Tosa has brought Maywa Denki to the city several times before, most recently in 2006 in an eclectic show at Edinburgh Place in Central. This time he will hold a show in Kowloon Bay later this month.

Meanwhile, Maywa Denki has invaded the Input/Output gallery in Central, transforming the space into Tosa's personal playground.

The gallery's artistic director, Joel Kwong Kai-ling, a fan of Tosa for years, says she jumped at the chance to collaborate in the exhibition.

'We've always focused on new media arts and how it interacts with society,' Kwong says. 'Maywa Denki is a pioneer in device arts and [Tosa's] vision has broken the boundaries between art, music and entertainment. We feel by curating his work, we can help show the power of media arts.'

Build into the concept of a 'pop-up store', the exhibition showcases Tosa's many gadgets (including an accordion that simulates a human tongue), artworks and videos of past Maywa Denki performances.

It's not the first time Tosa's works have been curated into an exhibition. Maywa Denki's quirky appeal has won them an international audience and Tosa's work has been exhibited in London and the US. A 2004 performance in Paris - which saw Tosa share the stage with several self-playing robotic instruments - put Maywa Denki on the map. A year later, Tosa won an award at the Austria Arts Electronica Media Festival.

A year ago, Tosa developed the 'otamatone', a musical instrument that resembles a robot - slide your fingers up and down the neck, and the otamatone squeals notes.

It has been a feature of Tosa's performances over the past year, much like the other zany instruments he has invented, such as the 'takedamaru', a six-horned saxophone with metallic handles that looks like it came out of a James Cameron movie.

To international audiences, Tosa's eccentricity epitomises Japanese quirkiness. 'I represent neither blue-collar nor white-collar [workers],' he says of his uniform - white button-up shirt, tie and blue science lab jacket - which he wears to every performance and publicity shot. 'It is Maywa Denki's style.'

Quirky is a good word to describe Tosa, who refers to his artworks as 'products' and his shows as 'business reports'. Maywa Denki - named after his father's failed electronic appliances business - originally consisted of Tosa and his elder brother, Masamichi. In 2001, Masamichi retired and Tosa has since performed with a backing band, which he calls the 'Maywa Denki employees' (Tosa himself is president of Maywa Denki).

'When my father's company closed down, it made me sad,' he says. So after graduating from Tsukuba University with a degree in mixed media arts in the early 90s, Tosa surprised his father with news that he was resurrecting the Maywa Denki name.

'My father was worried the debt left by the bankrupt business would carry over to me,' he says.

Tosa accepts that the weird concept behind Maywa Denki may not be to everyone's taste - initially, at least. In fact, he once compared Maywa Denki to Japanese smoked squid (surume): 'The initial bite may be tough, but it gets better with each chew.'

The musical outfit has achieved almost cult status in Japan - Tosa's tunes can be heard on television regularly and his gadgets can be found on store shelves across the country.

Hongkongers can expect his show to be as eccentric as ever. In addition to playing many weird gadgets, Maywa Denki will showcase new tunes from Tosa's latest project, Voice Mechanics.

If his previous albums - 2001's Sabao De Samba and 2002's Chikyu No Prescento - are anything to go by, it's going to sound like a cross between Radiohead, Kraftwerk and a lot of machinery noises. 'There will be no ordinary instruments,' he says. 'Machines rule us!'

Maywa Denki Pop-up store at Input/Output Gallery runs until April 29; 31A Wyndham Street, Central