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 --------------96E04F421F6D49EA6E8F0CBE Content-Type: multipart/related; boundary="------------BA723CE1B855010142E43E55" --------------BA723CE1B855010142E43E55 Content-Type: text/html; charset=us-ascii Content-Transfer-Encoding: 7bit <!doctype html public "-//w3c//dtd html 4.0 transitional//en"> <html> <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 & 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> --------------BA723CE1B855010142E43E55 Content-Type: image/jpeg Content-ID: <part1.3D714FF7.528414E1@earthlink.net> Content-Transfer-Encoding: base64 Content-Disposition: inline; filename="C:\DOCUME~1\VALUED~1\LOCALS~1\Temp\nsmailA4.jpeg" /9j/4AAQSkZJRgABAgAAZABkAAD/7AARRHVja3kAAQAEAAAAPAAA/+4ADkFkb2JlAGTAAAAA Af/bAIQABgQEBAUEBgUFBgkGBQYJCwgGBggLDAoKCwoKDBAMDAwMDAwQDA4PEA8ODBMTFBQT ExwbGxscHx8fHx8fHx8fHwEHBwcNDA0YEBAYGhURFRofHx8fHx8fHx8fHx8fHx8fHx8fHx8f Hx8fHx8fHx8fHx8fHx8fHx8fHx8fHx8fHx8f/8AAEQgAnAEsAwERAAIRAQMRAf/EAJsAAAEF AQEBAAAAAAAAAAAAAAIBAwQFBgAHCAEAAgMBAQAAAAAAAAAAAAAAAAECAwQFBhAAAQMDAwIE BAQEBQMCBwAAARECAwAhBDESBUFRYSITBnGBMgeRoRQVscFCI/DR4VJi8TMkchaCkqJDUxcI EQACAgEEAQMEAwADAQAAAAAAARECAyExEgRBUWEFcSIyE5FCFIGx8RX/2gAMAwEAAhEDEQA/ APEZuUyg5PVeV/5HX8aIRWRX8rkm5lfY/wC404QSxt3KZWvquT4mlCHPuCeVyUvI5PjThAC7 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