Akira Honda

High above Shibuya in the slick, postmodern offices of leading techno label Sublime, Japan’s most famous DJ is plotting his strategy for a fresh assault on the underground in the form of his hard-hitting new album, FLR: Easy Filters. A composed Ken Ishii tells Metropolis about his new project and life as a DJ of international renown, in advance of Sublime’s annual Reel Up party at Womb next Friday.

Tell me about FLR…
The project is kind of top secret, separate from my main Ken Ishii project. My Ken Ishii project is about approaching the wider public, but I wanted to keep an underground direction, that’s why I did this project of several 12” releases with a very underground feel. After releasing four or five singles, I wanted to expand the project. I thought this was a good time to collect them all together and bring in other remixers.

How did you choose the remixers?
Japanese people are rather strange, they are still trying to follow Western trends. But I know there are many good Japanese artists, so I wanted to let Japanese fans know that there are many good underground artists in Japan. Most of the remixers are Japanese and they are among my favorite anywhere. I hope through this project Japanese techno will become better known in Japan and also foreign countries.

You have a couple of different identities: Is FLR the same as Flair?
It’s originally the same, but since Flair is more experimental, I shortened it because it might make a contractual problem. FLR is definitely for the dance floor, and sounds more underground.

Since you’ve been quite successful internationally, do you find it difficult to stay connected with the underground?
Personally I don’t think so, but people may think like that. Some fans might think Ken Ishii is commercial, but I can keep this underground aspect. Some of the stuff I do might be commercial, while some might be experimental. I don’t care about this but some may.

It’s common in underground circles that if someone becomes successful, then people say he sold out. Do you face a lot of that?
Yes, especially in Japan. But I’m used to it. So I am enjoying my musical life in both its underground and commercial aspects.

With the major label Ken Ishii releases, you collaborate with quite a few artists. For example with Sleeping Madness you worked with DJ Spooky and Talvin Singh. How about with this series?
It’s just me, going back to my roots-simple equipment, a very short time to make a track, often in just one take.

You’ve been in the club world for ten years now. Do you still go out?
Yes. Compared to ten years ago it’s better. There’s a wider choice, a greater frequency of international DJs, and homegrown DJs have gotten much better.

Are there any clubs or parties you find interesting?
I still go to Maniac Love because [fellow Sublime DJs] Wada and Yama are there every week. I also like Womb and play there quite often. But I’m not here in Tokyo every weekend so it’s difficult to find good clubs.

How about the worldwide club scene?
In Europe it is very stable, you can DJ anywhere. But now I’m more interested in Asian cities. Because club culture still beginning there, I can feel their eagerness for this kind of music.

How do you find a balance between touring and making music?
It’s very natural. When I travel for a long time, I feel like going back into the studio, and when I’m in studio for a long time I begin to feel like traveling and DJing.

Will you still be DJing when you’re 50 years old?
Maybe once in a while, but not regularly. I will not be young, and sometimes I catch colds from the bad air, so for physical reasons I may have to stop.

When you travel abroad, do audiences expect you to play a certain kind of music?
Maybe, especially in clubs they expect something hard, but my style is different from typical white European DJs.

Do you think there is an image of what Japanese techno is supposed to sound like?
I can’t figure it out, but I always play a lot of Japanese stuff, so maybe my music does have a characteristic sound.

When you DJ do you play what you want to hear or what the crowd might like?
Mostly, I play what I want to play, and people enjoy my music. I don’t purposefully play difficult stuff, but depending on the crowd, I might make adjustments. For example, in Spain they like harder techno so I play a bit harder than usual, but in the UK I play more underground sounds. But still everything is my style.

How do you deal with your fans?
I used to be very embarrassed, but now I can smile. It’s heartwarming to me. Even in Brazil people had my albums in the Japanese import edition, and they came to ask me for an autograph. It was very beautiful.

Reel Up-The FLR Night@Womb, 10/5, 10pm, ¥3500 w/2d. Tel: 5459-0039. www.womb.co.jp 


The DJ’s case: Ken Ishii’s Top 10

1. RENEGADE SOUNDWAVE “The Phantom (PFN vs The Light)” (Versions)

2. EXCURSIONS “Sir Jamez” (Wanna Dance?)

3. CO-FUSION “Indigo” (Reel Musiq)

4. CORMANO “Me Interesa” (Mixology)

5. VALANTINO KANZYANI “House Soul” (Intec)

6. HATIRAS “Spaced Invaders (Darren Emerson Remix)” (International House)

7. DHS “Mind Control” (Flexidisc)

8. DJ SHUFFLEMASTER “Geylang” (Subvoice)

9. FLR “Easy Filter Part X (Remixes)” (Reel Musiq)

10. KEN ISHII “Slapdash” (Exceptional)