Locust Music News

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Howdy again folks-

We’re thrilled to present you the new disc by No. 9, entitled Micro
Films. Hailing from Tokyo’s invigorating Onkyon scene, No. 9
(JoeTakayuki) has wowed electronic music fans with his dense rhythms
and playful ambience. No.9’s sound is focused but there’s no doubt
that he has a knack for combining all 31 musical flavors and then
some. If you have any interest in a review or interview, please
contact me at {

Dustin Drase
Press and Radio Promotions
Locust Music {}
F: 773-856-6401

“Joe Takayuki’s No.9 project is a delicious confection of broken,
itchy jazz beats and twisting electronic sonorities.”

~The Wire

“Joe Takayuki, known here as No. 9, focuses on electronic beats and
chanteuse-clipped scats, but with a mercurial flare that moves under
your ears like a quicksilver stream.”

~Pitchfork Media

“A miracle of whispered snippets, cool keyboards, and
brushed-sounding drum effects that sound both laid-back and


Thirty one year old, Japanese musician, Joe Takayuki, whose moniker,
No. 9, was taken from the infamous sound collage on The Beatles’

White Album, made his US debut in late 2003 on the Chicago based
label, Locust Music, with the Where Come From? And Where To? ep
featuring remixes by Keith Fullerton Whitman (aka Hrvatski) and Bundy
K. Brown. (It was followed not long afterwards by his second full
length album, Mushi-No-Ne, originally released in late 2001 on the
Japanese label, Cubic Music.) The EP remixers were apt signposts for
Takayuki’s music as it is a blend of ‘live’ instrumentation (upright
bass,vibraphones, guitar, brushed drums, piano, strings, etc) with
electronic sounds, field recordings, and wordless melodic and
percussive vocals. Takayuki’s arrangements conjure up a world where
Amon Tobin, or a less spastic Squarepusher, worked with jazz legends
like drummer Tony Williams and multi-instrumentalist Eric Dolphy on
post-bop jams with melodic patterns suggested by minimalist composer
Steve Reich and additional ambient production tweaks by Brian Eno.

Unlike much of today’s experimental electronic music, Takyuki’s
music doesn’t concern itself with displaying cutting edge sounds that
wow you in the short term but become cliches after only a few months,
his is music that invites you to continually return to it, each time
revealing previously unheard details. Indeed, in the press sheet for
his forthcoming Locust Music album, Micro-Films, Takayuki asks, “One
year from now, what will you be listening to?” Part of the depth of
Takayuki’s music arises from his use of field recordings of insects
on uptempo and ambient tracks like “with millions of love”, “from
mushi-no-ne”, and “power of micro” on Micro-Films and “Bug Beats”,
“Gate” and the title track of Mushi-No-Ne. Visit Takayuki’s Japanese
language website and you’ll find a list of recommendations that
includes books about plants and nature and the 1996 documentary,
Microcosmos, which presents an amazing closeup view of the insect
world. The site also documents an eight-channel sound installation
built by Takayuki called, Nature Sound Orchestra, which he has set up
at clubs and at Open Air Party, a recurring event organized in part by
his girlfriend Mina. Not surprising, Takayuki did not grow up in a big
city. Speaking to me via email (as translated by Mina), he says, “I
live in Tokyo now but my hometown is in Chiba prefecture where my
parents still live. There were mountains all around us. I had to walk
about 40 minutes to go to elementary school everyday.” Did his love of
nature develop as a way to escape from technology and the frenzy of
cities? “No, the opposite,” says Takayuki. “To get the sense of
cities and technology, I feel value [in the] natur[al] world… I
like to do field recording…but for me, I don’t think I have field
recordings in my music.

“For example, women’s voice, singing birds, sound of insects these
are SOUND for me. Voice can be the beat, singing birds can be a
melody or beat too. I record those SOUND as a sample sound, not as a
FIELD RECORDINGS. Everything which comes to my ears, head will be a

~Howard Shih, Grooves Magazine


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