Hip Hop传奇先行DJ Z-TRIP

  • 预售
    上海市黄浦区电场 2019年10月12日 22:00
发布联系人: 电场 Electric Circus

EVENT: 电场一周年倾力呈现:美国Hip Hop传奇先行DJ Z-TRIP
DATE: 2019年10月12日,星期六
VENUE: Electric Circus电场
DJs: DJ Z-TRIP, Cavia, MMQ
TICKETS: 早鸟:120元含1杯酒水     现场:150元含1杯酒水


电场一周年热力钜献美国传奇音乐人 — — DJ Z-TRIP! 自二十多年前开启职业生涯开始,Z-TRIP作为DJ、唱盘主义、制作人的探索未曾止步. 曾被授予全美最佳DJ的奖项,这位才华横溢的音乐人也是Mash up的先行之一,他不仅是Nas、 Public Enemy、Linkin Park、Nile Rodgers 以及 Talib Kweli等知名音乐人的合作对象, 更是说唱传奇 LL COOL J 近十年的合作伙伴.

10月12日,独一无二的传奇音乐人 — — DJ Z-TRIP 将用他和二十多年的扎实沉淀和开创性技巧开启电场一周年的高光时刻,届时有我们DMC中国冠军Cavia和来自上海的MMQ提供最高能量支持!

DJ Z-TRIP (USA)

美国传奇音乐人Z-TRIP的音乐根源来自hip-hop,在长达二十多年的职业生涯里,被称为年轻版Rick Rubin的他,不仅拥有精湛的技艺和超乎常人的影响力,同时他将边界扩展到音乐本身,并始终对于风格的分类标签持有自己的态度,对于Z-TRIP来说,没有一种音乐风格是”不可触及“的.

Z-TRIP身上不缺乏荣誉的加持:全美最佳DJ、mash up先行、红牛Thre3style全球总决赛的裁判、众多国际音乐节 Coachella, Lollapalooza, Bonnaroo等的座上客、LL COOL J 的巡演DJ等等. 但我们可以确定的说这也仅仅是Z-TRIP的一小部分.

Z-TRIP 成长于美国并不那么时髦的亚利桑那,后又搬去了高手如林的洛杉矶, 他意识到必须依靠自己来创造演出机会,以此来磨练自己. 长久且频繁的演出经验使得他十分擅长观察听众的反应并以此来调动现场氛围.

作为早一批的唱盘主义,提起早年的Mash up风格,Z-TRIP是其中引领它们的不可或缺存在. 但对于自己曾影响过的Mash up,Z-TRIP对于它却是喜忧参半.

“Mashup没有类别,没有流派,是一种开放的形式,但后来开放和无流派都成了一种流派. 人们总是想定义某种声音或风格是什么,他们需要标签来引导他们. 所以很多人认为他们接触各种风格的音乐,但对于我来说我是一个DJ,一个在众多歌曲里作出特色选择的人,所以当人们问我播放什么样的音乐时,我能告诉他们的只有:我播放所有的好音乐,你们所能听到的最好的音乐。

2013年,Z-TRIP与LL COOL J、Travis Barker等人一同登上55届格莱美的舞台,这场演出使得一首《Whaddup》在第二天就登上了iTunes排行TOP20,至今都被誉为格莱美的经典时刻,或许不为人所知的是,他们仅仅只有一周时间来创作和准备这次演出。

  • TRIP的首张专辑《Shifting Gears》获得了滚石4星评价。之后的发行也获得来诸多赞扬。至今他已混录来诸如Nirvana, The Beastie Boys, Rush, Jay-Z, Motown and The Bob Marley estate多位音乐人的作品, 并且作为一名作曲家,为电子游戏做了大量的音乐,如EA Sports的“Madden”、“SSX”和“Skate”以及Activision的“DJ Hero”系列。他作为一个化身在游戏中与Daft Punk, Tiesto, DJ AM, Deadmau5并肩。

从高中开始第一次接触DJ至今,经历了近二十年DJ生涯,现在经验老道的DJ Z-Trip 早已构筑了一张”永远不会犯错“的演出安全网,但安全不意味着要顺流而下,不管是在工作室,DJ台前还是幕后,还是未来不可预见的风风雨雨,Z-Trip都已经做好准备,要将所有限制他的桎梏打个粉碎。

DJ Z-Trip Interview
“Safe Is Cool, But It’s Not Why I Got Into This”

采访译自howlandechoes.com
作者Martin McConnell //

我是通过2001年的电影《Stratch》第一次了解到你的。里面你解释了当时DJ们是如何因为过分限制自己的思路而搞砸了自己的职业生涯. 15年后,DJ和Turntablist文化如何演变,进展如何?

那时有很多人对这种艺术形式感兴趣,仅仅因为它是新的。我们开发了很多新的东西,不过没有那么多的技术。那时我们刚刚到达了人们理解我们所做的是一种艺术形式的阶段。

现在来说虽然仍然有很多人参与其中——但多数不是Scratch,他们所代表的——或者说倾向于去做的是歌曲制作和做一些beats. [制作]因为它的开放性在现在来看变得非常普遍,而唱盘主义退居到后方,为少数人所感兴趣。

而且,DJ的神秘性和挖盘的乐趣也少了很多。科技使人们更容易得到音乐,或者能够做我们在黑胶上才能做的事情。现在你可以在网上得到你所需要的一切,互联网上有一百万种不同的教程。我可以上网,然后在十分钟内得到我需要做的一切,这是惊人的,因为它使每个人都有权利可以访问.

现在来说虽然仍然有很多人参与其中——但多数不是Scratch,他们所代表的——或者说倾向于去做的是歌曲制作和做一些beats. [制作]因为它的开放性在现在来看变得非常普遍,而唱盘主义退居到后方,很少数人对它感兴趣.

这样做的缺点是,也有一些没有真正理解现场表演的人,他们都会在工作室里完成大部分的工作,他们做出了好听的歌曲并获得了名声,人们希望看到他们的表演,结果他们一上台,完全不知道他们在做什么。他们就是按了几个按钮然后跳了起来,挺可悲的。

老实说,我真的觉得时间又倒回来了,现在人们需要试图弄清楚的是如何表演。

之前你有说过你现在比以前更自信了?
在我感觉所有事情都已经完成得差不多的时候,那我必须要面对挑战,必须挑战自己,必须有乐趣和创新。对我来说,自信来自于我知道至少我在每次演出时玩一套我知道会奏效的游戏,在某种意义上有一个安全网,但我真的不想用它。

有这样一种时刻,每个好的DJ都知道这种感觉,当你演出的时候,一切都很好,但你不知道下一步你要播放什么。当歌曲只剩下一分钟的时候,你会说,“如果我选错了歌,我现在就可以把这场演出搞砸。 ”

我有另一个项目,其实一直都有在做, 就是拍无声电影. 在20世纪20年代或30年代,他们有一个钢琴演奏者或管弦乐队和电影一起同步,因为电影没有声音。那时我接触了一些电影,成为一个音乐人,在观众面前作曲,听起来真是太棒了。

我一共尝试了三次,对我来说是一个全新的应用我的技能的方法和角度,比起去俱乐部我发现这种尝试更加有趣,我需要选择合适的歌曲,确保它在正确的时间结束,确保正确的声音与图像相关,这真的很有趣,完全不同的角度。

CAVIA (CN)

Cavia 13岁开始收集唱片,20岁练习 Scratch,并在两年内拿到世界 DMC 大赛的中国区冠军,同年代表中国去伦敦参加世界决赛,至今他仍然是中国 DMC 比赛唯一的黑马。

隶属上海老牌电⼦音乐组织Antidote和备受赞誉的新晋团队SHFT, 也是DMC中国主理人之一,Cavia与Skrillex, Diplo, DJ Snake, Jazzy Jeff, DJ Shadow, DJ Krush, DJ Q-Bert, A-Trak, Grandmaster Flash, Talib Kweli, Ghostface Killah, Tyga, O.T. Genasis, Vince Staples, Twenty One Pilots 等巨星同台献艺,也是Michael Jordan, Kobe Bryant 以及FC Bayern Munich拜仁慕尼黑球队After-Party指定DJ,活跃在东京、首尔、香港的派对活动以及迷笛、草莓、Storm Festival和Electric Zoo等大型音乐节,并与陆扬、冯梦波等当代艺术家合作,在PSA上海当代艺术博物馆、北京公社、chi K11博物馆、Bonhams邦瀚斯、ART021和Art Basel香港等做了一系列艺术合作及演出。

MMQ (CN)

出于对黑人音乐和唱片文化的忠实热爱,MMQ从小就开启了他收藏唱片,beats制作和DJ的音乐之旅。在游刃有余地游走在各大舞池的同时热衷于为观众分享音乐的知识。他擅长将多种不同风格的音乐利用创意混合在一起,在律动的同时总能听见黑人音乐和HIPHOP音乐的影子。对于MMQ来说,通过DJ去分享好的音乐和传播音乐的知识是他对DJ渴望的来源。

EVENT: Electric Circus Anniversary Day 2- DJ Z-TRIP(USA)
DATE: Saturday, 12 October 2019
VENUE: Electric Circus电场
DJs: DJ Z-TRIP, Cavia, MMQ
TICKETS: Pre-sell: 120 RMB, 150 RMB at door (both includes 1 drink)

On our one-year anniversary Electric Circus brings the Legend DJ of United States — — DJ Z-TRIP.  The legendary musician started his career 20 years ago, and Z-TRIP's exploration as a DJ, turntablism and producer has never been stopped. He is an award-winning global DJ and Producer, and is often referred to as the pioneer of the mashup movement. The List of artists he’s worked with reads like the best Spotify playlist ever: Nas, Public Enemy, Linkin Park, Talib Kweli and the hip-hop giant:  LL COOL J.

On 12th October, the unique legendary musician, DJ Z-TRIP, will open up the high light hours of our anniversary with his solid precipitation and pioneering skills.  At the same time, we will achieve the highest energy supply from  DMC China champion Cavia and MMQ from Shanghai.

DJ Z-TRIP (USA)
Few DJs have had as big an impact on music and culture as Z-Trip.

He is an award-winning global DJ and Producer, and is often referred to as the pioneer of the mashup movement.

Z-Trip’s roots are in Hip-Hop but there’s no style of music he doesn’t touch. This allows him to collaborate with just about anybody. The List of artists he’s worked with reads like the best Spotify playlist ever. Linkin Park, Bassnectar, Nile Rodgers, Public Enemy, Lee Scratch Perry, Tom Morello, Nas, Galactic, Travis Barker, Shepard Fairey, Run The Jewels, Talib Kweli, Karl Denson, Busta Rhymes and many more. For almost a decade he’s been performing alongside Hip-Hop legend LL Cool J. Their shows have been described as so exemplary that the “crowd can barely handle the greatness.” The two have been continuing that momentum with the launch of LL Cool J’s new channel on Sirius XM, “Rock The Bells Radio”.

As a performer, Z-Trip not only plays traditional festivals like Coachella, Lollapalooza, Bonnaroo and Austin City Limits, but he’s also a staple in the EDM world. His Electric Daisy Carnival, Holy Ship and Shambhala sets are always festival highlights.

“Shifting Gears”, Z-Trip’s artist debut album, received 4 stars in Rolling Stone. His subsequent releases also given high praise. He has remixed tracks for Nirvana, The Beastie Boys, Rush, Jay-Z, Motown and The Bob Marley estate. As a composer, Z-Trip has done numerous work for video games such as EA Sports “Madden”, “SSX” and “Skate” as well as Activision’s “DJ Hero” series. He’s featured as an avatar in the game alongside Daft Punk, Tiesto, DJ AM, Deadmau5 and other icons.

Z-Trip’s presence in TV & film is equally impressive. He curated, performed and led the tribute to friend LL Cool J for The Kennedy Center Honors. He was one of the 5
members of the musical supergroup that closed out the 55th Grammys with what Vulture called “ The Best Rap Rock collaboration ever”. He’s worked on movies “The Boss”, ”Battle of the Year,” and “Drum Battle”. Z-Trip also scored music for the documentaries “Infamy,” “Scratch: All The Way Live” and was the special music supervisor and composer on “La Bare” directed by good friend Joe Manganiello. His latest project, live-scoring Harold Lloyd’s silent film classics via turntables, premiered at both Tribeca and AFI Film Festivals to rave reviews.

Whether in the studio, behind the decks or behind the scenes, Z -Trip continues to push the boundaries beyond what we’re expecting and wow us with his innate sense of what it takes to make us dance, think & discover.

DJ Z-Trip Interview
“Safe Is Cool, But It’s Not Why I Got Into This”
 
I was first introduced to you through the 2001 movie Scratch. In it, you explained how DJs at the time screwed themselves over by not pushing enough boundaries. 15 years later, how has DJ and turntablist culture evolved, and how is it faring?

Back then we had way more people who were interested in the art form, simply because it was new. We were developing a lot of the stuff at that time, we didn’t have as much technology, all the mixers, all the gear, all the endorsements. We were just getting to that stage where people were understanding what we were doing was an art form.

While there is still a huge community who are into it – maybe not the scratching, but what the community stood for – those people would gravitate towards producing and making beats. [Production] opened up and became really prevalent, whereas the turntablist world ended up taking a backseat.

Also, the secrecy and hunting around is gone. Technology has made it easier for people to get the music, or to be able to do what we were doing on vinyl. Now, you can pretty much get everything you need online, and the Internet’s there with a million different tutorials. I could go online and in ten minutes get everything I need to do this, and while that’s amazing, it’s made it accessible to everyone.

The downside of that is you also have all these people who didn’t really get into the art in the live setting, they’d do it all in the studio. These people end up making great tunes and getting popular and people want to see them then perform and they go on stage and they don’t know what the fuck they’re doing. They go up there hit a couple buttons and jump around, and that is the sad thing of it being so accessible, because the learning curve went the way it did.

I do feel like that’s coming back to be honest. People are trying to figure out how to perform, therefore there’s this new wave of people who are just learning how to do this stuff now. In a metaphorical sense, I feel like once Serato [software] started, that’s when ‘babies’ were born. Now, seven or eight years later, people are finally figuring out how to form full sentences, figuring out how to perform in a sense.

So you’d say you’re now more confident than ever?
You get to a point after all the stuff I’ve done, that you have to challenge yourself, you have to have fun and be innovating. For me the confidence level comes from knowing that at the very least I can go back and play a set that I know works, there’s a safety net in a sense, but I’m really not wanting to pull that out.

There’s these moments, every good DJ knows the feeling, when you’re playing and it’s going good but you don’t know what the fuck you’re going to play next. There’s something about that adrenaline rush when there’s only a minute left of the song and you’re like, ‘I could blow this whole thing right now if I select the wrong tune’.

I have another project that I’ve been doing just like that. I’ve been doing this stuff with silent films. Back in the 1920s or 30s they had a piano player or orchestra play along with the movie because there was no sound. I was approached by Tribeca Films to do just that, to become the music person and compose live in front of an audience, and that sounded fucking amazing.

I’ve now done that three times and it’s incredible because it’s a whole new approach and angle to apply these skills, rather than just going to the club, raging, and then calling it a night. Trying to choose the right song, make sure it ends at the right time, have the right sounds to correlate to the images, it’s really interesting because it’s a completely different angle.

CAVIA (CN)
Winner of the 2008 China DMC Championship, DJ Cavia has shared the stage and headlined with artists including Skrillex, Diplo, DJ Snake, Jazzy Jeff, DJ Shadow, DJ Krush, DJ Q-Bert, A-Trak, Grandmaster Flash, Talib Kweli, Ghostface Killah, Tyga, O.T. Genasis, Vince Staples and Twenty One Pilots. He has performed as the official after-party DJ for celebrities such as Michael Jordan, Kobe Bryant and FC Bayern Munich and collaborated with brands including Nike, Apple, Beats by Dre, Adidas, New Balance, GUESS and Budweiser etc. Crossing over into the world of art, Cavia has created works of music for Beijing Commune, chi K11 Museum, Bonhams, Art Basel Hong Kong and Power Station of Art.

MMQ (CN)
Great enthusiasm for old school music and vinyl digging culture led MMQ into vinyl collecting, beats making and DJing at an early age. His constant motivation to be a DJ comes from his desire to share his knowledge of music and to present memorable sonic soundscapes to the audience. Based on hiphop and other music of black origin, MMQ’s creative sets blend various music styles and genres to make people feel the groove.

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