Merzbird and Merzbuddha followed in a similar vein with sampled beats combined with Merzbow's signature harsh noise. Current era —present In , Akita reintroduced the drum kit, his first instrument. This could be heard on 13 Japanese Birds, a thirteen disc series recorded and released one-a-month throughout At this time he changed the name of his home studio to Munemihouse. Beginning in November , Masami Akita started releasing archival material from the s and s, both reissues and previously unreleased material, several of which were released on cassette.
The Blossoming Noise label has reissued five cassettes, and released Microkosmos Volume 1, which is a new recording on LP with collage artwork created by Akita in — The Kibbutz cassette was reissued on vinyl. Musical style 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 audiences difficult. When he performed with Kiyoshi Mizutani at the Jazz-on-Amur festival in the USSR, his improvised, experimental electroacoustic set was praised by fellow musicians as well as the festival's producer.
The majority of the crowd, however, had been expecting a more traditional and quieter performance, and walked 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.
During the 90s Akita's work became much harsher and were 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 mids saw Akita being heavily influenced by psychedelic bands and this was reflected in various albums. Fucking great band, This Heat. Jimmy: " They Were Wrong might be my favourite record this decade. I was initially looking forward to hearing Health,, but I found that band a real disappointment. If you want to play in a band who sound like Sabbath, fella, just fucking do it. What is wrong with angry guys dissing each other on the internet?
Why don't they just chill out and have sex with someone? John: "The thing that puzzles me about this is that these people obviously have small penises and are extremely insecure in real life and so they spend all their time online fashioning an alter-ego with which to take over the world. Except their online alter-egos always seem like extremely insecure people with tiny penises. Is it true that two of your group had never been in a band before this?
John: "I'm actually the only member that had never been in a band before; the reason being I was never that confident I could create something decent and was reluctant to add to the increasingly large pool of rubbish bands. I still worry a great deal about not being rubbish, not just musically, but in the way we conduct ourselves. I think I tend to have an idealised view of being in a band which comes from reading to many books and articles about Big Black and the Minutemen rather than the reality of playing down the Dublin Castle twice a week.
I'm also quicker to dismiss things than the others, which results in me seeming overly negative, when in actual fact it's purely from a fear of being a bit rubbish. On the other side of that, Jimmy and Sam's musicianship prevents from being either a total mess or extremely dull. Kass Kass - Kass Tout. Doi-Oing - Chunky. Julia Darling - Figure 8.
Various - Rock, Baby, Rock! Johnny Clarke - Yard Style. Wolf Eyes - Submerge album flac. Paul Raven Edited 1 time s. Special thanks to Witchbeam for his efforts to get the word out. Your energy, appreciation and support are what keeps experimental music and WCSB alive in Cleveland and beyond. Here is what he played: Native American music etc. Thanks Stephe!! Here is what he played: 1.
Merzbow "Red aka " excerpt 3. After getting blown out and trying to figure out "Alright, Olson starts, then Dillo [Aaron Dilloway], then Nate [Young], then just Wolf Eyes", the cheap beer took over the thinking functions, and it was Wolf trio from start to finish, for about two hours straight. Photos exist somewhere. Connelly's band destroyed the place, and afterward we stole metal parking signs from the parking light for future percussion.
Barely made it home. Wild RNR free all night. This was near the height of the 'search and destroy' violence years, and after a stage diver took out Dillo's electro-table he dove into the crowd and a greasy brawl started.
We got back on stage and the crowd turned on us big time - not pretty. The place was nuts, owned by a Suzanne? But a strong lesson learned live, to hold our ground via cheap electronics and loud beats. We totally forgot we had a gig that night, and got a roll call at 9pm. Fill on in the lathe cutting exploration years: we had to do a tour shortly after this gig, so being the geniuses we are, we decided to skip the EQ and just cut records live on the grip of fresh acto 10" blank lathes we had.
The 10" turned out real nice, with Wolf Stamp and such. One of the rare non-violent gigs at the Elbow Room, where after Bulb New Year the entire crew got banned for life.
More MPLS horror. After a long, intense, work-tour-study with Sonic Youth through the desert and out west in a heat-lock, non-air conditioned van, we were at our first 'coming home gig' with Hair Police and the Youth. Big gig. This is heavy weather indeed: released as a three-CD set under the moniker of History Always Favours The Winners, the albums are also available as double LPs, both formats with sleeves featuring the heavily textured, melancholy paintings of Ivan Seal.
The dimensions and design of this project are integral to its impact — if Kirby had released, as originally intended, a single-CD album, its affect would be very different. For one thing, a large-scale piece is in itself a statement of intent in our supposedly accelerated listening culture, upon which Kirby takes a dystopian, regretful stance. For another, it's near-impossible to conceive of the hours of music as a sequential whole; instead, we focus on aspects, moods and fragments, mapping and interpreting multiple versions.
Not only does this simulate memory itself — that constantly mutating, murky expanse we carry within us collectively and individually, with which Kirby has long demonstrated a fascination via his Caretaker releases — but it also makes the palette of slow keyboard melody, subliminal bass, washes of noise and skilfully layered samples more meaningful than it might be otherwise.
Piano features heavily, and at times feels a little too refined and meandering. Yet it is always part of a larger picture, an eternity of vinyl crackle, tape wobble, quiet shrieks of feedback and suggested strings, EVP and Earth hum, reminiscent of the hidden audio worlds created by by Philip Jeck.
Elsewhere the melodies drift from theremin and what sounds to be a music box or celeste, and from unsteady, pitch-bent synths from phantom raves.H/B A/D - Within the Triangle cdr (Snapped In Half — collab. with D/A A/D) ed. 30 Head Boggled Fossils - Feedbog cs (Middle James Co. — split/collab. with David Payne) ed. 23 Head Boggle - live track for Live Frying split cs with Oi Boyz and Wolf Eyes (american tapes) ed. 5.