Word: takemuraã
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Dates: during 2002-2002
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Japanese enigma Nobukazu Takemura tried to up the ante with his live performance, but following initial problems with the machines (always a bad thing at “electronica” shows), the effect was almost numbing. Takemura??s compositions are largely inscrutable—exuberant and tangled webs of bleeps, squelches and drums occasionally verging on 180 beat-per-minute gabba tempos. This was performance, not participatory, music. The audience could do nothing but stand and let the waves of noise wash over them as Takemura and his labelmate Aki Tsuyoko tweaked the controls...
There was a brilliant, if gimmicky, solution: a synchronized series of looped video animations projected onto a wide screen quickly became the center of attention, and the music its soundtrack. It conveyed something that’s impossible to discern in Takemura??s albums. If Calix’s glitch symphonies were ones and zeros come alive, Takemura??s playful sonic freak-outs were the machines themselves speaking. Blocky polygon men sang along with the disembodied voices; kids frolicked with pixelated woodland creatures during musical lulls. Seemingly senseless static became a conversation between two clay figurines...
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