The Merzbow Archive series by Slowdown Records, which has released ten editions so far, enters its twelveth edition. This edition consists of recordings made between 2008 and 2009, when Merzbow developed a style that incorporated drumming. Although Masami Akita was originally a drummer heavily influenced by psychedelic rock, progressive rock, and other free music of the 70s, he avoided using drums in Merzbow (except in the duo with Kiyoshi Mizutani in the late 70s and in Merzbow Null in the early 80s). As a result, this period is the first time Merzbow has used drums in a full-fledged way in his solo works. Merzbow's most famous work in this style is the "13 Japanese Birds Series" (Important Records), a year-long series of 13 releases spanning 2008 and 2009. The impetus for the development of this style came in April 2008, the day after the London show, at Tin Pan Alley Studios, when Merzbow was recording for a new album to be released on Cold Spring Records in the UK. At that time, he recorded the live drums in the studio and combined them with computer noise, which became the beginning of their full-scale use of drums (this recording was included in "Anicca" (Cold Spring, 2008)). After returning to Japan, his drumming style evolved to include not only computerized sounds but also improvised noise, leading to works such as "Arijigoku" (Vivo, 2008), "Protean World" (Noiseville, 2008), and "Microkosmos" (Blossoming Noise, 2009). The encounter with a drummer who has a lot in common with him in terms of musical background (not only metal and grindcore, but also Sun Ra and free jazz) led to Merzbow's desire to pursue a style that incorporates drumming as a duo. And Merzbow's solo music has returned to a drum-less style (i.e., a style that is not improvisational even if drums are included). Therefore, the recordings of this period using Akita's own drum performance is valuable.
This album "Red Brick" contains studio rehearsal recordings of Merzbow's performance at the Yokohama Triennale related event on September 20, 2008. Since it is a live recording of a rehearsal performance, there is no drum performance on this album, but in the second and third tracks, a slight drum sampling sound can be heard, giving the impression that it was recorded at the same period. As this is a rehearsal recording, various elements and developments are compressed and contained in a relatively short time.
yorosz(aka Shuta Hiraki)
released May 31, 2022
All Music by Masami Akita
Recorded & mixed at Munemihouse, September 2008.
Remastered, October 2020.
Mastered at Kentaro Hayashi, Osaka, Japan.
Yasuyuki Nakamura (slowdown records) : A&R
マサミは1970年代以降のノイズ業界で40年以上働いており、スケルチ、ブリーチ、ドローン、爆発的なブザー、高音のスケルチが彼のトレードマークであることを理解する必要があります。このラケットには喜びがあり、発見する価値があります。マサミのおかげで感謝祭で七面鳥の料理と食事をやめました！He has been working with post 1970s noise for more than 40 years & you need to understand that scratchy squelches, bleats, drones, explosive buzzes & high pitched squealing squeals are his trademark. There is joy in this racket & it is well worth discovering. I've stopped cooking and eating turkey on Thanksgiving thanks to Masami! MERZILLA
Culled from unreleased recordings from her recent "Light Sleep" and "Voice Hardcore" releases, Hiromi Moritani's latest showcases the softer, less harrowing side of Phew’s sound Bandcamp Album of the Day Sep 2, 2020