DJ Spooky

DJ Spooky 出生于華盛頓DC、大學(xué)時(shí)主修法國文學(xué)及哲學(xué)的DJ　Spooky(原名Paul　D.Miller)，早已是90年代最重要的DJ哲學(xué)家(DJ－as－philosopher)，更是整個(gè)lllbient運(yùn)動(dòng)的重要領(lǐng)導(dǎo)人物。一方面在轉(zhuǎn)居紐約后深受DJ　Culture與Hip－Hop、Graffiti街頭藝術(shù)薰陶，一方面在音樂上又承襲著Musique　Concrete前衛(wèi)(Avant－Garde)理論與John　Cage、SunRa、Grand　master　Flash影響的他，早在眾人尚不知"lllbient"為何的1995年間，便已率先在"Knitting　Factory"廠牌底下發(fā)表了"Necropolis:The　Dialogic　Project"這張專輯。而當(dāng)中如同CD封面上所述呈現(xiàn)結(jié)合了NYCCxperiment　a　Trip－Hop、Ambient　Dub、Jungle的音樂風(fēng)貌，正勾勒出了今日lllbient的藍(lán)圖。 　　　　1996年，DJ　Spooky以《Songs　Of　A　Dead　Dreamer》專輯正式奠定了他在lllbient　Scene中的領(lǐng)導(dǎo)地位，他以更圓融的Cut－N－Mix、Sampladelia手法，將Dub、Hip－Hop、Abstract　Beats、Drum'N'Bass、Electronica、Avant－Garde等元素共冶一爐，建構(gòu)出一個(gè)實(shí)驗(yàn)抽象的重低音Dub聲響領(lǐng)域，完全反應(yīng)出紐約這個(gè)城市的渾沌病態(tài)面貌，甚至他還出人意表地迅速在1997年時(shí)再以本名PaulD.Miller發(fā)表《Viral　Sonata》，為整個(gè)lllbient運(yùn)動(dòng)寫下最深邃富哲學(xué)思維的一頁!1998年DJ　Spooky繼而借《Riddim　Warfare》專輯(1999年才在英國出版)，展現(xiàn)出他向紐約Hip－Hop文化致敬的意圖，并將他的lllbient世界由抽象領(lǐng)域搬回現(xiàn)實(shí)界限，展露出一種置于Dancehall、Lo－Fi　Rock、Hip－Hop、Hardcore　Jungle　Experimentalism交界之折衷地帶的創(chuàng)作模式，可說是他有史以來最為平易近人的一次出擊。 兒時(shí)DJ Spooky十分熱衷punk文化，這在他之后的作品中也是偶爾可以看到影子的，他的多才多藝是出了名的，他不但是名出色的DJ，而且也是名優(yōu)秀的Producter,并且他寫的樂評也十分棒，在同行中他的言論一向頗有建樹，而且他還是名科幻小說家，只是不知道何時(shí)才能機(jī)會(huì)拜讀他的大作
DJ Spooky (That Subliminal Kid) is the most noted (and notorious) proponent of turntablism, an approach to hip-hop and DJing whose philosophy merges avant-garde theories of musique concrète with the increased devotion paid to mixing techniques during the 1990s. Though hes overly intellectual at times (to the detriment of his recordings, interviews, and mixing dates), Spooky was a critical figure in spotlighting the DJ as a post-modern poet in his own right. Influenced equally by John Cage and Sun Ra as well as Kool Herc and Grandmaster Flash, few artists did more to mainstream the DJ-as-artist concept than he.
Spooky was born Paul Miller in Washington, D.C. His father was a lawyer and member of the faculty at Howard University but died when Miller was only three. He inherited his fathers record collection, which, along with frequent trips around the world (thanks to his mothers international fabric store), opened his eyes to a wide range of music. Growing up in the 80s saw Miller interested in D.C.s hardcore punk scene and British ska-punk as well as go-go music. While attending college in Maine, Spooky began mixing on his own radio show and attempted to introduce his KRS-One tapes into classroom discussions on deconstruction (an idea made quite conceivable just ten years later). After graduating with degrees in French literature and philosophy, he moved to New York, where he wrote science fiction alongside advertising copy and pursued visual art as well. He was still into hip-hop, however, and formed the underground Soundlab collective (with We, Byzar, Sub Dub, and others), a scene that later morphed into the illbient movement.
After an assortment of singles and EPs during 1994-1995, Spooky gained a record contract from Asphodel in 1996 and released his debut album, Songs of a Dead Dreamer. The single Galactic Funk became a hit on the club scene, leading to recording appearances with Arto Lindsay and remixing spots for Metallica, Sublime, Nick Cave, and Spookey Ruben; Spooky also began writing regular journalist columns, for The Village Voice and Vibe. As if that didnt keep him busy, he also released the mix album Necropolis: The Dialogic Project, recorded a Paul D. Miller solo LP titled Viral Sonata, and performed in a new digital version of the Iannis Xenakis composition Kraanerg. His second proper album, 1998s Riddim Warfare, saw Spooky with a cast including disparate indie-world figures from Dr. Octagon to Thurston Moore. He has also mounted visual exhibits at the Whitney Museum in New York and scored the award-winning 1998 film Slam.
One year later, he released File Under Futurism, a co-production with the Freight Elevator Quartet. 2000 saw the release of a collaborative effort with Scanner entitled The Quick and the Dead. The highly praised mix CD Under the Influence appeared the following year, but the next real album to appear from the DJ was 2002s Modern Mantra. That same year, as part of its Blue Series Continuum, Six Degrees released Optometry, a collaboration featuring Spooky with numerous progressive jazz artists such as William Parker and Matthew Shipp. Its remix companion, Dubtometry, appeared early in 2003. In 2004 Spooky teamed with the dub outfit Twilight Circus for Riddim Clash released by Play. The same year he was courted to remix two different labels output. A mix of Sub Rosa material appeared as Rhythm Science in January, and Thirsty Ear gave Spooky access to their Blue Series for Celestial Mechanix, released in June. In 2005, Drums of Death, a collaboration with Slayer and Fant?mas drummer Dave Lombardo, came out, followed the next year by the DJ Spooky-curated collection 50,000 Volts of Trojan Records. A year later the DJ remixed some favorites from the legendary reggae labels catalog on the fascinating album Creation Rebel.