Cornelius is a sound junkie. Critics have dubbed him the Japanese Beck and the 21st century Brian Wilson.
Cornelius resists all \u2028traditional modes of classification, yet he has always marched to the beat of a different drum \u2028machine, even in his wildly eclectic habitat of Tokyo, Japan.
Since exploding onto the international scene in 1997 \u2028with Fantasma, his cut-and-paste opus, Cornelius has dazed and amused fans worldwide with his \u2028free-form pop aesthetic and playful sense of humor.
Cornelius Followed up Fantsama with 2002’s Point. A departure from its collage style predecessor, Point was organic in nature, looping sounds such as a drop of water, a classical guitar or just the sound of a forest, creating his own brand of “rainforest rock” and solidifying his stature as a true innovator.
With his last album, Sensuous, Cornelius further explores \u2028dazzling atmospherics. It’s a disciplined sound that’s also wildly experimental, bursting with electronic \u2028pulsewaves, wood-grain acoustics, minimalist interludes and raw guitar freakouts. Sure, you could \u2028dance to it, but you could also throw on the headphones, sit back in your Eames chair and get whisked \u2028away to Keigo’s multidimensional planet of sound.\u2028\u2028
Cornelius, a multimedia savant, has remixed Bloc Party, Beck, Merzbow and the late James Brown. \u2028He’s worked with Ryuichi Sakamoto and lounge-jazz noisenik Arto Lindsay. He’s displayed his visual \u2028works at the Barbican JAM exhibition and contributed music to the Shhh… exhibition at London’s \u2028Victoria & Albert Museum. Cornelius, as well as a recent exhibition at the Queensland Museum of Modern Art in Brisbane, Australia.