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Merzbow, "A Taste of..."
Mego
One cannot discuss a new Merzbow CD without mentioning how damn manyothers exist. No Merzbow CD can ever truly be "the new one", becausesome label is forever adding to the Merzbow publishing glut, newer onesarriving at a rate which confounds mere chronological hierarchy. It hasbecome so that the band name is like a brand name; one buys some moreMerzbow, rather than any specific album. Or one does not buy, which isincreasingly seeming like a fine idea. After all, it is not apparentthat Merzbow's Masami Akita actually has as many album-length ideas ashe does albums. Rather, he produces his sound until hismedia-determined time restraint runs out. I would be very surprised ifhe listens at all to what he produces these days, after or even duringthe process of recording, so satisfied he must be that he has filledanother 74 minutes with Merzbow.
Now, Mego is a label that I trust and respect. Not attached to anygenre or style, only a vague and loose allegiance to computer-createdmusic of some kind, I would expect them to demand more from Merzbow.That doesn't seem to be the case. On "A Taste of...", it sounds to meas if a couple of samples were looped for five minutes at a time, whilevarious filters were bloodlessly applied and removed. It's as if apattern, or perhaps an instruction booklet for some software, wasstrictly followed so that this specific result would emerge. There is atheme of Japanese cuisine presented in the artwork, but nothing withinthe music which resonates that theme. In fact, Japanese cuisine valuespresentation, freshness and detail, and this noise sounds as if no onemade it or was paying much attention to it or its ingredients at all.
I believe that noise can be musical—bands like Hijo Kaidan,Borbetomagus, Masonna, and especially CCCC, have produced works thathold up as albums which evidence some compositional thought andemotion, or even concentrated non-emotion. Pita has done so using acomputer; his "Get Out" is one of the most powerful computer-musicalbums that I can think of. Merzbow used to make albums that soundedwhole ("Antimonument", "Batz-Tau-Tai", "Material Action 2"), but sincethe 1990s has forfeited quality for quantity. If you've been wonderingwhy he is generally refered to as the "king" of Japanese noise music,you won't find out why by listening to "A Taste of...".
One cannot discuss a new Merzbow CD without mentioning how damn manyothers exist. No Merzbow CD can ever truly be "the new one", becausesome label is forever adding to the Merzbow publishing glut, newer onesarriving at a rate which confounds mere chronological hierarchy. It hasbecome so that the band name is like a brand name; one buys some moreMerzbow, rather than any specific album. Or one does not buy, which isincreasingly seeming like a fine idea. After all, it is not apparentthat Merzbow's Masami Akita actually has as many album-length ideas ashe does albums. Rather, he produces his sound until hismedia-determined time restraint runs out. I would be very surprised ifhe listens at all to what he produces these days, after or even duringthe process of recording, so satisfied he must be that he has filledanother 74 minutes with Merzbow. Now, Mego is a label that I trust and respect. Not attached to anygenre or style, only a vague and loose allegiance to computer-createdmusic of some kind, I would expect them to demand more from Merzbow.That doesn't seem to be the case. On "A Taste of...", it sounds to meas if a couple of samples were looped for five minutes at a time, whilevarious filters were bloodlessly applied and removed. It's as if apattern, or perhaps an instruction booklet for some software, wasstrictly followed so that this specific result would emerge. There is atheme of Japanese cuisine presented in the artwork, but nothing withinthe music which resonates that theme. In fact, Japanese cuisine valuespresentation, freshness and detail, and this noise sounds as if no onemade it or was paying much attention to it or its ingredients at all.
I believe that noise can be musical—bands like Hijo Kaidan,Borbetomagus, Masonna, and especially CCCC, have produced works thathold up as albums which evidence some compositional thought andemotion, or even concentrated non-emotion. Pita has done so using acomputer; his "Get Out" is one of the most powerful computer-musicalbums that I can think of. Merzbow used to make albums that soundedwhole ("Antimonument", "Batz-Tau-Tai", "Material Action 2"), but sincethe 1990s has forfeited quality for quantity. If you've been wonderingwhy he is generally refered to as the "king" of Japanese noise music,you won't find out why by listening to "A Taste of...".
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