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Extended 3LP edition of Merzbows amazing second vinyl from 1986 in very special package. One of the very best Merzbow albums, first time ever reissued on vinyl and first time ever released with the ORIGINAL tracks! The first edition of this album, released by RRRec in 1986 as double vinyl, was a remix done by RRRec, while our edition is a perfectly mastered first ever vinyl edition of the original recordings, extended to 3 LPs with bonus songs from the same time.

Masami Akita continues his work as the world's premiere extreme dynamicist on 'Circular Reference,' his latest full-length and first for No Holiday. It's a torrent of synthesized tones colliding against punishing layers of feedback and midrange noise. But there are also snatches of lurching rhythms to be found, as well as moments of relative uneasy calm. More than anything, it's distinctly Merzbow. Released on 2xLP and CD formats, the latest from this titan of noise is sure to please longtime listeners and new disciples. We recommend playing this one especially loud.

Merzbow came roaring onto the Tokyo scene in 1979. To this day, the project remains one of the most prolific and aggressively forward-thinking acts in experimental music. Initially a duo of Masami Akita and Kiyoshi Mizutani, before settling as the moniker of Akita alone, the project took its name from German artist Kurt Schwitters' pre-war architectural assemblage, The Cathedral of Erotic Misery or Merzbau, and quickly set out to challenge entrenched notions of what music could be. Embracing technology and the machine, even in its earliest iterations, Merzbow broke boundaries and pushed toward new territories of the extreme, arriving at an unadulterated manifestation of sonic expression that has continued across the last 44 years, setting the pace for the entire genre of noise along the way. When it comes to Japanese noise, few projects have pushed boundaries or risen to a more iconic status than Merzbow. The mutant child of punk and experimental music, the project’s blistering sounds - as singular and wild as they are unique - are among the movement’s most important, definitive statements, continuously laying the groundwork for countless artists who have followed in its wake. Cloud Cock OO Grand marks a new era for Merzbow, the first of many CDs that will go in the direction we’d see in the ’90s. It is also the first time that this seminal document from Merzbow’s '90s period has ever appeared on vinyl. Composed and performed on synthesizers, metal devices, noise electronics and string instruments, all recorded at extreme volumes, Cloud Cock OO Grand’s five tracks present an enthralling sonic assault, deeply driven by the presence of electronic sounds, played against the sparse interjections of Akita’s heavily processed strings, that push toward new territories of the extreme, while subtly nodding toward historical gestures from the early years of the avant-garde. On the double vinyl, the tracks are not only remastered by Merzbow, but are recontextualized and open up a new sense of his studio experimentation at the time. Cloud Cock OO Grand is a stunning feat of remarkable importance within the genre of noise, delivering this long unavailable masterstroke back into our hands, while further illuminating the project’s crucial work from the 1990s. This is an absolute must for the indoctrinated Merbow fan as much as those just entering this incredible world.

This reissue of the “Collection” is limited to just 299 hand-numbered copies, making it a truly special release for fans and collectors alike. Encased in a beautifully crafted wooden box, this deluxe edition features ten LPs, each adorned with original collages by Masami Akita, printed in black silkscreen on Cordenons Astropack ivory cardboard sleeves. Accompanying the vinyl is a 12-inch booklet, also printed on the same high-quality cardboard as the cover, containing 32 pages filled with previously unpublished photographs, as well as artwork and collages by Masami Akita from 1981-83. This booklet includes exclusive notes by Lasse Marhaug, Thurston Moore and Masami Akita along with a unique interview of Jim O’Rourke with Masami Akita.

Limited edition of 200 copies. Merzbow is a Japanoise legend who has been advocating and practicing thoroughgoing ahimsa. This is the first analogue/cassette version of their very popular CD-only release "Door Open At 8 AM" released in 1999. Recorded at his home studio, Bedroom, Tokyo, in April/May 1998 using EMS VCS3, EMS Synthi 'A', Moog Rogue, Theremin, etc., this is a career-defining album. Recorded around the same time as one of Merzbow's most adventurous works, Aqua, it pays homage to the free jazz musicians he admires. Tony Williams and John Coltrane were also sampled. Remastered at Munemihouse in 2020. Remastered at Munemihouse in 2020 with new artwork by himself. Includes additional bonus tracks.

One of the first artists iDEAL wanted to work with was Japanese noise legend Masami Akita (b. 1956) aka Merzbow and we consider his 7” for us as the first release on the label. His work is of course very well documented since his start in 1979 and we have been obsessed by his noise since we first came across it in the late 80s through that double LP on RRR. Merzbow is unique and has always kept his own corner in the experimental music world. ”GAREKI NO NIWA” is harsh, psychedelic and rewarding. It’s great listening and to us an essential Merzbow album!

Tape reproduces the original art work and comes in just 199 with O-card 300g wrapping clear box with j-card and laser print green shell.

Merzbow stands as the most important artist in noise music. The moniker of Japanese artist Masami Akita was born in Tokyo in 1979. Inspired by dadaism and surrealism, Akita took the name for his project from German artist Kurt Schwitters's pre-war architectural assemblage The Cathedral of Erotic Misery or Merzbau. Working in his home, he quickly gained notoriety as a purveyor of a musical genre composed solely of pure, unadulterated noise.
Green Wheels is Merzbow in its most straightforward, most genuine, most uncontrolled and refined form. Originally released by the legendary US label Self Abuse Records in 1995 on CD and 5-inch vinyl record, both housed in a foil-lined cardboard box with the abstract and impressive art work created by the artist himself, which has become another of the fetishist objects of Merzbow and now incredibly hard to find. Like all of his work since the early nineties, Green Wheels is an uncompromising cascade of brutal noise. In this album you find nothing of the minimalism of his early 80s, completely overwhelmed by synthesizers and handmade objects that become his unconventional weapons to create bursts of noise.
The three tracks of the CD which are neatly reissued on the first three sides of the vinyl, radiate the listener from the rackets of a rain of nails on metal plates, the synthetic crashing of bombing, industrial percussion and the metal (green) wheels that roll and scrape. The last side of the record contains the two very short 5-inch tracks that hurt you with thousands of jabs in just a matter of minutes. Then closes with two unreleased tracks from the same fantastic mid-1990s period which can undoubtedly be considered two wonderful discoveries for their intensity and beauty; musical pieces that blend perfectly and complete the reissue on this double vinyl. When you get to the end of the fourth side, you will feel purified, once the granite landslide subsides. It is like mental liposuction, eradicating all anguishes and hesitations.
Everything was perfectly recorded and mixed in March-May 1995 at ZSF Produkt Studio, Masami Akita’s home studio from the late 80s to late 90s; the outcome it's warm and bright as the bare steel of Shinjuko skyscrapers under the (rising) sun of hot Japanese summers.
Of all the incredible artists to have emerged from Japan’s thriving noise scene, it is hard to call to mind a figure as iconic, visionary, or influential as the composer and performer Masami Akita. His work represents ground zero for nearly everything that has followed in its wake. In addition to its incredible noise sounds, this positions Urashima’s newly remastered and expanded Green Wheels 2LP in only 299 copies with gatefold cover that faithfully reproduces the original art work as an incredibly important event. Not only does it present the best sounding release of these recordings to date, but it expands to a double LP, with a never before issued two tracks recordings. Yet another crucial reissue offering from Urashima that towers with historical importance, this one is impossible to recommend enough. 

Unfettered harsh noise from the legendary Japanese noise artist Masami Akita aka Merzbow. Tirelessly churning layers of distortion are punctuated across two tracks with glistening, jagged feedback and thrashing pulsations that lash at the ears and utterly invigorate the senses.

SONG 08

Merzbow stands as the most important artist in noise music. The moniker of Japanese artist Masami Akita was born in Tokyo in 1979. Inspired by dadaism and surrealism, Akita took the name for his project from German artist Kurt Schwitters's pre-war architectural assemblage The Cathedral of Erotic Misery or Merzbau. Working in his home, he quickly gained notoriety as a purveyor of a musical genre composed solely of pure, unadulterated noise. Embracing technology and the machine, first in an absolutely analog way and then welcoming digital innovation, Merzbow broke boundaries and pushed toward new territories of the extreme, arriving at a sonic space of uncontaminated, straight noise that, from its base in Tokyo, has continued, now for over 40 years, to set the pace for the entire genre of noise. When it comes to Japanese noise, few projects have pushed boundaries or risen to a more iconic status than Merzbow. Hybrid Noisebloom, originally issued by Vinyl Communications on CD in 1997, is the latest in this trilling bread crumb trail. It is also the first time that this seminal document from Merzbow’s '90s period has ever appeared on vinyl. Composed and performed on EMS and Moog Synthesizers, Theremin, Metal Devices, Noise Electronics, and Voice, all recorded at extreme volumes, Hybrid Noisebloom's five tracks present a fascinating sonic assault, heavily driven by the presence of electronic sounds, played against the sparse interjections of Akita’s heavily processed vocals, that push toward new territories of the extreme, while subtly nodding toward historical gestures from the early years of the avant-garde. A side opens with Plasma Birds comprising a series of banner that investigate timbral relationships, the fragmentation of melody, and abrasive, provocative noise - shifting from the sparse, airy, and restrained, to dance clusters of interplay and back again. Follows enclosed in just over ten minutes, Minotaurus, finding a strange middle ground between the intuitive logics of their instruments; synth and electronics taking on decidedly percussive approaches, while metal device’s fractured polyrhythms and beats often veer toward the presence of a notable tonality. B side is filled with a single long track, Mouse Of Superconcetion, formed by screeches and from swinging and chugging to stepped back and sparse combinations of rhythm and tone - moving from the lingering sensibilities of straight-ahead synth to radically out hard blow fire. Launching from a total wall of sound, C side track Neuro Electric Butterfly takes the listening on an endlessly surprising journey through its devices’ inner world, shifting between airy open passages that feature endless combinations of one or more effects, to furious moments of sonorous lashings where the sound falls in together in brilliant dialogical periods of conversant texture and psychedelic intervention. Closes The Imaginary Coversation Of Blue embedding bristling fragments, percolating tones, and poignant dissonances within a sweeping field of echoes rumbles and drones, taking sonic abstraction to startling heights. Despite its undeniable intensity, Hybrid Noisebloom is arguably one of Merzbow’s most accessible and engaging releases. Noise at its best - sophisticated and refined, more than twenty-five years after it first appeared, this album is long overdue for a return to the world, retaining every bit of potency and power as the day it was laid to tape. Never before available on vinyl, this beautiful pressing is issued as a deluxe double vinyl LP edition, limited to 299 copies. Needless to say, we can’t possibly recommend it enough.

“Kachouzu” is a limited-edition lathe-cut release by Merzbow, also known as Masami Akita. It presents the pinnacle of harsh noise, with Merzbow’s signature metallic and extreme sound unfolding throughout. Unlike standard pressed records, the lathe-cut format delivers a uniquely raw sonic texture that further amplifies the intensity and impact of the work.

Very limited metal pin badge from Hospital Productions

First time on CD for this classic Merzbow duo album from 1983...
......Material Action is a favorite among early Merzbow free-music, junk-noise workouts. Psychedelic improvised instrumental energy abounds on this essential early recording that is PURE MERZ.

Masami Akita plays tapes, percussion, electro-acoustic noise, organ
Kiyoshi Mizutani overdubs tapes, synthesizer, violin, machine noise

Limited edition of 150 copies worldwide. For the first time since 1984, the best of the early Merzbow catalog, newly remastered by Masami Akita, Aurora Central Records proudly presents the reissue of Material Action for 2 Microphones.

20th Anniversary Repress! 
Merzbow's Merzbeat is one the most unique and legendary titles in the artist's vast archive. This 20th anniversary repress is being issued at the same time as CD reissue of his 1983 album Material Action 2 and a brand new collaboration with Arcane Device, all on Important Records....

To celebrate 20 years of this incredible album by Masami Akita, we are doing a limited edition gatefold vinyl pressing on baby pink colored vinyl limited to 300 copies worldwide.

To celebrate 20 years of this incredible album by Masami Akita, we are doing a limited edition gatefold vinyl pressing on baby pink colored vinyl limited to 300 copies worldwide.

This work consists of sound and a collection of AI-generated images. The image collection compiles the AI-generated images used for projection during the Merzbow Free Noise concert held at WWW in Shibuya, Tokyo on January 6, 2025. The use of such visuals is rare for Merzbow in recent years, and the use of AI-generated images in a live performance is a first attempt.

The concert was structured in two parts, and one of the rehearsal recordings of a track performed in the first part is the first track on the

CD, “Peacock Analogy.” It features a live mix of computer sounds recorded on CD with Sonicware’s Texture Lab, Oscillator etc. The

second track, “Tenbyo Caterpillar 1,” is one of Merzbow’s most recent studio recordings. It overdubs multiple layers of noise electronics,

computers, and more.

“Peacock Analogy”

The title “Peacock Analogy” is based on the fact that when a peacock painting was used as a reference image to generate a dilapidated cityscape, buildings and metal structures in the shape of peacocks were created. This phenomenon seems to have occurred due to a combination of several factors in AI image generation. From the peacock image, the AI learned the peacock’s unique shapes (e.g., the spread of its feathers, the shape of its neck, the overall silhouette, etc.). When generating the cityscape, the AI may have attempted to apply the learned peacock shape patterns to the city’s buildings and metal structures. In this case, because the prompts were vague expressions such as “dilapidated city” and “metal structures,” the AI was likely strongly influenced by the reference image of the peacock.

“Analogy” is the process by which AI recognizes similarities between different concepts and transfers patterns from one concept to another. In this case, the AI may have recognized similarities between the shapes of peacocks and the shapes of buildings and metal structures and applied the peacock shapes to the buildings and metal structures. In this way, AI image generation can produce unexpected results.

“Mimesis”

Mimesis is an art theory proposed by the ancient Greek philosophers Plato and Aristotle, the concept that works of art imitate the real world or nature. Traditional art has emphasized faithfully reproducing reality or expressing an idealized reality. AI art generates images by learning from vast amounts of image data and recognizing patterns within it. In this point, AI can be seen as “imitating” existing images.

Furthermore, mimesis in AI art can be considered part of a creative process. By generating new images based on learned data, AI can expand human creativity and open up possibilities for new artistic expressions.

“Imitation” also carries negative connotations such as “copycat” or “fake” Because AI learns from existing data to generate images, there are various opinions, such as that its originality is low, or that because AI can generate a large number of images in a short time, its scarcity is low, or that because AI has no emotions, its artistry is low.

Is AI art like mass-produced “junk art”? Is AI art something that “resembles art but is not”?

Discussions continue on how AI art will change the traditional concept of art, how it will expand human creativity, and whether AI-generated images are art in the first place, who the creator is, and where the copyright lies.

MASAMI AKITA

*A Part of Text by AI-assisted with Gemini (Google).

Volume 3 of "Nine Studies of Ephemeral Resonance" enhances the listening experience created by its predecessors by exploring new depths in sonic experimentation. This volume features three carefully crafted tracks that showcase a wider range of tonal richness and dynamic interplay. The intricate textures blend the history of sound with modern artistic ideas. As the soundscapes unfold, they invite listeners into vibrant auditory environments where each distinct hue, echo, and resonance encourages a sensory and emotional connection. The engaging dynamics and creative rhythms set the scene for a captivating journey filled with surprises and hidden gems, providing an experience that both respects and goes beyond traditional musical roots. This limited edition is elegantly encased in a skillfully crafted birch box, with each hand-numbered copy enhancing ownership with a unique sense of value. Every detail has been meticulously considered to complement and elevate the listening experience, from the refined exterior finish to the thoughtfully arranged interior, ensuring a flawless presentation. The CD is housed in a mini-LP replica with an inner sleeve, further enhancing the aesthetic. Additionally, there are two inserts printed on 300g white Fedrigoni paper, adding to the overall luxurious feel of the package. Together, the auditory tracks and packaging create a multisensory work that is destined to linger in memory and enrich the archives of passionate collectors.

Volume 4 of Nine Studies of Ephemeral Resonance takes the listening experience introduced by its predecessors to new heights, pushing the boundaries of sonic experimentation even further. This volume features three intricately crafted tracks that explore a diverse range of tones and dynamic interactions, seamlessly weaving together the traditions of sound with cutting-edge artistic concepts. The immersive soundscapes invite listeners into rich auditory worlds where each hue, echo, and resonance engages them on both sensory and emotional levels. The innovative dynamics and rhythmic explorations create a captivating journey filled with unexpected twists and nuanced discoveries, honoring and expanding upon Japanese traditional musical roots.This limited edition is elegantly encased in a skillfully crafted birch box, with each hand-numbered copy enhancing ownership with a unique sense of value. Every detail has been meticulously considered to complement and elevate the listening experience, from the refined exterior finish to the thoughtfully arranged interior, ensuring a flawless presentation. The CD is housed in a mini-LP replica with an inner sleeve, further enhancing the aesthetic. Additionally, there are two inserts printed on 300g white Fedrigoni paper, adding to the overall luxurious feel of the package. Together, the auditory tracks and packaging create a multisensory work that is destined to linger in memory and enrich the archives of passionate collectors.

Volume 5 of "Nine Studies of Ephemeral Resonance" amplifies the groundbreaking auditory journey established by its predecessors through Merzbow’s exceptional manipulation of noise. This edition showcases three meticulously crafted tracks—"The Bell Tolls," "Flow Of Time," and "Distant Mountains"—that uncover a rich landscape of tonal intricacy and dynamic resonance. The soundscapes interweave experimental noise techniques with a fresh artistic approach, transporting listeners into mesmerizing auditory realms where each sound and subtle variation captivates the imagination. This remarkable journey unfolds with unforeseen discoveries, breaking free from conventional musical frameworks and highlighting noise as a crucial and expressive element of contemporary artistry.

This limited release is elegantly presented in a finely crafted birch box, and each hand-numbered copy bestows a unique sense of ownership and value. Every aspect has been painstakingly curated to augment and elevate the auditory experience, from the exquisite exterior finish to the thoughtfully organized interior, ensuring an impeccable presentation. The CD is housed within a mini-LP replica featuring an inner sleeve that amplifies the overall aesthetic.

Additionally, two inserts printed on 300g white Fedrigoni paper contribute to the luxurious allure of the packaging. Together, the auditory pieces and their exquisite packaging create a multisensory masterpiece destined to resonate in memory and enhance the collections of dedicated enthusiasts.

Volume 6 of "Nine Studies of Ephemeral Resonance" intensifies the avant-garde auditory experience pioneered by its predecessors through Merzbow’s masterful exploration of noise. This edition features three meticulously crafted tracks—"Ripples On The Water," "In Solitude," and "Deep In The Heart"—that unveil a rich tapestry of tonal complexity and dynamic interplay. The intricate soundscapes fuse avant-garde noise techniques with contemporary artistic vision, drawing listeners into profound auditory realms where every tone and nuance captivates. This remarkable voyage unfolds with unexpected twists, pushing the limits of musical conventions and embracing noise as a transformative and expressive force in art.

This limited release is elegantly presented in a finely crafted birch box, and each hand-numbered copy bestows a unique sense of ownership and value. Every aspect has been painstakingly curated to augment and elevate the auditory experience, from the exquisite exterior finish to the thoughtfully organized interior, ensuring an impeccable presentation. The CD is housed within a mini-LP replica featuring an inner sleeve that amplifies the overall aesthetic.

Additionally, two inserts printed on 300g white Fedrigoni paper contribute to the luxurious allure of the packaging. Together, the auditory pieces and their exquisite packaging create a multisensory masterpiece destined to resonate in memo

Volume 7 of "Nine Studies of Ephemeral Resonance" invites listeners into a mesmerizing auditory experience composed of three intricate tracks: “Night Rain,” “In The Darkness,” and “Such Stillness.” The album opens with “Night Rain,” starting with a gentle and meditative atmosphere that gradually unfolds into a realm of electronic experimentation. This track oscillates intriguingly between serene sounds and moments of sonic turbulence, immersing the listener in a dynamic landscape filled with both beauty and noise. Following this is “In The Darkness,” which continues this avant-garde exploration; delicate crackling textures seamlessly transition into sharp, erratic bursts of feedback, showcasing Merzbow's talent for manipulating sound with both precision and creativity. Finally, “Such Stillness” delivers a decisive and intense conclusion, presenting a sublime journey of noise that captivates and challenges the listener. Housed in a beautifully crafted birchwood box, each limited edition copy is individually numbered, enhancing its appeal as a sought-after collector’s item. The meticulous attention to detail extends beyond the auditory experience, as the packaging features a mini-LP replica and elegantly designed inserts, ensuring that this volume is not only a significant artistic endeavor but also a sensory treasure for audiophiles and collectors alike.

Volume 8 of "Nine Studies of Ephemeral Resonance" invites listeners to delve into a vibrant and eclectic auditory landscape through four richly textured tracks: “Coolness,” “White Dew,” “Grass Leaves,” and “Monkey's Voice.” The album opens with “Coolness,” where a gently plucked electric piano gradually disintegrates into increasingly synthetic sounds, culminating in a refreshing wall of noise that invigorates the senses. Following this, “White Dew” and “Grass Leaves” continue to explore the realm of noise, weaving intricate layers that challenge and engage the listener. Finally, “Monkey's Voice” introduces a pulsating heart at its core, featuring splashes of bleeping sounds that shift from calm reflections to frenetic bursts of energy. Beautifully presented in a finely crafted birchwood box, this limited edition is individually numbered, enhancing its sense of rarity and value. With meticulous attention to detail, including a mini-LP format and elegantly designed inserts, Volume 8 stands as not only a significant artistic endeavor but also a treasured collectible for sound enthusiasts.