Artist: Nobukazu Takemura
Genre(s):
Dance
Experimental
Rock
Discography:
Songbook
Year: 2003
Tracks: 22
Assembler / Assembler 2
Year: 2003
Tracks: 7
10th
Year: 2003
Tracks: 16
Sign
Year: 2002
Tracks: 4
Animate
Year: 2002
Tracks: 9
Hoshi No Koe
Year: 2001
Tracks: 11
Scope
Year: 1999
Tracks: 5
Kyoto-based manufacturer Nobukazu Takemura's vocation has followed an odd trajectory for an artist produced by the club fit. He emerged as a hip-hop DJ in the mid-'80s, elysian by the Japanese wooden leg of the legendary Wild Style term of enlistment (largely credited for introducing rap music to Japan). A short-lived career as a sputter DJ light-emitting diode Takemura to transplant focus to the intermixture desk in the late '80s, and within a few farseeing time he was psychotherapeutic tracks through Mo'Wax, Lollop, and Bungalow under the name vocation DJ Takemura and Spiritual Vibes. Ostensibly trip-hop and acid jazz, these releases were marked by a high quotient of lively instrumentation and, in dividing line to his bedroom-producer colleagues, identical high production values. In parallel with his club-oriented releases, Takemura was likewise producing more exploratory material together with Yamatsuka Eye (of the Boredoms) and Aki Onda as Audio Sports; the group released an LP, Earned go average of Glittering Gas, earlier Onda took sole control of the project in 1992. By the mid-'90s, Takemura had signed with Warner Japan as a solo artist, and his releases as Child's View and under his own name tended progressively toward a challenging dispersion of rap music, jazz, pop, drum'n'bass, and post-classical music. (The 1996 remix album, Child's View Remix, featuring Aphex Twin, Coldcut, and Wagon Christ, among others, suggested his maturation stake in the data-based fringes of dance culture.) With 1997's Kid & Magic LP, Takemura's stake in the comparatively more stable rhythms of dance music had nearly wholly fallen off, and elements of experimental estimator music and overt references to minimalist composers such as Terry Riley and Steve Reich filled his tracks, which tended to pair cycling transverse champagne flute, percussion, and bell-tone patterns with the glitchy desktop discontinuities of Oval and Ryoji Ikeda, among others. Two other releases from this period -- Carnival, on the American Bubble Core label, and Milano, on Warner Japan, coagulated this modern commission. (The latter CD Takemura in the first place produced for a way show by popular Japanese fashion couturier Issey Miyake.) Following a Japanese escort with American post-rockers Tortoise, Takemura secured spill plans with Tortoise's label, Thrill Jockey, and 1999 proverb the sack of his most abstract, "difficult" bodily to appointment. Telescope, preceded by the "Shooting star" 12-inch, bore only the most tenuous resemblance to his previous releases, consisting of a dizzying slur of digital stable, off-kilter bell patterns, lacerate vocal samples, and CD skips. Like his original industrial plant, remixes by Takemura too straddle a broad ambit, including artists such as Tortoise, indie-pop vocaliser Takako Minekawa, junglist Roni Size, and Steve Reich. 2001 was a meddling yr for Takemura: in the wintertime he released the EP Sign, which featured members of Tortoise, Brokeback and Isotope 217; in the spring, he released another Child's View album, Hoshi No Koe.
Takemura's output alone increased during the next iI years; he alternated experimental records on Thrill Jockey with more obscure efforts for his own Childisc label and indie stalwarts Bubblecore.
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