This album is the fourth work in the first series of the archive project to compile the unreleased and unedited sounds owned by Merzbow, in chronological order. The first series is a selection of cassette tape recordings from 1979 to 1981. It will be released over six CDs. These are all studio live session recordings from the early Merzbow period by Masami Akita and Kiyoshi Mizutani, and although they have been edited and recycled as material for other works, this is the first time they have been released in their original form. In this sense, this recording series can be called a disclosure of self-archives and self-materials.

Mr. Akita also contributed some interesting notes to this work. I would like to reprint his notes from "Por#1&2 Vol.1" in their entirety to bring out the timeline of this session.
●『Por#1&2 Vol.1』(Recorded on May 4, 1980)
'This recording is one side of a 90-minute tape of a session made at my home on May 4, 1980. The index of the original cassette tape is titled "Pornoise 1 & 2", but the cassette itself is labeled "MPor #1" and "por#2". Since "Pornoise" is also known as the title of a later series of Merzbow's works, I have chosen to use the title "Por#1 & 2" to avoid misunderstandings. "Por#1" is a continuation of the last song on "Por#2", so it was recorded later in the timeline, but for some reason it was recorded on the A-side of the cassette, and is also marked as "#1" on the cassette itself. I'm playing guitar, Mizutani is playing tabla and drums. Only the last two tracks have various sounds such as tape and flute, so it may not be a live performance but a multiple recording.'
●『Por#1&2 Vol.2』(Recorded on May 4, 1980)
'As I mentioned in my notes for "Por#1", this is the first half of the recording. The first and second songs are me doing microphone feedback and drums, Mizutani playing guitar. For the last song, I play the radio and Mizutani plays the tabla. The usual pattern of our sessions is to have a long, relatively serious instrumental session first, and then switch to an unfamiliar instrument for the second half. Some of this material has been reused as mix material in the "Merzbow Collection" series.'
For Akita and Mizutani, who had more than enough musical ability, the question of how to "deviate" from the "rock" they knew too well at a young age must have been an extremely important thesis. And what if I were to say that the search for and practice of "deviation" was the important "gospel" that melted their performance and led them into the sonic realm of "noise music"? Here, indeed, a "new music" is being created. This "practice" and "experiment" will be practiced and developed more boldly in the future......

Denshi note