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interview by Meshack Blaq
photos by Monkey Wrench

In these times of everything material and spiritual coming to it's zenith and culminating with the changing of a millenium, along comes this DJ named Kris from Brixton, England as Genaside II serving up a musical macabre called Ad Finite. Undoubtedly, the first thing that comes to any reasonable thinking person is, "How could he?" After all, everyone knows this is the PROCESS OF ELIMINATION

KRON: What The hell is a Genaside II? I didn't know there was a Genaside I. Can I get a refresher course?

KRIS: It's not like that. It's just Genaside to say Genocide is life here. People might take it the wrong way. For me it's like destruction of beats & rhymes equals a Genaside II kind of thing. It came about by reading a bunch of names of different acts from the late `80's and early `90's, and that was just one of them that happened to do a few tracks that were quite big. So we stuck with it.

KRON: Back in the Game when you came thru Cali the first time, was that for Genaside II and what transpired from those events at that time?

KRIS: The independent label we were going to sign with had a single of ours out called "Narrow Mind". That's the big tune that everyone still knows us from today. Back then Warner Bros. gave them a quarter of a million dollars to get the ball rolling with us and the label. But we weren't signed to the guy yet and he fucked the money up and left England. So we had to come to L.A. to see if we could retrieve what was left of the advance. Warners basically asked us to take that quarter of a million on the chin if we wanted to continue. And I wasn't about to take a quarter of a million in my debt when I ain't even been given no quarter million nothin'!

KRON: OK, fair enough. Now it's apparent that you're rockin' the dreads. But then upon closer inspection, you also have this mohawked-out thing going on as well. Is there any uh...

KRIS: (Smirking and cutting me off) I've got a small head and if I had locks on the whole of my head, you wouldn't be able to see my head. They started out as little ones, but I used to DJ with Soul II Soul in the late `80's. Back then everyone got dreads, so I had these little dreads. Unfortunately as it's grown out, it's like they locked together. So it goes higher up and you get like, seven locks that clumped together from like, 50 locks. How you keep your locks like that (Looking at how mine are all separated), I don't fuckin' know!

KRON: So are you a DJ, a instrumental musician, a technician, all of the above, or none of the above?

KRIS: I'm not a musician. I don't know fuck-all about music! I make it up as I go along. I started off in life as a bootlegger and then as a DJ. So usin' that shit to the best of my knowledge, I'm a `Ustla. I make shit up as I go along. (Then, as if regurgitating a Holiday Inn commercial) Yea, I can do that! "But you never flown a plane before!"

KRON: Hmmmn... Well the album is pretty intense. I can't really say a word to describe it. Can you?

KRIS: Nah. And that's why there's the thing on the album there, where they asked Scott (OK, who's Scott?!) how to describe the music. And he just says, "It's the Heaviest!" That's the best way to describe it. We're just heavy. Anything heavy.

KRON: How did the whole Tricky/Durban Poison-Genaside II thing jump off?

KRIS: Well I've known Trick'x for years. And we've just been waitin' for a time where we can do some shit together. He put Durban Poison together as a label and I came at a good time. It was almost like it was meant to be that way, `cause we were both at a time where we were tired of these major labels taking a guy that's an artist and not seeing our music for what it is, as opposed to everyone taking us after they sign us and saying "Oh, we need a bit more commercial tunes, Pop Hits!" It's like they didn't know what the fuck we were about when they signed us. It makes no sense.

KRON: You have any big plans for the American Frontier now that you're here touring?

KRIS: Fuck it up! See if I can blow some speakers up, and talk some crazy Brixton shit, and see if I get away with it! I wanna do some old crazy fuckin'... Takin' loads of Opera singers and classical people onstage and settin' up 60 foot space speakers next to them. And just riggin' it up and causing some fucking chaos! I've had enough of three guys and a turntable onstage. I like Trick'x philosophy; you take a whole band. And his band's so fuckin' tight! Get Trick'x on there, get a few of his Boys on there, get baby Martina on there, and a few of his other crazy lot, and we all get together with some completely fuckin' madd-ass shit! (long pause) Some last shit for the `90's or something, you know?

KRON: Actually for 2000 now! We're already in the final stage here.

KRIS: Well for over here realistically, it'll just be me by myself for right now. I don't know if I can get everyone here like the Chatters, the Rappers, the drummer, bass player, and stuff like that. For right now I just have to come like I do now and just DJ.

KRON: What's your outlook on the whole collabo situation with Tricky, Muggs & Grease? Are you moving in that direction with the Hip Hop guys?

KRIS: I just done a remix; the "For Real Remix" that he did with Muggs. Yea, I'd Love to deal with that shit. Anything that creates different creations is a meltin' pot. If I get an opportunity to work with everybody, I'll work with everybody. I'll work from A to Z; if M&N comes in the middle of it, then so be it!

KRON: Well lemme ask you this, Man. You got the silver tooth crown with the silver jewelry. Did you ever rock the fat gold chains and shoe-laceless Adidas?

KRIS: Nah nah, I was never into gold. Me bein' white and all my Crew is all Black; I'm the only white one. It's like I'm the white small one, but they're all built like brick shit houses. I was always kinda like the one who stayed in the corner, and just... I mean, I did the Hip Hop thing in the late `80's, early `90's like everyone did. With the fat laces and shit, but never the gold and shit. It don't go with my complexion!

KRON: So what's the scene like, really? If you could give us a musical snapshot of back home, what would it look like?

KRIS: It's all a big meltin' pot wherever it goes. You can play whatever at wherever! Of course, there's always the big House scene. Speed Garage is the new Drum & Bass; it's a bit violent. There's a lot of violence that goes with that. The Hip Hop has always had the violence. The Reggae is alright, but it depends who's playin'. The Big Beat, Electronica, Drum & Bass, and all that Underground shit is sort of kinda getting' people together; Black, white, everything! There is no Black or white in England; it's just everyone gets fuckin' down!