Interview with Kra-Z-Noize, the Quebec Human Beatbox

While the four official pillars of hip-hop culture are DJing, MCing, breaking, and graffiti, beatboxing nevertheless occupies a paradoxical place within it: often referred to as the "fifth element," it remains an underestimated aspect, despite its historical role.

Because from the 1970s, legends like Doug E. Fresh and the Fat Boys yet used it as a rhythmic backbone for MCs and dancers. KRS-One, considered the "professor of rap", even evokes an extended philosophical dimension of hip-hop, integrating elements such as self-knowledge and entrepreneurship.

However, beatboxing, although inseparable from the origins of the movement, saw its visibility diminish with the advent of electronic drum machines.

Kra-Z-Noize: the Human beatbox of Quebec

Kra-Z-Noize embodies this contemporary resurgence, reaffirming that the art of beatboxing remains a living pillar of urban culture.

Recently we had the opportunity to have a conversation with Kra-Z-Noize, this early beatboxing artisan. Little known to the current generation, he established himself at the time as a prominent figure on the Quebec music scene thanks to his expertise in vocal art and his astonishing stage performances.

Beginnings early

It must be said that when he arrived in Quebec at the turn of the 80s, the little Eric Pascal (his real name) had, of course, no idea of his destiny. Like many boys his age, he liked to amuse himself by humming "The Smurfs' Song" (created by the Belgian Peyo), from the series with little blue men, so adored by young children.

Of Haitian origin, the young Éric adapted very well to his new environment in the suburbs of Montreal and his taste for music, particularly vocal art, developed naturally to the point of becoming a passion:

“From a young age, my passion for music was fueled by emulating my absolute idol, Michael Jackson. Fascinated by the charisma and stage mastery of the “King of Pop,” I perfected my beatboxing techniques by drawing inspiration from his vocal genius. The Fat Boys, pioneers of beatboxing and old-school rap, also left their mark on my journey, influencing my rhythmic precision and my commitment to vocal artistry.”

Continuing on his young momentum, his stage baptism as Human beatbox took place during a Saint-Jean-Baptiste Day show in Rivière-des-Prairies. It was during this performance, where he was initially to play a secondary role, that the man who would eventually become Kra-Z-Noize stole the show. He was only 9 years old, and he was already establishing himself as an emerging artist.

His rise continued into adolescence

After his performance at Saint-Jean, he moved on to informal competitions in schoolyards and on the street. A time when he competed in battles off the main stage for pure pleasure, but not without occasional clashes:

"I'm a fierce competitor, having competed in Human Beatbox battles as a teenager. Some rivalries escalated, even leading to physical attacks from my opponents, who were humiliated by their defeats and even got stabbed.

At some point, I stopped competing because my life was more important and it wasn't what I wanted to experience in my daily life. Getting stabbed for a passion wasn't part of my ambitions."

Turning the page on competitions, he then reoriented his career towards youth scenes (Pepsi Jeunesse, secondary schools, Cégep de Rosemont and others), where his talent shone without limits. 

He gets noticed on television

His almost innate talent for beatboxing was not going to go unnoticed. Far from it!

His first television experience dates back to the duo Style-E-Nation, founded in the 1990s, with an appearance on the show Good mood, hosted by the late Michel Louvain.

At 22, he was invited by Richard Z. Sirois on the broadcast of Sonia Benezra, consolidating its media visibility.

Later, in March 1998, Kra-Z-Noize has the chance to open for Shades of Culture, during the break championship ROCKON 98 held in Montreal.

Increasingly in demand, Kra-Z-Noize is regularly requested to perform at numerous events and television shows. His versatility and electrifying stage energy make him a valuable asset to event organizers and television producers. He has appeared on several shows, including:

• Vazimolo : Solo participation in the cult youth showAndré Robitaille, where he deploys his beatbox in front of a family audience
• Scène de rue : Chantal Lacroix, impressed by her talent, invites her twice
• Bouge de là : Participation in 1997, 1998 and 1999 on the airwaves of Musique Plus with Juliette Powell and Varda Etienne

An audition with Just for Laughs that would change everything

That Kra-Z-Noize, a Human beatbox, associated with the Just for Laughs Festival, renowned for stand-up comedy, represents a rather surprising mix.

How did this connection between the world of beatboxing and that of humor come about?

"In 2000, the Just for Laughs Festival auditioned me to perform in the street shows, an important facet of the renowned comedy festival. Not only did I get the gig, but Luce Rozon (Gilbert Rozon's sister) also offered me the opportunity to participate in a Festival gala at the Théâtre Saint-Denis, marking a turning point in my career.

The craze for beatboxing was such that, during my street performance, the Montreal firefighters had to intervene and stop my show because there were too many people, which was a safety risk.

During this outdoor performance, I was also approached by a traveling Asian promoter. He offered me a show in Singapore. Later, I discovered that it was actually two weeks of performances for the opening of a large shopping mall.

Asked about this adventure in Asia, he recalls a diligent family whose captivated child demanded to see him perform daily, a touching bond illustrating the human impact he had with his audience.

This event was, unknowingly, representative of the love his fans have had throughout his career, illustrating his unprecedented power of attraction.

The collaborations that propelled his career

As part of his musical career, he had the opportunity to collaborate with several influential groups.

“Thanks to my status as a Canadian beatbox ambassador, I have had key collaborations with the duo Vai and K.Maro (aka Lyrix), strengthening my status and network, as well as my recognition nationally and internationally.

I have broadened my artistic influence with notable performances, including at the FrancoFolies with Shades of Culture and in Bermuda, where the cultural scene blends African heritage and Caribbean influences.

“Before the release of my album in 2007, I joined the collective as a beatboxer, notably landing the opportunity to open concerts for Maestro Fresh Wes in Montreal – a symbolic achievement in the world of Canadian hip-hop. Fresh Wes wanted me on his team, but I stayed loyal to my group Shades of Culture. They were great life experiences.

At 25, I was spotted by Dubmatique at a key event, where D Soul invited me to open for several shows, marking the beginning of strategic collaborations.

These experiences cemented his reputation as a versatile artist, capable of mixing technical prowess and authentic connection with the public in a duality that fueled his rise in the hip-hop ecosystem.

"I performed on prestigious stages such as the Théâtre St-Denis, the Métropolis, the Medley and the Spectrum in Montreal. I was loved by the audience for my energy and my exceptional vocal techniques. I also impressed Normand Brathwaite during a television show on Télé-Québec, and when you impress Normand, you know you're not bad at all."

You were in another band in the early 2000s. Can you tell us more about that experience?

"It was a great time, between 2001 and 2006, being part of the group Trip Sonik with François and Junior, performing a lot, including Just for Laughs galas. But it's a part of my career that didn't end up as I expected."

The release of his album Kra-Z-Noize in 2007

Their paths separated in 2007, the year in which Kra-Z-Noize is experiencing a turning point. Three weeks after sending his demo, he signs with TOX Discs for his album Kra-Z-Noize, the same record company that produced Dubmatique .

Highly appreciated by the public and the industry, his album received a nomination at the ADISQ.

“My flagship title No money established itself as a classic of Quebec rap, consolidating my artistic legitimacy. My album reached number one on the CKOI charts, and stayed there for 19 weeks. I received a nomination at the ADISQ in the Album of the Year category, but it was Michaël with his album The Tempo who won."

A child rekindles his flame

Despite a down period in his personal life, Kra-Z-Noize He bounces back thanks to unwavering determination and his love for life. A pivotal moment stands out: while shopping at IGA, a child recognizes him and asks for his autograph. This simple gesture, as he signs for the young admirer, reminds him of his impact and rekindles his artistic flame.

He transposes this experience into his song My house the street for the project of Dan Bigras. The video features homeless people whom he invited to participate by paying them, offering a poignant visibility to their reality. During the presentation of the project, he received a standing ovation – a unique distinction among artists like Annie Villeneuve, Sylvain Cossette, Stephanie Lapointe, Marjo and Eric Lapointe.

Collaborating with La Compagnie Créole, these timeless legends, while representing the world of rap, it must have been a surreal mix for you, right?

"I opened for La Compagnie Créole on a whirlwind two-month tour, cementing my place on stage. After this series of events, I chose to take a step back and turned to the construction field, refocusing my energy before new ambitions. I felt like I had covered all the possibilities I could offer."

A possible return to the stage

Kra-Z-Noize embodies a contagious energy on stage, captivating audiences with his impressive vocal techniques and unique virtuosity. His career illustrates an immense passion for the art of beatboxing and an exceptional ability to transform sounds into emotions.

Between his work and his personal activities, Kra-Z-Noize is developing an innovative show combining beatboxing, humor, and dance. A project that would merge vocal prowess, stage dynamism, and playful interactions, pushing the traditional boundaries of the art of beatboxing.

After a period of retreat in your artistic career, what are your ambitions for the future and how do you plan to reinvent yourself or return to the stage?

"Good question, I'm working on a script that's written, which mixes the sound universe of my idol Michael Jackson with the physical intensity of Bruce Lee, thus creating a hybrid artistic language."

So, can we expect to see you on stage again one day?

"I was born for this, I have to do one last lap, not because I'm looking to make money, I already work for that at my job, but for the passion and love of the culture that made me grow in my art.

I want a show where beatboxing meets the stage energy of a GM and the martial precision of a Bruce Lee."

Returning to the artistic world after so many years is no easy task. Are you currently looking for a producer for your screenplay, or are you considering self-producing?

“Currently, I am looking for producers who share my values, and I insist on the need to preserve the essence of my artistic ideology. My goal is to obtain the creative latitude necessary to perform without compromise, faithful to my unique style that has forged my reputation within the industry.

With this project, I'm not seeking to revolutionize, but to honor my journey while exploring new territories. An approach that reflects my maturity, my determination to evolve without denying my roots, driven by the desire to connect with my audience in a different way.

I am not perfect in life, I have made mistakes that have allowed me to become the man I am today and this man is the one I have always been deep down."

He wishes to underline the unwavering support of Chantal Lacroix, from the director Christian Veniza (director of his future project) and the comedian Jacques Chevalier. A way of recalling that his career, marked by bold collaborations, underlines the importance of alliances in the cultural ecosystem.

With a career marked by local and international success, Kra-Z-Noize remains a key figure in rap and beatbox in Quebec.

On behalf of the entire hip-hop community, we wish him all the success he deserves and the best of luck in the realization of his new project, which he cherishes.

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