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 increasingly toward a challenging diffusion of hip-hop, 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 growing interest in the experimental fringes of dance culture.)
With 1997’s Child & Magic LP, Takemura’s interest in the relatively more stable rhythms of dance music had almost completely fallen away, and elements of experimental computer music and overt references to minimalist composers such as Terry Riley and Steve Reich filled his tracks, which tended to pair cycling flute, percussion, and bell-tone patterns with the glitchy desktop discontinuities of Oval and Ryoji Ikeda, among others. Two other releases from this period — Funfair, on the American Bubble Core label, and Milano, on Warner Japan, solidified this new direction. (The latter CD Takemura originally produced for a fashion show by popular Japanese designer Issey Miyake.)
In the winter of 2001, 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 only increased during the next two years; he alternated experimental records on Thrill Jockey with more obscure efforts for his own Childisc label and indie stalwarts Bubblecore. ~ Sean Cooper, All Music Guide
Edited by zrebeKDemitri on 31 Jul 2007, 07:42
Registered users can edit this page. Sign up now, it’s free and you will discover so much great music :)
Generated from facts marked up in the wiki.
No facts about this artist
You can also view a list of all recent wiki changes.