Merzbow's performance at ULU...

In his groundbreaking and all encompassing work regarding the genealogy of noise, Paul Hegarty describes Masami Akita, aka Merzbow, as 'the paragon of noise, its godfather, its master,' (Hegarty, 2007, 155). Irrespective of one's opinions regarding the character and very essence of noise, it is undoubtebly futile to belittle Akita's influence on noise in particular and music in general. Putting aside inevitable pretenses for the moment, it is extremely rare to witness someone so crucial to how we, as listeners, interpret the things we hear.

Indeed, Merzbow is the essence of otherness and unrivalled within what one constitutes as noise, so an opportunity to see the 'master' at work in the capital for the first time in approximately five years proved impossible to spurn.


Sonic enlightenment was imminent...


So up flipped the screens of those iconic laptops, clad in "Meat is Murder" messages and Anti-Fur symbolism; the next hour or so would belong to Merzbow and such an action signalled for the audience to prepare themselves for the oncoming atonal, harsh, sonic assault that was about to fill the room and the minds of a willing and submissive collective. However, Akita was not content in picking a fight with our auditory systems immediately. Merzbow's initial strand of noise was cosmic and meandering, varying vastly in volume. The slither of spaced-out sound was strangely reminiscent of the more recent studio efforts by Japanese polystylist pioneers Boredoms; albeit without the tribal drums and emphasis on percussion, as well as the relative structure and coherence.

The intensity of the loop grew and grew, increasing and twisting in volume and tenacity as Merzbow steadily introduced greater layers of screeches, wails and seemingly random, discordant bleeps. The fight was on. Distorted, hellish screams of high-pitched feedback and synthesizer abuse inevitably took centre stage, with throbbing pulses of bass irregularly penetrating the increasingly challenging, atonal, yet ultimately beautiful soundscape. Russolo-esque hissings, poppings and rumblings also gradually emerged, providing an increasingly varied array of noise. It was so difficult to comprehend that such a grand amalgamation of noise stemmed from two laptops and a collection of anonymous nobs and buttons sandwiched between them. Indeed, stage presence is evidently not a priority of Merzbow and other key noise artists; but it simply doesn't have to be.

The sheer scale of sound that penetrates the body is enough to make one forget about surroundings, specific moments in time/history and unecessary obsessions with image and identity, which all seem so prevalent in contemporary music.

Furthermore demographically speaking (not that it particularly matters), the crowd tonight was a fantastic melting-pot of sub-culture and non-identity. Old-punks, the curious, young indie-types, students, middle-aged couples, men in suits, goths, WIRE magazine enthusiasts, whoever and whatever were all seeking identity within a decentralised structure of non-identity. Such a fantastical barrage of noise ultimately transcends obsessions with image and deconstructs unecessary self-imposed barriers that are implemented by pointless sub-cultures and their inevitable, inherent prejudices.

As the chosen few become increasingly intoxicated and baffled by Merzbow's sonic prowess, Akita maintains the otherworldliness by introducing what seemed like some sort of silver, custom-made, futuristic DIY guitar. It almost seemed Giger-esque. He summoned several lashes of excruciatingly blissful, high-pitched and strident screeches that attacked and teased a different part of the ear every time they were released, further penetrating a wall of noise which one would think could no longer be penetrated. Just as the dosage of sonic terror became almost too euphoric, Akita gradually demolished his innovation as each layer of noise distilled into nothingness, leaving the masses exhausted and in awe. Clichéd or not, it all seemed to end so quickly.

The intensity of the noise orchestrated tonight was simply unbelievable and irrespective of one's assumptions regarding the constitution of noise, I beseech everyone to partake in such an intensive and all-encompassing experience at least once in their lifetime. I guarantee that the results will surprise you greatly.

Thank you for reading.