Disc one of Kibako, and “Nigatsu Nijuugonichi”‘s abrasive banquet of blow torch and bruised industry is definitely a room clearer. Lurching around in shifts of attacking energies, fearsome, intense – full of percussive dynamite snipping at squalling hordes. It’s a weird kind of rapture, overwhelming the senses with spiky shards, enforced further by the screaming inferno of the following track “Operation Musashi.” Those clashing hertzological blizzards taking Schoenberg‘s gasps of tonality to their ultimate conclusion as a golden garbage of percussiveness under-runs a frantic exorcism of melody. Jackbooty BPMs hitting hollow snarings, drum solos spiralling off in quartzy whirls of dentist drill and Venetian Snares fuckeries of tempo.
“Askayama Shita Moeru”‘s harsh snowstorms kiss your senses with unintelligible yells and scrubbed perspex; it sounds like a demented Punch and Judy with angst-ridden strings thrown
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Spluttering rupturing, discordantly eviscerating the sounds and tropes of analogue and digital synthesis, Takahe Collage arrives in three parts but leaves music (once again) shredded in to far, far more. The first two pieces, the title track and “Tendeko,” weigh in at around the half-hour mark each, and after a through listen their presence soon becomes inscribed upon the ears like a permanent tattoo.
“Takahe Collage” bursts straight in without a fade or a fine thank you, surging directly for the jugular on a raft of churning loops and filter-tweakings of whatever combinations of patched-to-the-utmost analogue monstrosity and/or hand-built black box – or cheap consumer device or freeware plugin, who knows – Merzbow unleashes without a care for melody in the whole world. Ramp up
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Les Disques Victo
The meeting of five titans of noise and experimental music onstage at the Victoriaville Festival in May 2011 was an occasion for a well-formed on the hoof composition from the five performers involved: Richard Pinahs of Heldon fame; Merzbow; and Wolf Eyes. While the latter have frequently been lauded as being in the same league as Throbbing Gristle, their albums and live shows have been sometimes less than impressive, and often failed to actually live up to the expectations heaped upon them at the time of the music press’ rekindling of interest in all matters noisy and oblique over the last decade or so.
However, all that is changed here. It’s not particularly easy to determine who is playing what in the
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ULU, London 19 April 2008
Merzbow was brutal. That could be the whole review. We went in knowing he would be brutal and he delivered. We came back out deaf, balance impaired, and probably several shades paler. Merzbow, aka Akita Masami, is one of the pre-eminent industrial noise artists and has had a prolific career since the late seventies. As with some of his other recent releases, the concert had traces of beat, pounding distorted and garbled rhythms that battered the audience into submission. The guy standing next to me was trying to dance, but mainly succeeded in acting out a (more than likely) ecstasy mime representation of being deafened. The sonic attack was a mixture of laptops (with slogans reflecting Merzbow’s
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