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Nobukazu Takemura

Kyoto-based producer Nobukazu Takemura’s career has followed an unusual trajectory for an artist made by the club scene. He surfaced being a hip-hop DJ within the middle-’80s, motivated by japan leg from the renowned Wild Design tour (generally credited for presenting hip-hop to Japan). A short-lived profession as a fight DJ led Takemura to change focus towards the blending table in the past due ’80s, and within a couple of years, he was launching monitors through Mo’Wax, Lollop, and Bungalow beneath the brands DJ Takemura and Religious Vibes. Ostensibly trip-hop and acidity jazz, these produces were marked by way of a high quotient of live instrumentation and, as opposed to his bedroom-producer co-workers, very high creation ideals. In tandem along with his club-oriented produces, Takemura was also creating more exploratory materials as well as Yamatsuka Attention (from the Boredoms) and Aki Onda as Sound Sports activities; the group released an LP, Period of Glittering Gas, before Onda got only control of the task in 1992. From the middle-’90s, Takemura got authorized with Warner Japan like a single designer, and his produces as Child’s Look at and under his personal name tended significantly toward a demanding diffusion of hip-hop, jazz, pop, drum’n’bass, and post-classical music. (The 1996 remix record, Child’s Watch Remix, offering Aphex Twin, Coldcut, and Wagon Christ, amongst others, recommended his growing curiosity about the experimental fringes of dance lifestyle.) With 1997’s Kid & Magic LP, Takemura’s curiosity about the relatively even more steady rhythms of dance music acquired almost completely dropped away, and components of experimental pc music and overt personal references to minimalist composers such as for example Terry Riley and Steve Reich loaded his monitors, which tended to set bicycling flute, percussion, and bell-tone patterns using the glitchy desktop discontinuities of Oval and Ryoji Ikeda, amongst others. Two various other produces out of this period — Funfair, over the American Bubble Primary label, and Milano, on Warner Japan, solidified this brand-new direction. (The last mentioned Compact disc Takemura originally created for a style show by well-known Japanese developer Issey Miyake.) Carrying out a Japanese time with American post-rockers Tortoise, Takemura guaranteed release programs with Tortoise’s label, Excitement Jockey, and 1999 found the discharge of his most abstract, “tough” material up to now. Scope, preceded with the “Meteor” 12″, bore just probably the most tenuous resemblance to his prior produces, comprising a dizzying blur of digital static, off-kilter bell patterns, mangled vocal examples, and Compact disc skips. Like his primary functions, remixes by Takemura also period a variety, including artists such as for example Tortoise, indie pop vocalist Takako Minekawa, junglist Roni Size, and Steve Reich. 2001 was a active calendar year for Takemura: in the wintertime he released the EP Indication, which featured associates of Tortoise, Brokeback, and Isotope 217; within the springtime, he released another Child’s Watch album, Hoshi Simply no Koe. Takemura’s result just increased through the next 2 yrs, as he alternated experimental information on Excitement Jockey with an increase of obscure initiatives for his very own Childisc label and indie stalwarts Bubblecore.

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