https://codekrecords.bandcamp.com/album/portable-world

Takuya moved to New York from his native Tokyo in 1994 and became an integral, sought after part of NYC's vibrant underground live/electronic scene: including the legendary "Prohibited Beats" party, known as the most eclectic drum & bass/breakbeat party with Jojo Mayer's "Nerve". In 1999, he joined Organic Grooves (Codek Records) party. In 2004, Takuya founded the experimental space-rock band “Marianne” and will be releasing a new album at the end of 2017. In 2011, He released his own space jazz album with remarkable New York jazz musicians and performed at monthly jazz event at Uniqlo in NYC, Zebulon and many other clubs. In 2012 He toured with DJ Shadow as a opener with Nerve for Dj Shadows US tour. Takuya also supported Lee Scratch Perry, Gza of Wu Tang Clan for their New York shows same year. In 2013, he started touring and recording for “Cocorosie”. In 2014, he produced “Brooklyn Gypsies” first album “Sin Fronteras” (Wonder Wheel Records) and started to tour worldwide. Same Year he produced and performed Helio Parallax’s debut album “Helio Parallax Vol.1” and release with Bill Laswell’s M.O.D Technologies. It was chosen for the 20 best Jazz records of the year from Down Beat Magazine. He worked as an opening DJ for Cocorosie’s Europian and US tour and also currently has residency at The Lot Radio (Brooklyn). He will DJ continually at clubs and festivals all over the world.

Takuya Nakamura Feat. B Riddimz - Portable World (In Flagranti Rmx) Snippet

for all booking contact:
scrnobrnja@gmail.com


In Flagranti (Sasa Crnobrnja & Alex Gloor)

The duo has always made a great case demonstrating how “inspiration” from the creative works of others can truly be made into something new and totally distinct from the source material.  But whether you know the source material bears major influence on what their interpretation is going to even sound like to you.  In other words, you could be hearing the same song as another listener is, but if you’re familiar with the source material, you’re going to also be hearing that, while someone who isn’t familiar with it won’t.  Most of their listeners have no idea this is even going on, or could even be allowed.
I figure I follow In Flagranti quite closely, but I only make a connection here, or a connection there.  Sometimes this happens immediately, other times it’s taken years to notice.  Most connections I will never even be aware of, and I don’t listen for them, they just stand out to me or they don’t.  Sometimes I only discover the source material long after I’ve been familar with In Flagranti’s take on it, which you’d think would detract from the latter, but for me, it only adds to it.  In Flagranti’s musical interpretations show a certain ethic and a philosophy that parallels their approach to visual content.  It’s so “meta” that I’m at a loss to describe it, except to say what I often do:  Warhol would be In Flagranti’s biggest fan if he was around to witness them. – truckerdisco.wordpress.com

Nothing is original. Steal from anywhere that resonates with inspiration or fuels your imagination. Devour old films, new films, music, books, paintings, photographs, poems, dreams, random conversations, architecture, bridges, street signs, trees, clouds, bodies of water, light and shadows. Select only things to steal from that speak directly to your soul. If you do this, your work (and theft) will be authentic. Authenticity is invaluable; originality is nonexistent. And don’t bother concealing your thievery—celebrate it if you feel like it. In any case, always remember what Jean-Luc Godard said: “It’s not where you take things from—it’s where you take them to.”

Jim Jarmusch’s Golden Rule #5