“Music and a portmanteau”
I’m super excited to post this one, probably one of the best interviews I’ve done so far. Vexposé #4 features the duo of Kidkanevil and Daisuke Tanabe, compoundly referred to as Kidsuke, who have just finished their first full length project together since collaborating on Basho Basho Remix Remix.
Featured artist: Kidsuke (Kidkanevil/Daisuke)
V3xation: Who is Kidkanevil?
Kidkanevil: I make beats and DJ and watch films and sometimes draw pictures.
V3: Do you keep up with anime much these days or -like me, does you’re knowledge of Anime encompass Vampire Hunter D, stretching to Gundam and Fist of the North Star; ending abruptly at the end of 1989 with Akira?
KK: Yeah man, I follow that shit proper, I’ma geek! I would like to be on it more with the latest shit though, but I’ve only got so much time outside of music. I just watched ‘A Letter To Momo’ at the BFI anime weekender thing, the new one from Hiroyuki Okiura, really amazing.
V3: How many times have you been to Japan and how has the culture inspired your music?
KK: Just the once actually, although I’m def going back soon. It directly inspires my music, sometimes I don’t even know why, I just feel some kind of connection with Japan, in particular the arts. I love Japanese cinema and the history of its visual art.
V3: What is the weirdest thing you’ve seen in Japan?
KK: Everythings kinda weird out there. A house that looked like a cake, a shop that only sells pink things, racoon statues with big balls everywhere, little Buddha statues everywhere with woolly hats made for them cos it was December, baby father Christmas fountains pissing into pots on station platforms, stuff like that. It’s pretty crazy!
V3: What’s the most obscure or odd sample you’ve flipped, excluding Biebers Christmas carol?
KK: Haha, man I dunno I’ve flipped quite a few. I’m actually kinda proud of how I’ve hidden some samples, but I don’t wanna give anyone clues about that! Bieber was probably the funniest thing I flipped. That lyric about cookies cracked me the fuck up, had to chop that shit.
V3: If you could retrospectively give a classic hip-hop album ‘5 Mics in the Source’ what would it be and why?
KK: Clipse’s Hell Hath No Fury is probably my favourite rap shit of all time I think, I’d give that 6 Mics.
V3: Can you briefly explain the creative process behind Basho Basho, how long did it take to make, the inspiration for the album and what kind of sound you were trying to achieve?
KK: That album was the result of watching Hiroshi Teshigahara’s – Woman Of The Dunes a lot in the middle of winter and getting tripped out making beats all night. Guess it took a few months to complete. Basho is the first time I’ve been proud of my work actually.
V3: Basho Basho Remix Remix, elaborate, elaborate?
KK: Well, Basho sounded good said twice, and so did Remixed after it, it makes sense that way right? I dunno, I like saying words twice.
V3: Who has been your favourite artist to work with or remix?
KK: I’ve just finished a project with Daisuke Tanabe called Kidsuke, that’s been my favourite collaborative process to date. We’re both socially awkward introverted weirdoes so it works well.
V3: What’s your current setup?
KK: Laptop, couple midi controllers, Pro Tools, Ableton, monitors, headphones, MS20, couple analogue effects units, echoplex and a box of toys.
V3: How did the residency at Tempo Clash come about?
KK: Just from being friends and naturally doing shows together anyway. At some point Joe from Tempo Clash went ‘you guys should be residents’ and we went ‘yeah, you’re right’.
V3: What was it like playing Sonar festival?
KK: Yeah, it was sick. That festival is so amazing. That was the first time I’d done my Ableton/Serato/the bridge set so I was pretty nervous but I think it went cool. I just feel proud to have played sonar you know, means a lot.
V3: What was your experience of playing Low End Theory, how did you end up hooking up with legendary turntablist D-Styles?
KK: Yeah man, Low End was amazing. Those guys are super cool. It’s not dissimilar to playing HoyaHoya or Tempo Clash vibe-wise. It’s crazy though, the residence alone would be headline acts over here. I met D cos he started playing my beats at low end, he did like a routine on Youtube with one of my tracks so I just hit him up to say what an honour that was to me. He’s a super bless dude, a legend. In my top 3 DJs of all time.
V3: As far as the rest of 2012, what are you currently working on, any releases lined up?
KK: I’ve just finished the Kidsuke album, my collaboration album with Daisuke, so that’ll either be out in the autumn or early next year I guess. I’m just starting producing the new stateless album for Ninja Tune now. Got a few beats on the Foreign Beggars album. Aside form that just a regular stream of remixes, collaborations and random beats probably!
[At this point in the interview Daisuke magically appeared in the room to answer the following questions]
Daisuke: I got an EP release coming soon and I’m collaborating with May Roosevelt who plays theremin. It’ll be chill out, experimental stuff. I’ve also got a load of remixes and I’m almost ready to start work on my own album too.
V3: How did you hook up with each other? How long did it take to make the collaborative project and what are some of the difficulties and advantages of producing something on different continents?
KK: We were both participants on Red Bull Music Academy. We were fans of each other’s music prior to that though, but that was when we linked and started talking about collaborating. Producing via the internet is interesting yeah, its good if your both socially awkward reclusive types that like to work on their own! But we did some sessions together too when he was over here. It took a while cos we were both busy with various things, but the bulk of it was done in about three months I’d say.
DS: I’m not sure when the album drops yet, we still need to do some final tweaks. I did a remix for Kidkanevil’s Basho Basho album and we hooked up in Singapore already knowing our sounds would go well together. -It wasn’t that hard to collaborate despite the distance between us, there’s many advantages to working with musicians on a global scale, we can get new musical languages, crazier ideas, etc. We were trying to make something we’d like and trying to take it as far as possible.
V3: Who are you currently listening to and playing out?
DS: I haven’t listened to much music while working on the Daisuke project, maybe a few random records I got from second hand shops.
V3: Anything else you’d like to say or promote?
KK: Go see A Letter To Momo, its really good.
DS: -Hope to play a gig there soon! Thanks.
[Daisuke then teleported back to Japan with a loud pop]
V3: Cheers guys.
Also listen to:
The Jungle Room
Pacificlapse /// Clip