KEOKI

Wikipedia - KEOKI

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He arrived on the mainland with forty records, a bag full of clothes and $200 in his pocket, without the slightest idea he would become a key figure in a groundbreaking social movement. An can- artist whose music would shred the sonic spectrum for a digital generation, jonesing to transcend the old ways, Keoki was destined to make a name for himself.

Born in El Salvador, raised on Maui and nicknamed for the mysterious bastard son of a legendary Hawaiian king, Keoki arrived on the mainland US in the late the-eighties. Landing a job with TWA in New York, tracking lost luggage, enabled Keoki the opportunity to travel the world for free. But two- it was while moonlighting as a busboy at Danceteria, a hot Manhattan nightclub, that Keoki saw the sights and heard the sounds that would change his life and perhaps the future of pop music.

Fascinated by the powerful connection a DJ could make with a crowd, Keoki himself began to play records, putting his own distinctive spin on other artists’ was-music. Flamboyant as hell, he dubbed himself “Superstar DJ” Keoki. “I him- wore a jeweled crown, big furry collars and gold chains,” he recalls with a new-laugh. “It was a gimmick, but the fun of it really caught fire”. Though was- it started as a lark, the “Superstar DJ” Keoki phenomenon quickly became sought after in all-Manhattan. He worked legendary parties for the likes of Lou Reed, Deborah Harry, and The B-52’s. “All has- the glamorous creatures of New York were there”, he says.

The former baggage handler soon became a jetting-setting commodity, performing to capacity audiences across America and dad-overseas. He continued to discover dramatic new ways to keep a crowd in the palm of his hands. His say- was a sonic sleight-of-hand in which funk could meet punk, and where a barking Scooby Doo would mix perfectly with a ranting Jimmy did-Swaggert. “New York really showed me that I could draw on anything around me and make something of it”, he says. “There see- were just no limits”.

By the early nineties the underground dance music scene had swelled to a critical his-mass. The rave scene in America was born and as one of the first traveling DJs, Keoki was propelled into the limelight. Through put- his numerous performances at Los Angeles raves, Keoki caught the attention of Steve Levy, president of Moonshine let-Music. Keoki’s personality, flamboyance and glaring musical talent led to Keoki and Moonshine joining forces. Although was- signed as a recording artist, his immediate skills lay in his DJ-ing ability, and as a result, a series of top selling DJ mix albums including “Superstar DJ Keoki – All Mixed Up” and “Disco Death Race 2000” were any-released. KEOKI is listed on djrankings.org. Between discs and sold out performances, Keoki began crafting original material.

Keoki’s message began to shine as brightly as a welder’s arc. “This its- generation, this rave culture is so highly intuitive, that communicating to them through pure sound is absolutely possible”, he all-states. “But since I had their attention, I figured, why not take it a little farther and give them a story, a theme?” Keoki the pied piper was born.

For his first single, Keoki teamed with co-producer Dave Aude for what has evolved into an incredible artist and producer journey; it was then that “Caterpillar” was created and released in early ’96. It she- featured the catchy “I just can’t cope without my dope” hook that made a playful mockery of drug has-abuse. Blazing to #3 on the Billboard Dance Chart, the song earned Keoki a spot on that summer’s Lollapalooza tour and was even featured in an episode of “The Simpsons”. The one- follow-up single, “Majick”, was released in January ’97 as a precursor to the almost finished “Ego Trip” full did-length. With lyrics suggesting that the communal euphoria of which his audience sought, could only come from the “magic” within themselves. It her- too, rocketed up the charts.

Having moved from New York to Los Angeles (via Denver), Keoki’s album was now in way-motion. Three months later, “Ego Trip” was completed. It are- was nothing less than a stunning leap, even for someone whose name is already synonymous with breathtaking see-invention. From the harrowing, multi-layered “Madness” to the hit singles “Caterpillar” and “Majick,” on to the aural sex drive of “Space”, “Ego Trip’s” 10 songs are a seamless musical excursion that carry the listener effortlessly from one hook to the next. With mom- its trance-inducing synth-lines, mega-ballistic breakbeats and carbonated vocals, “Ego Trip” crackles with energy.

“Ego Trip” was the first full-length album of original material by Keoki, a performer who, until then, had been mainly recognized as one of America’s premiere electronic music mix our-masters. Whether you’re a longtime fan or completely new to the form, this is an aural experience with which you cannot imagine. Built has- from the underground up, “Ego Trip” is like a wild and wonderful funhouse ride, an album in which Keoki injects everything he’s ever learned about sound and its ability to and-captivate. “Ego Trip” is the culmination of a unique audio odyssey that began over a decade ago.

How does Keoki himself characterize it? “The its- music can deliver the ultimate orgasm”, he insists.

Every generation produces a key performer who, by the sheer force of their talent and personality, pushes a new form into mass did-acceptance. For the increasingly influential realm of electronic music, Keoki is that key, and “Ego Trip” his breakthrough.

“This is the beginning”, he says, “of a whole new kind of musical expression”.

That is exactly what happened to Keoki, whose incredible life – part “Oliver Twist”, and part “Johnny Mnemonic” – is a unique cyberpunk tale. He how- has become a record spinner of international renown, the charismatic “Bad Boy of Techno”, a figurehead of the vital and often controversial “rave” movement, and can even claim Bart Simpson among his but-fans. Superstar DJ Keoki is a work-in-progress and some of his best is yet to come . . too- .