Forty years ago, Masami Akita, better known as MERZBOW, released the first record. Perhaps this would not have made him one of the most influential musicians in experimental music if the recording did not consist of a solid wall of hardly perceivable noise. Since that time, MERZBOW has released at least 350 entries, each of which can be called the most puzzling, unnatural and anti-musical.
The art of MERZBOW generates a huge number of polar opinions and interpretations: from accusations of speculativeness and abuse of the idea of music to the status of one of the most significant musicians of the 20th century. The number of subtexts and influences in his work is also not amenable to analysis, Japanese psychedelic rock, avant-garde jazz, actionism, fetish culture and the struggle for animal rights mixed in a single sporadic rush, and the name of the project explicitly refers to the idea of “art from waste” of the German avant-garde artist Kurt Schwitters. Here, the mixing of all possible forms and incarnations of sound generates a continuous concentrate of energy, which sometimes lies beyond the limits of the possibility of perception of sound.