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Post by acsenger on Dec 15, 2020 14:29:25 GMT -5
That’s quite unusual, haha... Discogs says the dispute was eventually settled, thus the CD is no longer considered a bootleg. I have the “Sensorial Inducement” LP by Aube which has a note saying “Fuck & No-Thanks To Andrew Wilkes-Krier”. He’s also known as Andrew W.K. I have no idea who he is but he had a label called V. Records which only had three releases, one of them being an Aube 7”. Maybe they had a dispute over that release. A small bit of personal information about Aube: there’s a podcast called Noisextra and I’ve started listening to an episode where it’s mentioned that Nakajima died as a result of being an extremely heavy smoker. After his death his record collection was given to a record shop in Japan and apparently there were nicotine stains on the spines of his records.
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Post by andypandy380 on Dec 16, 2020 3:37:27 GMT -5
Andrew WK's involvement in the noise scene has always confused me a little, his name always pops up but outside of that he's known for the singles 'Party Hard' and 'We Want Fun', which were fucking dreadful rock tracks that you couldn't go ten minutes without hearing back in the early 2000s. "we do what we like and we like what we do so let's get the party going yadda yadda yadda" He's produced for Wolf Eyes and Sightings, has been a member of To Live And Shave In La and Current 93 but has also had songs on Kerrang TV and the Jackass soundtrack, it's really bizarre. I wonder what he did to piss off Aube. My aube collection is slowly getting bigger, I find his albums a little harder to digest than some noise artists, often quite minimal but there are some amazing sounds on there that I don't think I've heard anywhere else. Then again, there is also the sound of a water flowing down a sink spread across a series of twelve CDs which is something I haven't quite grasped.
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emgee
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Post by emgee on Jan 24, 2021 15:55:57 GMT -5
Last year I got the Lotus Club (Merzbow) – Le Sang Et La Rose CD.
I recommend it, especially if, like me, you enjoy lo-fi loops and early eighties drum machines. The back of the cd cover lists ‘Xerosx’. This is Yuzuru Shogase who collaborated with Merzbow on Aerovivanda and, according to Discogs, Aka Meme (on one track) – both tapes need to be re-issued.
My garbled translation (using my phone) of the Japanese liner notes seems to suggest that some material recorded with Xerosx was used on Le Sang Et La Rose, which is why he is listed. It also suggests that Yahatahachiman should be considered as Lotus Club 2. Does that mean that there’s some Xerosx elements on that one too?
Thematically, these four recordings have some similar components. Aerovivanda and Aka Meme even share the same loop and beat on one track.
Apparently, the Lotus Club – Le Sang Et La Rose CD includes one track from the original Chant tape – is that correct? Has anyone heard it?
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Post by acsenger on Jan 25, 2021 15:07:01 GMT -5
I have "Yahatahachiman" on CD and the notes don't mention Xerosx. It would seem he wasn't involved with this release. I love "Yahatahachiman", because it's very different from Merzbow from that period (from what I know at least): all tracks have a drum machine pattern as their backbone, so it's a rhythmic affair throughout, sometimes even groovy. If the Merzbow/Lotus Club CD is in that vein, I'll definitely have to get it. "Aka Meme" is fairly similar to "Yahatahachiman", and I'd say "Escape Mask" isn't too different either. While I like all of them, my favourite of this lot would be "Yahatahachiman". There's a second volume of "Aerovivanda" too, according to Discogs. It's fair to say it's obscure: only one person has it and it's never been sold on Discogs.
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Post by stalvern on Jan 31, 2021 6:52:09 GMT -5
My metal Turmeric got smashed and dented in transit. Heartbreaking. If anyone here is willing to part with an intact copy, I will pay through the nose for it.
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Post by davebowman on Feb 14, 2021 10:15:24 GMT -5
No idea why this one eluded me for so long, it's not even vaguely rare (I got mine direct from the label 21 years after it came out!), but only just got down to buying 'Collapse 12 Floors'. I think I might have subsconsciously avoided this for a while, as it appears be be from the super early computer period, which isn't always my favourite ('Hard Lovin' man' is one of my least favourite Merzbow records). Anyway - was pleasantly surprised, as it's bloody excellent - great sound, plenty of varied dynamics, and enough hints of the original samples peeking through to be interesting without being repetitive. I guess it's from a transition period, where there was still a mix of 'traditional' analogue noise stuff alongside the computer sound?
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Post by stalvern on Feb 16, 2021 17:06:03 GMT -5
It's all software, to my knowledge. Very similar sound to Early Computer Works from the Scene deluxe edition. I don't believe that Masami transitioned into the computer sound like he transitioned out of it; it seems to have happened overnight, along with the vegan activism. I suspect that Jenny may have had some influence on both developments.
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emgee
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Post by emgee on Feb 18, 2021 10:09:27 GMT -5
There are some out-takes from Collapse on the recent Wa cd.
I just got Marmo. I wasn’t expecting too much but was pleasantly surprised. There’s a fair bit of variation and it’s a good listen.
I’ve since seen some favourable reviews - what’s the consensus here?
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Post by andypandy380 on Feb 18, 2021 10:39:35 GMT -5
I always quite liked Marmo, its quite a nice combination of things with that pinball machine-esque clattering sound kicking it off that gets layered with that smooth 'whalesong' synth, it really works. I remember some time ago there was talk of OEC releasing a sequel to it, which seemingly never happened, unless it was turned into an entitely different album, which wouldnt be unlikely.
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emgee
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Post by emgee on Feb 22, 2021 9:06:52 GMT -5
Listening again to Marmo has made me realise how much I like late period Merzbow. For example: Takahe Collage, Tamayodo, Konchuuki, Hanakisasage, Eureka Moment, Tomarigi. While none would make anyone’s top ten list, and I don’t think I could pick them apart in a blindfold test, they have a certain manner that is distinct from previous decades – either the loop / industrial collage based 80s, the power electronic 90s, or the laptop period. Is it that Merzbow has taken a bit from each era to come up with a modern style? Is that a fair comment? How would you describe it?
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Post by stalvern on Feb 22, 2021 15:06:30 GMT -5
To be honest, I find the 2013-2016* period the dullest. That "certain manner" is a synthesizer pulse and white noise chugging on and on and on, a well-produced sound with nothing much happening – not just over the course of a track or an album, but between albums. I'm not dismissing late Merzbow at all; in fact, it's strange to hear such an inert stretch between the adventurousness of the previous three years (Ouroboros, Marmo, Lop Lop, Kamadhenu, and Kibako are all unique and unmistakable) and the oddities that would shortly follow (Kaoscitron, Hyakki Echo, and Kaerutope can broadly be tied to past approaches but reinvent them strikingly). If Merzbow has a distinct late-period style, I think it's defined by differentiation from the past, whether through experimenting with new methods (like traditional Indian instruments) or through revisiting old ones (like frog samples) from a new perspective, rather than by a clear, unified image of its own. On the other hand, there's been a more conservative bent recently - Screaming Dove could have been released in 1996 without sounding too out-of-place - so who knows what's in store?
*not counting Hatobana, which was recorded shortly after Kibako but delayed by label issues
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emgee
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Post by emgee on Feb 25, 2021 9:02:31 GMT -5
Yes, the albums you mention are all distinctive and memorable. The ones I listed are all formulaic. Kibakao was the most surprising for me. I recall some of it with tabla and wah-wah sounding like Merzbow meets Miles Davis circa 1973.
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Post by andypandy380 on Feb 25, 2021 13:31:11 GMT -5
Looking back at the list of albums from 2013-16, i have to admit there isnt a whole lot on there im particularly fond of either. It was a bit of a frustrating time to be a fan too, only one album in 2014, and it was a bit of a lacklustre CD/picture disc release for no real reason, there was also the thing of paying for Samidara and then finally receiving it an entire year later. Lots of collaborative efforts and albums like Kakapo didnt really hit the spot for me, although i thought No Closure was pretty good despite not really being a Merzbow album.
I noticed a reviewer on youtube talk about a 'merzbow effect' whereby an album will start and finish strongly but be padded out in the middle, and I kind of have to admit that some of those albums, especially the vinyl only releases seem to fall into that category a bit, it's something i had noticed too, Grand Owl Habitat, Wildwood 2 etc... Im not sure what people think about that, i feel like there's a difference between albums that are created from the ground up by Akita and albums that are 'comissioned' by a small label. Its strange, either side of that period was great, 2011 and 2017 were both superb years for Merzbow albums in my opinion. I think i agree with the point about Akita combining and revisiting styles hes toyed with previously. It wouldnt surpise me if going through all the archival material has inspired him to try things again, the suzumeiro albums kind of have a bit of an 80's Merzbow industrial/musique concrete sound to them in places
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Post by stalvern on Feb 25, 2021 13:33:53 GMT -5
I love Kibako; that one actually is in my top ten. Hatobana is really good too, kind of a weirder, colder take on the same sound.
I apologize for being so dismissive of a run of albums that you like, not just because you like them but because I was too quick to write them off in that post. Aside from liking Tamayodo and Wildwood quite a bit, I think that the whole period's earthy, organic atmosphere is an interesting complement to Masami's activism – before, on the laptop albums, he would reflect the plight of exploited animals with abrasive digital sounds (A Taste of... Merzbow, Bloody Sea, etc.), but here, he seems to be looking at animals from a more positive perspective, in their natural environments or in animal sanctuaries. Even if I'm not in love with these years musically, they're an intriguing thematic development, and perhaps their repetitive musical character reflects a more peaceful outlook. (They remind me in some ways of Merzbuddha, an album explicitly inspired by meditative mantras.) I think I'll put on Wildwood when I get home from work tonight.
Edit: Looks like I was a little slow on the draw.
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fred
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Post by fred on Feb 26, 2021 2:31:06 GMT -5
I just purchased the Dadarottenvator LP reissue on Urashima. Great album really and already one of my favorites. This one is driving me back into Metalvelodrome and some others from the same period.
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Post by acsenger on Feb 28, 2021 2:47:47 GMT -5
I recently got 'V', the live collaboration CD between Merzbow and Pan Sonic. I'd been meaning to get this one for ages, since I like some of Pan Sonic's material a lot, but somehow I never actually got around to buying it until now. It was recorded in 2002. The sound is excellent; it could actually pass for a studio recording. The music is good too, although I was expecting (and would have preferred) more noise by Merzbow and more beats by Pan Sonic. There are some parts like that where the music gets pretty intense, but for the most part it's quite a laid back recording, with abstract electronics, drones and some "laptop electroacoustics". Overall it's a good, solid CD of experimental, abstract and at times intense electronic music, and I'm happy I got it.
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Post by andypandy380 on Feb 28, 2021 10:56:39 GMT -5
I always liked V. Its one that I re-listened to quite recently. Youre right though, there's not a great deal of beat driven stuff, but I think it still represents both artists coming together pretty well. It's one of those noise albums that's more like sinking into a hot bath, lots of warm electronic tones and depth to the sound.
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emgee
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Post by emgee on Feb 28, 2021 14:17:22 GMT -5
The not so harsh collaborative work, for example with Pan Sonic and Norvargr, was my gateway into listening to Merzbow, so I’ll always have a soft spot for them.
Dadarottenvator is certainly a good one. The lavish reissue is pure Merzbait. It reminds me a bit of the long track on Metalvelodrome. That jump-cut, needle-skipping style is my favourite.
The description of the recent period as “earthy and organic” is rather nice. It’s the lush, rich sound production which stands out.
Just arrived: Musick for Screen. It’s quite noisy. I couldn’t imagine listening to this in 1983.
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Post by stalvern on Apr 2, 2021 12:32:23 GMT -5
My metal Turmeric got smashed and dented in transit. Heartbreaking. If anyone here is willing to part with an intact copy, I will pay through the nose for it. Update: Got a copy with a lovely replacement box for only $50 because it was missing the shirt.
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Post by acsenger on Apr 2, 2021 13:04:39 GMT -5
I recently got 'Jinrinkinmouzui' (took a while till I memorised that title) and it's a good disc of collage-style material from 1985. My favourite would be the first track, the first part of which shares an instantly recognisable loop (which I love) with the 'Batztoutai' album, and it's an interesting track because there's a succession of quite different loops throughout. They kind of form the backbone of the track, but some of the loops are very short, so it's interesting how on one hand these loops form the main structure of the track, but on the other most of them are not prominent at all. The last track is my other fave as it's rather unusual for its use of manipulated voices.
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Post by stalvern on Apr 10, 2021 16:04:02 GMT -5
Recently purchased Merzzow and Fukurou direct from the labels. Opposite Records is really fun to order from because you click a PayPal button on a site from 1999 and somehow get a CD in the mail the next week, even though it feels like you're ordering through the Wayback.
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Post by davebowman on May 7, 2021 5:28:52 GMT -5
Currently digging through the 'Loop & Collage' boxset from Slowdown Records. Some pretty juicy stuff in there - I think 'De-Soundtrack' might be my favourite so far, with all that pounding percussion.
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Post by andypandy380 on May 8, 2021 1:33:03 GMT -5
I thought that whole boxset was great, out of the ones ive listened to I thought it was the most dynamic. Its a definite step up compositionally from the earlier ones.
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Post by davebowman on May 8, 2021 18:43:39 GMT -5
The only thing that's really bugging me with this series, is that there is just too much previously issued material for me to justify buying the entire series in boxset form, as they are quite attractive little things to have on the shelf. Just looking at the 'Strings & Percussion' set - both 'Crocidura Dsi Nezumi' and 'Enclosure' appear to pretty near identical to the ones issues in the Merzbox set (beyond presumably some new remastering), and just how different is that 'Another Mix' of 'Ecobondage' from the 1995 CD release?
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emgee
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Post by emgee on May 22, 2021 8:17:41 GMT -5
I’m thinking of getting Kaerutope - can anyone persuade me?
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Post by andypandy380 on May 22, 2021 11:47:07 GMT -5
Yeah, I reckon it's worth tracking down, especially if you can find it for a reasonable price. Kaerutope and Indigo Dada are sort of companion albums to one another and part of a run of albums including Hermerzaphrodites and Hyakki Echo that play with orchestral and percussive sounds in an incredibly chopped up and screwed around with sort of way. I like how organic sounding parts of Kaerutope are and it's probably fair to say its not a 'typical' Merzbow album. It sounds a bit like the cover looks, if that makes sense!
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emgee
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Post by emgee on May 25, 2021 15:11:52 GMT -5
Thanks for the push.
I haven’t heard Indigo Dada.
I avoided Hyakki Echo as I recall some people reported playback issues.
Is it more varied than Hermerzaphrodites? I really want to like that album but I find it too repetitive.
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Post by andypandy380 on May 25, 2021 16:26:02 GMT -5
Yeah, I wasn't keen on either of those. I got Hyakki Echo to play on my parent's mini hifi thing, but everything else I tried outright refused to play it and I've not heard it since. Youre right, I thought Hermerzaphrodites really dragged too. Kaeurutope and Indigo Dada have similar elements to those but I think each track is distinctly different from each other, there's all the weird sounds but plenty of noise too. I quite liked all of the new (rather than archival) albums that Slowdown have put out. Suzumeiro 1 and 2, Kaoscitron and 3RENSA were great, as well as the remix project. There was also a live album with Kaoru Sato that I've not heard, it's at the top of my wishlist but it seems near impossible to track down.
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Post by davebowman on May 29, 2021 4:21:23 GMT -5
Just got Merzbow/Cock E.S.P. 'Music For Man With No Name' - the CD reissue with the bonus track that pulls it from single to album length (I'm wondering whether this bonus track was actually a new collaboration by both artists, or if it's just some kind of mangled lengthy remix by Cock E.S.P alone - the liner notes are minimal). Still fairly short but sweet, this one is giving me quite a languid, 'woozy' feeling, especially with those Morricone samples drunkenly fluttering in and out.
Not the most essential release, but nice to plug another gap in the collection.
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Post by andypandy380 on May 29, 2021 5:29:38 GMT -5
I've been eyeing up that CD version for some time, don't why I've never got round to actually buying it. I've only got a couple of Cock ESP albums, one is pretty much your average 'harsh noise by the numbers', the other is a massive remix album with about 70 tracks, some of it is downright hilarious. Their 'serious noise performance' videos on youtube are also quite entertaining!
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