The crowd who gathered at the Woolly Mammoth (14 Jan) showed there is still an appreciation for turntablism, with Japanese trip-hop pioneer DJ Krush the headline act.
Tigermoth opened the night. His set was filled with BOOM BAP (in all-caps because of how hard the beats were) with short transitions focusing on ambient sounds. Not initially interesting.
DJ Krush - Image © Jacob PedersonIt wasn’t until he returned to the stage for another set that he showed he wasn’t just another guy spinning the latest beats. Focusing more on mood than energy, Tigermoth incorporated a large amount of found sounds into his set – from robotic instructions to radio broadcasts, and a really interesting use of magpie and other bird calls familiar to Australians who have had their mornings sound-tracked by them.
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Next up was Triple Nip, an intriguingly named MC. He tells of his naming because of his extra nipple and his ability to freestyle at triple time; an ability he demonstrates throughout his set. His flow has the speed of a student whose caffeine intake has increased due to exams; his words blurring to create a rhythmic track of their own.
The backing beats was an interesting contrast, as it was more relaxed and fitting with the laidback attitude of someone from Byron Bay, such as him. As impressive as his speed was, it would’ve been nice to understand what message he had to spread.
DJ Krush - Image © Jacob PedersonBrisbane hip hop institution Resin Dogs appeared and showed why they’ve been such a force on the circuit for so many years. They began their set with a tribute to the recently passed David Bowie by mixing up a beat storm over the iconic song, ‘Space Oddity’.
From there, the duo got heads nodding with their funky beats and beat splicing, cutting through musical forms as diverse as Bollywood, jazz, old-Hollywood musicals and '70s cop-film soundtracks. Their cutting and splicing was masterful, but they don't forget the party going on around them. Their rubbery basslines lassoed more punters to the dancefloor, filling it for the headline act.
DJ Krush - Image © Jacob PedersonBeing introduced to the stage as the 'Miles Davis of electro', DJ Krush proved why he’s compared to the jazz icon, as they both have mastered the art of music to chill to. Beginning his set by setting a scene with wind blowing and minutes-long bass-rumbles, the effect is ruined due to a sound-system malfunction.
DJ Krush quickly brushes himself off, pulling together slow, yet heavy beats in a way similar to fellow trip-hop pioneers DJ Shadow and Massive Attack. Speaking of pioneers, DJ Krush even pays respect to Portishead with a live cutting of 'Glory Box', taking an already ground-breaking song into new territory.
DJ Krush moved over his decks like a tai-chi practitioner by a beach at sunrise – slowly moving between mixers and scratching with relaxed and patient movements. Even as he slowly increased the tempo of the beats for fans to move to, DJ Krush still favoured bliss over adrenaline by filling out his sound with ambient textures and skittering beats.
DJ Krush showed you don’t have to break a sweat to make a new sound; slow and steady will get you to the future just as easily.
