About

Kakusei (覚醒) is the fifth solo studio album by Japanese hip hop producer DJ Krush, originally released in 1998.

Krush combines minimal beats, hip-hop, trip-hop and ambient to create an exceptional album. The album received critical acclaim and includes guest appearances by Esthero, A.S.A., DJ Sak, Mista Sinista (of The X-Ecutioners) and many more. In 2014, Metro Weekly included it on the "20 Great Stoner Albums" list. — (via Label)

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Continuing his series of solo albums as collaborative efforts, DJ Krush touched down after a slight absence with Kakusei, another invigorating, moody, and powerful release. Steering away from the overall concept of Milight but working with another slew of musical partners, Krush once again lets his abilities at both musical creation and turntablism work together for great results.

"Escapee," a track worked on with fellow beatmaster A.S.A., is almost stereotypically Krush, but it sounds so great, the crackle of vinyl and acoustic bass moan steering the course. Other musical collaborations abound, unsurprisingly: "Parallel Distortion" with DJ Sak features odd video game noises and a quirky synth bass rhythm echoing through the flow, while "Krushed Wall" has the Rhythm Troops having a blast with the usual Krush sound and tons of unexpected stops, scratches, and cuts. Some returnees from Milight surface, including members of Kemuri Productions, who appear on the quietly head-nodding "Inorganizm" and "No More," and Shawn J. Period, who on "The Dawn" works with Krush on a great series of orchestrations to flesh out the track. Plenty of strictly solo efforts crop up as well, including the abrasive electronics of "85 Loop" and the smooth-going "Final Home." Vocally, there's not as much going on this time around; aside from brief shout-outs here and there, it's strictly an instrumental affair. — (via AllMusic)

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Therefore it comes as no small relief that Kakusei, a few samples aside, is a consistent, cohesive and almost entirely instrumental affair. Besides giving it that all important sense of unison, the lack of vocals also allows the listener to focus exclusively on the beats; fortunately, it precisely here that Krush and his motley crew of guest musicians excel.

As one would expect, lo fi percussion features predominantly, reverberating continuously over the LP’s hour long running length, like echoing footsteps treading purposefully through shadow stained alleyways. Steam rises slowly above the grimy surroundings in the form of a solitary string of piano notes or a few trembling bass arpeggios; these are sounds that are sometimes somnolent, often melancholy and always quietly beautiful. It takes multiple listens to appreciate the extreme subtlety at work here; inconspicuous and at times seemingly insignificant flakes of sound fall like tears from the face of the sad and bleary eyed statue that rests on top of the slowly resonating beat pedestal. For the most part, the effect is absolutely stunning.

The Dawn, a saxophone driven soundtrack to early morning wandering through deserted, despondent streets, sums up the album perfectly; this is the enigmatic language of a waking metropolis: the tremulous whisper of the early morning breeze carrying the throaty murmur of distant traffic through the cracks in the concrete of grey and dejected buildings. — (via Sputnik Music)

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2LP pressed on heavyweight 180g black vinyl

Includes an insert

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Label: Columbia / Music On Vinyl
Format: 2 x Vinyl, LP, Album, Reissue, 180 Gram
Reissued: 2023 / Originally Released: 1998
Genre: Electronic, Hip Hop
Style: Downtempo, Abstract, Trip Hop

File under: Japanese Electronic // Downtempo
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