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Scott Herren is many things to many people. To some, he is Delarosa & Asora, the purveyor of jagged, techno dissonance. To others, he is Savath & Savalas, a mutating musical project that navigates electronica, postrock and Spanish folk with equal ease. At the moment, however, Herren’s hip-hop outlet, Prefuse 73, is getting most of the attention. Melding the breaks and beats of rap with the clicks, blips and drone of avant-electronica, Herren’s album, “One Word Extinguisher,” has made him a darling of the indie press.

Prefuse 73’s 1999 debut, “Vocal Studies + Uprock Narratives,” however, received quite a different reaction. By whittling down and reconfiguring vocal samples from MCs and R&B vixens, Herren’s phonetic collages were more percussive than comprehensible, causing several pugnacious hip-hop critics to cry foul. Herren — who is white — was once accused of “repressing the ontological and political will of the socially marginalized black rapper for the sake of aesthetic value.”

Speaking via cell phone from Chicago, Herren still sounds exasperated about it. He never saw it coming, he says, but he definitely knew where it came from.

“It came from journalists who had never interviewed me, never met me, and decided to make assumptions as to who I was as an artist, or as a musician, or as,” he pauses, “as a ‘despondent youth,’ you know? I’m 28 years old and they were talking like I was some kid jerking off on a computer.”

Since the release of the Atlanta native’s spellbinding sophomore effort last May, all controversy seems laid to rest. Traces of the same wordplay puree bubble to the surface here and there, but now they share space with algebraic beat schemes, electronic squiggles and a futurist hum that is befitting of Warp, Herren’s label, which is known more for experimental electronica like that of labelmates Aphex Twin and Boards of Canada.

Despite the whir of its postmodern trappings, Prefuse 73 is remarkably human. Recorded during a painful breakup, the final mix of “One Word Extinguisher,” he admits, was tainted by his heartbreak. His rigorous touring schedule, long studio hours and recent move to Barcelona all have made relationships — romantic or otherwise — difficult to maintain. “It’s hard to meet somebody and then stay in one place long enough to get to know them,” he groans. “Even where I live I can’t meet somebody and be there longer than three weeks [before I] get up and go somewhere else.” Despite these setbacks, Herren — whose father is Spanish — is confident he made the right choice.

Now that Delarosa & Asora is officially over, he says, he is channeling his new home’s influence into his only other musical incarnation, Savath & Savalas. What was once considered experimental electro-rock now veers toward traditional Spanish folk. “That’s basically all it is now,” he says with a laugh. “I mean that’s the only way I know how to describe [the upcoming album]. I’m not about to coin some new term for a type of music.”

He seems cautious with music terminology — perhaps because it’s leveled at his own work so often. “Glitch,” “click-hop” and “IDM [Intelligent Dance Music]” and other pop nomenclature riddle descriptions of Prefuse 73, but ask him and he’ll say it’s hip-hop, plain and simple. The “Extinguished” EP released this month may reinforce that belief. Packed with 24 tracks — most under two minutes — the beat-riddled “Extinguished” makes an excellent companion piece for its predecessor. “I’m really excited about [the EP] actually,” he says excitedly.

“I’ll definitely be playing stuff from it [at Fuji Rock], and unreleased stuff as well.”

Joining Herren and his sampler at the Red Marquee will be turntablist, DJ Lebla, with John Herndon from postrock group Tortoise on drums. Although most of Herren’s music is created while alone in a studio, he is excited about interacting with live instrumentation in concert: “I enjoy using everything I can get my hands on to make my music. I suppose everything’s ‘live’ in theory. . . . Somebody has to use their brain to play the note or push the button. It’s all the same to me.”

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