Many of those mesmerized by a needle and a cross fader concentrate their efforts on modernistic fighting forms, but such is not so with the McGill graduate thankful for his sister's Sanyo deck. Often uttered in the same sentences with the turntable realm's most prized maestros, he normally referred to as Eric San differs a tad from his backsliding brethren.

He is not above looking in the mirror and seeing "old cynical bastard Koala." This mix marsupial would rather step down from a well-deserved position of respect and rifle through a dusty cache of old children's records. Demure best describes the DJ who does not acknowledge himself as one of the art's finest.

"I don't know if I'd agree with you," he says.

The eighteen compositions that make up the 38-minute tour de flex called Carpal Tunnel Syndrome betray San in so many ways. He weaves an unexpected concoction, snatching snippets from almost 3000 pieces of vinyl collected during his tours with Money Mark and various Ninja Tune line-ups.

"I take tons of records and squish them together," explains the Kid.

San has created a record so dense it comes close to resembling a viscous rainforest. He explains the process as "listen, filter, experiment." The result is an album that takes the listener away from an environment usually inflated with wrist-numbing sleight-of-hand and atmosphere-reaching ego.

"I think this record is surprising people because the source material has changed," explains the Montreal resident.

Carpal Tunnel Syndrome moves away from traditional hip hop samples and breaks, which San had explored on previous efforts like Scratchratchatch - the tape that led to his signing - and the Scratchhappyland EP.

"If you tried to put it in your Jeep and play it, you're going to cause some huge 40-car pile up and end up in a ditch."

There is some truth to that. One such example is Music for Morning People, inspired by a neighboring tenant's AM ritual in a building in which he once claimed residence. He is able to recant everything from the annoying moan of sleepy-eyes to the crackle of eggs.

Fender Bender follows the highway hi-jinks of frenzied commuters after meeting head-on in a bumper kiss while Barhopper 1 & 2 - featuring Bullfrog - document the nightclub antics of patsy pick-up lines and jilted gigolos.

His Ninja Tune debut, though obviously following a pattern linking each track, will not incite the proverbial head-nod. If anything, it will make your neck wonder about the mysteries of 4/4 time. But the grand tale that is Carpal Tunnel is so inspiring, it will wipe away that furrowed brow cleanly.

"I'd say it's quite violent to listen to," he illustrates.

He maintains that though devoid of the usual, expected dynamics, it is "still a turntable record and what it could mean to me."

Mixed in a self-described "lo-fi" manner with but his 'tables, mixer and multi-track, Carpal requires active listening and must be ingested whole rather than bite-sized morsels.

With a number of global jaunts under his belt, Kid Koala has easily become an adept live player but you wouldn't think so the way he explains it.

"I've regressed in some ways," explains San, "the more you learn, the less you know about anything."

"I'm learning about music all the time and how much I actually don't know."

Much of that education sprung forth from playing live in Bullfrog, a five-piece unit, who he feels is responsible for helping him put together the album and realizing how little he knew of song construction.

"Carpal Tunnel Syndrome could not have been done without the band."

Kid Koala is a playing member of the band, rather than a soloist that comes in during a break to cut for eight bars. He contributes to the music as a living instrument, often playing a horn or vocal section via 1200's.

In fact, San prefers playing with Bullfrog to his solo live sets.

"I don't really translate in a stadium too well. I'm not Mixmaster Mike."

Had it not been for Bullfrog, he may not have had the pleasure to play a Samuel Jackson benefit in Bermuda. "Even Carlton - actor Alfonso Ribeiro - was there," he chuckles.

His London-based label, which includes Coldcut, DJ Vadim, DJ Food, Funki Porcini and The Herbaliser on its roster, was so ecstatic at the project finally being wrapped they threw San two record release parties - in Montreal and New York - to celebrate a release that spanned three years in production.

"They're excited about the record because the past few records they've done have been sort of cerebral," quips the Koala.

He enjoys his relationship with Ninja Tune because of a shared do-for-self ethic. He praises the label that "lets you do what you have in your head, be yourself and not worry much about what sells or what other people think."

Back to his humility. "Five years earlier, I wouldn't have believed you if you said I'd be putting a show together to headline a world tour...I'd be like, 'yeah whatever, I have a test tomorrow."

The wax wunderkind inspired by Thomas Edison is not encumbered by the collective trepidation that permeates hip hop today nor is he concerned with how far this whole DJ thing will go. He emphasizes merriment over moving units and fathoms that if cynicism sets in, he's done with it all.

"Right now, I still feel I have a lot of music - even though I can't say that with a straight face - what I do being music."

Oh, it's music, alright.

Look for Kid Koala in North America beginning in May. Carpal Tunnel Syndrome is out now on Ninja Tune and will be followed by a claymation video for Strut Hear.

courtesy of hiphop-elements.com