Chicago-based sound artist Kikù Hibino collaborates with Japanese noise pioneer Merzbow (Masami Akita) on Rococo ∞ Echomatter, released by Superpang. Exchanging material between Chicago and Tokyo, the duo cuts spoken voice and instruments into dense noise fields.
The album opens like a thunderstorm. The voice that echoes around you (Alexandra Cupsa’s ASMR-modulated French vocals) becomes the green-gray sky, and suddenly, there are flickering tremors of distorted chaos, coming at you in bursts, like lightning. You hear the sounds of a tape rewinding, appropriately enough, since the album starts with the end (‘dB.XYZ’) and ends with the beginning (‘abcdefg’), as if the whole thing is being played backwards. ‘dB.XYZ’ in particular…
Tag Archive: Merzbow
TripleAkuma is the third in a series of essential live documents from Merzbow.
The stage and the studio are not the same place, and Merzbow has an acute understanding of this juxtaposition. Whilst the sheer density of the music might be maintained across both spheres, the live experience of Merzbow is truly something that exists as profoundly physical and moreover, overtly performative.
Merzbow’s live methodologies draw not just from a saturation of frequency at all levels, but a recognition of how frequency can be used to affect the body. Working at the extremes of both low and high sonic energies, he creates a situation within which the fullness of the body can be tested; the aural body, that of our ears…
“Bariken” is a 2004 album by Merzbow, and as its title suggests, the theme of this work centers on the Bariken itself. The Bariken, also known as the “Taiwan Duck,” is a species of duck and has some characteristics that are its vivid green and ultramarine plumage and the red caruncle that extends around its bill and eyes.
Around 2003, I happened to notice a peculiar-looking duck in a river near my home. Upon investigation, I learned it was a Bariken — likely one that had escaped or been abandoned after being kept for food, subsequently adapting to the wild. There were also Bariken inhabiting the pond of a nearby Japanese garden. At the time, it was common to see ducks swimming in the rivers and ponds of Tokyo. A few years later,…
Akashaplexia is the culmination of Merzbow and John Wiese’s decades-long partnership, offering over three hours of new music across four CDs. Recorded together in Tokyo, the album balances Merzbow’s psychedelic intensity and Wiese’s meticulous sonic architecture, presenting a vast and intricately detailed landscape of noise, improvisation, and unpredictable dynamic shifts.
Akashaplexia stands as the first full-length studio collaboration between Merzbow and John Wiese, captured in December 2024 at Sound Studio Noah, Tokyo. This box set – designed by John Wiese and elegantly housed in a casewrap slipcase – is remarkable in both ambition and presentation, packing more than three hours of newly forged material on four separate discs.
…What can, after all, be said about Masami Akita’s ultra-strident tessellations of sound — where total control masquerades as abject chaos, where extreme volume is a dare to lean in a little closer — that hasn’t already been uttered? Across the last half-century, he has become the metonym of harsh noise while also existing far beyond it, with frequent forays into grindcore bedlam and doom marches, ambient hum and free jazz eruptions. Box sets of 35 and 50 CDs, multiple series of albums that run for years, a collaborative zeal that seems boundless: Merzbow is so prolific that browsing his discography is like autoscrolling an abyss, revealing a catalogue so daunting that many people understandably stand only near its edges. Depending on how you tally them,…
This work consists of sound and a collection of AI-generated images. The image collection is a compilation of AI-generated images used in a projection at the Merzbow Free Noise concert held on January 6, 2025, at WWW in Shibuya, Tokyo. The use of such visuals in Merzbow is rare in recent years, and of course, the use of AI-generated images in a live performance is a first.
The concert was divided into two parts, and one of the rehearsal recordings of the songs performed in the first part is the first track on the CD, “Peacock Analogy.” This track mixes live recordings of computer sounds from Sonicware’s TextureLab, Oscillator, and CD. The second track, “Tenbyo Caterpillar 1,” is one of Merzbow’s most recent studio recordings.
KontaktAudio presents the first-ever official release of the ultra rare and sought after B-Semi Live 24/5/1984 cassette, a rare and explosive document capturing a crucial moment in Japan’s underground noise and industrial music scene. Recorded at the legendary B-Semi venue in Tokyo, this performance brings together three pioneers – Merzbow, Null (K.K. Null), and Nord – delivering a raw, unfiltered onslaught of early Japanese noise music in its most intense form.
This historic recording showcases the primitive power and experimental spirit that defined the early Japanese noise music scene, sitting alongside the abrasive intensity of Whitehouse, the industrial ritualism of SPK, and the mechanical destruction of Throbbing Gristle.
Recorded in 1996, Merzbow’s The Prosperity of Vice, the Misfortune of Virtue is one of a series of unique editions from his vast catalogue that reveals a side of his practice often under represented.
During the late 1980s and into the 1990s, Masami Akita was sometimes working on film and theatre music. In this space he created a series of recordings that capture the full scope of his sound worlds.
Given the nature of these settings, his compositional approaches were varied, seeking to create both intensely crushing walls of sound and more spatial, and at times rhythmic, pieces that plot out an approach to sound making which atomises his universe of sound, and uncovered the singular detail that is often consumed in the whole.