artist_name=Gregor Asch (DJ Olive the Audio Janitor)&artist_info=(b. 1961)&artist_type=audio&number_of_works=1&work_name_1=Perpetual Sound Check, 2000&work_info_1=Previously unreleased %0d4:55 min.&description=DJ Olive is known for distinctive audio collages that bring together eclectic sound sources and digital technologies. Filled with references to various electronic music styles such as drum 'n' bass, house, dub, dance hall, and 1950s musique concrete, his urban soundscapes incorporate a wide variety of everyday sounds to reflect the tensions and chaos of today's technologically accelerated society. Perpetual Sound Check, for example, is as aggressive as it is absurd, combining samples of electronic music with pounding beats created from the sounds of a bus' hydraulic system, circular saws, and someone chewing celery. The ways in which DJ Olive couples two incongruous musical elements to generate a third, mixed sound and his incorporation of mundane and rugged urban noises makes the piece a good example of a genre of electronic music called "illbient." The term comes from a combination of "ambient" and hip-hop culture's complimentary "ill," a word used when unlikely pairs of things, like clothing or colors, are put together and unexpectedly produce successful results.&blue_1=Selected Discography&blue_2=%0dSelected Performances&b1_bold_1=%27 SYR 5&b1_bold_2=%0d           Decentertainment.&b1_bold_4=                                                                      The Road to the Western Lands.&b1_bold_3=%27 Composition 11: Audio Roulette for Three Turntables&b1_bold_5=                  Nosferatu.&b1_book_1=(with Kim Gordon and Ikue Mori). Hoboken, New Jersey: %0d  Sonic Youth Recordings, 2000&b1_book_2=New York: Home Entertainment, 2000&b1_book_4=%0d  New York: Mercury Records, 1998&b1_book_3=(three-LP set)%0d  New York: Home Entertainment, 1998&b1_book_5=New York: Knitting Factory Works, 1995&b2_patch_4=                                       &b2_bold_4=%27 Lincoln Center Festival,&b2_bold_3=%27 Centre Georges Pompidou,&b2_bold_2=%27 Burning Man Festival,&b2_bold_1=%27 Bayerische Staatsoper,&b2_patch_5=                            &b2_bold_5=%0d%27 Jazz Saalfelden,&b2_book_4=New York Society for Ethical Culture, %0d  New York, 2000&b2_book_3=  Paris, 2000&b2_book_2=Black Rock Desert, Nevada, 2000&b2_book_1=Munich, 2000&b2_book_5=Austria, 2000&blue_3=Selected Bibliography&b3_title_1=%27 Lolli, Michelle. "Spin Out: DJ Olive."&b3_title_2=%27 Martin, Jana. "Illbient."&b3_title_3=%27 Ratliff, Ben. "Combining Jazz and Judaism."&b3_title_4=%27 Smith, Roberta. "In Tomblike Vaults, the Future Flickers and Hums."&b3_title_5=%27 Strauss, Neil. "At the Clubs, Murmurs and Ambient Music."&b3_bold_1=  Urb,&b3_bold_2=  The Village Voice,&b3_bold_3=  The New York Times,&b3_bold_4=  The New York Times, &b3_bold_5=  The New York Times,&b3_book_1=no. 39 (November 1994), p. 54.&b3_book_2=July 23, 1996.&b3_book_3= May 1, 1999.&b3_book_4=August 9, 1996.&b3_book_5= March 8, 1996.&number_of_links=0&b1_patch_2=%27 We,                                 &b1_patch_4=%27 Material with William S. Burroughs,&b1_patch_5=%27 Liminal,                    &b3=sdf