Ramble John Krohn, aka RJD2, is a trip-hop entrepreneur who needs almost no introduction. The Eugene-born, Ohio-raised DJ stormed into the national spotlight with 2002’s “Deadringer.” Apart from his solo contributions to the ever-progressing underground hip-hop, RJ has been a prolific force for beat production in all corners of the scene. He laid the funky foundation for Blueprint’s monumental flows as the instrumental half of Soul Position. He’s contributed countless remixes for chart-topping artists like Massive Attack, El-P and Zion-I – not to mention a rhythmic backbone to hip-hop indie labels Def Jux, Rhymesayers and Sound-Ink, working alongside MF Doom, Aesop Rock and, recently, Aceyalone.
But RJ’s had a change of pace since his latest acclaim for the full-bodied, scorching scribbles that accompanied Aceyalone on “Magnificent City.” The relentless ruckus of his previous funk flurries has diminished. For his newest album, entitled “The Third Hand”, RJ has axed the frenzied bass and MC voice-overs fueling his past albums. The thump of instrumental powerhouses laced with haunting melodies, addictive bass lines and illusory samples are still there, but the artist has gone soft. Soft-spoken that is, because for his newest musical experiment RJ lets his inner artist sing, literally.
“Using my voice is something I’ve always wanted to do,” RJD2 said. “I’ve done it before, but never like this.”
The turntables are still spinnin’, but someone finally turned up the mic. RJ’s voice is soothing and fluid. The vocal vanguard is a splash of cool water to the often-heated RJD2 breaks. On tracks like “Beyond,” RJ uses his own voice like any other sampled lyric. He mixes on his own vocals, working echoes of “bah-dums” and “dee-bops” into the quiet, but quirky, rhythm. The beats echo into transitions of percussive pianos and fantastic fretwork, such as in songs like “Reality” and “Work It Out” that seemingly derive from the same dreamy mind that succumbed to psychedelic symphonies in “Since We Last Spoke.” It’s a change to say the least, and any previous fan will certainly see the difference.
But have no fear; the soul of this DJ is still alive and spinning. The ticks and riffs of the new samples come from RJ’s own talented hands. Now, he’s personally partaking in the playing of actual instruments on “The Third Hand.” However, though the thick-layered tracks seem slightly more technically teeming than his previous work, the initial listener will mostly criticize the DJ singing soprano and slowing the rhythm. The national hip-hop scene hasn’t seen this much of a bad blog buzz since the hyphy-style beats of DJ Shadow’s “The Outsider,” released over six months ago. Internet chat rooms, artist forums and record review boards are clattered with posts clamoring for the revival of the old RJD2, asserting a “sell-out” personality and even a loss of manhood.
“I don’t really like to be conversational with critics,” RJD2 said with a sly chuckle.
Obviously, we must realize “The Third Hand” is no ill-fated experiment. His voice, however obscure or strange, is trained and tender. It may not mesh well with the techno-junkie turmoil that a crowd loves to groove to, but, when singled out, his vocals are captivating and crisp. Apparently, vocalization is just another topping for RJ’s already stuffed, sampling sub sandwich, but the question isn’t whether lunch will be good, it’s whether or not his audience has the guts to digest it.
“Vocal samples are nothing new to my music. I’ve used them on all my albums, before Soul Position and ‘Magnificent City.’ I was satisfied with [The Third Hand] because it was me and another me.”
But the catchy commotion of RJ’s previous work still isn’t present. Currently, RJ is out to assert his namesake on his new tour, in which the third leg for “The Third Hand” will appear at the WOW Hall on May 16th.
Besides his voice, the DJ is adding yet another element in which he has never used- a band.
“The turntable thing is what everybody expects,” he said, “but coming out and seeing us with a band isn’t, and that’s one thing everyone will get to see for new this time around.”
RJD2’s band will consist of three other members. A drummer will constantly man the beats, while the two other members will alternate between electric bass, keyboards and electric and acoustic guitars. RJ will conduct the band on turntables and play keyboards. Thus far, RJ plans for his shows to include two parts: one featuring the band and one with the DJ spinning solo.
“Obviously, there’s a larger margin for error,” RJD2 said about leading a band, “but at the same time, there’s a greater chance for innovation.”
However, RJD2 and his three-member crew don’t plan to restrict themselves to just new material. The band promises to play some of the old and some of the new. And, as always with any turntable technician, a mixture of the old and the new will be nothing new at all. No matter the format or performance, any fan, past or recent, will experience the DJ in a new light.
Change is almost eminent to any artist, especially one constantly searching for different, undeveloped sounds. For a DJ who’s been behind the scenes of underground hip-hop for almost a decade, it’s no surprise why he would want to stand front stage.
RJ’s new voice can be heard next Wednesday at the WOW Hall, for $18 at the door. Pigeon John, who recently released “…And The Summertime Pool Party” on Quannum Projects featuring studio help from RJD2, Brother Ali and many more, will precede RJ. The show will start at 8:00 p.m.
RJD2
Who: RJD2, Pigeon John and Happy Chichester
What: Trip-hop tactics within soulful soliloquies
When: Wednesday, May 16th
Where: WOW Hall
How much: $16 in advance, $18 at the door
