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DJ KRUSH

DJ KRUSH

October 23, 2017

I directly transform what came up in my head into sound like making a drama. Especially for instrumental stuff, without having done that, listers won’t be able to come up with the image, either. While the same loop repeated does beget groove, I in person want to give things of image to the head of everyone more.

When I had a contract with MO’ Wax, DJ SHADOW showed up. His sound was totally different, but I felt that what he was doing was close to mine. I felt a real HIP HOP even without rap on, and thought that his was free. With a style different from mine, he succeeded in expressing himself fully, with his own philosophy on HIP HOP exposed. In the early stage of MO’ WAX, I went on a British tour together with him that hardly paid a penny for us to have to stay in our car (stuffy). We went around on a van with a driver, James Lavelle next to him, SHADOW in front of me, STASH in front of him. As we went to clubs every night, STASH drew and left his spread graffiti while we played DJ. At the time, though we couldn’t receive money, we did what we wanted to do. Painstaking but everything was stimulating and fun. In that tour, the audience wasn’t enlightened yet. While we played pieces such as BPM80, they couldn’t really dance, agape (literally). But I deemed it a brand-new thing and wanted everyone to listen. There were, however, many opinions that ours were not of HIP HOP, very harsh at the time indeed. The interpretations toward HIP HOP did differ.

Admittedly I have been greatly influenced by HIP HOP, but I do not necessarily create my work intent on creating HIP HOP. It happens that my own personality exposed just hasn’t fitted any of the genres. I create songs with an image embraced as if I were finely flying through metropolitan skyscrapers without much of altitude changed to eventually land upon the intended spot. With a clear image embraced as if rapidly turning to the right in my song, I strive to look for the sound that expresses that sense of evacuation to the right through sampling, Then, “I-got-it” moment comes and fits, and I again keep myself away to get the bird view, thereby creating various dramas. I directly transform what came up in my head into sound like making a drama. Especially for instrumental stuff, without having done that, listers won’t be able to come up with the image, either. While the same loop repeated does beget groove, I in person want to give things of image to the head of everyone more.

Japan especially is a stereotypical society where you have to gain approval from someone big first. When I brought my record at the time of KRUSH Posse to a mega record company, I wasn’t understood. That was an era when many kinds of music had been born overseas; both America and England was fun in 90’s. Acid jazz came; MONDO GROSSO, UFO, and Monday Michiru showed up; and then Galliano, Brand New Heavies did. Even before KEMURI came into focus, the demonstration tape sent to Paul Bradshaw of “STRAIGHT NO CHASER” was charted in: they listened to mine with ears that discerned not because someone said it was new but because “they believed so”.

As far as music went, however, the sound gushing out of a speaker is namely our language, which they would sensually understand and should be enough for creation of music.

While you may feel solemn about the history of your own country, you’d better not be overly conscious. I have been born in this country and lived by eating the rice, ume pickle, and miso soup of this country. Such an air is built into my DNA, with which I should feel happy to create an ambience through music. Certainly, I mingled Shakuhachi (Japanese traditional flute) at the time of MEISOU (meaning running about with disarray), for which I somehow sensed unnaturalness. It is not that I have grown up listening to the sound of Shakuhachi or Syamisen (Japanese traditional guitar) since childhood; I have just touched upon Bon dance (also Japanese traditional dance). Such a millennial? Therefore, it was not easy, in turn, for me to accept Japanese traditional stuff. To be honest, I just listened to Western stuff; even when I did Japanese, they were just En-ka and Kayo-kyoku (also Japanese traditional types of songs). I haven’t studied the culture of Samurai, particularly, either. Years later, I became a DJ, made a debut out in the world and then finally compared myself with surroundings, where I’ve noticed that there also are wonderful sounds in Japan and pacing peculiar to Japan, not seen in the Western world at last.

I first landed on the American soil at the time of recording MEISOU. Back then, the country was the home to HIP HOP with me not knowing what to do. I felt pride and responsibility for I would be able to play with people of CL or real HIP HOP we had listened to. I mingled Shakuhachi of Takara-yama (meaning treasure mountain) into the songs of CL; I meant confronting with Japanese samurai sword by that. “Now, I am ready to fight!” Like that (I meant it, you know). At the time, while I was desperate in the country where HIP HOP had been born, I also wanted to counter with things Japanese, too. Then it literally was a battle for me. As far as music went, however, the sound gushing out of a speaker is namely our language, which they would sensually understand and should be enough for creation of music.

The sounds I’ve created are without passport or border; feel free to feel them freely. I am creating with such a passion.

I get satisfied every time I finish up an album of mine, but soon ideas on what to do next come up. This course does not change for each time. At to creation of things, the more you create, the more you will discover your lack of capacity, which shall be filled up until your very death. I guess no one can fill up what he / she is up to after all. I am not sure whether it is of judgmental nature, but I wonder where we are headed for others. This of course individually differs. Am I supposed to create things for commercial purpose or to be sold? I don’t know about that, either. What I am doing is just to expose and deliver what convince me, what are not lying and what I feel right now. In a sense, I may not be creating for my fans. “Understand me!” Might be close as my feeling. I admit I am very selfish by what I’ve just said. Therefore, there must be KRUSH. Sound and image reminiscent of KRUSH, which are very important to me and are the air, rhythm and pacing that I only can create; if they disappeared in the mid-air, I would feel there even is no need for listening.

The sounds I’ve created are without passport or border; feel free to feel them freely. I am creating with such a passion. For the past several years, amid worldwide movements especially of terrorism, DJs around the globe are on board planes running about in airports. In situations where you don’t know what will happen next, I always feel deep at my heart that I want to leave more of my music than now through asking myself what I can do.

*TRIO:
A traditional audio maker established in 1940, Along with Sansui electrics, Pioneer, Onkyo, it has backed the peak of the audio boom. Listed in Tokyo Stock Exchange, 1st section in 1969; expanded its business into music industry under the name of Trio Record. Afterward, its name was changed into KENWOOD, with technical development JV with Nippon Victor (currently JVC Kenwood).

*MUGEN:
Produced by Mr. Yasuhiro Hamano. A space psychedelic and stimulating with its colors that worked as a live house, too. Characterized by live performances by black bands not recording. A place to be remembered visited by big names such as Yukio Mishima, Yasunari Kawabata, Tatsuhiko Shibusawa, Moichi Tabe, Kenzo Tange or Seiji Ozawa and those belonged to a younger generation at the time such as Tadanori Yokoyama, Kishin Shinoyama, Mariko Kaga, Kazumi Yasui or Issei Miyake. A venue of passion which is the very front for super-real lives of Ike & Tina Turner, Sam & Dave, or Con Funk Shun where people of Tigers, Spiders and the jazz world got highly excited.

*KRUSH Posse:
A unit made by DJ KRUSH and Muro who had been the members of B Flesh 3, also joined by DJ GO. “K.P.” recorded in the self-produced compilation album, “Yellow Rap Culture In Your House” released in 1990. “Chain Gang” recorded in the compilation album, “Dance 2 Noise 002” released in 1990. Disbanded while still retaining the absolute influence on the underground Japanese HIP HOP community back then.

*JAZZY UPPER CUT:
A large band that was active in early 90’s. Its members include, centering around Enkyo Kuwahara (rapper), Akihiro Ishiwatari (G), Takeharu Hayakawa (B), Koichiro Samukawa (SAX), then-Hikashu Tsunoinu (Dr), joined by DJ KRUSHU as scratch, indeed gorgeous casts. Created core fans with its monstrously stimulating plays mingling HIP HOP, jazz, funk and rock, and rap, but disbanded after a short period of activities.

 

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