One of the most revered names in the global hip hop scene, DJ Krush is one of the few identities to have emerged from the Japanese hip hop scene who has managed to make a name for himself on the world stage. Known for his signature downtempo and experimental approach to the genre, with a real penchant for instrumental tracks featuring layered and ambient textures, one of his biggest claims to fame is that he was instrumental in shaping the way that hip hop is perceived in his home country. As he says himself, hip hop in Japan has changed nearly beyond recognition since he first entered the game. “It has changed drastically in many ways, both superficially and internally. At one time, most of Japanese hip-hop were just imitations of Western ones, but now there are more people with their own standpoints regarding hip-hop. I think the Japanese hip hop has been able to establish its distinctive culture.”
It’s been several years since we were treated to a visit from DJ Krush, but this weekend he’s back. ITM talks to the man from Japan.
Let’s go back to the beginning of your career. What struggles did you face as a Japanese artist trying to get recognition within a genre dominated by Americans?
At first yes, there were many people who refused to listen to my music; I have been through hard times. In order to prove what I believed in, all I could do was to just keep on making music. But as I continued to do so, I realized that there were definitely people who would start keeping their eyes on me.
Seeing as you work with both English and Japanese lyricists, have you ever considered putting translations on the sleeve notes so that both audiences could understand the meanings of all the lyrics?
In my previous works, I have basically done such things, although it varies a little from domestic (Japanese) and international releases.
Let’s talk about your creative process. Do you approach the studio with a firm idea of what you want to achieve, or do you experiment with beats and samples until something works?
Both. It depends from time to time.
How does your approach differ when making instrumental tracks versus working with an MC or vocalist?
As far as my works are concerned, of course the details of the approaches are different as to where to pay mind to, but the basic mindset is always the same.
Your retrospective release Stepping Stones was divided neatly into ‘Lyricism’ and ‘Soundscapes’. If you were forced to make the decision between choosing to only produce instrumental tracks or work with vocalists, which would you choose?
Difficult question. Both are important forms of expression for me. But at this time, I would choose instrumental tracks…
Even from early in your career with early Mo Wax sleeves by Futura and Ben Drury, the artwork on your albums has always been memorable. How much input do you have on the visual aspects of how your music is presented?
They are definitely important elements of my work and I value them a lot. I care for them too. After all, I believe that artwork is an important supporting-part of my creation.
For as long as I can remember, Kemuri has been your signature track. It has been featured and reworked endlessly in your compilations and live sets.It’s hard to say. At this time, I don’t know if it is… But every work, when it’s finished, represents my all at that time, and changes as time goes by. In that sense, I will always have the desire to rework my music.
Just why exactly is this track is so important to you?
Well, it’s a tune that I am strongly attached to.
You must receive a large amount of music sent to you by other artists. How often do you hear something that genuinely touches you?
It’s a difficult question, because it all comes to fate. But every demo has influenced me to no small extent and in many ways.
Apparently when you met Guru for the first time you gave him a rare record as a gift. What was that record, and why did you choose it specifically for him?
That’s long, long time ago…It was actually Premier that I gave a record when Gang Starr first came to Japan for a show. I fronted their in-store live as a *RUSH POSSE, and Premier saw me using a set of Wild Style soundtrack LPs. He came up to me after the show and asked where I got them, that he had been looking all over for one. So I went and got him a copy.
Which music might your fans be surprised to learn that you listen to?
What that would be, I don’t know… Basically, I try not to be picky and take in anything at least once. But in my personal life, I mostly listen to jazz or dub now.
Obviously so much of your energy is invested in musical activities. Outside of music, what interests or hobbies do you pursue?
Fishing I suppose. I go out fishing in the sea with my family when I have time.
Three decades into its existence, hip hop finds itself recycling a lot of the same themes and sounds, with many artists even using identical samples to one another. How can hip hop move forward in the future?
It’s hard to say… I don’t really have a clear view of the future, but at least I can say that I can only continue to express myself in my own way.
You have achieved much in your career so far, from releasing many albums and mixes, to traveling the world and establishing yourself as one of the most prominent figures in hip hop. What do you most want to achieve beyond this?
Hopefully to continue to express my individuality as Krush as long as I can.
DJ Krush will be representin’ the land of the rising sun at the following shows…
Thu 22 May – ANU Bar, Canberra
Fri 23 May – Prince, Melbourne
Sat 24 May – Oxford Arts Factory, Sydney
Thu 29 May – Electric Light Hotel, Adelaide
MeliJane says...
I had the pleasure of experiencing Krush closing QLD Earthcore in 2006; hip hop's not usually my thing, but his turntablism skills and amazing DJing craft was unbelievable!! He's an absolute freakin' genius. :)
Citizen says...
Lol....I think something might'e been "lost in translation" on some of those questions. ;)