Since the release of his first solo album “Krush” in the mid 90s, DJ Krush has been captivating audiences the world over with his distinctive brand of Japanese hip hop. “Stepping Stones” is Krush’s latest offering – his self-remixed ‘Best Of’ album and a culmination of over 13 years dedicated to the pursuit of bringing the new and unprecedented to global hip hop culture, while retaining his own style, sound and identity. Miss Riz, with a little help from her friends, brushed up on her Japanese skills in order to bring some Krush to the mix.
Some people choose to release Best Of albums only a couple of years into their career, some people choose to wait. Why did you choose now to go ahead with Stepping Stones?
I thought it would be boring if I simply put together a Best Of album from my collection. So I re-cooked it and made a new remix with my current feeling.
With 9 albums behind you, including a myriad of hits, styles and sounds, what criteria did you use in selecting the tracks that ended up on Stepping Stones?
Those of my favorites that I thought would be interesting to remix.
I myself live in Japan and one of the things I ultimately love about this country is what I call the ‘mish-mash’ of ancient and modern Japan. In relation to your album Jaku, it was the first time I ever heard a Japanese DJ combining traditional instruments with modern sounds and styles. Why do you think other Japanese DJs stay away from combining the traditional with the new?
I wonder why too. I would like to ask [that of] everyone as well. I think Japanese people should have a wider expression of themselves. The younger people are more interested in Western culture than their own culture. They don’t see our wonderful culture even though they eat rice and miso soup. I think the Japanese aren’t good at finding their own personality because of a lack of confidence. I sometimes feel that is a shame as I am the same – that is [to be] Japanese.
In using Japanese instruments in particular, what kinds of images or emotions were you hoping to evoke? Was it more aimed at your Japanese audience seeing as most people outside of Japan would never have heard of the shamisan or shakuhachi?
I am very interested in the pictures other people around the world get in their heads when they listen to my music. I didn’t make it [just] for the Japanese. I created the music through my desire to express myself to the world – there are no borders.
Do you yourself play any instruments?
The drums, just a little.
How do you see your role in bringing together so many unique styles and blending them together so well? Are you a musician, a composer, a..?
I think I am influenced by the various different types of music. I was especially shocked in a big way by hip hop. I can’t put my music style in one category. I would rather say my type of music is ‘DJ Krush’.
In relation to your moniker, DJ Krush, I have heard a number of different stories as to how you got your name – one involved you and your brother being labeled Krush and Bang by two black artists you were working with, another involving an experience you had with the crowd when playing at a Tokyo street party a number of years back. Can you set the record straight?
That’s right. I used to DJ with my brother. We got labeled as Bang and Crush – not Krush!
You have collaborated with many different people on many different kinds of projects – albums, The Jag Project, and film such as Arakimentari for example. How do you decide on what to go with?
If I can be myself and use my own tastes on a new project then I go for it. Sometimes I can get new ideas or wonderful inspiration from new projects. It is very exciting.
How do you feel that Japanese hip-hop scene is perceived outside of Japan?
I will be happy if original Japanese hip hop is happening but when kids are actually copying the US born hip hop and say “this is our original hip-hop”, it just makes me say “are you crazy or something?”
Who or what is influencing you now in 2006?
I lost my father and father-in-law due to illness at the same time last year. I am very appreciative of my parents. When you want to thank your parents and show them how you feel, they won’t be there so do it now. Because I can’t do this now, I am mortified.
You said on your website that 2006 is your job to give new life to the children you have delivered in the past. Is Stepping Stone the culmination of this? How do you feel about the rebirth?
I could say that Stepping Stones was my very best of as well as my footpath. I will take my next trip in search of new music. As always I will go on a journey to seek out my style.
DJ Krush’s brand new album ‘Stepping Stone: The Self-Best Remixed’, is out now locally through Red Label/Sony BMG.
(Special thanks to my flatmate Naoko Akamatsu for her generous assistance with translations – there were a few tricky ‘Lost In Translation’ moments – i.e. where the Japanese answer was far, far, FAR longer than that of the English translation – that have been nutted out as best a possible to give you Krush’s exact feelings and sentiments)
