Chris Hale

In order to break rules, you have to understand them. And if you’re going to break the rules of music, you’d best know about form and function. You’d best know about the nature of the rhythm and the beat. Knowledge is the key to innovation; and Chris Hale is one hell of an innovative producer indeed.

Chris Hale was born and raised in L.A. California, and is currently based in Tokyo, Japan where he is an active DJ and producer. His tracks have dominated such global charts as Acid Planet, Broad Jam, and Sound Click. Chris’ tracks regularly top the house, tribal house, progressive house, and Detroit charts for weeks to months at a time. His music also gets regular play by club and radio DJ's around the world as well as on underground radio. Chris DJ's at clubs throughout Tokyo, and is the resident DJ at the monthly "Worship" party. He is a veteran re-mixer, most recently mixing tracks for Bitstream Dream (Om, Bedrock).

Since moving to Tokyo 6 years ago, and delving deep into the scene there, his sound has definitely expanded and grown, both as a producer and DJ. Tokyo has an amazingly vibrant underground scene that easily rivals any in the world. People go to clubs to lose themselves in the sound and to connect with people in ways that are socially forbidden in the light of day. It is in the sanctuary of darkness and deafening sound where people are free. When producing his EP “Dancers in the Womb,” Chris tried to re-create this energy he felt on the floor (while at a Tokyo club, not coincidentally called, “Womb"). It is this incredible scene that has most influenced his “sound”.

Chris' “sound” is actually difficult to describe, but some have called it “dark soul” music - dark atmospheres fused with soulful rhythms. His music pushes simplified genre labels in order to avoid the constraints associated with pre-conceived definitions. When his music is smooth, it’s oh so very smooth. It slides against the skin like silk until it settles, blending in and becoming a soothing second skin. It’s hypnotic and seductive. And classing it as chill-out or come-down music is selling it well short. And when he wants to play rough…the beats get downright nasty without ever being heavy handed or in your face.

You never quite know what to expect when a Chris Hale track starts. The instrumentation he deploys gives each track its own unique texture, flavour and mood. Add a mix of beats and FX and the effect can be lush, as skilful as a Geisha, as sharp as a Kissaki, as precise as Kanji or as hard and swift as a Kendo kick. The end result is one of aural perfection.

An admirable trait with the Japanese dance scene is the secret of knowing exactly what sounds are out there on the wider scene without ever being controlled or dominated by them. The Japanese have always been happy to go their own way while being plugged into global scenes. So perhaps it’s no accident that Chris chose to live there, expanding his horizons all the while. His tracks have discipline without rigidity with a natural form and function. It’s a very Japanese thing. And what sounds so simple and effortless hides a master of the craft.
 
He is just as comfortable throwing acid jazz, breaks, or banging techno into the mix. If you ask him, Chris simply makes the type of music he likes to dance to in dark, smoke and sweat-filled subterranean clubs.

Chris has racked up some serious support by respected peeps like Simon Harris and Carl Cox.  His tracks appear on th eplaylist of an extensinve network of top online, digital and terrestrial radio stations spanning from America throughout Europe and into Japan. Australians have long been supporters of his brand of breaks/beats & drum and bass.  A recent review by ITM pretty much says it all:

"Hale makes what he does appear effortless and undemanding, but behind the dark subterranean atmospheres and soulful rhythms lies true discipline, form and function, and his latest album, ‘Day and Night’ is testament to that. With an intimate understanding of the power that comes from using live instrumentation, ‘Day and Night’ is the very attractive melding of drum and bass rhythms, strong textured beats and New York jazz circa 1930. Hale approaches every track with such style and ingenuity that as he explores previously untouched sound patterns and techniques it leaves you in a blissfully refreshing state of surprise and uncertainty. Highlights include the crazy jazz trip that is ‘Kool Bar Kaichi’, with its gentle piano opening, dirty double bass and sax, fast, fiery breaks and intense drumming. All directions are covered in ‘Hold Up’ as synths sweep over a barrage of skilful percussion and punctuated digital effects, with muffled basslines, haunting vocals and warm growling beats providing the drama and intense atmospherics of ‘Slow And Low’. ‘Day And Night’ is thoroughly good for its old time jazz, blistering funk rhythms, precise breaks and a tinge of acid, whilst ‘Listen’ reeks of those dark, smoky clubs where the beats pulse deep and smooth alongside a multitude of processed layers. Peppered with a very seductive vibe, ‘Day and Night’ is one for the genuine music lover, for those willing to spend some time exploring the intricacies that hold this album together so brilliantly. This is ever so good."