Mo Wax Night Japan September 1998

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Mo Wax Night / UNKLE Release Party
Tour by DJ Shadow and James Lavelle
Location Japan
Start date 18/9/1998
End date 22/9/1998
No. of shows 3

A series of Mo' Wax Nights were held in Japan as release parties for the UNKLE album Psyence Fiction. The three concerts were held across Japan and featured DJ Shadow and James Lavelle both DJing, with DJ Krush appearing on the Osaka night.

On the Toy's Factory website (Mo' Wax Japan) from 1998 the Tokyo show was referred to as Heart of Darkness Hip Hop Conference.[1]

An advertisement for the concerts appeared in Ele-king October November 1998.

Dates

  • 18 Sep 1998 - Osaka - Club Karma - with DJ Krush
  • 19 Sep 1998 - Sapparo - Precious Hall
  • 22 Sep 1998 - Tokyo - Yellow

Review

Review of Tokyo show from Toy's Factory website. Translated via Google Translate from Japanese.[2]

The night when hip-hop freaks from London, San Francisco and Tokyo met

"IT'S NOT FAD. IT'S REALITY, EVERYDAY NORMAL THING." JAMES LAVELLE

What we do is not a temporary epidemic, but a real and normal everyday (i-D magazine)

THE TIME HAS COME

INTRO

Tokyo. 9 o'clock at night. On this day, the typhoon of the first time this year glazed Tokyo. There was a turbulent atmosphere where something could happen, a reflection of the chaotic realities of 1998, unleashed by Mo Wax label owner James Ravel and Beat Archeologist DJ Shadow. It's a good night for the release party of “PSYENCE FICTION”. To see what two young men with a look that is never photogenic do, or to the last of the album (Francise F. Coppola's "Revelation of Hell" documentary "HEARTS" Although not quoted from OF DARKNESS), many young fans are already standing in front of Yellow, a club filled with Futura 2000's graph art, in search of the joy of the Darkness. Mo Wax Night has recorded the number of yellow visitors this year. The customer base was a mix of rock, Ura-Harajuku and hip-hop B-boys, and again asked for the wide support of Uncle.

KAMINARI BREAKIN '

RINO, TWIGY, DJ YAS

フ ロ ア The moment the DJ Yas hits a heavy, loud drum break from intermittent effects, the air on the floor changes completely. Focusing on the down tempo around BPM90, it goes through UK Bangla hip hop where US tabs are tuned to a beautiful ground beat. It's a good place to put a UK thing around here. The experiment at the party <TIGHT> with high hip hop concentration that is performed with Quiet Storm et al. In Cave in Shibuya may be utilized. When the smoky stage was over with the abstract of the master DJ crash, and the young rap team, Suigara Allstars rampaged, a distinctive high pitched voice cut through the darkness of yellow. The appearance of Twiggy and Reno. The song is Twiggy's “DATEME” (with shadows later). “How is it!” Reno shouts the usual lines, and the floor's heat rises in response to the amount of energy the two small people give off on the stage. The sound of the two people as a sound is the soul (the song). This time, with two twin laps, the number of stage rappers will gradually increase with Gama and GK Mayan each time the song changes. This is already final! Four fierce men who have lived the legendary underground party in Tokyo, such as <subtropical rainforest> and <Onidamari>, move around endlessly, scolding customers and releasing a sharp flow. Last was the familiar “Night Jet” and ended with a scratch from DJ Yas ’s long passage. How did James and Shadow hear their performance?


SMELLS LIKE OLDSCHOOL SPIRIT

JAMES LAVELLE

FEATURING TAKAGI KAN

】 By the time James Ravel begins DJing, the floor is in a squeaky state. James, who heated up the floor with Shadow's “Number Song”, called Tohru Takagi, the secret guest tonight, with a shout of “Tokyo Old School!”. The floor boiled to the replay of Tiny Punks' “Last Aussie”. This song is a masterpiece that was unusually received by Japanese heads when DJing in Japan last December. After that, Takagi Kan continues to rap with a tiny voice like Chip Manx, in line with the record play. His commitment to electro is interesting. This modulated voice has also been shown at Bodamdam's unit with Yamataka Ai and experimental sound hero live. James locks on the floor with uplifting and funky music selection from start to finish. De la Soul's "SAY NO GO", Grandmaster Flash's "THE ADVENTURE OF GRANDMASTER FLASH ON THE WHEELS OF STEEL", Eric B & Rakim's "PAID IN FULL (COLD CUT REMIX)", "ERIC B IS THE PRESIDENT ”, Beastie Boys’ “SO WHAT'CHA WANT” and party anthem are convoluted, and the cloud continues to moss as if it can't be tolerated. The party was hot. In the latter half of the year, we mixed liquid liquid, Beastie's new song “INTERGALACTIC”, and Prodigy ’s “SMACK MY BITCH UP”. The moment when the venue became a big chorus at Nirvana's “SMELLS LIKE TEEN SPIRIT” would be remembered as a sight of 1998 when rock and dance music modes crossed. With a genre-free DJ style, James is dedicated to excitement. However, it was a song selection that made him feel consistently with his B-boy aesthetics and Kodawari.

ALTERED STATES OF "PSYENCE FICTION"

DJ SHADOW

The minimal arpeggio of Shadow's “Organ Donor” sounds on the floor, and the voice of “Josh (DJ Shadow's real name)!” Is raised. As Shadow, together with Lilyx Bourne and Latif, they have been visiting Japan for the first time in about a year since playing a freestyle jam in Aoyama Blue. Shadow, who stands in the DJ booth on the stage with a simple appearance of a knit cap and a black T-shirt, scratches with both hands. What Shadow showed us that night was an attempt to reconstruct Uncle's “PSYENCE FICTION” song with only two vinyl chloride discs, without using DAT, CD or sampler. That alone might not have been such an unusual sight. However, his performance, which does not run in tricky play and carefully assembles each part of the song as if it is visible, goes beyond the original hip-hop interpretation, music is now born There was something that encouraged the sharing of the thrilling feeling. Breakbeats, voices (Richard Ashcroft's voice, etc.), and riffs are scratched and mixed on the turntable, creating a RAW sound. The composition was different from the original song. In “BLOODSTEIN”, which was a particularly emotional impression in the album, the beat and Alice Temple voices were layered first, and then an open tuning guitar loop was inserted and removed, and “KEEP” of “UNKLE MAIN TITLE THEME” "ON FLYING" voice story at many times with exquisite timing. Fading out with a delay at the end of the song is also delicately reproduced with scratches. In the “RABBIT IN YOUR HEADLIGHTS” where a melancholic piano like Satie's “Gymnopedi” overlaps with Tom York's voice, the entire venue was quietly heard. I also noticed the high sound pressure. Knocked out by a thick low-frequency layer under the fat kick of BLOODSTEIN. I would like to give a glimpse of Shadow's artisan craftsman who appeared as a commentator in the Miami Base special issue of Grand Royal (a magazine published by Beastie Boys). “Do you understand? All the elements of the album are used,” after a brief commentary by himself, “NURSERY RYME”, “MIDNIGHT IN A PERFECT WORLD” from his own album “ENDTRODUCING ...” Screaming, “Old School!”, Hip hop junky, from old and new raps such as Jurassic 5, Cold Crash Brothers, Main Sauce to Double Dee & Steinsky cut-up classic “LESSON 1.2.3” Spin a number of songs.

The reason Shadow survived the trip hop movement was that he was able to combine samples more musically than anyone else, rather than the superficial style of innovation. That is why I was able to gain the support of many people, not just in the dance field. That night, when he showed his proof of existence, the “Bittersweet Symphony” unique to Shadow shook the yellow air and the cloud there.


OUTRO-HIPHOP TRILOGY

Veteran Takagi who ran through Tokyo in the late 80s with a major force seemed to be fake but sincere electro, young rappers representing Tokyo in the 90s, Twiggy and Reno are riding strong beats by DJ YAS spinning Shadow continues to knit Japanese flow, original breakbeat saga on the west coast of the United States, the dismantling / reconstruction of "PSYENCE FICTION" by himself, and James Ravel maximizes its eclectic sense DJ with limited life ... The artists who gathered at Mo Wax Night collided their styles and musical views straight to the performance. Their manners are rough and natural. There was an everyday label that took off scientific designs such as “Star Wars”, “Tron”, and “2001 Journey in Space”.

If we turn over the impression of the whole party that was incandescent and relaxed, another aspect of Tokyo Summit by artists who grew up in hip hop areas such as Tokyo, San Francisco and London emerged. Hip hop is essentially local community music, as you know. The sense of distance that they had to have for this art form born in the Bronx, who listened to hip hop and longed for it and was involved in the music world. Wasn't this night's real significance in having seen the present progressive form of the will to penetrate this distance by acquiring rules of their own new expression? This casting is actually based on James's own offer. In other words, this was <Mo Wax style hip-hop chronology>. His intention to create a creative and airy <place> by combining talents in different genres and phases should have been well communicated to those who came to Yellow.

«James Ravel, who started Mo Wax by borrowing 1,000 pounds from the boss of Honest Johns, a record shop he worked for in 1992, was just starting at the opening party of the day. > Said. As far as his smile is concerned, he appears to have been freed from the spell of PSYENCE FICTION, a soundtrack packed with youth culture from the late 90s.

MAY THE HIPHOP BE WITH YOU.

As long as you can hear that voice, it ’s okay. Probably, James and Shadow must be thinking somewhere in their minds.

Images

External Links

Advertisement for concerts on Instagram

Review of Tokyo Show (Archived)

References