Glitch Maestro

Nobukazu Takemura is the freaky nerd the Nineties promised us

If he decides then, that is. Hoshi No Koe, Takemura's Thrill Jockey album from last year, is even more bewitching than Sign, less concrete than that disc's most extroverted moments but more varied, too, as it drops hip-hop loops, new-age keyboard tones and skipping CDs into a set of whimsical mood pieces redolent of a curious (and curiously talented) child tottering around a well-appointed recording studio, picking up instruments and wondering how they work. "Elderly people or kids in kindergarten tend to like my music," Takemura told Wired magazine recently. Listening to it at a time like now -- listening to how deftly it resists categorization and yet how amply it consumes styles -- it's not hard to imagine that the very old and the very young are the only ones among us still able to accept Takemura's music simply as it is.

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