Boris & Merzbow ¦ 2R0I2P0
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2R0I2P0 auf Wikipedia (oder andere Quellen):
|Studio album by|
|Released||December 11, 2020 (2020-12-11)|
|Genre||Doom metal, noise rock|
|Boris with Merzbow chronology|
2R0I2P0 is the eighth collaborative release by the Japanese experimental band Boris and noise musician Merzbow. It features several rerecorded tracks that first appeared on Boris' album Love & Evol, and a cover of the Melvins song "Boris", which the band is named after. It was released in December 2020.
A video was released for the track "Away From You" on October 19, 2020.
The title stands for "2020 rest in peace", with Boris noting that "This year was a period of trial for everyone in the world". At the time of 2R0I2P0's release, the last time Boris performed before an audience was with Merzbow in Melbourne, Australia on February 29, 2020. The recording was finished in mid-March and submitted to the label in May. The album was completed before No.
|1.||"Away from You" (Originally from Love & Evol)||7:35|
|2.||"To the Beach" (Coaltar of the Deepers cover)||7:10|
|3.||"Coma" (Originally from Love & Evol)||3:14|
|4.||"Love" (Originally from Love & Evol)||6:43|
|5.||"Absolutego" (Originally from Dear)||4:31|
|6.||"Journey" (Originally from Unknown Flowers)||7:45|
|7.||"Uzume" (Originally from Love & Evol)||6:51|
|8.||"Evol" (Originally from Love & Evol)||13:05|
|9.||"Boris" (Melvins cover)||8:50|
|10.||"Shadow of Skull" (Originally from Love & Evol)||12:09|
All personnel credits adapted from the album notes.
- Takeshi – vocals, guitar, bass
- Wata – vocals, guitar, echo
- Atsuo – vocals, percussion, electronics
- Masami Akita – computer, percussion, noise electronics
- Amak Golden – Boris tracks recording
- Fangsanalsatan – Boris tracks recording, total mix, design
- Soichiro Nakamura – basic mix, mastering
- "BORIS WITH MERZBOW "2R0I2P0" - Coming December 11th". Relapse Records. Retrieved 20 October 2020.
- Davey, Angela (December 8, 2020). "Album review: Boris With Merzbow - 2R0I2P0". Kerrang!. Retrieved February 18, 2021.
- Hadusek, Jon (October 19, 2020). "Boris and Merzbow Announce New Collaborative Album 2R0I2P0, Share "Away from You": Stream". Consequence of Sound. Retrieved 20 October 2020.
- "BORIS with MERZBOW - Away From You (Official Music Video)". YouTube. Retrieved 20 October 2020.
- Sacher, Andrew (October 19, 2020). "Boris & Merzbow announce new album '2R0I2P0′ (stream a track)". BrooklynVegan. Retrieved 20 October 2020.
- "n/a". Twitter. Retrieved 10 December 2020.
- Gensho (album notes). Boris with Merzbow. Upper Darby, PA: Relapse. 2016. RR7471.CS1 maint: others (link)
- 2R0I2P0 at Bandcamp
- "Away From You" (Official Music Video) at YouTube
- "Boris" (Official Music Video) at YouTube
- 2R0I2P0 at MusicBrainz (list of releases)
|Singles and EPs|
Veröffentlichungen von Boris die im OTRS erhältlich sind/waren:
Boris auf Wikipedia (oder andere Quellen):
|Also known as||Fangs Anal Satan|
Boris (ボリス, Borisu) is a Japanese experimental music band formed in 1992 in Tokyo and composed of drummer Atsuo, guitarist/bassist Takeshi, and guitarist/keyboardist Wata. All three members participate in vocal performance. Boris has released more than twenty studio albums on various labels around the world, as well as a wide variety of live albums, compilations, EPs, singles, and collaborative albums. They have collaborated with acts such as Sunn O))), Merzbow, Keiji Haino, and guitarist Michio Kurihara.
Boris was originally a four-piece band with Atsuo on lead vocals, Wata on guitar, Takeshi on bass, and Nagata on drums. The band is named after a song of the same name on the Melvins album Bullhead. Boris's debut album Absolutego was released in 1996 on their own record label Fangs Anal Satan. Nagata departed in 1996 and Atsuo switched to drums, while Wata expanded her duties to lead guitar and keyboards, and Takeshi took on bass and rhythm guitar duties on a double-necked instrument of his own design. All three adopted lead vocal duties, and the band has remained a three-piece ever since.
In Japan, Boris release most of their music on the indie label Inoxia Records. Though relatively unknown in their home country, a series of reissues of their early albums on the American label Southern Lord Records caused a surge of popularity in North America. Boris also collaborates with other artists regularly, first on the 1998 album Black: Implication Flooding with experimental musician Keiji Haino. They have released seven collaborative albums with noise artist Merzbow, and have released collaborative albums with international artists like Sunn O))) and Ian Astbury.
Their international popularity was bolstered by their 2005 album Pink, which was met with considerable critical praise and a strong response from music fans when reissued in the US on Southern Lord. Blender magazine and SPIN magazine both named it one of 2006's best albums. The album also topped the metal section of Canadian magazine Exclaim 's 2006 Reader's Poll, and it was named in the top 10 of Pitchfork Media's Top 50 Records of 2006. They also appeared on the avant-garde metal soundtrack to Jim Jarmusch's film The Limits of Control in 2009. Regarding Boris, Jarmusch said that "what's really remarkable is when they play live they're in the mode, in a way, of jazz musicians, not structurally or musically, but the way they listen to what the others are doing and build on it. Each time they play something it's obviously different, every time."
Boris focus a lot of their time on touring. In an interview, Atsuo said:
"That we tour so much and release so many albums, I think it is representative of what we’re about. Direct communication is something we’ve lost in this day and age. It’s a shame – [even] interviews are over [the] phone. I think it's important to see people face to face – that's why it's so important to go on tour. It's something very basic to humans that we’ve lost lately."
Boris received additional international exposure when they opened for Nine Inch Nails on part of the 2008 segment of the Lights in the Sky tour. From 2011 to 2017, they released several albums on Sargent House Records, and continue to reissue previous albums in new formats. In 2017, the band's 25th anniversary, they considered retirement after one final album. However, a successful songwriting and recording process for that album encouraged the band to continue. The album Dear was released internationally in July 2017 through Sargent House. The album, LφVE & EVφL was released in October 2019 via Jack White's label Third Man Records. While self-isolating during the COVID-19 pandemic, Boris quickly wrote and recorded the album NO, which was self-released in July 2020.
Musical style and equipment
Throughout their career, Boris have made deliberate efforts to avoid a strong association with any musical style. In particular, they do not consider themselves a heavy metal band despite frequently being categorized as such. In an interview, drummer Atsuo stated: "Having some kind of preconceived message or theme is very boring to me. It becomes a crutch. Just say what you want to say."
The wide variety of genres used by reviewers to describe Boris's music include experimental music, experimental rock, noise music, noise rock, experimental/avant-garde metal, doom metal, post-metal, drone metal, sludge metal, psychedelic music, psychedelic rock, psychedelic metal, and stoner rock. While they first emerged as a sludge metal band with strong hardcore punk influences, their subsequent releases have employed elements of a wide variety of genres, including drone music, old-school industrial music, ambient music, acid rock, garage rock, shoegazing, dream pop, J-pop, and crust punk.
For example, the band's debut album Absolutego featured a "65-minute track of oozing, slow motion, Melvins-inspired drone rock/metal," while its follow-up Amplifier Worship incorporated psychedelia and jam band influences. Their third album Flood incorporated elements from drone. Akuma no Uta and Pink engaged in different stylistic experimentation, including shoegazing, stoner rock, and post-rock. Vein (2007) was released in "Hardcore" and "Noise" versions, whereas New Album experimented with electronica and dream pop. The album Noise featured elements from grunge music.
Boris uses many different effects pedals and other guitar accessories while performing live. Wata uses an E-bow to achieve bow-like sounds or to manipulate feedback; this device is held in the hand, like a pick, but relies on a magnetic field vibration to move the guitar's strings. Wata also occasionally plays an accordion and keyboards in concert. Takeshi typically plays a double-necked bass/guitar live, which allows him to play both rhythm guitar during the band's lengthier tracks as well as bass guitar during their more traditional tracks, without needing to switch instruments.
- Takeshi – vocals, bass guitar, rhythm guitar (1992–present)
- Wata – vocals, lead guitar, keyboards (1992–present)
- Atsuo – vocals (1992–present), drums, tambourine, electronics (1996–present)
- Nagata – drums (1992–1996)
- Support/touring musicians
- Michio Kurihara – guitars (2007–2012)
- Studio albums
- Absolutego (1996)
- Amplifier Worship (1998)
- Flood (2000)
- Heavy Rocks (2002)
- Akuma no Uta (2003)
- Boris at Last -Feedbacker- (2003)
- The Thing Which Solomon Overlooked (2004)
- Dronevil (2005)
- Soundtrack from the Film Mabuta no Ura (2005)
- Pink (2005)
- The Thing Which Solomon Overlooked 2 (2006)
- The Thing Which Solomon Overlooked 3 (2006)
- Vein (2006)
- Smile (2008)
- New Album (2011)
- Heavy Rocks (2011)
- Attention Please (2011)
- Präparat (2013)
- Noise (2014)
- The Thing Which Solomon Overlooked Extra (2014)
- Urban Dance (2015)
- Warpath (2015)
- Asia (2015)
- Dear (2017)
- LφVE & EVφL (2019)
- NO (2020)
- Collaboration albums
- Black: Implication Flooding (w/ Keiji Haino, 1998)
- Megatone (w/ Merzbow, 2002)
- 04092001 (w/ Merzbow, 2004)
- Sun Baked Snow Cave (w/ Merzbow, 2005)
- Altar (w/ Sunn O))), 2006)
- Rainbow (w/ Michio Kurihara, 2006/2007)
- Walrus/Groon (w/ Merzbow, 2007)
- Rock Dream (live, w/ Merzbow, 2007)
- Cloud Chamber (w/ Michio Kurihara, 2008)
- BXI (w/ Ian Astbury, 2010)
- Klatter (w/ Merzbow, 2011)
- EROS (w/ Endon, 2015)
- Gensho (w/ Merzbow, 2016)
- Refrain (w/ Z.O.A., 2020)
- 2R0I2P0 (w/ Merzbow, 2020)
- "Boris - Live at Amoeba Music". Amoeba.com. Retrieved 2016-09-28.
- William York. "Boris | Biography & History". AllMusic. Retrieved 2017-07-14.
- Guitars, Michael Astley-Brown 2017-08-07T11:03:14 218Z. "Rig tour: Boris". MusicRadar. Retrieved 2019-10-08.
- Altar liner notes (Daymare 3LP pressing)
- Terich, Jeff (2018-02-09). "Shadow of the Horns: 20 Years of Southern Lord". Treble. Retrieved 2019-10-08.
- "Arcane Candy » Blog Archive » Keiji Haino with Boris – Black: Implication Flooding". Retrieved 2019-10-08.
- Weingarten, Christopher R.; Weingarten, Christopher R. (2016-02-04). "Boris With Merzbow: Play With a Track From Interactive LP". Rolling Stone. Retrieved 2019-10-08.
- "Sunn O))) & Boris: Altar". Pitchfork. Retrieved 2019-10-08.
- "BXI Featuring IAN Astbury, Boris: Video Footage, Photos Of Brooklyn Concert Available". Blabbermouth. 2010-09-12.
- "Archived copy". Archived from the original on 2007-09-30. Retrieved 2007-02-09.CS1 maint: archived copy as title (link)
- Jim Jarmusch and Alan Licht, "Invisible Jukebox," The Wire 309, November 2009, p. 23.
- Nicolas Millan Inactive Contributor. "Boris: Interview: | Prefix". Prefixmag.com. Retrieved 2016-09-28.
- "Boris, HEALTH, the Bug to Open for Nine Inch Nails". Pitchfork Media. Archived from the original on 2008-09-12. Retrieved 2008-09-12.
- "Boris Announces New Album, 'Dear' // Premiering Track, 'Absolutego'". sargenthouse.com. Retrieved 2019-10-08.
- "Boris Announce New Album and North American Tour". Pitchfork. Retrieved 2019-10-08.
- "Boris Celebrates 25 Years By Cleaving The Earth In Two With 'Absolutego'". NPR.org. Retrieved 2019-06-28.
- "Boris 25th Anniversary Album "Dear"". borisheavyrocks.com. Retrieved 2017-05-11.
- "Boris announce new album, LφVE & EVφL, plus North American tour". Consequence of Sound. 2019-05-14. Retrieved 2019-06-28.
- "Boris Announces New Album No for July 2020 Release and Share New Song "Loveless" -". mxdwn Music. 2020-06-24. Retrieved 2020-07-06.
- "Archived copy". Archived from the original on 2014-12-22. Retrieved 2014-12-22.CS1 maint: archived copy as title (link)
- "Boris: Genre Defying Japanese 'Rockers' Are Quizzed By Stephen B Murray". The Sleeping Shaman. Retrieved 2016-09-28.
- "Archived copy". Archived from the original on 2005-10-24. Retrieved 2013-07-22.CS1 maint: archived copy as title (link)
- Bland, Benjamin. "Interview: Boris". Echoes and Dust. Retrieved 20 May 2017.
- Dick, Jonathan K. "Boris & Merzbow – Gensho". Consequence of Sound. Retrieved 27 June 2017.
- Jacobs, Justin (14 September 2009). "Boris to Release Japanese Heavy Rock Hits 7-Inch Series". Paste. Retrieved 17 November 2014.
- Camp, Zoe (17 June 2014). "Boris – Noise". Pitchfork. Retrieved 29 May 2017.
- Walschots, Natalie Zina (17 June 2014). "Boris - Noise review". Exclaim!. Retrieved 17 November 2014.
- "So Grim So True So Real: Boris". Invisible Oranges. 14 June 2017. Retrieved 27 June 2017.
- Bath, Tristan (10 June 2013). "'Noise Is Japanese Blues': An Interview With Boris". The Quietus. Retrieved 20 May 2017.
- Temere, Rex (9 May 2013). "Boris Performs a Lesson in Doom Metal & Sex". Pretext Social Club. Retrieved 12 July 2017.
- Wiederhorn, Jon (4 August 2016). "A Brief History of Post-Metal". Bandcamp. Retrieved 11 May 2017.
- McClure, Steve (March 2007). "Filtering the Flies". Billboard. 119 (11): 14.
- Geslani, Michelle (19 May 2014). "Listen: Boris' fiery new rocker "Vanilla"". Consequence of Sound. Retrieved 17 November 2014.
- Carver, Andrew (31 July 2008). "Boris, Babylon – Ottawa, 13/7/2008". Penny Black Music. Retrieved 26 July 2017.
- Currin, Grayson Haver (21 March 2016). "Boris / Merzbow: Gensho". Pitchfork. Retrieved 28 June 2017.
- "Boris". BBC. Retrieved 20 May 2017.
- "Boris - Absolutego". AllMusic. Retrieved 28 June 2017.
- "Boris - Amplifier Worship". AllMusic. Retrieved 28 June 2017.
- "Beginner's Guide: Boris". Treblezine. Retrieved 29 June 2017.
- Eduardo Rivadavia (2005-04-19). "Akuma No Uta - Boris | Songs, Reviews, Credits". AllMusic. Retrieved 2017-07-14.
- Thom Jurek (2006-05-16). "Pink - Boris | Songs, Reviews, Credits". AllMusic. Retrieved 2017-07-14.
- Grayson Currin (2011-05-20). "Boris: Attention Please / Heavy Rocks Album Review". Pitchfork.com. Retrieved 2017-07-14.
- Thomas, Fred. "Boris - Noise". AllMusic. Retrieved 28 June 2017.
- Frankel, Rachel (2019-09-03). She Can Really Lay It Down: 50 Rebels, Rockers, and Musical Revolutionaries. Chronicle Books. ISBN 9781452171777.
- Condon, Dan (2019-03-26). "5 amazing Japanese artists you need to hear". Double J. Retrieved 2019-10-08.
- Boris Official site
- Boris Official Myspace Profile
- Southern Records: Boris Bio
- The StonerRock.com Guide to Boris
- Smother article
- New York Times review
- Boris discography at MusicBrainz
|Singles and EPs|
Veröffentlichungen von Merzbow die im OTRS erhältlich sind/waren:
Merzbow auf Wikipedia (oder andere Quellen):
|Years active||1979 (1979)–present|
Merzbow (メルツバウ, Merutsubau) is a Japanese noise project started in 1979 by Masami Akita (秋田 昌美, Akita Masami). Merzbow is best known for a style of harsh, confrontational noise. Since 1980, Akita has released over 400 recordings and has collaborated with various artists.
The name Merzbow comes from the German dada artist Kurt Schwitters' artwork Merzbau, 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 began to follow a vegan, straight edge lifestyle.
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 a 50 CD box set named 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".
Life and career
Masami Akita was born in Tokyo, Japan on December 19, 1956. He listened to psychedelic music, progressive rock, and later free jazz in his youth, all of which have influenced his noise. In high school he became the drummer of various high school bands, which he left due to the other members being "grass-smoking Zappa freaks". By this time, he and high school friend Kiyoshi Mizutani had started playing improvised rock at studio sessions that Akita describes as "long jam sessions along the lines of Ash Ra Tempel or Can but we didn't have any psychedelic taste".
He later attended Tamagawa University to study fine art, at which he majored in painting and art theory. While at university, he became interested in the ideas of dada and surrealism and also studied Butoh dance. At Tamagawa, he learned of Kurt Schwitters' Merz, or art made from rubbish, including Schwitters' Merzbau (meaning Merz building, German pronunciation: [ˈmɛʁtsˌbaʊ̯]), which is the source of the name Merzbow.
Merzbow began as the duo of Masami Akita and Kiyoshi Mizutani, who met Akita in high school. Akita started releasing noise recordings on cassettes through his own record label, Lowest Music & Arts, which was founded in order to trade cassette tapes with other underground artists. The earliest recording he made was Metal Acoustic Music. Various other early releases included Remblandt Assemblage and Solonoise 1. The Collection series consisted of ten cassettes, the first five were recorded in a studio for an independent label called Ylem, which went defunct before they could be released. So, Akita released them himself, and recorded five more at home.
Akita's earliest music was made with tape loops and creatively recorded percussion and metal.
I threw all my past music career in the garbage. There was no longer any need for concepts like 'career' and 'skill'. I stopped playing music and went in search of an alternative.— Masami Akita
Early methods included what he referred to as "material action", in which he would closely amplify small sounds so as to distort them through the microphone. This method was used on Material Action for 2 Microphones and Material Action 2 N.A.M.. Among early releases like the box set Pornoise/1kg, Merzbow created artwork using photocopies of collages made out of manga and porn magazines he found in trash cans in the Tokyo subway. Akita explained this as trying to "create the same feeling as the secret porn customer for the people buying my cassettes in the early 80s".
ZSF Produkt (pronounced Zusufu, from an ancient Japanese word meaning "magnetic") was founded in 1984 to release music by similar artists within the industrial movement but eventually became the successor to Lowest Music & Arts. Numerous Merzbow releases were recorded at ZSF Produkt Studio, Masami Akita's home studio.
During this era, Merzbow found much wider recognition and began making recordings for various international labels. Batztoutai with Memorial Gadgets was his first LP released outside of Japan. He also started touring abroad with the help of various collaborators. First, Merzbow performed in the USSR in 1988, then, toured the US in 1990, Korea in 1991, and Europe in 1989 and 1992. Kiyoshi Mizutani left Merzbow after the 1989 European tour and continues to pursue a solo career.
Noise electronics era (1989–1999)
During the European tour in September–October 1989, Merzbow could only bring simple and portable gear; this led to the harsh noise style Merzbow became known for in the 1990s. Cloud Cock OO Grand (1990) was the first example of this new style, Merzbow's first digital recording (on DAT), and the first recording made for the CD format. It also includes live material recorded during the tour.
But when I started live in late 1980s I didn't like to use tape on stage. I like only live electronics. So, my studio works changed to more live composition style. I'm still using many tapes in studio works, but difference is I treat tapes and instruments. Before, I used tapes as overdubbing concept. But now tapes are crashing together, no static overdub. I found that style on Cloud Cock OO Grand.— Masami Akita
Beginning in the mid-1990s, Merzbow began to be influenced by death metal and grindcore. Recordings from this time are mostly recorded at extreme volume, some mastered at levels far beyond standard (Noisembryo, Pulse Demon). In 1994, Akita acquired a vintage EMS synthesizer. From 1996, plans were made to release a "10 (or maybe 12)" CD box set on Extreme Records. In 2000, Extreme Records released the Merzbox, a fifty CD set of Merzbow records, twenty of them not previously released.
Throughout most of the 1990s, Merzbow live was a trio with Reiko A. on electronics and Tetsuo Sakaibara (aka Bara) on voice and dance. Masami Akita occasionally played drums for Hijokaidan during the early–mid 1990s.
In the early 1990s, Masami Akita composed the soundtracks to numerous kinbaku videos by Fuji Planning (不二企画, Fuji Kikaku) and seppuku-themed videos by their sub-label Right Brain. Akita also directed Lost Paradise (失楽園 乗馬服女腹切り, Shitsurakuen: Jōbafuku onna harakiri) for Right Brain. Some of this music was included on Music for Bondage Performance and Music for Bondage Performance 2, co-credited to Right Brain Audile. Director Ian Kerkhof would use a Merzbow track for his 1992 film La séquence des barres parallèles, and Akita composed original music for Kerhof's 1994 film The Dead Man 2: Return of the Dead Man. Kerkhof made the documentary Beyond Ultra Violence: Uneasy Listening by Merzbow in 1998. Akita also created music for Ilppo Pohjola's Asphalto (1998) and Routemaster (2000).
Laptop era (1999–2009)
Since 1999, Akita has used computers in his recordings, having first acquired a Macintosh to work on art for the Merzbox. Also at this time he began referring to his home studio as "Bedroom, Tokyo". At live performances, Akita has produced noise music from either two laptop computers or combination of a laptop and analog synthesizers/guitar pedals. Reiko A. and Bara left Merzbow during this time; Reiko Azuma now has a solo career. Since 2001, Jenny Akita (née Kawabata) started being credited for artwork on various releases.
I started raising four bantams, the little ornamental chickens. With this experience as a start, I gradually started to be concerned and care about chickens and all the barn animals I used to eat without giving it a second thought before. So I started reading books and researching on the internet about Animal Rights and that triggered an awareness of "evil" that human society has done.— Masami Akita
During this period, Akita also became a supporter of PETA, which is reflected in his animal-themed releases. An example of this is Minazo Vol. 1 and Vol. 2, dedicated to an elephant seal he visited often at the zoo and Bloody Sea, a protest against Japanese whaling. He has also produced several works centered around recordings of his pet chickens (notably Animal Magnetism and Turmeric).
Also in 2002, Akita released Merzbeat, which was seen as a significant departure from his trademark abstract style in that it contains beat-oriented pieces. This has sparked some controversy among fans, though some reviewers pointed out that it sounded very similar to Aqua Necromancer (1998), which features samples of progressive rock drumming. Merzbird (2004) and Merzbuddha (2005) followed in a similar vein with sampled beats combined with Merzbow's signature harsh noise.
Current era (2009–present)
Starting in the mid-2000s, Masami Akita began to reintroduce junk metal and effects pedals back into his setup. By the early 2010s, he was using a large number of pedals, oscillators and tone generators, and reduced to a single laptop running granular synthesis software. In 2014, he toured without a laptop. In 2008, Akita reintroduced the drum kit, his first instrument. This can be heard on the 13 Japanese Birds series. At this time he changed the name of his home studio to Munemihouse.
Beginning in November 2009, Merzbow started releasing archival material from the 1980s and 1990s, both reissues and previously unreleased material, several of which were released on cassette. The Blossoming Noise label reissued the 1980s cassettes E-Study, Collection 004, Collection 005, Normal Music, and Flesh Metal Orgasm. The Kibbutz cassette was reissued on vinyl by Urashima. Other cassettes of unreleased material include Untitled Nov 1989, 9888A, April 1992, and Variations for Electric Fan. 2010–2013 saw the release several archival box sets; Merzbient, Merzphysics, Merzmorphosis, Lowest Music & Arts 1980–1983, and Duo.
Akita began collaborating with the Hungarian drummer Balázs Pándi in 2009, initially Pándi served as a live drummer for Merzbow. This resulted in the live albums Live at Fluc Wanne, Vienna 2010/05/18, Ducks: Live in NYC, and Katowice. Akita and Pándi then began to record studio albums collaborating with additional musicians, Cuts (2013) with the Swedish saxophone player Mats Gustafsson, Cuts of Guilt, Cuts Deeper (2015) with Gustafsson and Thurston Moore, and An Untroublesome Defencelessness with Keiji Haino (2016), all released by RareNoiseRecords. Akita, Pándi, and Gustafsson also toured together and released the live LP Live in Tabačka 13/04/12.
Merzbow also released several collaborations with industrial/noise musicians he had know since the 1980s: Spiral Right / Spiral Left with Z'EV, The Black Album with John Duncan, and a trio of releases with Maurizio Bianchi, Amniocentesi / Envoise 30 05 82 (a split with two tracks from 1982), Merzbow Meets M.B., and Amalgamelody. Gensho, the seventh collaborative releases with Boris, was released in 2016. It is a double album, one disc is by Boris and one by Merzbow, that are meant to be played at the same time.
Starting in April 2018, the Japanese label Slowdown Records began releasing a series of archival recordings spaning Merzbow's career, starting with Hyper Music 1 Vol. 1 and 23 November 1979 (B). The label has released at least two CDs a month since then. Slowdown has also released several new recordings in addition to the archial releases.
Merzbow's sounds employ the use of distortion, feedback, and noises from synthesizers, machinery, and home-made noisemakers. While much of Merzbow's output is intensely harsh in character, Akita does occasionally make forays into ambient music. Vocals are employed sometimes, but never in a lyrical sense. Contrary to most harsh noise music, Akita also occasionally uses elements of melody and rhythm.
Akita's early work consisted of industrial noise music made from tape loops and conventional instruments. Similar to his present albums, he produced lengthy, disorienting pieces. He also became famous for the sheer volume of his releases.
The avant-garde nature of Akita's work made acceptance by mainstream and unprepared audiences difficult. When he performed with Kiyoshi Mizutani in 1988 at the Jazz-on-Amur festival in Khabarovsk in the Far East of the USSR, his improvised, experimental electroacoustic set was praised by fellow musicians as well as the festival's producer. The number of the - jazz-oriented (and - even just curious) - crowd, however, had been expecting a more traditional (and much-much more quiet) performance, and started walking out. Prior to his second performance at the festival — which was to be made to an even more conservative audience— Akita was asked to play "more musically." On that first stage, Merzbow used the finest example of "classical analogue live noisemaking technologies" to display: untuned guitar, a drumset, various micro-objects, small springs centered in its shell baffles, large aluminium boxes with strings inside to be attacked with a fiddlestick, etc. along with multi- piezo-pickuping and close-miking techniques, live processing through vintage US fuzz, ring modulator etc. boxes, and quite vivid and spontaneous approach, backed by domestically supplied slide and light shows. These live recordings were post-processed/re-mixed and released as Live in Khabarovsk, CCCP (I'm Proud by Rank of the Workers) LP – and as the (once more re-mixed comparing to the LP) CD 26 of the Merzbox later on.
During the 1990s Akita's work became much harsher and was generally mastered at a louder volume than usual. These were heavily influenced by death metal and grindcore bands of the time (a prime example is the Venereology album). The mid-1990s saw Akita being heavily influenced by psychedelic bands and this was reflected in various albums.
In addition to Merzbow, Masami Akita has been involved in a number of side projects and groups.
- Abtechtonics (or variations of this) was used by Akita for his artwork on Merzbow releases and his books.
- House Hunt Hussies is credited for a track on the Sexorama 1 compilation. ZSF Produkt is listed as the contact address.
- Lotus Club was used for the tape Le Sang et la Rose in 1983 because of the difference in musical style.
- Pornoise was a mail art project Akita had in the 1980s where he made collages using discarded magazines – in particular pornographic magazines – taken from the trash. These were then sent along with his cassettes, the idea being that his art was like cheap mail order pornography. Pornoise/1kg was released as part of these activities. Pornoise was credit as the artist for a track on the Sexorama 2 compilation and co-credited for artwork on Scissors for Cutting Merzbow.
- Right Brain Audile is co-credited on the two Music for Bondage Performance albums, as they're soundtracks he did for several S&M and faux-Seppuku films produced by Kinbiken/Right Brain. The abbreviation RBA appears in track titles on Merzbient, which features recordings from this era.
- SCUM was a project where Akita made new releases out of previous Merzbow sessions using cut-ups, effects, and mixing. SCUM is an acronym, standing for something different on each release, including "Society for Cutting Up Merzbow" (a reference to the SCUM Manifesto), "Scissors for CUtting Merzbow", "Steel CUM", etc.
- Zecken was used for two solo synthesizer performances in 1996.
- Bustmonster was a "conceptual death metal" group (because they couldn't play death metal) with Tetsuo Sakaibara, Fumio Kosakai, Masahiko Ohno, Shohei Iwasaki, Maso Yamazaki and Zev Asher.
- Flying Testicle was a trio with Yamazaki and Asher.
- Merzbow Null was a collaboration between the groups of Merzbow and Null. In addition to Masami Akita and Kazuyuki Kishino, it featured several other members of both groups such as Reiko Azuma, Asami Hayashi, Kiyoshi Mizutani, Yushi Okano, Ikuo Taketani, etc. They did many improv performances during 1983–84 and released over a dozen cassettes.
- Tibeta Ubik was a duo of Akita and Kishino active at the same time as Merzbow Null.
- True Romance was a performance art project in the early 1990s with Tetsuo Sakaibara (who became a live member of Merzbow) and Toshiyuki Seido. The performances included fetish equipment, simulated gore (including autopsy), mechanical devices, nude models, etc. It was inspired by Viennese Actionism. Masami Akita was a performer in addition to composing the backing music.
Other groups include: 3RENSA with Duenn and Koji Nakamura, Abe Sada with S.M.U.T., Commando Bruno Sanmartino with Fumio Kosakai and Masaya Nakahara, Kikuri with Keiji Haino, Maldoror with Mike Patton, MAZK with Zbigniew Karkowski, Melting Lips with Hanayo, Muscats with Hanayo and Masaya Nakahara, Metalik Zeit with Aube, Merz-Banana with Melt-Banana, Satanstornade with Russell Haswell (they later released an album entitled Satanstornade under their real names), Secrets with Tetsuya Mugishima (aka Seven), and Shalon Kelly King with Fumio Kosakai.
After completing his degree, Akita became a freelance writer and editor for various magazines in Japan. He frequently wrote on a variety of topics such as sexuality (including pornography, S&M, and Japanese bondage), underground and extreme culture (including music and art), architecture, and animal rights. None have been published in English.
|Year||Japanese title||English title||Publisher||ISBN|
Tōsaku no anaguramu: Shūenteki porunogurafī no gekijō
|The Anagram of Perversion||Seikyūsha||ISBN 4-7872-1005-X|
Ikei no manierisumu: "Ja" no minzoku
Fetisshu fasshon: Henbō suru eros to kairaku shintai
|Fetish Fashion||ISBN 4-7872-1010-6|
Sekkusu shinboru no tanjō
|The Power of Goddess of Love||ISBN 978-4-7872-1011-1|
Noizu wō: Noizu myūjikku to sono tenkai
|Noise War: Noise 10 Years||ISBN 4-7872-7035-4|
Kairaku shintai no miraikei
|Terminal Body Play||ISBN 4-7872-1018-1|
|Body Exotica: Sexual Atrocity||ISBN 4-89176-288-8|
|Scum Culture||Suiseisha||ISBN 4-89176-303-5|
Sei no ryōki modan: Nihon hentai kenkyū ōrai
|Modern Sexuality Bizarre||Seikyūsha||ISBN 4-7872-3087-5|
|1995||裸体の帝国 (ヌード・ワールド Vol.1 ヌーディズムの歴史 1)|
Ratai no teikoku (Nūdo wārudo vol. 1: nūdizumu no rekishi 1)
|Nude Empire||Suiseisha||ISBN 4-89176-312-4|
Nihon kinbaku shashinshi
|Jiyu Kokuminsha||ISBN 4-426-73800-8|
|Anal Baroque||Seikyūsha||ISBN 4-7872-3134-0|
Nyoinkō: Seigaku koten yori
|Think Vagina||Outou Shobou||ISBN 4-7567-1131-6|
|ストレンジ・ヌード・カルト 不思議の裸体天国 (ヌード・ワールド Vol.2)|
Sutorenji nūdo karuto: Fushigi no ratai tengoku (Nūdo wārudo vol. 2)
|Strange Nude Cult||Suiseisha||ISBN 4-89176-313-2|
|Love Position||Outou Shobou||ISBN 4-7567-1141-3|
Watashi no saishoku seikatsu
|Cruelty Free Life||Ohta Publishing||ISBN 4-87233-979-7|
Note: English title refers to English writing on the cover, sometimes it's a translation of the Japanese title, or a completely different phrase.
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- Merzbow discography at MusicBrainz
- Merzbow on Facebook
- Merzbow on Twitter
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