Merzbow Top Hits

[Strömkarlen]

according to Spotify

1. Sponge Octopus
2. Suzumebachi No Rinbu
3. 1930
4. Vow Me Ibrzu
5. Protean World Side 1

[FreakAnimalFinland]

I don't know the system of spotify, but as far as I've been informed about itunes, doesn't the program give you easy references/links? When you listened certain bands, it suggests more of the kind, more of the same labels etc.

Sponge Octopus = Mego, need to say more?
Suzumebachi No Rinbu = Frog+ album from Misanthropic Agenda, label with bands like Boris which is BIG in ug.
1930 = Tzadik, need to say more?
Vow Me Ibrzu = with Ulver (nor) connection......
Protean World Side 1 = Noiseville, with indielabel with lots of music styles

So every pretty much ever track can be traced to something what isn't "only" noise label, but something more. Connection to big profile labels/artists/bands.

It might be good that merzbow is the route for people to find about "noise" through big labels and infamous artists in UG, but it's kind of unfortunate, that you can't really say that they'd be exposed to his best works.

[ARKHE]

that's probably the reason why these releases are on spotify in the first place - the labels are big enough to want their music up on that program, or they're big enough for someone else to put them there. they have some kind of label search mechanism on Spotify,

"When you listened certain bands, it suggests more of the kind, more of the same labels etc."

on Merzbow, they list the following bands as similar: The Fall, Current 93, bohren und der Club of Gore, Shinjuku Thief and Fennesz. which strikes me as pretty weird comparisons. also, they only have 6 of his albums, the oldest being 1930 (from -98), then Frog+ (2002), Sphere, Multiplictation and Merzbow vs Tamarin (2005), and Protean world from 2008. I'm not big on Merzbow, but I'm quite certain these albums don't represent Merzbow's whole career...

So to expand this topic, if I may, which Merzbow releases would be on your top-five?

[FreakAnimalFinland]

for old industrial collage: Batz Tou Tai 2xLP (forget the Batz tou tai - memorial gadgets 2xCD version! It's ok for loop action, but nothing compared to original 2LP what is used as source of remix)
For harsh noise supremacy: Artificial Invagination mCD, Pulse Demon CD, Metalvelodrome 4xCD. I think mentioned Antimonument CD would be easy to list for also old style industrial approach?  Also other noise discs like Veneorology.  Not to mentioned most of old Alchemy Records discs. Crash For Hi-fi CD, Rainbow Electronics CD...     And do I dare not to mention Noisembryo CD? I think something from early-mid 80's, something from early 90's, little from mid 90's. For myself, basic rule goes than if it's before 1998, it is most likely good. I think 1998 is some sort of breaken point when the huge wave of growing intensity started to simply splatter into weaker pieces?
From 1997 you can still say stuff like Project Frequency LP = very good. Pinkcream = good as well. Red2Eyes 10" = could listen anyday.  1996 all the split 7"s and few CD's...

But when you look from 1998 onwards, I can't be 100% sure is it just me, or did the level start to drop? I remember when Oersted came out, I thought it was crap. Years later, revisiting the disc, it seemed superior to about all the recent harsh noise I had heard. But tendency of routine & answering "yes" to every invitation surely makes his later works inferior to some of the culminations of styles of earlier career.

[Zeno Marx]

I'm always surprised to see 1930 on "best of Merzbow" lists.  I've tried many times to find the great value in that album, but so far, I've been unsuccessful.  That isn't to put the choice or album down.  It's been on several respected listener lists, so I continue to go back to it with hopes of hearing what they're hearing.

Green Wheels is up there with Pulse Demon, but not quite Artificial Invagination or Noisembryo.  Great textures on that Green Wheels disc.  I also like the metallicness of Space Metalizer.  For me, it marks the end of his Golden Era.

[ImpulsyStetoskopu]

I like Artificial Invagination too. Besides I love Veneorology (MERZBOW's first album which I have listened).
And:
Scissors For Cutting Merzbow (2 x LP) - cannon of beauty
Magnesia Nova - great textures and energy!
Noizhead - masterpiece

I guess MERZBOW's records are more and more poorer in the digital noise era.
From this period I like only:
New Takamagahara
and Tauromachine.

[Tommy Carlsson]

I guess MERZBOW's records are more and more poorer in the digital noise era.
From this period I like only:
New Takamagahara
and Tauromachine.

Neither of these could be said to be from his digital period though. I don't know about the equipment used for Tauromachine, but it's recorded in 1997, and he hadn't lost it yet by then... New Takamagahara = EMS VCS3, EMS Synthi A, Theremin, tapes, noise-electronics, metals.

The covers for both those discs are atrocious... and "digital".

[ImpulsyStetoskopu]

I guess MERZBOW's records are more and more poorer in the digital noise era.
From this period I like only:
New Takamagahara
and Tauromachine.

Neither of these could be said to be from his digital period though. I don't know about the equipment used for Tauromachine, but it's recorded in 1997, and he hadn't lost it yet by then... New Takamagahara = EMS VCS3, EMS Synthi A, Theremin, tapes, noise-electronics, metals.

The covers for both those discs are atrocious... and "digital".

Yes, You're right. So, now I know why I like those! :)

[Henrik III]

Batz Tou Tai 2xLP (forget the Batz tou tai - 2xCD version!)
Artificial Invagination mCD
Pulse Demon CD
Metalvelodrome 4xCD
Antimonument CD
Veneorology.
Crash For Hi-fi CD
Rainbow Electronics CD
Noisembryo CD
Project Frequency LP = very good
Pinkcream = good as well
Red2Eyes 10" = could listen anyday
1996 all the split 7"s and few CD's...
Oersted came out, I thought it was crap. Years later, revisiting the disc, it seemed superior to about all the recent harsh noise I had heard.

Well, that Spotify thing is obviously quite obvious - willing/eager labels to provide something will get it up there - it is quite unlikely that one-Merzbow-CD-in-1995-labels would get very high. Anyway, talking about Merzbow, in general there seems to be something interesting in most of his periods. Actually, to these ears I might say that his most uninteresting period is heavy EMS untilization time in latter half of 90s - way too much stuff that really feels like done on autopilot (including listed "Pinkcream"). For latecomers, I'd definetily say that forget all obscure things like "Project Frequency" (it is OK though) but get "Venerology", "Pulse Demon", "Batztoutai" (even the condemned CD version - it is cheap and still good!) and so forth - they are all good...

[Andrew McIntosh]

For mine -
Venereology
Hybrid Noisebloom
Tauromachine
Merzbow & The Haters
and I'd put Batztoutai With Material Gadgets even though it's the double cd version, as I don't have the vynal.

I've often thought it's a mistake to automatically equate Merzbow with pure, blinding Noise all the time. Certainly the mid-80's material is a career highlight, and seemed to be one of the factors that defined what Noise was at the time. But there are a few decades worth of material from Masami and it hasn't all been total harshness.

I haven't had an issue with digital Merzbow and have been defensive of it in the past. To me the use of loops and effects is a return to the tape cut-up ideas of his earlier work. It's true that it lacks a lot of grit and spirit, but then it's been three decades and Masami is still churning them out. Over a life time, you're going to get highs and lows no matter what sound sources and processors he's using.

[Zeno Marx]

Can anyone talk specifically about his 7"s?  I've had White Blues, Nil Vagina for Mice, Rod Drug '93, Electroploitation, Music For The Dead Man 2 (something about the cover of this I really, really like), Electroknots picture disc (have a brand new copy I plan to sell), and the /Cock ESP.  I realize this is maybe 50-60% of his 7"s, and the funny thing is I never outright bought any of them.  Thrown in with trades or given to me, all of them.  Did he throw an extraordinary track on any of the others?

[Andrew McIntosh]

I only have the split 7" with MSBR, mid nineties release. Reviewed it on the Troniks board. Listening to it now, I still don't like how the format diminishes the volume; just doesn't make sense for this kind of Noise, to me.

I notice Discogs have a couple of the Electroknots picture discs for sale. A bit too pricey for what I'd pay for a 7" normally but seems fairly reasonable for this release.

By the way - on the issue of what not to get from Merzbow, I'd suggest the "Multiplication" collaboration with John Wiese. I was listening to it this morning and it just wasn't doing anything. Very much going-through-the-motions type of release.

[FreakAnimalFinland]

I can't give the specific reviews of these now, without pulling out memories that may be slightly in accurate. I have quite big % of MErzbow 7"s. I like them all, except 7" on LSDO, which is his low quality digital era fart. Later days he did develop his skill in digital too and some later 7" is ok. I don't get the "diminished volume" argument. Thing what I HATE in modern noise the maximized sound pressure that flats the sound. You can always turn things louder. If you can't, maybe more amp power is needed. It could be time to discuss of proper sound systems again, hah.... Anyways, I think Merzbow benefits from 7" format that his loose improvised ongoing tracks may be compressed to best 7 minutes. It works best for dynamic noise. Think of how amazing would be Artificial Invagination 7"? First 5 minutes of a-side, could something be better? When you open that mCD on your computer and look the wave, it's not compressed or flat. It is very organic looking waves, where highest "peaks" are definitely not 0db, probably more like -5db. And this quality of being "low volume" is perhaps on of the great attributes of the release. You turn it loud, and the sound lives. It gets louder, it gets quieter, it just is real. As opposed to this strange modern hype of "louder than everything", when we talk about just few ones and zeros, and not the actual blast of audio from speakers. I know some things may sound louder and better when they're pushed louder, but these days I basically want and need something which doesn't yet sound like "product of modern days".

It is true that not all vinyl cutting is super, but for me the thrill of Merzbow 7"s is that most of them are focused and different. Think of splits and collaborations. Something most recent listenings must be Tea Culture, Smell & Quim, they all present healthy addition to sounds of Merzbow. Even music for dead man 7", with 4 tracks in 7", very nice addition between CD's with 10-20 minute tracks.

[Henrik III]

I remember liking the split 7" with Lasse very much, both sides but especially the Merzbow track (I recall it was rather cut-up'ish?).

[FreakAnimalFinland]

Hmm.. lets raise this old topic from the digital graveyard, so amount of Merzbow topics won't rise too high..
Lately been revisiting many old Merzbow CD's. It always reminds me why I like his works so much. Reading the Merzbook again, it's always a pleasure. It's like any music genre, the classic bands, you tend to re-read books about them. Got several books of bands I don't even listen to, but find interesting as how it happened.
Anyways, once in a while, it makes me curious, if I really have accurate view of what the artists is doing. Hearing many good old recordings, I feel like I need to actually re-check the latests works. Yesterday went through "Marmo" CD which is among the very latest works? And fuck... there are few moments when I though Merzbow is getting somewhere. Perhaps nearly kraut'ish wibe of keyboards/random electronics, but it was always just short piece that was barely successful. Most of the disc could be described just as Tommy C. described recent Stockholm show: sounds lack the punch.
Noise doesn't sound amplified. It sound synthetic, line-in computer generated sounds. Most of harsh noise he comes up, operates is "quiet mode". It doesn't seem to have proper pressure. It doesn't have such overdriven & massive fierce edge like at best. Out of 3 tracks, the final is so wanky, that I considered simply stopping listening half way. But to be able to honestly say I did give it a try, and listened carefully through it all,... well, I did. I could imagine that if this was played loud, via amps and/or rugged PA, it could be good. Now it sounds weakly executed half assed work. Poor synthetic noises. Even the analogue gear, with all the standard wah-wah eq sweeps etc is like plastic version of past. Simulated synth sounds and the style of distortion just makes you wonder if this is really the type of sound someone think is good? Or noisy? Anyone with some piece of gear, can test how weak distortion pedals sound if not amplified or blown up with recorder device gain. That is still perhaps louder/stronger than this?
3 songs seems like excerpts of some improvised jams. Just randomly start, go on, and eventually stop. In moments what sounds like there wasn't really any plan or interest to cut it in some moment which actually would make it sound as if there was some goal / sense of composition like in some of the best works of artist.
Well, with one hour of your time spent, perhaps it works as reminder why stay on older materials until these is decent grip on the gear again....