DJ Krush

Some people change the face of music more than others. Some don’t change the face of music at all. Some have a go but make shit music that no-one likes. Some people try and tell others what music they are supposed to like for their own filthy gain. Some people don’t even care for music, others get mugshots of their favourite bands tattooed on their chests.

It’s a funny old game.

DJ Krush has been the face of Japanese hip hop music ever since his eponymous debut dropped in 1994. He is responsible for our favourite mixtape ever released ^ in the shape of Code 4109. As records go that was his game changer; constructed entirely by his two fair hands, live in the mix, no cheating involved. Our jaws continue to drop at the sound of that record twelve years on.

DJ Krush recently celebrated twenty years in the game with a world tour. The 3-hour set he played in London as part of the celebrations was nothing short of sublime. It was a journey into the imprint that Krush has left on the world of hip hop and breaks across the globe; a rollercoaster of eerie samples and coagulating breaks, from fast to slow, then back-to-fast, over-to-aggressive before returning-to-eerie. Krush is also currently rolling out a celebratory ‘Monthly Singles Series’ project which (again) re-affirms to anyone who may have forgotten about him that Krush is still very much active; still spinning records, still pushing boundaries and still producing the finest esoteric hip hop you could ever hope to hear.

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First things first, Where did the name come from?

Actually, there’s no deep meaning behind it. A long time ago, I was in a group with my little brothers and two black guys. At the time, I didn’t have an artist name so I asked them to give me one. They said that me and my brothers were crazy so they called us ‘crush’ and ‘bang’. But I didn’t think ‘crush’ was cool enough so I changed it to ‘Krush’ and it sort of stuck from there.

Your involvement with the Yakuza as a youth is well documented. Can you explain how this came to pass and how this experience shaped you as a person?

At the time I was really struggling with what I want to do with my life, but once I discovered ‘Wildstyle’ I instinctively and honestly thought ‘this is it’. It’s no exaggeration to say that music changed my life. That’s why I want to give as much back to the world as possible.

Code 4109 truly is one of the finest mixtapes ever released. Can you explain the creative process you went through when building that mix?

Code 4109 is simply something I was doing with my sets at the time, packaged in pure form. But it makes me so happy that people still listen to my music, even a full two decades after its release.

How have new technologies changed the way you go about constructing music?

It’s really widened the scope of what I want to do. In the beginning, I found myself sticking to analog technology, whether it was creating music or performing live, but regardless of new or old technology, I like to use all types of technology. Right now, I am able to use digital and analog equally in my own way. But even now, I’m still using a 15-year old mixer and Serato. In the end, whatever technology you use, I don’t think it makes a difference unless you are grounded as a person.

How has Japanese hip hop culture evolved in the last twenty years?

Back in the day when I started my career, there wasn’t much publicity and I wasn’t really that recognised. So although there were some really hard times, twenty years on I’ve become known on the growing scene. But more than anything, I think it’s harder for the current generation, because information is so widely available now and it’s so easy for anyone to make a track. At last there are more and more artists in Japan with their own personal style and I really hope that they develop and make their way into the rest of the world.

Are there any artists that you are championing right now?

There are loads, regardless of whether they’re famous or not. Also, after I die, my dream is to have a session with Jimi Hendrix and Miles.

Let’s talk about your new ‘Monthly Singles Series’ project. Why did you take the decision to release a series of monthly tracks? How has this change in tact influenced your music making?

It is partly because there was a small gap between my last work and now, but more recently it’s because there’s been such a rapid change in the way music is being heard, the way it’s sold, and of course the music itself. So in many ways, I wanted to look at the current situation and really feel the change. That’s why I wanted to try different approaches each month and develop music using the extreme opposites of digital and analog to see what the reaction would be. This series will continue until this summer, and then it’ll be like, ‘now I can finally work on a new album’.

Last year was a monumental year in the history of your home country and Japan is now going through a period of rebuilding and reinvention. How did recent events effect you and your work?

It really was a painful year. Thankfully there was no direct effect to my family and relatives, but I felt the pain all the same. But there’s no point in someone like me who can move forward being depressed about it. In my case, I only have music, so I’m hoping that I can help people by continuing to create music.

On that note, you recently celebrated twenty years of music making. What is the secret to your longevity and what has motivated you over all those years?

To always look and move forward. It’s all about doing this. But I definitely couldn’t have got here on my own. It’s thanks to my family, the staff, and all the fans around the world that made this possible. That’s why I’ll never forget this feeling of gratitude towards these people.

Can we expect a change in style seeing as you have reached the 20 year milestone?

Just like I’ve been doing till now, I’ll continuously pursue the things that I think are good.