Masami Akita (born December 19, 1956), better known as Merzbow, is a Japanese Electronic Music artist and composer, as well as a book writer and editor for various publications.
During his youth, he listened to psychedelic rock, progressive rock and free jazz, all of which influenced his musical style. He has been the drummer for various rock bands during his high school years, but began his musical career as an experimental rock artist with his high school friend Kiyoshi Mizutani.
He later attended Tamagawa University to study fine art, at which he majored in painting and art theory. During this time, he developed an interest in Dada, Postmodernism and surrealism, eventually learning about Kurt Schwitters' Merz, or art made from rubbish, including the installation "Merzbau", which became the source of his stage name.
Merzbow began in 1979 as a duo consisting of Masami Akita and Kiyoshi Mizutani, initially playing Industrial music, which was not well-recognized during their time. They began garnering recognition in The '80s with their record label, Lowest Music and Arts, as well as its Spiritual Successor, ZSF Produkt, which released material produced by other industrial artists. During this era, the duo began producing recordings for various international labels. Merzbow performed in the USSR in 1988, and have toured the US, Korea, and Europe in The '90s. In 1993, however, Kiyoshi left to pursue a solo career.
Merzbow's music is a matter of debate among Electronic Music fans, owing to its highly experimental and abstract nature. He is frequently cited as an early pioneer of Industrial music in The '80s, alongside acts such as Throbbing Gristle and Whitehouse. Due to this, he has gained substantial attention in underground Electronic Music circles, with many indies acts drawing inspiration from his works. However, he has also made forays into ambient-ish music and musique concrete. It is also arguable that he had a role in establishing/influencing the intelligent dance music (IDM) genre when it was still an Unbuilt Trope, before artists like Autechre and Aphex Twin entered the spotlight.
Despite being highly acclaimed in many musical circles, Merzbow's music is definitely NOT for everyone; much of his work is extremely harsh, dissonant, mechanical and rough-sounding, and often employs every form of musical Sensory Abuse imaginable, including, but not limited to: heavily distorted, chattering electronics, tape loops, an emphasis on both heavy, sub-sonic bass and piercing ultrasonics, and extensive use of reverb, feedback, and static, which is even made more harsh and sonically abusive through his rough production stylenote . His music comes across as overwhelming and difficult to listen to, and to the uninititated, may come across as sounding like a massive wall of black noise. Due to this, his music is very, VERY high on the Mohs Scale of Rock and Metal Hardness. note
Tropes applying to Merzbow:
- Careful with That Axe: Considering his musical style, his surprise vocal inserts in some songs can come across as this.
- Contemptible Cover: Most of the Pornoise releases have... well, pornographic album covers, but it's a sort of justified or invoked example given the project's name. The packaging was literally comprised of collages Akita created from discarded (usually pornographic) magazines. The idea was that the collages would be like cheap mail-order pornography. Sexorama was another project Akita created with a similar concept, but, according to That Other Wiki, this featured other "artists involved in the international industrial/noise mail music scene".
- Darker and Edgier: He did this to Industrial, which is already a very harsh genre in itself.
- Lighter and Softer: A portion of this work is this to the rest of his work. He's done occasional ambient works, which are basically a 1 or 2 compared to his usual 11+ on the Mohs Scale of Rock and Metal Hardness. His collaborations with other artists could also be considered to qualify; he still does his usual harsh noise thing, but since it's underpinned by works with more traditional musical qualities it's still more accessible, making it usually reside in the 6-9 range. Finally, live, while still mind-fuckingly loud, he's not quite as harsh as he is in the studio. His collaborations with Boris may be a nice place to start with him for people who are afraid of tackling his more typical works; these works generally run the gamut from 1-9 or so on the aforementioned Mohs Scale (most of "Headronefish" and the intro/outro to "Sun Baked Snow Cave" are both 1, for example).
- Dream Team: Often collaborates with other artists, with Gore Beyond Necropsy, Boris, Sonic Youth, Sunn O))), Ulver, Xiu Xiu, and Full of Hell being notable examples. On the noise front, his collaborators have included the Haters, the New Blockaders, and Francisco Lopez.
- Was in a band with Masonna and Zev Asher, dubbed Flying Testicle.
- Early Installment Weirdness: Early works were mostly noisy Psychedelic Rock. Merzbow later scrapped this for harsh Industrial music akin to early power electronics artists such as Throbbing Gristle, and again in The '90s for a harsher, darker and louder sound influenced by early Brutal Death Metal bands.
- Electronic Music: His main output being a stew of the following subgenres:
- Harsh Noise: He is the Trope Codifier.
- Industrial: One of the pioneers of this musical style. It is arguable that he has made contributions to the development of Industrial Metal with his Death Metal-influenced mid-1990s work.
- IDM: He is one of the early pioneers of this subgenre, back when it was an Unbuilt Trope.
- Ambient, believe it or not.
- Epic Rocking: For a certain definition of "rocking". His songs can get very long, with some being over an hour.
- Everything Is an Instrument: He even uses instruments made out of trash.
- Exactly What It Says on the Tin: Merzbient is a box set full of mostly ambient works.
- Genre-Busting: Go ahead. Describe his musical style with one genre. We dare you.
- Intentionally Awkward Title: The name of the game, for a while.
- Limited Special Collector's Ultimate Edition: A lot of his works, ever since the early 2000s, have had 'limited' or 'deluxe' versions available to purchase at quite a high price, and a production run of likely a thousand (or hundred) copies. It starts out simple; extra discs containing mixed material, vinyl stickers and maybe postcards/collages of his. But then you get to the absurd stuff including hand-cast metal medallions (Merzbient) and swiss army knives (Kibako). Most likely they are packaged in either tote bags or elaborate boxes which can be plastic, wooden or even bamboo.
- Not that it's not counting some regular editions; the Merzbox has eighteen other physical items that aren't in the fifty-disc box set note
- Loudness War: His output might sound like a huge wall of blastbeats and staticky black noise, but surprisngly, he averts this trope: almost all of his musical output is highly polished, crystal-clear and uncompressed to the point where almost all the dynamic range is still present.
- In a rather extreme example of zigzagging this trope, he has not just produced some of the clearest albums on record, but he has also recorded the two most horribly brickwalled albums ever produced: Pulse Demon and Venereology, both of which have dynamic ranges of zero and gain values in the negative twenties. The latter of these also contains the loudest track ever put to compact disc: "I Lead You Towards Glorious Times".
- Some of his other albums are still fairly loud, having dynamic range values of four or thereabouts. It is highly doubtful whether anyone will ever make a louder album than Venereology, though.
- Metal Scream: The vocal work in "I Lead You Towards Glorious Times" is made up of nothing but these.
- Mohs Scale of Rock and Metal Hardness: His output is a VERY, VERY hard 11 at the lightest, but what's surprising about him is the fact that, despite being known for his Level 11 music, he has also done Level 1 ambient/chillout music, and in live shows, he is known for toning down his music so as to bring it to around 8-10. Most of the time, though, he cannot be ranked lower than 11 because most of his music is just so hard and brutalizing that it easily goes off the high end of the scale.
- Older Than They Look: That photo of him is pretty recent. He's in his early sixties.
- Postmodernism: He's influenced by Dadaism, Psychedelic Rock and early Industrial artists.
- Scare Chord: Most of his work contains copious amounts of these, for a certain definition of "chord".
- Scary Musician, Harmless Music: One of the biggest inversions of this trope in music: he appears like a typical nerd, with long hair, glasses and a skinny physique. He even looks fairly young for his age. But his musical output is literally the auditory equivalent of Mind Rape.
- Sensory Abuse: One of the masters.
- Siamese Twin Songs: On some of his releases, as much as they can even be considered "songs". Pulse Demon is basically a solid wall of noise with track divisions inserted more or less arbitrarily. There are a couple of cases where you can clearly hear significant stylistic shifts between the tracks, but you'd have to be paying close attention for some of the others.
- Signature Style: Very loud, chattering electronics, time-signature torture, loads and loads of Sensory Abuse, and harsh, disorienting atmospherics.
- Something Blues: The track title "Ultra Marine Blues", though it doesn't sound anything like any blues you're familiar with.
- Spiritual Successor: Because of his apparent influence to many industrial artists, he is sometimes considered as this to Throbbing Gristle.
- Surprisingly Gentle Song: His occasional forays into ambient music could count as this.
- Stylistic Suck: He has actual musical talent. Yes, really, he can make traditional music if he so desires; it only happens that he makes mind-fucking Harsh Noise because that's what he is most known for.
- Up to Eleven: Merzbow's music is simply Harsh Noise plus this.
- Widget Artist: Hands down, the most eccentric musician in the J-music scene. He's even more weird than all of them combined. Also, he is one of the weirdest Electronic Music producers ever to gain recognition.