by Luke Winn

The ratty, faded couches in the rear of Patten Gym's lobby are usually home to a sweaty, smelly lot; crew team members after a long jog, dirty soccer players in line for the training room, not really anyone warranting a double-take, or an interview for that matter.

Which is why I was a bit shocked to find Eric San, a.k.a. scratch DJ Kid Koala, sitting there hours before he was scheduled to perform at May 17's A&O Experience. Doodling in a small sketchbook, and seemingly content to relax in NU's dingiest of concert venues, San appeared approachable, and consented to an impromptu interview.

A world-famous act, he was friendly, goofy, giggly and intelligent beyond the scope of the scratch DJ profession. The 27-year-old graduate of Montreal's McGill University (he majored in elementary education) is an accomplished illustrator as well: He's set to release a 300-page illustrated story on ECW Press entitled, "Nufonia Must Fall," which will be accompanied by an original Kid Koala soundtrack.

The topics ranged from his band project, Bullfrog, to touring with Radiohead, and to sampling Monty Python and how-to hairstyling records. An edited transcript follows:

LW: Tonight's show is a solo act, but you also perform in a jam-style band, Bullfrog. How were you able to transition deejaying into a full band setting?

Kid Koala: Music is music and there's a line between everything. If you can see those lines, it makes sense. From a scratch perspective, it's what I'm interested in. To me, Bullfrog is more of a pop band, but there are moments in the show where we open it up.

DJing is such a multifaceted thing. … But when you play with other musicians, you have to allow yourself to blend in.

LW: What's your opinion of watching live deejaying versus watching a live band?

KK: If you have an appreciation for live music, I think you'll appreciate a DJ performance. It's the same as watching a play or a movie, or Tony Hawk skateboarding, or Kung-Fu. If people can appreciate the way Thelonius Monk plays piano, they can appreciate the way D-Styles scratches.

LW: You use a lot of Monty Python samples in your sets. Any special reason?

KK: I'm definitely influenced by Monty Python and Short Attention Span Theater. Their method of putting a show together inspired me. It's the idea that it doesn't have to be a linear experience at all – It's dynamic, moody, happy, angry. I try to find things that fit the context of the mood. I don't want to do a whole hour of agro- or morose stuff. And if I get silly, I wanna get really silly.

LW: You toured with Radiohead last summer. How did you get involved with them?

KK: Well, they did three shows supporting Kid A in North America in 2000 – in Toronto, New York and Los Angeles. They had invited Handsome Boy Modeling School with Prince Paul and Dan the Automator. [HBMS] said, we'll do it, but we'll bring this kid, and he'll play for five minutes. I did one to two routines during the HBMS sets. And then when Amnesiac came out in 2001, Radiohead asked if I wanted to come along on the tour.

LW: What was your reaction to the offer, and how did Radiohead's fans accept you?

KK: Radiohead was one of my favorite bands, and it was a real honor. What they do in that genre is very progressive. At first, I didn't know how Radiohead's audience would react. Surprisingly, it was nicely received. They seemed to enjoy themselves.

LW: And has that helped your career take off?

KK: I don't read graphs or anything, but it's definitely increased my recognition. Some people show up to Bullfrog or DJ shows and say they saw me first with Radiohead.

LW: Do you see what you're doing tonight – scratch DJing – as a routine, or a musical act?

KK: I'll acknowledge the argument between the two is there, but I just like to be part of the confusion. There are times when you're acting like a juke box, but others when you're a collage, and others when you're doing something original. When I play with the band [Bullfrog], it becomes very musical. The fun thing is selecting the music. Something still influenced you to choose the songs you're playing.

LW (referring to his sketch book): Are you working on something there?

KK: I'm putting out a book, actually. It's a 300-page visual story that I've been working on for two years. I started it right after the Carpal Tunnel Syndrome record. It's called "Nufonia Must Fall" and it's coming out on ECW Press. I did the story, inking, drawing, and a friend is doing the painting. I'll be recording a soundtrack for it, too, which will be released with the book.

LW: Did you pitch this to ECW, or did they come to you?

KK: ECW approached me to do a book. They generally do documentaries and biographies, though. You have to go in and out of rehab three times before life is interesting enough on that level.

LW: And what's your story about?

KK: It's a romantic tragedy about a robot who tries to write love songs, but he's a robot, so he can't sing that well.

LW: Aside from the book, any other new stuff?

KK: I'm trying to finish the new Ninja [Ninja Tune Records, Koala's label] album for fall 2003, but I'm also working on some animated shorts. Monkmus is doing a Western, and I'm scoring the movie. Momkmus is also doing the video for the turntable version of Basin Street Blues.

LW: So you're a scratch DJ, an illustrator, and a band member. What do you want people to call you and your projects?

KK: I just do what I do. There's a lineage between everything. You can't scratch all day, or you'll go insane. In Montreal, where it's so cold, you have to find indoor activities to entertain yourself. I don't call my projects albums anymore, I call them books with companion audio.

LW: About your record collection – want to reveal any of your more interesting finds?

KK: When it comes to my own stuff, I like the weird shit. 98 percent of my collection would be considered strange. I won't name the records, but I'll tell you I have a record you would play for your plants if you don't have time to talk to them. I've got records that teach you how to cut hair. You can learn a lot from records. I would say in general, though, my records would make you a lot stupider.

LW: So you try to collect the silliest records possible?

KK: To me, it's more of an anthropological thing. A lot of these things are the equivalent of a modern-day infomercial. I'm celebrating the silliness that humans will always sell strange records to other humans.

LW: And you're able to find ways to put that stuff in your sets.

KK: It's the Monty Python ethic. If you're looking for the pop song hook in my music, you won't find it. The goal for me is to make an audio journey happen with records.

San currently lives in Montreal. His debut album, "Carpal Tunnel Syndrome," was released in 2000 on Ninja Tune Records.

Luke Winn can be reached at l-winn@northwestern.edu.

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