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Month: April 2019 (Page 3 of 11)

Merzbow Day *

April 24, 2019 / / 9 Comments

* (restored)
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“I named my project Merzbow after a great work by the German
collage artist Kurt Schwitters which he called “The Cathedral
of Erotic Misery”. He made an art from oddments
he picked up from the street, just as I make sound from the scum
that surrounds my life. I was very inspired by Dada and
Surrealism. Probably the greatest idea of Surrealism for me
is “Everything is Erotic, Everywhere Erotic”. for me, Noise
is the most erotic form of sound…that’s why all of my
works relate to the erotic.” — Masami Akita

 

‘Merzbow (Japanese; メルツバウ) is the name used by Japanese musician Masami Akita (秋田昌美 Akita Masami) (b. 1956) for most of his experimental noise records, and is considered by many to be the earliest project among others in what has become known as the ‘Japanese noise scene’. He has released over 300 CDs, LPs and cassettes since the early 1980s.

 

‘His earliest music was made with tape loops and creatively recorded percussion and metal, and has been compared to Throbbing Gristle and Nurse With Wound (an acknowledged influence). Early methods included what he referred to as “Material Action”, in which he would closely amplify small sounds so as to distort them through the microphone; later, he made several albums of “SCUM” (“Scissors for Cutting Up Merzbow”/”Society for Cutting Up Merzbow”), for which he would cut up previous Merzbow albums until they resembled something new. His tendency to work in themed phases recalls his training as a visual artist.

 

‘He released his music on cassettes through his own record label, Lowest Music & Arts, which was founded in 1979. In the early 1980s, after meeting the Italian avant-gardist noise artist Maurizio Bianchi/M. B. in Milan, he founded a second label, ZSF Produkt.

 

‘He later began to use more electronic instruments and electric guitars, but his music still consisted of what most people would think of as “noise”. In the past few years, Merzbow has begun to use digital technology more in his music. At a live performance these days, it is normal for him to produce all his music with two laptop computers, or combination of a laptop and analog synthesizers. In 2000, the Extreme record label released Merzbox, a 50 CD set of Merzbow records, 20 of them not previously released. The set also included stickers, postcards, poster, “merzdallion”, book, CD-ROM, and T-shirt; initial copies included extra posters and double album.

 

‘Merzbow’s most recent phase has an added political dimension, being explicitly related to animal rights and similar themes. An example of this is Minazo Vol. 1 and Vol. 2, dedicated to an elephant seal he visited often at the zoo, and Bloody Sea, a protest against Japanese whaling. He has even produced several works centered around recordings of his pet chickens (notably Animal Magnetism and Turmeric).’ — collaged

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PUNISHMENT AND THE BEAUTY OF JAPANESE BONDAGE (KINBAKU)
by Masami Akita
The History of S&M; in Japan

 

S&M; Art has taken many forms in Japan and this relates directly to the history of Japan. One established genre of S&M; art in Japan is what is known as the Joshu or female prisoners stuff. When we say “female prisoners” or “Joshu” stuff, we generally refer to those pictures of torture from the period between the battle of Onin (1467) throughout Sengoku and Edo periods to Meiji. Sengoku period is noted for its cruel methods of torture – fire, knife (to cut off parts of the body), tattoo, rocks, boiling water, divining blocks and rocking horses, and so on and so on. The most brutal forms of execution and torture were employed during this period of hell on earth. The methods of torture and execution used against the Christians were most barbaric. It should be noted, however, that there is nothing uncommon about brutal religious prosecutions throughout history. Elsewhere the believers of ‘wrong’ religions have been treated separately from the rest of the population. Christians in Japan got their ears, fingers and noses chopped oft, which were originally punishments for those who committed the crime of treachery and deceit. It was meant to give maximum public humiliation by physical deformation.

 

The Tokugawa government laid out in 1742 the foundation of crime laws, which spelled out seven different types of punishment – death, exile, slavery, forced labour and so forth, as well as four kinds of torture – .whip (mutchiuchi), pressing stone (ishidaki), bend by rope (ebizeme) and hung by rope (tsurizeme). It has to be noted that all four official methods of torture from this period ore still considered the main stream torture patterns in the S&M; ort today. You could say the foundation of today’s S&M; art was laid down then. (the entirety)

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The Beauty of Noise
an interview with Masami Akita
by Chad Hensley

 

What first attracted you to Noise?

I was influenced by aggressive Blues Rock guitar sounds like Jimi Hendrix, Lou Reed, Robert Fripp and fuzz organ sounds such as Mike Ratledge of Soft Machine. But the most structured Noise influence would have to be Free Jazz such as Albert Ayler, Cecil Taylor, and Frank Wright. I saw the Cecil Taylor Unit in 1973 and it was very influential. I was a drummer for a free form Rock band in the late ’70s and I became very interested in the pulse beat of the drums within Free Jazz. I thought it was more aggressive than Rock drums. I also became interested in electronic kinds of sounds. I started listening to more electro-acoustic music like Pierre Henry, Stockhausen, Fancois Bayle, Gordon Mumma and Xenakis. Then I found the forum for mixing these influences into pure electronic noise. I was trying to create an extreme form of free music. In the beginning, I had a very conceptual mind set. I tried to quit using any instruments which related to, or were played by, the human body. It was then that I found tape. I tried to just be the operator of the tape machine– I’m glad that tape is a very anonymous media. My early live performances were very dis-human and dis-communicative. I was using a slide projector in a dark room at that point. I was concentrating on studio works until 1989 then I assembled some basic equipment before I started doing live Noise performances. Equipment included an audio mixer, contact mike, delay, distortion, ring modulator and bowed metal instruments. Basically, my main sound was created by mixer feedback. It was not until after 1990, on my first American tour, that I started performing live Noise Music for presentation to audiences. The first US tour was a turning point for finding a certain pleasure in using the body in the performance. Right now I’m using mixer feedback with filters, ring, DOD Buzz Box, DOD Meat Box, and a Korg multi-distortion unit. I am using more physically rooted Noise Music not as conceptually anti-instrument and anti-body as before. If music was sex, Merzbow would be pornography. (cont.)

 

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The True Story of the Merzbow Car

 

The Story of the Merzbow CD packaged in a car has spread itself across the globe. Alot of rumors have circulated and the truth has been hard to come by. To coincide with the “Resist the Factory” I decided to talk directly to Anders at Releasing Eskimo, the Swedish label that put out the Merzbow car.

 

Here’s what he said:

 

“A while ago I had a Mercedes 230 that I didn’t drive much. The police told me that I had to move it or they’d tow it away. Well, I didn’t want to keep it and I didn’t have anywahere to store it so I decided to use it for something else. I rigged the car’s CD player with our latest release of Merzbow’s “Noise Embryo” CD so that the music started when the car was turned on and it was impossible to turn it off. I put it up for sale as an extremely limited edition of the “Noise Embryo” CD but no one ever bought it, and in the end the car broke down. So we took out the CD and got rid of the car. Now I’m thinking about if it’s possible to release a record in a Boeing 747…”

 

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EXPANDED NOISEHANDS
The noise music of Merzbow
by Carlos M. Pozo

 

The Austalian Extreme label’s announcement of a forthcoming $500 50 (fifty) CD boxed set (the “Merzbox”) of Merzbow’s music provoked the following selected reviews of the CD output of Masami Akita from 1990 to the present day. With the knowledge that this is forthcoming, to include a complete discography in this article is as ridiculous as it is pointless. Maybe Masami himself has kept track- I personally doubt he has a complete listing of his recorded works- but I wouldn’t be surprised if he does. A listening guide of some sort is also pointless- noise seems to be even more subjective than non-noise musics. One man’s masterpiece is literally unlistenable to another, and for the most part, the fact that some noise music is unlistenable is the aesthetic victory the noise musician is striving for. Merzbow music is unlistenable in that sense. But it’s not just about the music, its the man himself, the mystery engendered by the endless stream of music emanating from his home studio. It’s the fact that he’s been doing this for so long, and can pull it off live worldwide. He’s an art critic noise rock and roller who writes articles about pornography for a living. (cont.)

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Five notable collaborations

Merzbow & Genesis P-Orridge A Perfect Pain (Cold Spring Records): ”This is a whistle-stop journey through the redded tooth and claw of Natural Selection, where the strong survive and the weak are incapable of stemming the bloody flow that Masami Akita has induced from their beleagured eardrums. A long-awaited masterpiece.’ — Synthesis

Alec Empire vs. Merzbow Live at CBGB’s 1998 (Digital Hardcore): ‘The CD races through all 58mins at a phenomenal speed, leaving a burning trail of splatter breaks and white noise in its wake. There are many moments when the sheer volume of different layers of beats and screaming machines threatens to collapse under its own weight but its fascinating to listen to and spot where the underlaying substructure of cohesion is coming from. Often this is supplied by the strong and driving rhythms which alternate between styles such as drum n bass, industrial and hip hop loops, but at other times its the job of the pounding synths to maintain at least a shadow of order over the run-away percussion.’ — amazon review

Merzbow / Carlos Giffoni / Jim O’Rourke Electric Dress (No Fun): ‘Whirring static, spurting effects, heavy drones: everything you’d expect from three prolific noisemakers is here, all doled out in big, dense brush strokes. Yet Electric Dress is no oppressive onslaught. Each participant is careful to share and trade sonic space with the other, and what could have been claustrophobic or suffocating is instead a balanced improvisation, akin to a thoughtful free jazz session.’ — Pitchfork

Maldoror (Merzbow & Mike Patton) She (Ipecac): ‘I think the last reviewer, who gave one star, was possibly expecting something a bit more musical from mike patton, or perhaps has never heard merzbow.’ — amazon review

 

Merzbow & Boris Sun Baked Snow Cave (HydraHead) ‘In all likelihood, you’ll have to take a break from Sun Baked Snow Cave halfway through and listen to some mainstream pop to cleanse your palate — otherwise the degenerating sine waves and disintegrating guitars will start to sound like the showers at Auschwitz.’ — Splendid Magazine
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Video Components

Documentaries


Beyond Ultra Violence, a Merzbow Documentary (1998)


MERZBOW – Part of Viva2 documentary from 2000 [VHS rip]

 

Live


Masami Akita’s supergroup Bust Monsters live ’91


Merzbow ‘Minus Zero’ music video


Merzbow live at the No Fun Fest 2007


Masonna and Merzbow live in Osaka w/ interview


Sonic Youth w/ Merzbow @ Roskilde Festival, 2005


Boris & Merzbow Boiler Room Tokyo Live Set


Merzbow with Wolf Eyes live at Kings Raleigh NC 8/6/13


Merzbow & Balazs Pandi – Saint Vitus 2012

 

Recorded


Merzbow – Pulse Demon (Full Album)


Merzbow – 1930 [Full Album]


Merzbow – Venereology [Full Album]


Merzbow – Electric Salad [Full Album]


Xiu Xiu + Merzbow – Merzxiu B


Merzbow / Mats Gustafsson / Balázs Pándi / Thurston Moore – Divided By Steel

 

 

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p.s. Hey. ** David Ehrenstein, Hi. Very happy to read your shining endorsement of ‘Mobile’. I’m with you all the way. So did the rapture arrive yesterday? Hard to tell. ** Steve Erickson, Hi. Thank you. I’m really happy you’ll go to the showing. Well, yes, about the release. Our US distributor is very schedule-oriented on their films’ DVD releases, and hellbent enough about keeping to the schedule that, in our case, our theater release really suffered. Still, we’re lucky to have US distribution at all, so … the film will be fine. The Yellow Vest protests: hard to say. They continue regularly, ebbing and then intensifying, back and forth. Sure, eventually they will effect elections, but those are a ways off. It’s quite a different situation here than with Occupy in the sense that the protests are about preserving what already exists against Macron’s so-called reforms rather than trying to change the existing system into something brand new and fairer. They’re about keeping the French system the way it is and was. ** Nick Toti, Hi. Yep, fairly recent. That’s the cool thing about making stuff: you just never know what its life is going to involve and how it will reach people. Things can be given enormous push and promotion and be forgotten in a year or two, and things can sneak quietly into existence and end up being greatly more valued. Cool that you’re almost finished with the Megan Boyle film. Having edited a couple of films, I can’t even imagine. Much less imagine what a hell of an upload that must be. You’re doing a DVD of Bene’s short films? Why did I not know that? How great! Whoa! I’m good, just, you know super busy. Thanks about the gif novel. I’m on it. Take care, man. ** Grant Maierhofer, Hi, Grant. I’m thrilled to have been able to introduce you to the book, and, duh, that it excited you. Awesome, that’s the best. Have a swell day. ** Right. I decided for whatever reason to restore this quite aged but hopefully still cogent post that circles around noise innovator and maestro Merbow. May it make a difference. See you tomorrow.

Spotlight on … Michel Butor Mobile (1962)

April 23, 2019 / / 5 Comments

 

‘As I write this, the 45th President of the United States has been in office for just over two weeks. Watching the country of my birth from north of the 49th parallel where I have lived since I was three years old, it does feel as if one has wandered into the freak show tent at the Circus-at-the-End-of-the-World. Reading Michel Butor’s Mobile at this moment in American history, frames much of what we are currently watching unfold from an eerie perspective. When the French avant-garde writer was travelling the newly connected highways of America in 1959, he could not have known how very timely all the pieces of information he was gathering, fragmenting, and reconstructing into this ambitious experimental work would still seem more than half a century on. Or perhaps he did. In much of today’s rhetoric, it sounds as if there is a desire to return to some ideal USA, but if Mobile is any indication, that ideal never existed. It is a myth, like the many myths celebrated and reproduced at the grand, but very short-lived, Freedomland Amusement Park.

‘Subtitled “A novel” in the Dalkey Archives edition I read, the original subtitle offers a more accurate indication of the project at hand: Study for a Representation of the United States. Butor draws from a wide range of materials to create, or allow for the creation of, a representational framework for looking at America. He incorporates substantial excerpts from the writings of Thomas Jefferson and Benjamin Franklin, reports from the Salem witch trials, traditional and treaty records from Native American history, newspaper accounts of the 1893 World’s Fair and more, but one cannot emerge from this journey without an appreciation of an expansive land, rich in history, natural beauty, and diversity.

‘As eclectic and idiosyncratic as the nation he is attempting to capture, Mobile reads more like a poem than any manner of traditional textual prose. Even the larger textual pieces are broken up and juxtaposed against other materials including an extensive collection of place names, signs, facts, ethnic newspaper and radio programming, travel boards, catalogue descriptions, Audubon bird portraits, and Howard Johnson ice cream flavours. There is a rhythm and an awareness of pattern that binds the work together within a strict overarching structure. He follows an alphabetic rather than geographic guideline from state to state, plays up the seemingly endless recurrence of place names, and links sections across time zones.

‘Dedicated to Jackson Pollock, Mobile is often described as an unclassifiable work. It is clearly not a study in the formal sense of the word, though by standing back from the flow of fragments, a picture of the country emerges in the patchwork text. There is the sense that Butor harvested this wide range of sources and arranged them to allow the rhythm and flow of language paint a colourful portrait of the United States. It feels dynamic, natural, even when it is the intentional cleverness and humour that catches your eye. But then, it is this same playfulness that makes Mobile such a wonderfully fun read. I especially enjoyed his use of catalogue listings, as in this pairing of an advertisement for paint-by-number kits with the description of a set of panties.

‘This book is not, of course, all light and fun. There are deeply disturbing passages. Segregation is still a reality in many regions (“For whites only”), and the selections from Thomas Jefferson’s writing on the intrinsic inferiority of the black and red races are uncomfortable to read. In the light of the current concern about migrants, the ethnic and cultural diversity captured on Butor’s travels are telling (The Arabs who read “As-Sameer,” The Armenians who read Gochtnag,” The Chinese who read “China Tribune.”) Yet it is all bound together through the repetition of place names from state to state, and the famed ice cream selection at that classic highway stalwart of the era, Howard Johnsons. In the end, filtered through the lens of an outsider, Mobile succeeds in tracing a fractured songline across the heartland of America.’ — Joseph Schreiber, roughghosts

 

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Further

Michael butor @ Wikipedia
‘Mobile’ @ Dalkey Archive
Michel Butor @ goodreads
Michel Butor, the writer’s writer?
A Conversation with Michel Butor By Anna Otten
Book: The Narratives of Michel Butor: The Writer as Janus
THE SUNDAY POEM: MICHEL BUTOR TRANSLATED BY JEFFREY GROSS
In Memoriam: Michel Butor
Degrees by Michel Butor (Part 1)
Perpetuum Mobile: A Study of the Novels and Aesthetics of Michel Butor
A Source and Parallel of Michel Butor’s “Mobile”: “In the American Grain”
Michel Butor’s Mobile: Modernism, Postmodernism, and American Art
Michel Butor @ Espace Francais
L’éclectisme de Michel Butor en cinq œuvres
“For whites only” : dans les marges de Mobile (Michel Butor)
L’Armoire de Michel Butor, poète et imagier du temps qui court à la Fondation Bodmer.
MICHEL BUTOR : “POUR ÉCRIRE, J’ÉCOUTE 
LES IMAGES DES ARTISTES”

 

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Interpretation: Écran, Mobile, Butor — @ Lux

‘Since its publication in 1962, Michel Butor’s Mobile is considered to be the work that upsets the classic conception of the book, playing on a strong fragmentation and an unusual layout.

‘Today, while mobile screens are massively present in our daily lives, the forms of the book are questioned again. Mainly intended for consultation, these devices are designed to be continuously connected to the Internet. This network forms a particular context for the evolution of the texts, because a form of “textual rhizome” seems to be formed: writings are motivated by readings which in turn generate other texts, as in the case of the comments associated to an article, producing peripheral and related textual layers around it.’ — Jordane Cals

(further)

 

__________
Interpretation: Mobile @ Théâtre royal, Liège

‘In Michel Butor’s “Mobile”, a group of themes intertwine throughout: first impressions of the United States, jet lag, enumeration of states, history and status of Indians, advertising, etc. These different themes are combined with stories or quotes: Salem witch trials, nightmares, Lovecraft, enumeration of states, New York, physical impressions, night noises, etc.

‘In the staging of “Mobile”, the main actor moves on the Italian stage (from a, d, f, i, g, e, c, to h) at the same time as the different US states (listed in alphabetical order) on the backdrop that represents the map of the United States.

‘It is these same displacements of the principal actor that condition the interventions and the reactions of the other protagonists (actors, actresses), (5/6, 3/4, 1/2, 7/8, 11/12, 13/14 , 9/10). However, each actor, whose physical qualities and personality have been chosen to be adapted as much as possible to each of the sensitive themes of “Mobile”, has a dual role to play (hence its double numerical name: 5/6, 13/14, for example).

‘It is the passage from one position to another (from a to h) of the main actor that causes the even or odd reactions (5/3/7 or 4/2/14) of the different actors interpreting this theme or such a story of “Mobile”.

‘A series of scenographic frames is thus established, which oppose or juxtapose with the forms created by the polyphonic construction of the various topics and narrative categories of “Mobile”.

‘The map of the United States, which occupies the entire background of the main scene and of which each state is illuminated in alphabetical order, as mentioned above (groups of states beginning with a, with b, by c, etc.) disappears from time to time in favor of other images (films in cinemascope and colors, different landscapes very characteristic of the United States, fixed projection illustrating other themes, watercolors of Audubon, census of the US wildlife, clothing or household advertising, etc.). All these images are also part of the overall rhythm of the staging and are part of the versatile sound and visual structures of the performance.’ — TR

 

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Extras


Michel Butor “Mobile et les USA” | Archive INA


Michel Butor – Le livre qui a changé ma vie


Michel Butor 2008


Michel Butor: Les choses nouvelles ont du mal à franchir le mur du bruit

 

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Interview

 



 

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Book

Michel Butor Mobile
Dalkey Archive Press

‘Considered by many to be his greatest book, Michel Butor’s Mobile is the result of the six months the author spent traveling across America. The text is composed from a wide range of materials, including city names, road signs, advertising slogans, catalog listings, newspaper accounts of the 1893 World’s Fair, Native American writings, and the history of the Freedomland theme park.

‘Butor weaves bits and pieces from these diverse sources into a collage resembling an abstract painting (the book is dedicated to Jackson Pollock) or a patchwork quilt that by turns is both humorous and quite disturbing. This travelogue captures—in both a textual and visual way—the energy and contradictions of American life and history.’ — Dalkey Archive

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Excerpts

 

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p.s. Hey. ** David Ehrenstein, Hi. Thanks for the good words to James. ** Sypha, Hi, James. Thank you! ** Damien Ark, Hey, man. ** yanbo, Hello, yanbo! Welcome to the insides of the place, and thanks a lot coming in. It should go without saying that you’re highly more than welcome here anytime. ** JM, Hi, Josiah. I hope everything is awesome on your end. ** Armando, Well, well, hi, pal! Long time no see indeed. Good to see you! I think all the valuable stuff in Notre Dame was saved, so I feel fairly confident in saying your favorite must have been among them. Favorite Blanchot? ‘Death Sentence’. Favorite DeLillo? Mm .. maybe ‘The Names’. Don’t really have a single favorite 2019 album yet that I can think of. Favorite 2019 novels so far … off the top of my head, I would say either Richard Chiem’s ‘King off Joy’ or Mark Doten’s ‘Trump Sky Alpha’. I’ve only read maybe two or three Joyce Carol Oates books quite a while ago, and I wasn’t very interested by any of them. You’re going to Pasadena? Wow, why? I was born there, but I grew up in next door Arcadia. Still, where I lived in Arcadia was two blocks from the border of Pasadena, so I spent a lot of my time there growing up. I prefer LA over NYC, yes. I’m extremely excited about the new Malick, and I’m hoping that, since it’s premiering at Cannes, it’ll open in France soon after. You can send me an email. Just recall that my emailing skills are very bad and slow virtually always. ** Tyler Murphy, Hi, Tyler. Yes, I got your email. I’ll try to write back to you today or tomorrow at the latest. ** Shane Christmass, Hi, Shane! Oh, thanks about the Keanu interview. Yeah, that interview, or rather his total openness in it, got him in a bit trouble back in the day. ** James Nulick, Hey, James! So happy to have the honor and opportunity. You got a bunch of support in the comments in case you don’t end up seeing them. ** Jeff J, Hi, Jeff! We exchanged texts literally 30 seconds ago if you interested to know exactly at what time I wrote this. So great to get to see you so much while you were here. You’ll be back there before you see this, no doubt, so welcome home! ** _Black_Acrylic, Benster. Hot off the risograph! Obviously the blog is hungry for that post whenever you see fit. ** Nik, Hi, pal. I’m good. Yeah, a lot of work going on, but I’m into it and staying somewhat afloat thus far. I hope you’re more floating than submerged re: yours. The Wrens … I have listened to them, but not for quite a while. In fact, I don’t even remember what their sound is, so, clearly, I need to brush up, and I will. Fantastic about the Sarajevo fellowship! Whoa, that’s amazing! Will do about the summer offer, and it’ll be great to see you here in any case. Fantastic! ** Dominik, Hey, big D! I’m so sorry to hear that you’ve been feeling low, but you sound like you’re upswinging now, no? Emotions can be very weird and unfair. Wow, about that impulsive trip to Vienna, and that’s so great about the spectacular pay-off! I’ll look to see if there are videos from the Werq the World tour. Maybe some of the magic will have transferred to the documentation. Great! And I’m obviously happy you’re liking the Blake Butler novel. Yeah, it’s amazing, right? Enjoy your valuable time with your brother. That’s sweet to hear. I’m good. Yes, still on the TV series. We’ve had a short break in the writing, but that ends tomorrow, then the grind returns. I just got an opportunity to show a new GIF novel at Art Basel in June, which is great, but that means I have to finish the new novel much faster than I had planned if I want to take the opportunity, so trying to get that finished that has become heavy work. And PGL comes out in France soon, and doing press and stuff for that is taking over. Lots going on, yes. Parc Asterix was a blast. It was very, very crowded, and the lines were massive, so we didn’t get to go on anywhere near as many rides as we’d hoped, but it was still big fun. Lots of love back to you, my friend! It’s so good to see you! ** Steve Erickson, Thanks! My ‘prayer’ is that the JT Leroy movie is a massive flop and disappears as quickly and with as little publicity as possible. ** Misanthrope, Hey, G. Surprised to see that wild old thing again? Still looks good, I thought. Ouch, your back, and ouch/eek, your phone. You mobile (without a mobile)? ** Nick Toti, Now that’s a wild occurrence right there. Whoa! I’ll go find it in the post and get all attentive. The post was originally launched in two parts on December 12th and 18th, 2015. So a few years after you made it. That’s wild. You good? ** Okay. I’ve been trying to make a post about this great Michel Butor book off and on for years, but somebody finally uploaded some examples of its interior online recently, and that was the cue to go ahead and put my spotlight on it. Great book. Check out its evidence. See you tomorrow.

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