Not to be confused with DJ Spoony.
Paul Dennis Miller (born September 6, 1970 in Washington D.C., United States), known professionally as DJ Spooky, That Subliminal Kid, is an American electronic and experimental hip hop musician whose work is often called by critics "illbient" or "trip hop". He is a turntablist, record producer, philosopher, and author. He borrowed his stage name from the character The Subliminal Kid in the novel Nova Express by William S. Burroughs. Having studied philosophy and French literature at Bowdoin College, he has become a professor of Music Mediated Art at the European Graduate School and is the executive editor of Origin magazine.
Spooky began writing science fiction and formed a collective called Soundlab with several other artists.
In the mid-1990s, Spooky began recording a series of singles and EPs. His debut LP was Songs of a Dead Dreamer. Spooky contributed to the AIDS benefit albums Offbeat: A Red Hot Soundtrip (1996) and Onda Sonora: Red Hot + Lisbon (1998) produced by the Red Hot Organization. Riddim Warfare included collaborations with Kool Keith and other figures in indie rock, including Sonic Youth's Kim Gordon and Thurston Moore. In 2001, he released the CD Under the Influence.
He returned in 2002 with Modern Mantra. That same year saw the release of Optometry, a collaboration with avant-jazz players Matthew Shipp, William Parker, Guillermo E. Brown and Joe McPhee. In a classical vein, he collaborated with the ST-X Ensemble in performances of the music of Iannis Xenakis.
2005 saw the release of Drums of Death, DJ Spooky's CD based on sessions he recorded with Dave Lombardo of Slayer. Other guest artists include Chuck D of Public Enemy and Vernon Reid of Living Colour. The record was co-produced by Jack Dangers of Meat Beat Manifesto.
DJ Spooky has said that much of his work "deals with the notion of the encoded gesture or the encrypted psychology of how music affects the whole framework of what the essence of 'humaness' [sic] is... To me at this point in the 21st century, the notion of the encoded sound is far more of a dynamic thing, especially when you have these kinds of infodispersion systems running, so I'm fascinated with the unconscious at this point."
