REMINISCENCE of OSAKA 追憶の大阪 - NAGAN SERVER

Words : Nagan Server
     Edit : Shota Kato
Styling : Daisuke Araki
     Photography : Kento Mori

REMINISCENCE of OSAKA 追憶の大阪 - NAGAN SERVER
REMINISCENCE of OSAKA 追憶の大阪 - NAGAN SERVER

日本語
English
  • REMINISCENCE of OSAKA 追憶の大阪 - NAGAN SERVER
  • I moved from my hometown Hiroshima to Osaka because of hip hop. In the days before social media, the Osaka hip hop scene – being closer to Hiroshima than Tokyo – was where I found my information. I took my chance in Osaka, where MC battles seemed interesting, to make a living as a rapper. Back then, rappers had to succeed in MC battles to make a name for themselves. The hip hop scene wasn’t as segmented as it is now. Expression took place through MC battles or live performances, and there was a clear path where rappers who gained recognition would go on to release CDs.


  • The club where I was based, TRIANGLE OSAKA, stood just across from Mitsu Park (Triangle Park). The skaters I bonded with there would often come to my shows. I owe a lot to them, as they truly changed my life. The crew I’ve been closely connected with since my twenties would skate to hip hop tracks that sampled jazz in their skate videos. This inspired me to dig for original samples at jazz record shops, and I was stunned by the sound of the double bass. I thought, “This is the sound I’ve been searching for!” So, I got a double bass thinking “Someday I’ll rap while playing this”, but it sat at home as a decorative piece (laughs). But no matter who I lent it to, it would always come back to me. After 10 years, I knew I had to make it my own.


  • REMINISCENCE of OSAKA 追憶の大阪 - NAGAN SERVER
  • Owning a double bass has allowed me to engage with the jazz community, and I really want to bridge the gap between jazz and hip hop scenes while being a part of both. Had I not been in Osaka, my expression would likely have remained confined to rap. The style I’ve developed here, including my dreadlocks, could have been what solidified my sense of self. For the record, my dreadlocks represent my punk attitude. They signify my determination to move forward with this style, as well as my respect for musicians like Jaco Pastorius, who inspired me.


  • In Osaka, in addition to my artist work, I ran a hip hop label called MONO ADAPTER. It wasn’t just a label; it had a brand-like presence. What I mean is, there were many vinyl enthusiasts around me, and my DJ friends always had paper bags full of records. That look was classic B-boy, but I thought, “Imagine if that bag were leather – it’d look even cooler…” So, I started making leather record bags. Two years later, I launched the MONO ADAPTER. SHOP in Minamisemba. For the first year and a half, I lived and worked there, sleeping on a futon in a cramped 2-tatami-sized warehouse (laughs). I wanted to create something that no one has ever done with a hip hop label before. Inspired by the need to bring something while staying connected to hip hop, I opened a gallery and held exhibitions that featured artists who contributed artwork to my projects. At the time, I was putting the same amount of energy into both my shows and the shop, but running MONO ADAPTER. SHOP only fueled my desire to focus solely on music. After five years of the shop, I made the bold decision to close it and battle my way in Tokyo.


  • REMINISCENCE of OSAKA 追憶の大阪 - NAGAN SERVER
  • I still have ties with Osaka, and I value those relationships. Every time I’m there, I drop by Ijiri Coffee, which I used to go to almost every day. It was also where I could recharge when I hit a creative block. I still create a jazz mixtape for the shop every year. The synergy between music and coffee is also incredible at Bunjin Hall. The lack of sign makes it appear intimidating, but it’s said to have the best sound of any jazz café in Osaka. The way an Art Blakey album sounded there left me feeling emotional, like I had just watched a movie. NEPENTHES also portrayed jazz musicians as fashion icons, right? I was shopping there a lot since the opening of NEPENTHES OSAKA, and there was a time when I lived within walking distance of the store.


  • What I value is taking inspiration from genres beyond music and turning that into my own sound. In Tokyo, I’m connecting and drawing inspiration from many people, but the catalyst for all of this was undoubtedly Osaka. It’s my second hometown where my style really took form. I feel like I’m making the best music of my life right now, and once we complete the first EP of N.S. DANCEMBLE, which we formed this year, I will definitely have a solo show in Osaka.
REMINISCENCE of OSAKA 追憶の大阪 - NAGAN SERVERREMINISCENCE of OSAKA 追憶の大阪 - NAGAN SERVER

REMINISCENCE of OSAKA 追憶の大阪 - NAGAN SERVERREMINISCENCE of OSAKA 追憶の大阪 - NAGAN SERVER

NAGAN SERVER : A rapper and double bassist with an unconventional career, deeply rooted in both hip hop and jazz. He has released three original albums to date. Beside his solo career, he leads N.S. DANCEMBLE (with members TAIHEI [Suchmos / SAI], Yukino Matsuura, Jinya [D.A.N.], Reiya Terakubo, CARLOS), and actively performs as a unit formed with DONGURIZU. After THE ROOTS’ recent show in Tokyo, he took part in a remarkable session with Questlove and his band.