Cultural differences: ain't they a riot? I tell ya, we Americans think they're a veritable source of knee-slappin' hilarity. Those big, funny sombreros that all those Mexicans wear? Killer! Those crazy Russians with their thick accents and pocket-sized vodka? Comedy gold! And don't even get me started on the Canadians. Why, the Great White North is a genuine Fort Knox of amusement!

But perhaps the greatest thing that separates our fine union from those denizens of the far-reaching unknown is the odd translation method the Japanese use to write and speak in English. With a different phonetic system entirely, the Japanese come up with entirely bizarre English phrases that leave out and add words at random and, at times, seem to have no affiliation with what's actually trying to be communicated. Read any electronics manual for proof.

Takako Minekawa is Japanese. Japanese, of course, being synonymous with "not American." Therefore, she's not exempt from our droll Western stereotypes. On her new release, the seven-song Maxi On EP, as well as on most of her other material, Minekawa's lyrics come chock-full of fractured English. In any other context, her strange take on the language could seem hilarious. But for some reason, the novelty wears off quickly on her records. This being a good thing, since it doesn't seem like she's particularly aiming for a laughing good time. She even demands we "stop laughing" in "Lullaby of Gray," and it's an apt request. Minekawa should be taken seriously.

Takako has made a habit of collaborating with other established artists on her solo efforts. On 1996's Roomic Cube, she worked extensively with Buffalo Daughter; on 1999's Fun9, DJ Me/DJ You and current beau Cornelius split much of the backing. Things aren't much different here: the title, Maxi On, seems to be a play on words regarding her new collaborators, the New York City duo Dymaxion. Technically, only the Jeremy Novak half of Dymaxion was involved, but he uses his group's moniker and shares writing, arrangement and production credits for Maxi On's first four tracks.

Novak's presence on the opening title track immediately indicates a slightly new sound. Sure, Minekawa's trademark chirping vocals and pulsing rhythms are present, but the overall tone is dirtier and funkier. "I can touch deeply your mad dreams," she trills over muted minor-key guitar, thick basslines, and a canned old-school beat. "A Report on an Investigation" has the air of a spiritual film noir, a dark detective story with shimmers of hope. In fact, the only track out of the four Dymaxion collaborations that doesn't bear a similar aura is "Brioche," just under two minutes of shimmering, polyrhythmic synthesizer and her gorgeous, layered vocal harmonies.

But though it's all been good so far, Maxi On's peak arrives with Minekawa's strictly solo tracks. "Picnic at Loose Rock" is a relaxed instrumental with a harmonium melody, wordless, bubbly vocals, and a pulsating yet calming rhythm. "Follow My Dreams" is truly dreamlike; featuring Cornelius on various electric guitars, each aural element touches off the ground and gracefully soars through ethereal melody. And "Sleeping Bag," the final cut and the bonus track for us Yankees, closes the disc similarly with the simple repetition of the word "sky" chiming throughout the shifting, hypnotic accompaniment of pianos, electric bass, xylophones, subtle brass, and ocean waves.

Yes, her past is littered with song titles like "SHH Song" and "Kangaroo Pocket Calculator." Yes, the phrases "it's serious fairy tale with an extension cord" and "a beautiful things for the after crying" can be found in Maxi On's lyric sheet. But once the dimwitted American curiosity wears off, Minekawa reveals herself as yet another artist helping to forge the path for interesting and exciting musical landscapes.

-Spencer Owen