dj olive + jean-paul dessy


CD jewel case


An intense meeting between dj Olive (turntable) and Jean-Paul Dessy (cello) with Ensemble Musiques Nouvelles. Published in 1995.

"Scories" is the result of these various confrontations and convergences. These scoriae, solid residue from the smelting and refining processes of musical metals, the driving force of new sonic continental drifts.

Although the protagonists might collectively sound like the kind of Ibiza-neutered dance act which keeps The Box in such brisk trade, DJ Olive and JP Dessy are actually a couple of like-minded chaps who have taken their disparate instruments of choice (the turntable and cello respectively) and brought them together for an enchanting avant excursion. Alongside the adroit fingermanship of the Ensembles Musiques Nouvelles (violins, cellos, flutes, trombones etc.) Gregor Asch (aka Olive) and Jean-Paul Dessy set about defining a musical style which they christened "comprovisation"; i.e. they went in with a few ideas and let it sparkle/wither of its own accord. Luckily for them their live outings at the Petit Theatre Mercelis in Ixelles and Vooruit de Gand were an unqualified success, prompting them to book some studio time in an attempt to capture the live spontaneity which burst into forth from six-turntables and a cello. Simultaneously wraith-like and cinder-block strong, the opening 'Walking Slowly' shuffles into view through an unsourced swell of strings and electronics, incrementally accruing elements (a buckshot of brass here, some lazy scratching there) until it sounds thrillingly like an after-hours improv session between the 'Close Encounters of the 3rd Kind' spaceships. Similarly, the following 'Along the Line' gives the listener a tantalising glimpse of imposing Baroque structures, spotted through the fog of precise instrumentation and deft sampling - bringing to mind the work of Steve Roden. Elsewhere, 'Ghost Groove' massages some Technic-gymnastics into a brittle rhythm section, title-track 'Scories' is almost unbearably beautiful through its keen rationing of sun-set strings, whilst the closing 'Comprovisation À Ixelles' is a master class in taut ensemble compositions. Ten points. (Notes from Boomkat)

DJ Olive, DJ Olive, Gregor Asch, was raised in Boston, Nova Scotia, Trinidad, Rhode Island and Australia. He was an active member of the infamous Brooklyn Williamsburg scene ('90-'93). In '91 he co-founded Lalalandia Entertainment Research Corporation. Lalalandia made many of the most memorable Brooklyn warehouse after- hours environments of that period. In 1994, he started up Multipolyomni and We. We's '97 release "as is" can be considered a classic. We opened for the Orb that spring. Their 3rd release, "decentertainment" landed them at Barcelona's Sonar '99. Multipolyomni's '97 New York production of the Solar Drama from their opera Quark Soup, projected a massive live view of the sun perpetually rising for 24 hours, broadcast LIVE from 127 consecutive locations as the world turned around once. It hosted 77 live performers and artists on two floors... ffffew(i think that's the Guinness book record ... no?). And The Early Aquatic Episode, '96 at the Brooklyn Bridge Anchorage, also from Quark Soup, was hailed by the New York Times art critic Roberta Smith as "the only work in scale with the Anchorage". In 1999, he and Toshio Kajiwara founded Phonomena Audio Arts & Multiples (, a weekly event as well as a record label. Also in '99, he and James Healy started The Agriculture.
In 2003, after many years of collaborating with musicians, live and on recordings, Olive finally released his debut solo CD, "Bodega," an ass- shaking continuous mix tape of roughed down home dance party beats. In 2004, Room40, from Brisbane put out his "Buoy" composition. A 60-min voyage of beat-less warmth Olive call's "a sleeping pill". He has also been included in many exhibitions including: Treble, Brooklyn Sculpture Center 2004, City Sonics 2004, Mons, Venice Biennale 2003, Whitney Biennial 2002, Bit Streams and Whitney 2001.


Those who have heard DJ Olive's more dance-oriented work on the Agriculture label may be surprised by the arrhythmic seriousness of his collaboration with cellist and composer Jean-Paul Dessy and the new-music chamber group Ensemble Musiques Nouvelles. For one thing, there are no beats here, people -- if you want to motorvate your booty, you'll want to scoot down the street to one of those other venues. For another thing, even if there were beats, the mood is so dark and brooding that dancing wouldn't really feel like a viable option anyway. Scories sets the tone early with the droning and almost scary "Walking Slowly," which features lots of low tones and weird, slightly creepy snippets of vocal samples. "Along the Line" takes things further along in the same mode, but then the aptly titled "Ghost Groove" starts hinting at the possible future emergence of a beat, while shards of turntable scratches crunch beneath the creaking and groaning string section. More pronounced scratching acts as a counterweight to a spare cello part on "Pass the Potatoes," and then you're back into the droning darkness on the title track. The album's final selection is almost 17 minutes long, and is still rather dark but somehow less brooding -- there are episodes of fitful, almost frantic energy that lighten the mood somewhat. The overall effect of this album is really quite compelling. Highly recommended.
by Rick Anderson / All Music Guide.




01 Walking Slowly 9:56
02 Along The Line 4:24
03 Ghost Groove 2:06
04 Terra Alba 2:31
05 Pass The Potatoes 1:46
06 Scories 8:08
07 Comprovisation A Ixelles 16:47