Wandering between studious sound science and twittering, childlike innocence, Hoshi No Koe showcases Nobukazu Takemura's penchant for both abstraction and beauty. Over 12 minutes, "Anaerometer" swirls a simple-seeming lineup of sounds — warm keyboards, ambient hum, metallic percussion, haunting melodica riffs — into a manifesto for repetition; shifty but forever patient, the track typifies Takemura's equal liking for laptops and the moody modulations of post-rock. In the 17-minute "Chrysalis," Takemura comes off like an academic electronic composer from the '60s, lighting flares of disembodied tones that flit around the sound field like dreamy non-sequiturs. "Sign" follows a comparatively straightforward design with a fidgety dance beat and Vocoder vocals, but its quasi-pop shape proves atypical on an album mostly devoted to chopped-up whirls sent off to spin in space. Hoshi No Koe's mix-and-match method is manic and disorienting, but it shows Takemura's strength as a computer musician whose clicks and drags play like instrumental gestures.
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