Fresh off the block, raw and uncut Merzbow earfloss from 2022/23 land on his regular haunt, Elevator Bath - home to releases by Michele Bokanowski, Tom Reccion, Jim Haynes, Francisco Lopez
At the age of 67 Masami Akita still makes kids a fraction of his age sound half-arsed. ‘CATalysis’ marks some 40 odd years up to the hilt of his thing with a torrent of noise that’s either sadistic or pleasurable, or both, and speaks formidably to his staunch, lifelong conviction in radical art spanning dada, surrealism, Butoh dance, and junk industrial noise, and most acutely the prevailing interests in electronic noise which have propelled his work since the late ‘80s.
With no mercy for his neighbours, or yours, ‘CATalysis’ catches the GOAT as vital as ever, deploying a sustained furnace blast to the senses with its first part, and opening out to ride stormiest bass swells hackled with amorphous chromatic distortion in the 2nd, while its third part sounds like ‘80s robots dissecting and recycling a mountain of discarded computers and obsolete equipment. He saves feral high register squall for the roil of part 4, and sees off any dilettantes with 23 minutes of apocalyptic shred.
View more
Fresh off the block, raw and uncut Merzbow earfloss from 2022/23 land on his regular haunt, Elevator Bath - home to releases by Michele Bokanowski, Tom Reccion, Jim Haynes, Francisco Lopez
At the age of 67 Masami Akita still makes kids a fraction of his age sound half-arsed. ‘CATalysis’ marks some 40 odd years up to the hilt of his thing with a torrent of noise that’s either sadistic or pleasurable, or both, and speaks formidably to his staunch, lifelong conviction in radical art spanning dada, surrealism, Butoh dance, and junk industrial noise, and most acutely the prevailing interests in electronic noise which have propelled his work since the late ‘80s.
With no mercy for his neighbours, or yours, ‘CATalysis’ catches the GOAT as vital as ever, deploying a sustained furnace blast to the senses with its first part, and opening out to ride stormiest bass swells hackled with amorphous chromatic distortion in the 2nd, while its third part sounds like ‘80s robots dissecting and recycling a mountain of discarded computers and obsolete equipment. He saves feral high register squall for the roil of part 4, and sees off any dilettantes with 23 minutes of apocalyptic shred.
Fresh off the block, raw and uncut Merzbow earfloss from 2022/23 land on his regular haunt, Elevator Bath - home to releases by Michele Bokanowski, Tom Reccion, Jim Haynes, Francisco Lopez
At the age of 67 Masami Akita still makes kids a fraction of his age sound half-arsed. ‘CATalysis’ marks some 40 odd years up to the hilt of his thing with a torrent of noise that’s either sadistic or pleasurable, or both, and speaks formidably to his staunch, lifelong conviction in radical art spanning dada, surrealism, Butoh dance, and junk industrial noise, and most acutely the prevailing interests in electronic noise which have propelled his work since the late ‘80s.
With no mercy for his neighbours, or yours, ‘CATalysis’ catches the GOAT as vital as ever, deploying a sustained furnace blast to the senses with its first part, and opening out to ride stormiest bass swells hackled with amorphous chromatic distortion in the 2nd, while its third part sounds like ‘80s robots dissecting and recycling a mountain of discarded computers and obsolete equipment. He saves feral high register squall for the roil of part 4, and sees off any dilettantes with 23 minutes of apocalyptic shred.
Fresh off the block, raw and uncut Merzbow earfloss from 2022/23 land on his regular haunt, Elevator Bath - home to releases by Michele Bokanowski, Tom Reccion, Jim Haynes, Francisco Lopez
At the age of 67 Masami Akita still makes kids a fraction of his age sound half-arsed. ‘CATalysis’ marks some 40 odd years up to the hilt of his thing with a torrent of noise that’s either sadistic or pleasurable, or both, and speaks formidably to his staunch, lifelong conviction in radical art spanning dada, surrealism, Butoh dance, and junk industrial noise, and most acutely the prevailing interests in electronic noise which have propelled his work since the late ‘80s.
With no mercy for his neighbours, or yours, ‘CATalysis’ catches the GOAT as vital as ever, deploying a sustained furnace blast to the senses with its first part, and opening out to ride stormiest bass swells hackled with amorphous chromatic distortion in the 2nd, while its third part sounds like ‘80s robots dissecting and recycling a mountain of discarded computers and obsolete equipment. He saves feral high register squall for the roil of part 4, and sees off any dilettantes with 23 minutes of apocalyptic shred.