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SCMP Reporter

He has been referred to as the 'Japanese techno god' and his sound is said to create a 'blissful pandemonium' on the dance-floor. At a music festival in Belgium two years ago, a few members of disc jockey Ken Ishii's 14,000-strong audience reportedly had sex as he spun his techno tunes.

 Although the 27-year-old from Tokyo admits he was a little stunned by the crowd's reaction, his ultimate goal is to keep his audience happy.

 'I want people to have a good reaction, like wow! I want people to say, 'What's that new sound?'  'I try to entertain people, I always have an image of people smiling with coolness . . .,' he said from Tokyo.

 If that is not baffling enough, the deejay, scheduled to make an appearance in Hong Kong next week, esoterically alludes to Salvador Dali imagery is his music, and calls his style 'techno-oriented freestyle'. He describes it as an attempt to constantly build on his skills and his music.

 Ishii achieved a great deal of the 'freestyle' he was looking for on his second album, Metal Blue America, for which he received international critical acclaim.

 The album, released in December, was influenced by his first tour of the United States last year. His experiences there led Ishii to alter his sound from his first album, Jelly Tones.

 'Metal Blue is my image of America as a cultural, cutting-edge country, in terms of contemporary art and music this century. America is a confusing state for me on the album. There are a lot of crazy elements. That's why I titled it like that. The first album was more direct, it sounded more techno, in a pure form.' He has recently been influenced by rock music, citing American band Rage Against The Machine. While the rock on Metal Blue is minimal, Ishii believes it is a sound he may experiment with.

 Although his second album is virtually dedicated to America, his success there has been slow coming. The US is known for its progressive house and techno scenes, but the country has not taken to this genre of music as much as Europe and parts of Asia.

 'I thought America was not so well organised for this music. Techno and dance music [in America] is at a starting point, so it will take time to get results,' Ishii said.

 'America has its regions for techno and house, but the country is too big. In cities I think it has matured, but it still needs time and a lot of work.'  Ishii is a relative newcomer to the techno scene, but since the release of his debut Jelly Tones in 1995 he has become one of the most recognised techno DJs in Europe, and one of the few Asian DJs to achieve international success.

 Ishii started off in the music business as a producer in Japan in 1989.

 With 'no scene in Japan then', he decided to start DJing and set his sights on Europe. After peddling his demo to various European labels, in 1993 he released his first single, Garden on the Palm, on Belgium independent label R & S. The track made its way to number one on British magazine NME 's techno charts.

 Critical acclaim came in 1995 when the single Extra, also taken off Jelly Tones, won MTV Europe's Best Dance Video of the Year Award, beating out the likes of British dance act Prodigy. Directed by Kouji Morimoto, known for his work on Japanese animation series Akira, the video was hailed as revolutionary.

 'Japanese animation was totally new to the European scene. The video was very neo-futuristic.'  Imagery is important to Ishii, who believes videos are almost as important as the music itself.

 'I like to combine new music with new elements. Now, there is lots of software for visuals. I may try to do a new project, a compilation with videos and music.'  That project, however, is on hold until Ishii finishes his third album, scheduled for release later this year. 'I'm recording with some interesting guys; hip-hop, big-beat, ethnic Indians, American experimental DJs, I'm pretty excited.'  For Ishii, experimentation is important in a musical climate where Japanese dance music has become synonymous with commercial techno tracks released by the likes of Avex. He believes overly commercial dance music has tainted the genre, but thinks it is inevitable.

 'If something is popular, there will always be commercialisation. I'll do what I do.'  What he is doing cannot be too bad, considering he was asked to compose the opening and closing themes to the Winter Olympics in Nagano. 'I was very surprised by the offer,' he says.

 'But the director for the soundtrack and the opening video knows techno and the new art and music culture. She's quite open minded.'  As his music becomes more accessible, Ishii also hopes more DJs from Asia will break into the international dance market.

 'I think it's because of the history of this kind of music. A few more years are needed for Asian people to be at the same stage as the Europeans.

 'I think if you are open minded about everything, you can be successful and do well in other counties.' Ken Ishii at Manhattan-Westworld, 4/Fl New World Harbour View, 1 Harbour Rd, Wan Chai. April 17, 9.30pm. $230 on door, $180 in advance (includes one drink.) Tickets: Little Italy, Oscar's. Inquiries: 2503 5088.



All hail a god of techno