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Label: Les Disques Victo
Catalog ID: CD 089
Squidco Product Code: 1790
Packaging: Jewel Case
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• Show Bio for Masami Akita
"Masami Akita, born December 19, 1956, better known by his stage name Merzbow, is a Japanese noise musician. Since 1980, he has released over 400 recordings. The name Merzbow comes from the German dada artist Kurt Schwitters' artwork Merzbau (German pronunciation: [ˈmɛʁtsˌbaʊ̯]), in which Schwitters transformed the interior of his house using found objects. The name was chosen to reflect Akita's dada influence and junk art aesthetic. In addition to this, Akita has cited a wide range of musical influences from progressive rock, heavy metal, free jazz, and early electronic music to non-musical influences like dadaism, surrealism, and fetish culture. Since the early 2000s, he has been inspired by animal rights and environmentalism, and has become a vegan.
As well as being a prolific musician, he has been a writer and editor for several books and magazines in Japan, and has written several books of his own. He has written about a variety of subjects, mostly about music, modern art, and underground culture. His more renowned works were on the topics of BDSM and Japanese bondage. Other art forms Akita has been interested in include painting, photography, filmmaking, and Butoh dance. In 2000, Extreme Records released the 50 CD box set known as the Merzbox. Akita's work has been the subject of several remix albums and at least one tribute album. This, among other achievements, has helped Merzbow to be regarded by some as the "most important artist in noise"."-Wikipedia (https://en.wikipedia.org/wiki/Merzbow)
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1. 68'18'' 68:18
descriptions, reviews, &c.
Apparently, the Finnish duo were processing sounds created by Merzbow, but how they operate is really a mystery to me, I must confess. In fact, I like the mystery. Low frequency rumblings that sounded like an airplane revving up for takeoff were overlaid by electronic beats that would not have been too far out of place at a rave. The effect was that something was happening and about to happen at the same time, a gently powerful trip that is less to be understood than experienced. Mike Chamberlain, Signal to Noise
As a strangely beautiful festival finale, the Finnish pair known as Pan Sonic met with the Japanese sound manipulator Merzbow for the first time. Perched behind their laptops in the defrocked hockey arena known as the Colisee, Pan Sonic artfully explored acoustic phenomena and together constructed a sonic wall and sonic wallpaper, full of massive and detailed touches. Amidst the curious digital din, the word "painterly" sprang to mind. It proved to be a poetic and entirely apt ending for a festival that is, by definition, in flux. Joseph Woodard, Jazz Times
The festival's closing act, Pan Sonic vs Merzbow, was worth the long wait. Their complete absence of stage presence notwithstanding, the trio orchestrated glorious cascades of white noise that sporadically collapsed into fat dirty beats – a gutrumbling excursion into the inner depths of sound and an indication of where the true spirit of improv lives in 2002. Christoph Cox, Wire
The festival was capped off by the near-deafening clamor of Merzbow and Pan Sonic. The site of three musicians sitting stoically behind laptop computers was on odd contrast to the crunching waves of sound that emanated from the speakers. The Finnish duo of Pan Sonic provided the glitchy beats and static that Merzbow (Masami Akita) used as the foundation for his palpable walls of sound. Though limited in scope, the three provided a visceral performance to bring the festival to a close. Michael Rosenstein, Cadence
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