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Merzbow, "Timehunter"
Ant Zen
After a few years in which only a handful of Merzbow albums seemed toemerge, the typically prolific Masami Akita has returned to histraditional, aggressive release schedule. Having overcome theexhaustion associated with the fifty CD Merzbox, the past six months have offered a plethora of new material, including Frog, Merzbeat, Merzzow, the collaboration with Pan Sonic, and the Russell Haswell collaboration Satanstornade.Finally, Ant-Zen has stepped into the ring with this cleverly packaged4x3" CD set. Each disc offers a bite-sized portion of the diverselynoisy flavors of Merzbow's modern noise compositions. The ferocious"Warhorse" opens this collection with a wailing guitar loop that soonsubmits to the cacophony of abstract percussion and sizzlingsoundscapes. Far removed from his earlier work a la Music For Bondage Performance,the piece hits like an air raid and offers little relief through its 21minute duration. In contrast, the second CD opens with the minimal yetbassy rumblings of "Space Trackin," whose somewhat rhythmic structureexperiences constant interruption from static-laden frequencies. Itstays relatively consistent until roughly the last minute, evolvinginto a squeaky filtered bleep-beat experiment. The accompanying"Ramatam" combines a white hot sheet of electronics with hard rockdrums before yielding to the sounds of burning hard drives. Disc threecomes from the same mindset, if not the same recording sessions, of theMerzbeat project. Of the two tracks here, "Stone The Crow"appeals to me more with its steady, sludgy rock backbeat churning underan array of dominant, menacing squeals and hisses. The final CD soundsmost like an Ant-Zen release. From the onset of "CD Hunter," a reworkof the previously-available "AB Hunter," a muffled rhythm lays thefoundation for stream upon stream of digital noise. After giving allfour discs a good listen, it has become clear to me that Merzbow isreleasing some of the most creative and interesting work of his entirecareer.
After a few years in which only a handful of Merzbow albums seemed toemerge, the typically prolific Masami Akita has returned to histraditional, aggressive release schedule. Having overcome theexhaustion associated with the fifty CD Merzbox, the past six months have offered a plethora of new material, including Frog, Merzbeat, Merzzow, the collaboration with Pan Sonic, and the Russell Haswell collaboration Satanstornade.Finally, Ant-Zen has stepped into the ring with this cleverly packaged4x3" CD set. Each disc offers a bite-sized portion of the diverselynoisy flavors of Merzbow's modern noise compositions. The ferocious"Warhorse" opens this collection with a wailing guitar loop that soonsubmits to the cacophony of abstract percussion and sizzlingsoundscapes. Far removed from his earlier work a la Music For Bondage Performance,the piece hits like an air raid and offers little relief through its 21minute duration. In contrast, the second CD opens with the minimal yetbassy rumblings of "Space Trackin," whose somewhat rhythmic structureexperiences constant interruption from static-laden frequencies. Itstays relatively consistent until roughly the last minute, evolvinginto a squeaky filtered bleep-beat experiment. The accompanying"Ramatam" combines a white hot sheet of electronics with hard rockdrums before yielding to the sounds of burning hard drives. Disc threecomes from the same mindset, if not the same recording sessions, of theMerzbeat project. Of the two tracks here, "Stone The Crow"appeals to me more with its steady, sludgy rock backbeat churning underan array of dominant, menacing squeals and hisses. The final CD soundsmost like an Ant-Zen release. From the onset of "CD Hunter," a reworkof the previously-available "AB Hunter," a muffled rhythm lays thefoundation for stream upon stream of digital noise. After giving allfour discs a good listen, it has become clear to me that Merzbow isreleasing some of the most creative and interesting work of his entirecareer.
