Interview with DJ Krush on his 20th anniversary tour

Born Hideaki Ishi in Tokyo, DJ Krush is one of the world’s most acclaimed electronic music artists and producers. He first made his name in hip-hop in the 1980s as the founder of Krush Posse, and his style now transcends category much like his idol Miles Davis, who dropped the “jazz” label for “music” in the late 1960s.

Continuing his world tour, DJ Krush plays at The MID in Chicago tonight (Feb 21). In this exclusive interview conducted Sunday backstage at the Music Hall of Williamsburg in Brooklyn (his first New York City gig in four years), I spoke with the artist during sound check about his two decades as a solo artist, his shocking yakuza past, and this thoughts on the future of music.

Last year you celebrated your 20th anniversary as a solo artist. What did it mean to you?

It’s endless—I didn’t expect it would last this long, so when I realized that it was now 20 years I was surprised. My history as a DJ is 25 years, but I’ve been a solo artist for 20 years.

Before you began your career you became involved with the yakuza. Did having this reputation make it difficult to enter or be successful in the music business at first?

I didn’t want to mimic American style hip-hop; I wanted to create a style unique from everyone else. At first, I didn’t have a good reputation and they wanted to attack me, so it was really tough.

What are the central differences between Japanese and American hip-hop?

The style is the same, but the culture, lifestyle and background is different. It’s tricky to explain, but the differences are there.

What goals do you have for a DJ Krush concert?

Now I’m going to do a three-hour set. Normally I do an hour to 90 minutes, but… [Gives a wry smile and laughs.] It’s quite a long story. With techno or house music, it normally goes for hours and hours. I wondered if I could pull off my style for three hours (laughs).

Is this your first time to play for three hours?

No. At a recent release party in Tokyo I played for six hours.

Nonstop?

Nonstop. One hour was live rap, then my performance…at the end of it, my fingers and back were killing me. The whole time, I couldn’t even go to the bathroom.

I salute you.

(Laughs.)

What kind of story is it you’re trying to tell?

One I make through music I choose myself, like techno, but sounds different from anything else.

What kind of equipment do you use?

Tonight I’m using two turntables, a 15-year old mixer, my laptop, and Scratch Live software.

How has the role of sampling and playlists transformed DJing as an art form?

For me, I want to incorporate whatever I’m interested in, like the sound of birds and insects.

You’re known for your extensive use of jazz and soul samples in your work. Who are some artists that you get the greatest pleasure from listening to?

I always try to use Miles Davis; I love those mixes. Everyone I like is now dead! (Laughs.) John Coltrane, Jimi Hendrix—they’re all gone (laughs). I really admire the personality of artists like that; they have their own unique style.

What’s your favorite Miles album?

I have several. I like a different beat that the trumpet is mixed over, like his work in [Louis Malle’s 1958 film] Ascenseur pour l'échafaud. It’s easy to make something from that.

What was it like working with Herbie Hancock?

I didn’t actually meet Herbie, but [producer] Bill Laswell contacted me for a remix. I’m dying to work with him, since I admire him greatly.

African music and culture has been a big theme in your work. Have you visited Africa? Where would you most like to go there?

I participated in the JAG Project [in 2005]. I have children now and I want to give whatever I have to them, so I want to donate money through this music along with hope and dreams to the children of Africa. I’ve been to South Africa before, but I haven’t been anywhere else there. I hope to one day.

I’ve read that you’ve performed in 282 cities of 46 countries. Where else do you want to play?

I’ve been to 50 now.

Congratulations.

(Laughs.) There are still a lot of places I haven’t been to yet. I think it would be interesting to really explore Eastern Europe, since it used to be difficult to go there because of the political situation. Now it’s easier, and people have the power. So I’d like to go there.

In the recent decade we’ve seen the rise of new music genres like dubstep and chiptune. What do you think about new sounds, and how do you incorporate them into your work?

Now we have dubstep and I use drum and bass sometimes. There are a lot of new sounds. Everyone’s using computers these days, but when I was young analog was king (laughs). And so today everyone’s using the same software, so it can sound a bit dull. On the other hand, there’s plenty of surprising music you can create, so that’s what I’m aiming for even though it’s rather hard to do (laughs).

To you, what is the future of your music?

It’s hard to put into words, but I’ll be releasing a new album this summer.

What are your thoughts on the growing popularity of house and ambient music in the U.S.?

Is house music popular in America now?

Its producers are becoming more popular. David Guetta has collaborated with Madonna and Rihanna.

I don’t really know that much about house.

After this tour, what’s next for DJ Krush?

After the tour’s complete, I’ll return to Tokyo to finish my new album. I hope to get it out by the summer or maybe the fall.   

This year you’ll turn 50. How will you celebrate?

I’m embarrassed to think about something like an “old man party.” I’ll probably do what I normally do.

Special thanks to Tomomi Ishimura for translation assistance. DJ Krush tours North America through Feb. 26. For more information, visit his homepage at www.sus81.jp/djkrush/en/index_en.html.

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