The project We consisted of three Brooklyn disc-jockeys who grew up within the "illbient" scene of New York's dance clubs: Ignacio Platas (Once 11), Gregor Asch (DJ Olive), Rich Panciera (Lloop). DJ Olive was credited with coining the term "illbient". The three virtually invented in 1992 the legendary Lalalandia multimedia parties in Williamsburg.

We's debut album, As Is (Asphodel, 1997), originally a seven-song double EP that expands to 13 songs on CD, was a revelation and a milestone of instrumental hip-hop, dub and drum'n'bass. Its compositions are both luxuriant and acrobatic. The seven-minute Magnesium Flares is a textbook of colliding antinomies: warped world-music, liquid jazz and gallopping drum'n'bass. Believe Porpoise blends mechanical cycling beat, glitchy sounds in the background and disorienting samples. The lazy, faceless, trip-hop beat of the nine-minute Dyed Camel Skins is only a pretext to wake up an ecosystem of organic sounds. In Time is languid jazz-hop vandalized by a zoo of sound effects. 3/10th Of The Population sounds like an exotic and psychedelic remix of Squarepusher. The clockwork of Lillie is fueled by dub reverbs and tribal drums, another contamination of world music. Tribal drumming also propels the eight-minute New Agent and again it's a pretext for a panorama of ghostly sounds. There are moments of sheer genius: Tombs And Tombs Only opens with a dark motif that evokes a monk's chant and then powers it up with a kind of hard-rocking drum'n'bass. They also flirt with droning ambient music in the beat-less Flutesque and Ss/sadness-88 , but the relaxation element is missing. The sophistication of their collage art has few equals in electronic dance music.

Unfortunately, the subsequent Square Root Of Negative One (Asphodel, 1998) is a confused hodgepodge of drum'n'bass cliches, as if a bunch of amateurs tried to imitate We. The album opens promising with the lugubrious soundscape of Berimbau and the stormy 12 Diablos. A highlight is Ririka, a mushy blend of noir jazz and acid dub. El Mosquito is another torrential magma of syncopated beats. These highlights are scattered among dilegent implementations of drum'n'bass like Back and Forth, failed attempts to innovate it like Protons, and too many pieces that are penalized by trivial beats with minimal development.

Decentertainment (Liquid Sky, 2000), on the other hand, is an inventive post-modern experiment on electronic dance music. If Hang On is a bit too casual and predictable, Afrique is the manifesto of a beat-based art that deconstructs dance-music and world-music to craft moody tension. The festive and Caribbean-tinged Out for Now is the counterpart and antidote to the eight-minute mirage of If They See where African chanting and floating ambient drones intersect. If the seven-minute Pull trudges through a psychedelic fog, Vulpecula is fueled by plenty of bluster and pomp. Rain in Spain and Micro al Hammed are emblematic of the album's post-ambient and post-jungle aesthetics; and Polynesian Inventor crowns their incursion into world-music with a witty vignette. Granular Timor Time even exudes echoes of Jon Hassell's fourth-world music.

Text Of Light (Starlight Furniture, 2004) is a collaboration among guitarists Alan Licht Sonic Youth's Lee Ranaldo, turntablists Christian Marclay and DJ Olive, drummer William Hooker and saxophonist Ulrich Krieger.

Lunchbox was the trio of DJ Olive on turntable and laptop, Martin Baumgartner on laptop and Bruno Amstad on vocals. Anyways (Agriculture, 2005) deconstructs dub, jazz and hip-hop, but fails to reconstruct them into self-sustaining structures, with the notable exceptions of Brown Bag and Peanut Butter And Jelly.

Bodega (Agriculture, 2003) was the solo debut of DJ Olive, mostly inspired by old-fashioned funk music although delivered with the high-tech tools of the 200s. DJ Olive's second album, Buoy (Room40, 2004), is a single track of soothing keyboard drones, field recordings and digital glitches. About half-way an organic pulsation appears, almost a bossanova. After about 40 minutes an industrial bass undulation merges with a sinister galactic drone. The last ten minutes opt for a slow fade-out that leaves only the faintest of glitches and found noises. DJ Olive's progression towards the abstract peaked with his third album, Sleep (Room40, 2006), that contains only one 48-minute piece, another titanic endeavor of abstract soundsculpting, musique concrete, glitch art and ambient droning, just a bit more relaxed and static than the previous one. The third part of the "sleeping pills" trilogy, the one-hour long Triage (2008), debuted as an art installation at the 2008 Whitney Biennial.

djTRIO was a turntablist trio formed by Christian Marclay, Toshio Kajiwara and DJ Olive and documented on 21 September 2002 (Cuneiform, 2012).

DJ Olive later released: Thwis (2013), COCO (2014), Polk Street (2016), Listening to Fir (2018), Somewhere (2022).