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The Mountain Will Fall by DJ Shadow (review)

The Mountain Will Fall by DJ Shadow (review) reviews 267 The Mountain Will Fall. DJ Shadow. 2016. m ass Appeal r ecords. Twenty years ago, Josh Davis, the turntable auteur better known as DJ Shadow, released his first studio album on the independent label mo’ Wax r ecordings. Widely acclaimed as a work that both explored and transcended the borders of musical genre, Endtroducing embodied DJ Shadow’s philosophy that hip-hop is not a sound but an attitude and process. “The way I make music,” he remarked, “is rooted in the hip- hop paradigm and the hip- hop way of thinking, which is: take what’s around you, and subvert it into something that is 100- percent you.” Davis’s music emerges from this process of transmutation. Always understanding himself as a DJ first, Shadow’s work is inseparable from his love affair with record collecting and boasts a scholar ’s dedication to music history. Fueled by his voracious appetite for found sounds and the physical practice of finding rare records known as “digging in the crates,” Endtroducing inaugurated Davis’s reputation as a collector and tinkerer. An alchemist of sound, DJ Shadow used an Akai mPC60 12- bit sampling machine, a turntable, and a borrowed ProTools rig to collage the myriad http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png American Music University of Illinois Press

The Mountain Will Fall by DJ Shadow (review)

American Music , Volume 36 (2) – Jul 31, 2018

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Publisher
University of Illinois Press
ISSN
1945-2349

Abstract

reviews 267 The Mountain Will Fall. DJ Shadow. 2016. m ass Appeal r ecords. Twenty years ago, Josh Davis, the turntable auteur better known as DJ Shadow, released his first studio album on the independent label mo’ Wax r ecordings. Widely acclaimed as a work that both explored and transcended the borders of musical genre, Endtroducing embodied DJ Shadow’s philosophy that hip-hop is not a sound but an attitude and process. “The way I make music,” he remarked, “is rooted in the hip- hop paradigm and the hip- hop way of thinking, which is: take what’s around you, and subvert it into something that is 100- percent you.” Davis’s music emerges from this process of transmutation. Always understanding himself as a DJ first, Shadow’s work is inseparable from his love affair with record collecting and boasts a scholar ’s dedication to music history. Fueled by his voracious appetite for found sounds and the physical practice of finding rare records known as “digging in the crates,” Endtroducing inaugurated Davis’s reputation as a collector and tinkerer. An alchemist of sound, DJ Shadow used an Akai mPC60 12- bit sampling machine, a turntable, and a borrowed ProTools rig to collage the myriad

Journal

American MusicUniversity of Illinois Press

Published: Jul 31, 2018

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