Merzbow
Circular Reference
Boomkat Product Review:
Masami Akita's latest is predictably full-throttle, an unrelenting brick wall of serrated oscillations, bawling feedback and, most excitingly, occasional bursts of rhythm.
If noise is so thoughtless, why can't everyone do it? Akita's been refining his approach for decades at this stage, and although he's stacked up more releases than a vaporwave label's Bandcamp page, he's proven beyond any shadow of a doubt that nobody does it quite like he does. 'Circular Reference' isn't really a deviation from the form, more a reminder that Akita's music is still coursing with the same viscous blood. Split into two parts, it's an unflinching experience that maintains its energy, and its harsh dynamics, throughout. Opener 'Plasma 2050A' is a bruit of slanting broken pachinko machine percussion and ear-splitting squalls, but 'Pigeon Blood Part 1' deviates slightly, opening up the textural sensuality of unchained oscillators that spiral through Akita's factory-strength distortions.
It's only when we reach 'Muko' that we get the opportunity to catch our breath. Not quiet, exactly, it's noticeably more restrained, sounding like a dark room filled with inscrutable humming alien machinery. And on 'Pigeon Blood Part 2', Akita thrusts us into the breeze blocks once again with a good quarter hour of guttural, scratchy, decibel bothering dissonance.
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Boomkat Product Review:
Masami Akita's latest is predictably full-throttle, an unrelenting brick wall of serrated oscillations, bawling feedback and, most excitingly, occasional bursts of rhythm.
If noise is so thoughtless, why can't everyone do it? Akita's been refining his approach for decades at this stage, and although he's stacked up more releases than a vaporwave label's Bandcamp page, he's proven beyond any shadow of a doubt that nobody does it quite like he does. 'Circular Reference' isn't really a deviation from the form, more a reminder that Akita's music is still coursing with the same viscous blood. Split into two parts, it's an unflinching experience that maintains its energy, and its harsh dynamics, throughout. Opener 'Plasma 2050A' is a bruit of slanting broken pachinko machine percussion and ear-splitting squalls, but 'Pigeon Blood Part 1' deviates slightly, opening up the textural sensuality of unchained oscillators that spiral through Akita's factory-strength distortions.
It's only when we reach 'Muko' that we get the opportunity to catch our breath. Not quiet, exactly, it's noticeably more restrained, sounding like a dark room filled with inscrutable humming alien machinery. And on 'Pigeon Blood Part 2', Akita thrusts us into the breeze blocks once again with a good quarter hour of guttural, scratchy, decibel bothering dissonance.
Boomkat Product Review:
Masami Akita's latest is predictably full-throttle, an unrelenting brick wall of serrated oscillations, bawling feedback and, most excitingly, occasional bursts of rhythm.
If noise is so thoughtless, why can't everyone do it? Akita's been refining his approach for decades at this stage, and although he's stacked up more releases than a vaporwave label's Bandcamp page, he's proven beyond any shadow of a doubt that nobody does it quite like he does. 'Circular Reference' isn't really a deviation from the form, more a reminder that Akita's music is still coursing with the same viscous blood. Split into two parts, it's an unflinching experience that maintains its energy, and its harsh dynamics, throughout. Opener 'Plasma 2050A' is a bruit of slanting broken pachinko machine percussion and ear-splitting squalls, but 'Pigeon Blood Part 1' deviates slightly, opening up the textural sensuality of unchained oscillators that spiral through Akita's factory-strength distortions.
It's only when we reach 'Muko' that we get the opportunity to catch our breath. Not quiet, exactly, it's noticeably more restrained, sounding like a dark room filled with inscrutable humming alien machinery. And on 'Pigeon Blood Part 2', Akita thrusts us into the breeze blocks once again with a good quarter hour of guttural, scratchy, decibel bothering dissonance.
Boomkat Product Review:
Masami Akita's latest is predictably full-throttle, an unrelenting brick wall of serrated oscillations, bawling feedback and, most excitingly, occasional bursts of rhythm.
If noise is so thoughtless, why can't everyone do it? Akita's been refining his approach for decades at this stage, and although he's stacked up more releases than a vaporwave label's Bandcamp page, he's proven beyond any shadow of a doubt that nobody does it quite like he does. 'Circular Reference' isn't really a deviation from the form, more a reminder that Akita's music is still coursing with the same viscous blood. Split into two parts, it's an unflinching experience that maintains its energy, and its harsh dynamics, throughout. Opener 'Plasma 2050A' is a bruit of slanting broken pachinko machine percussion and ear-splitting squalls, but 'Pigeon Blood Part 1' deviates slightly, opening up the textural sensuality of unchained oscillators that spiral through Akita's factory-strength distortions.
It's only when we reach 'Muko' that we get the opportunity to catch our breath. Not quiet, exactly, it's noticeably more restrained, sounding like a dark room filled with inscrutable humming alien machinery. And on 'Pigeon Blood Part 2', Akita thrusts us into the breeze blocks once again with a good quarter hour of guttural, scratchy, decibel bothering dissonance.
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