Merzbow & John Wiese ‎– Multiplication

Label:
Misanthropic Agenda ‎– MAR012
Format:
CD, Album, Digipak
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Tracklist

1 Bonanza 4:57
2 Luxor Skyship 5:31
3 Spell 4:52
4 New Wave Dust 2 9:25
5 Erotic Westernscape 9:21
6 Multiplication 27:11

Companies, etc.

Credits

Notes

First edition of 1000 copies in a digipak.

Tracks 1-5 recorded May 2004 by mail.
Track 6 recorded March 2004 by mail.

Barcode and Other Identifiers

  • Matrix / Runout (Matrix): MPJ1740 DISC MAKERS

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rwortiz

rwortiz

September 16, 2019

For many a noise fan, the names of Merzbow and John Wiese need no introduction. So I won’t give them one. I’ll just get on with reviewing the album.

“Bonanza” and “Luxor Skyship” start the album off with the bare minimum of what you would expect from a Merzbow/Wiese collaboration: harsh noise chopped into chunks and cobbled together. Not much of a difference between these two tracks. The former has these wavering tones similar to John Cage’s “Imaginary Landscape No. 1” a minute in. The latter has a semi-ambient moment 2 minutes in that stands out from the rest of the track. Both are solid, but I think “Luxor Skyship” is the more interesting of the two.

It isn’t until “Spell”, however, where this album gets REALLY good. The track gives this soundscape of scraping metal, clanging and static, wavering between volumes every so often. At its softest, it sounds like the quieter Satori songs. It’s noticeably slower-paced than the preceding tracks.

“New Wave Dust 2” brings us back to speed with a more lightning-fast pace. This is supposedly a sequel to a track that ended up in Wiese’s classic “Soft Punk” album a few years later. And I do hear elements of that track here. It certainly lives up to the harshness of the original.

“Erotic Westernscape” goes back to the ambient feel of “Spell”. It starts as this tunnel ride through these sharp waves of sound. At the 3-minute mark, these somewhat beautiful drones start peeking through all the noise. 2 minutes later, the drones are laid bare, revealing themselves to be guitars. The static and distortion return soon after, threatening to suffocate the guitars. The instruments put up a good fight, however. It seems to be a stalemate. And then... silence.

Which brings us to the closing title track. Although the rest of the album was mixed by Wiese, now it’s Akita’s time to shine. And shine he does. In place of Wiese’s trademark rapid-fire editing, we have a slower, more analog approach to assaulting our ears. Dozens of loops, loads of static, some more restrained passages, the usual. The piece lasts nearly a half of the album, and not a single second is wasted. This makes the perfect closure to this CD.

Overall, this is one of those albums that every noisehead needs to hear at least once. If you haven’t, than what’s wrong with you? It’s on Apple Music at this moment, so get to it. Unless you don’t have Apple Music, then find some other way. You only have one life to live.

January 19, 2006
edited over 14 years ago
A release I was waiting for for a long time and it did not disappoint me. Merzbow and John Wiese remixing older material and you can tell which is which, not only by the sounds but also by the track lengths. Merzbow's mix being the last track at over 27 minutes long.
Wiese does an excellent job with Merzbow's work. You can clearly hear older Merzbow albums like, 'Orested', 'Hybrid Noisebloom', 'Pulse Demon' and 'Space Metalizer'. Which are all killer albums in there own right. A top of all this clutter of noise their still is Wiese's distinctive cut-up style that meshes in very well.
The Merzbow track is a journey and relates very well to what his sound use to be before his digital age.
The album plays as one continuous track too so it's very easy to find yourself lost in which track you’re playing, which is no so bad.