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Moonstruck Parade

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Album Review

Cybernetical jazz crossed with hip-hop, IDM, and lighthearted '60s pop, Moonstruck Parade could only have come out of Japan. Disappointing to some, Bisk's fourth full-length covered a lot of familiar territory, not least recalling 1998's Ticklish Matters for its application of cut-up schoolyard techno and surprisingly listenable loop abstraction. Nevertheless, fans of Kid Loco and Fila Brazillia, or even Gorky's Zygotic Mynci, would probably find this to be Bisk's most cohesive work. "Miss Lizzie" was comprised of synthesized birdcalls put to a chuggy lounge beat. The title track took juvenile gabba structures (shorn of noise) and coupled them with ultra-repetitive samples; disjointed, interweaved squalls of Casio; and the irony of the Moog Cookbook, while "Shelly Crade" was a David Shire noir soundtrack interpreted by robots. Better than it had any right to be, clearly.


Born: Hyogo, Japan

Genre: World

Years Active: '90s, '00s

One of only a handful of Japanese experimental techno artists to gain exposure outside of Japan, Naohiro Fujikawa's fractured electronica under the name Bisk is also among the most interesting and innovative post-techno hybrids to appear in the last several years. A native of Hyogo, Fujikawa was barely into his 20s when his debut CD, Time, was released by Belgian label Sub Rosa in 1996. Sounding literally years ahead of its time, Time was a future-shock of sampler orchestration, the splintering remains...
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Moonstruck Parade, Bisk
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