[acid-jazz] Feature :: DJ Krush @ Metropolis

From: Wesley (wesleyhongkong@earthlink.net)
Date: Sun Sep 01 2002 - 01:23:36 CEST

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    Feature :: DJ Krush @ Metropolis

    Hip hop pop
    New album in hand, Japan's original turntablist tells Dan Grunebaum how
    music saved his life.

            Turntables aren't the most obvious alternative to a life of
    crime, but for Japan's original hip hop DJ, a talent for scratching
    provided a way out of his career as a budding gangster.

    "Everybody asks me about my youth, and I tell them honestly that I
    caused trouble for a lot of people," Hideaki Ishii, a.k.a. DJ Krush,
    says from the other side of a conference table at Sony Music Japan.

    "I didn't even graduate high school. All I could do was make music, and
    because that was my only avenue I pursued it as vigorously as I could."

    Crime's loss turned out to be music's gain. Turning from a life of
    law-breaking, Krush has gone on to inspire a generation of Japanese
    turntablists and achieve international acclaim through a body of
    challenging recordings that began when 1994's Strictly Turntablized let
    the world know that some of the most interesting experiments in hip hop
    were taking place in Japan.

    Honing his technique as a bedroom DJ in the mid-'80s, Krush formed Krush
    Posse in 1987 to back rappers, gradually transforming himself into the
    solo production force that he now is. Landmark albums such as 1999's
    Kakusei and remixing and production work for everyone from avant-garde
    bassist and producer Bill Laswell to future jazz diva Monday Michiru
    have seen Krush establish himself as more than a mere turntable jockey.

    With his forthcoming new album for Sony's So-ffio electronica imprint,
    The Message At The Depth, Krush, 40, continues a working method that he
    established with 2001's Zen. "I come up with the concept, and then
    present tracks to a number of different artists," he says. "I don't give
    them any specific directions. It's up to each artist to make of the
    title what they will."

    While Zen saw Krush working with worldbeat acts like Africa-pop vocal
    group Zap Mama for his seventh album, the DJ issued invitations to
    artists as diverse as underground American hip hop unit Anticon and
    veteran Jamaican rhythm duo Sly & Robbie.

    The collaborations resulted in anything from the overtly political tones
    of "Song for John Walker" with Anticon to the uplifting reggae of "What
    About Tomorrow" featuring Jamaican singer Abijah. Plenty of formidable
    beats and abstract textures, meanwhile, signal Krush's distinctive
    presence.

    Like much of his recent work, The Message At The Depth seems
    deliberately geared to appeal beyond a hip hop audience. "I'm not into
    the kind of hip hop that's dominating the charts now," says Krush.
    "Perhaps because my sound is not overtly popular, I appeal as much to an
    electronica crowd as I do to b-boys."

    These days, Krush's work seems to resonate more with overseas audiences
    than it does with the hordes of young Japanese hip hoppers, ironic for
    one of the founding fathers of Japanese hip hop who was once told by a
    record exec that hip hop would never sell in Japan.

    "Each generation has its own message, and kids want something
    immediately understandable rather than something deep and dark,"
    reflects the DJ. "What worries me is that Japanese kids think America
    equals cool. I hope more original voices will develop that can bring a
    uniquely Japanese message to the world."

    As a father of two teenage girls, Krush has a more than passing interest
    in the younger generation. He worries that Japan has become overly
    materialistic and forgetful of the world's needy, and has translated his
    views into action as part of the non-governmental organization JAG.

    A Rebirth JAG event at Liquid Room last January involving Krush and a
    number of other artists generated funds that are to be delivered this
    fall to needy Afghan children. "Honestly, I don't think people who come
    to these events really give much thought to the matter," he says. "But
    even if they get a vague sense of what we're trying to do, it's a good
    thing."

    Who would Krush most like to collaborate with? "The people I'd most like
    to work with, like Jimi Hendrix and Miles Davis, are no longer around,"
    he sighs. "I think I'll work with them in heaven! When I die, I'll have
    turntables and a mixer in my grave, and Jimi and Miles records in my
    collection. But I wonder if I can go to heaven? There are some pretty
    good reasons why not, but hopefully God has forgiven me."

    The Message At The Depth release party takes place at Liquid Room on
    September 6. See concert listings for details.

    --
    ECLECTIC Japan
    [Sound :: Lounge] http://groups.yahoo.com/group/SoundLounge
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    <b>Feature :: DJ Krush @ Metropolis</b><b></b>
    <p><b>Hip hop pop</b>
    <br><b>New album in hand, Japan's original turntablist tells Dan Grunebaum
    how music saved his life.</b>
    <br><img SRC="cid:part1.3D714FF7.528414E1@earthlink.net" height=156 width=300 align=LEFT>
    <br>Turntables aren't the most obvious alternative to a life of crime,
    but for Japan's original hip hop DJ, a talent for scratching provided a
    way out of his career as a budding gangster.
    <p>"Everybody asks me about my youth, and I tell them honestly that I caused
    trouble for a lot of people," Hideaki Ishii, a.k.a. DJ Krush, says from
    the other side of a conference table at Sony Music Japan.
    <p>"I didn't even graduate high school. All I could do was make music,
    and because that was my only avenue I pursued it as vigorously as I could."
    <p>Crime's loss turned out to be music's gain. Turning from a life of law-breaking,
    Krush has gone on to inspire a generation of Japanese turntablists and
    achieve international acclaim through a body of challenging recordings
    that began when 1994's Strictly Turntablized let the world know that some
    of the most interesting experiments in hip hop were taking place in Japan.
    <p>Honing his technique as a bedroom DJ in the mid-'80s, Krush formed Krush
    Posse in 1987 to back rappers, gradually transforming himself into the
    solo production force that he now is. Landmark albums such as 1999's Kakusei
    and remixing and production work for everyone from avant-garde bassist
    and producer Bill Laswell to future jazz diva Monday Michiru have seen
    Krush establish himself as more than a mere turntable jockey.
    <p>With his forthcoming new album for Sony's So-ffio electronica imprint,
    The Message At The Depth, Krush, 40, continues a working method that he
    established with 2001's Zen. "I come up with the concept, and then present
    tracks to a number of different artists," he says. "I don't give them any
    specific directions. It's up to each artist to make of the title what they
    will."
    <p>While Zen saw Krush working with worldbeat acts like Africa-pop vocal
    group Zap Mama for his seventh album, the DJ issued invitations to artists
    as diverse as underground American hip hop unit Anticon and veteran Jamaican
    rhythm duo Sly &amp; Robbie.
    <p>The collaborations resulted in anything from the overtly political tones
    of "Song for John Walker" with Anticon to the uplifting reggae of "What
    About Tomorrow" featuring Jamaican singer Abijah. Plenty of formidable
    beats and abstract textures, meanwhile, signal Krush's distinctive presence.
    <p>Like much of his recent work, The Message At The Depth seems deliberately
    geared to appeal beyond a hip hop audience. "I'm not into the kind of hip
    hop that's dominating the charts now," says Krush. "Perhaps because my
    sound is not overtly popular, I appeal as much to an electronica crowd
    as I do to b-boys."
    <p>These days, Krush's work seems to resonate more with overseas audiences
    than it does with the hordes of young Japanese hip hoppers, ironic for
    one of the founding fathers of Japanese hip hop who was once told by a
    record exec that hip hop would never sell in Japan.
    <p>"Each generation has its own message, and kids want something immediately
    understandable rather than something deep and dark," reflects the DJ. "What
    worries me is that Japanese kids think America equals cool. I hope more
    original voices will develop that can bring a uniquely Japanese message
    to the world."
    <p>As a father of two teenage girls, Krush has a more than passing interest
    in the younger generation. He worries that Japan has become overly materialistic
    and forgetful of the world's needy, and has translated his views into action
    as part of the non-governmental organization JAG.
    <p>A Rebirth JAG event at Liquid Room last January involving Krush and
    a number of other artists generated funds that are to be delivered this
    fall to needy Afghan children. "Honestly, I don't think people who come
    to these events really give much thought to the matter," he says. "But
    even if they get a vague sense of what we're trying to do, it's a good
    thing."
    <p>Who would Krush most like to collaborate with? "The people I'd most
    like to work with, like Jimi Hendrix and Miles Davis, are no longer around,"
    he sighs. "I think I'll work with them in heaven! When I die, I'll have
    turntables and a mixer in my grave, and Jimi and Miles records in my collection.
    But I wonder if I can go to heaven? There are some pretty good reasons
    why not, but hopefully God has forgiven me."
    <p>The Message At The Depth release party takes place at Liquid Room on
    September 6. See concert listings for details.
    <p>--
    <br>ECLECTIC Japan
    <br>[Sound :: Lounge] http://groups.yahoo.com/group/SoundLounge</html>
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