This work uses as source-material, recordings made of a Merzbow concert at Diogenes (Nijmegen, Netherlands) on October 3rd 1989. From these recordings a process was started in which Kapotte Muziek and Merzbow transformed the original material by various means (like repetition, electronic manipulation). Each new transformation was sent to the other, to be reworked again, but only that specific transformation. In the final mix (first mix by Kapotte Muziek, second mix (this record) by Merzbow) all previous steps could be used. Digital recording of the live concert was made by Peter Duimelinks.
Final mix by Masami Akita in December, 1991 at ZSF PRODUKT studio, Tokyo.
This really is one of my favorite records ever. The detail of texture that these two have combed up is extraordinary and seems almost absurd. Totally palpable swells, contortions, spacial narratives. The listener can sink fingers, teeth, bones into it as a three- (or four-) dimensional experience.
Highly recommended. Grab a copy if you can and don't forget the subwoofers ... turn it up, loud. Over a proper system you could even call it dark techno or something, lol. In fact the way the tracks are sequenced, it's totally possible to beatmatch the tracks and let them spin next to beats (if I remember correctly, side A is around 150 BPM and side B is around 165 or so).
Highly recommended. Grab a copy if you can and don't forget the subwoofers ... turn it up, loud. Over a proper system you could even call it dark techno or something, lol. In fact the way the tracks are sequenced, it's totally possible to beatmatch the tracks and let them spin next to beats (if I remember correctly, side A is around 150 BPM and side B is around 165 or so).