Doctor Love: Cornelius

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JAPANESE POP STAR CORNELIUS, who fashioned his stage pseudonym after the simian scientist from the "Planet of the Apes" films, is locking in his latest live show.

The rocker and producer — real name Keigo Oyamada — has set some stateside dates to promote his latest electro-pop masterpiece, "Sensuous," which was released late last year on his new U.S. record label, Everloving.

"The Cornelius Group Sensuous Synchronized Show" at the 9:30 Club on Friday unites the flow of the good doctor's futuristic funk with a light show and visual display. "Many things have changed since the last tour," assures Cornelius.

For one thing, the artist has parted ways with Matador, the influential American indie label whose re-issue of "Fantasma," Cornelius' 1997 full-length, broke the popster stateside.

For another, Cornelius recently became a father (son Milo is named after his fictional namesake's progeny, naturally).

"The two of us listen to '70s Japanese band Godiego together," Cornelius says.

And, according to Dad, the missus, J-pop singer-songwriter Takako Minekawa, listens to D.C. indie-rock sensation Flin Flon.

One listen to Cornelius' latest single, "Gum," and it's no surprise Teenbeat records spin on the Oyamada family hi-fi. "Gum," a chunky rhythmic workout accentuated by vocal punctuations and metallic, plucked bass, is both cute and edgy.

Like his previous records, "Sensuous" is an amalgamation of moods and popular musical styles, but it's easily his most focused record. Cornelius sounds tethered to his technology more than usual, but his new direction is decidedly less whimsical. The artist's bubblegum bubble has burst.

Cornelius got his start in the early '90s in Tokyo's Shibuya-kei music scene, which also spawned groups like Pizzicato Five and Buffalo Daughter — bands whose fun fusion of lounge-jazz and electronic jangle-pop promoted a global music village mind-set and jet-set visage.

While not exactly a cultural tsunami, the celebrated scene impacted various music circles, including the Beastie Boys' Grand Royal empire and the postmodern imagination of U.K. artist Momus.

Cornelius is consistently, and unfairly, in most respects, compared to Beck. While it's true both artists make music that's difficult to classify and their respective stars rose roughly at the same time, Cornelius is the one most likely to stick with what always works: a good beat, a sentimental melody and a sunny disposition.

The way he sees it, his American fans are in sync with that. "They're not all that different from my fans in Japan," Cornelius says. "But they interact more, and it's easier to understand their reaction to the music."

Despite mostly singing in his native tongue, or "Japanese-ish," as he puts it, Cornelius' music connects because it's innovative yet universal sounding.

» 9:30 Club, 815 V St. NW; with Benevento-Russo Duo, Fri., 9 p.m., $15; 800-955-5566. (U St.-Cardozo)

Written by Express contributor Johnathan Rickman

Photos courtesy Modern Artist Management