey«, Mercury 1975
Find it at hhv.de*: 12-Inch I was 9 and asked my Grand Pa to get me „Honey“ by the Ohio Players. He took one look at the cover and said „not unless you don’t tell your Grand Ma“.

2 – »The Dub Factor« by Black Uhuru, Island Records 1983
Juggling two copies of „Dub Factor“ (45rpms btw) at Save the Robots 1994 is where i found my future dub.

3 – »Songs of the Humpback Whale«, Capitol 1970
In the cliché there is a whiff of truth. In the early 90’s the whale song for me was the voice of the earth.

4 – »Poeme Electronic« by Edgard Verese
taken from the LP »Edgard Verese Ionisation Poeme Electronic«, Columbia 1961
I got this record on the street in NYC late one night for a dollar. Absolutely blew my mind. Mixed it with King Tubby later that same night.

5 – »Standing Here At The Present Time« by Tony Schwartz, private press audio montage 1961
I found this record in my Dad’s collection after he was gone. I had never heard anything like it. It seemed utterly unprecedented and took me into a world of field recordings I am still trying to sort out.

6 – »One and One« by Miles Davis
taken from the LP »On The Corner«, Columbia 1972
Find it at hhv.de*: LP My brother played me this around ’90. We were at our Dad’s place building him a bed and would get worked up trying to figure out why we couldn’t stop listening to it. It was nuts and made no sense to the point of being annoying but we couldn’t stop listening! Incredible.

7 – »Oval Office« by Oval
taken from the LP »Systemisch«, Mille Plateaux 1994
Find it at hhv.de*: LP This record made my head hurt but I couldn’t stop listening for weeks. At the time it was so fresh.

8 – »Lock-Out Loop 7-Inch NOISE Record«, RRRecords 1994
100 bands-50 per side – ALL LOCK-GROOVES! Two copies of this record were stolen from me at the Cooler in NYC around ’96. I miss them dearly and am still looking for them.

9 – »Stratus Static« by Air Liquide, white label/blue vinyl 1994
DJ Gillman dropped the needle on this during one of those classic Tuesday evenings at Temple records in NYC when they would get all the new white labels in from Europe, lock the door with about 7 of us DJs inside and we would fight over the good shit. There was a huge fight over the three copies of Stratus Static that night.

10 »Brown 7″ Fart Record« by Christain Marclay, private press 1986
Brilliant… made so many people laugh with this record. Fart sounds but no smell.. brilliant!