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Merzbow Audio CD
4.8 out of 5 stars  See all reviews (4 customer reviews)
Price: 12.18 & FREE Delivery in the UK. Details
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Product details

  • Audio CD (1 July 1998)
  • Number of Discs: 1
  • Label: Tzadik
  • ASIN: B0000067WP
  • Other Editions: Audio CD
  • Average Customer Review: 4.8 out of 5 stars  See all reviews (4 customer reviews)
  • Amazon Bestsellers Rank: 238,100 in Music (See Top 100 in Music)

1. Intro
2. 1930
3. Munchen
4. Degradation Of Tapes
5. Iron, Glass, Blocks And White Lights

Customer Reviews

3 star
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4.8 out of 5 stars
4.8 out of 5 stars
Most Helpful Customer Reviews
21 of 22 people found the following review helpful
5.0 out of 5 stars Wonderful, but not for the faint of heart 4 Nov 2003
Format:Audio CD
A record consisting of harsh whooshes, grinding factory-machine sounds and loud, buzzing static, this is not for those looking for a whistable tune to distract them for three and a half minutes.
For those willing to venture a little off the beaten track, this album by Japan's premier noise musician is a stroke of genius. It's been said that this work shows the tension of the year 1930 itself, but I got such astonishing rush of joy upon hearing it - still do, in fact - that I find that hard to believe. A sense of the sheer intellectual freedom that must be required to make such an album, to actually compose something like this, literally infects the listener. It's a stunning feeling. This is not rational, reasonable or sensible music and as such it is capable of completely blasting away all conscious thought, leaving only spirit, experience and adrenaline.
If you found Lou Reed's Metal Machine Music too timid, this is for you. It's also great for annoying nu-metal kids; "You like Slipknot because they're 'noisy', eh? Har, har, listen to this!" So, essentially, I love it, but I'm strange. If you're strange too, you should like it. If not, buy it for the Travis fan in your life.
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3 of 4 people found the following review helpful
4.0 out of 5 stars pumelling 22 Feb 2006
By D. Kerr
Format:Audio CD
I have to agree with my fellow towns-mans remarks. Merzbow has been here for 20+ years and still continues to scupt new sonic structures from his seemingly neverending arsenal of raw sound. If you can get this, then i highly recommend 'Pulse Demon', my first introduction to Akita's work. There are many who rate Merzbow as the best in this 'genre' if you will. Simply put, let yourself be pummelled by pure weight and density of sound
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By Sketchy
Format:Audio CD|Verified Purchase
Well, it was definitely unlike anything I have ever heard before, and quite honestly, I like that. It sounds distinctly crunchy.
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12 of 18 people found the following review helpful
5.0 out of 5 stars An Amalgamation of sound and aural terrorism 12 Jan 2001
By A. Moss
Format:Audio CD|Verified Purchase
lets get one thing straight, Merzbow is not music, its sound, it grabs you by the balls and forces you to listen to the inconveivable sounds within. With tracks lasting in excess of twenty minutes and every second totally absorbing. WARNING: Don't listen to this if you want to relax
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Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com: 3.8 out of 5 stars  16 reviews
34 of 34 people found the following review helpful
4.0 out of 5 stars Don't Hold it at Arm's Length 16 Oct 2006
By Snow Leopard - Published on Amazon.com
Format:Audio CD
Before I start, if you are not a little bit familiar with Merzbow, I can only wonder how you got here. Nevertheless, the genre he represents is "noise" but it's not noise of a minimalist sort (usually) and not noise of a banging on the trash-cans sort (usually). If you started somewhere in the vicinity of white noise, plus sheer pulsing, you might have an inkling. Wide frequency ranges, throbbing squelches, subharmonic oscillations, feedback, distortion as thick as gauze stuffed into a fatal puncture wound, frequently long and relentless, but not unvarying tracks. Make no mistake, this is the opposite of minimalist--it is saturation, maximalist. Relentless.

Second, the two things I gather from reading the reviews are--fans compare this to other albums (and generally find others better), while others (whose opinions are given freely) feel compelled to condemn this disc with one star. This doesn't seem especially helpful, unless you are already a Merzbow initiate, in which case, you should know that given his truly prodigious output, comparing this noise to other noise is far more obviously an exercise in taste than it might be when rating the albums of more conventional artists. In other words, what does this album itself have to offer?

To begin with, noting that this is "not for the weak" or that it amounts to an aural assault makes the disc into something elitistly precious. Far more than most classical music, and even most pop music, nearly anyone could listen to this and "understand" it--for the same reason that one will start noting patterns in white noise if stared at. Beyond this, however, this disc is intensely sublime--that is, it is beautiful in the same way that the overwhelming grandeur of the mountains are beautiful, or that thunderheads are. It is beauty in a gargantuan, awe-full guise. There is also tremendous, visceral power here.

Around 15'30" of "Iron, Glass, Blocks, and White," for instance, after a fuzz-crush that seems to choke the sound into silence, a rolling, cycling alarm sound goes off, while a really yummy tube-amp note throbs and wavers like a candle in the middle of everything, surrounded by splatters of slashing noise. The background then takes on a long, sustained handsome note that throbs with the tube-amp noise. Distortion everywhere. Then it all fades away. One could nearly describe the passage in terms of conventional beauty here, almost.

The beginning of "Degradation of Tapes," as well, starts with three seconds of distorting flanging and then just crushingly smashes in with a distortion echo that twists up to a delay rate of nearly zero. It is a beginning, an opening gesture, that you will not find in popular music, progressive rock, or classical music even in almost all of its most avant-garde practitioners.

From there, a forefronted white noise that is like sitting front row center to a blast furnace blazes in front of slow-flanging distortion behind. The foreground then spasms from white noise, VCF shifts and god knows what else while a gorgeous crystalline solo note skitters around in the background. After about 2'15", the foreground becomes something like a broken staticy radio, just before the pipe truck crashes at 130 mph inside of the long, long echoing tunnel. Etc.

It is perhaps unfortunate that Merzbow is known for doing "noise." An oboe makes noise also. Although from a musical standpoint, it is not necessary to distinguish between musical noise, i.e., orchestras and Merzbow alike, and noise noise, i.e., a door slamming and footsteps receding, if nothing else, the noise that Merzbow makes can be listened to. One's attention can follow rising and falling sounds, or can get caught up in the crisscross of rising and falling sounds; one can listen to the foregorund, or very attentively try to pull out the background; one can follow and lose the various repetitions and pulses that stand in as beats; and one can, on multiple listenings, invent anew each time the "melody" that you follow as your brain wanders through the fractured crashes of white noise, distortion and panning.

In that respect, it is worth noting that 1930, if you can get through it once, particularly lends itself to being listened to again and again. One of the most interesting features of this kind of saturated noise is that it is very difficult to remember; as such, one experiences it differently almost every time. There might be other ways to accomplish this musically, but certainly it is a very interesting feature of such music. It is attention-sustaining in a way that most conventional music is not. Put another way, and rather ironically, this is not ambient background music at all. Played as such, it becomes noise of the annoying, worthless kind.

Instead, relax, put on headphones, turn it up, and experience the joy of really getting to listen to music. Ironically, this music can at times be relaxing, in the sense that it wears you out. Certainly, as one reviewer noted, it causes his thoughts to neutralize. And yes, it can be hard to listen to the whole disc all at once.

Do other Merzbow albums do this as well, or better, or worse? One would have to hear for one's self. In the meantime, 1930 is an excellent, however partial, tour through an all-engaging aural soundscape.
13 of 13 people found the following review helpful
5.0 out of 5 stars Highly composed and dynamic 11 Jan 2006
By The Pitiful Anonymous - Published on Amazon.com
Format:Audio CD
While as loud and amelodic as reputed, Merzbow is not at all random or 'mindless feedback and noise'. 1930 is an excellent noise composition with plenty of rhythmic sounds and a lot of variation in texture and frequency. While there are no 'beats' or recognizable instruments, there are repeated patterns, and plenty of loud/soft contrast. This is my first Merzbow album and it's succeeded in getting me interested in his other work... People can say it isn't music, but it's definitely sound as art... which to me, is what music is.

1930 is the perfect example of the noise genre- sound without familiarity. You won't listen to it and hear any noise that makes you say "Oh, I know where he got that". Some of it may be sampled but he alters it beyond recognition. Because of this the overall effect of the album is one of relaxation, a sort of cleaning of the mind.

Listened to as a whole this album takes you to a cold, inhuman but not at all threatening place in the subconscious. If I'm agitated or stressed out, putting on 1930 neutralizes my feelings. The sound doesn't remind me of anything in particular, so I don't think of anything in particular when it's playing. Other people (fans) have expressed similar reactions to it. All the compositions on this album are different and well thought out, while at the same time having a spontaneous quality that lets you know it was created by a feeling, creative human being. It's a dynamic album too, there's quiet to go along with the loud.

If you find Merzbow too unpleasant, simply don't listen to it, but I don't see the point (Scott Baldwin) of posting a worthless negative review on EVERY album of his you can find. If you hate him so much there's no reason for you to have heard ALL of those albums, and you can't review albums you haven't heard.

Merzbow defines a form of art that only existed in small amounts (metal machine music, some TG) before he was around. I recommend Merzbow to those who are still interested after reading the reviews on this site. I also recommend SPK, Non and Metal Machine Music for something similar.

5 stars. This is as good as noise gets.
3 of 3 people found the following review helpful
5.0 out of 5 stars A unique entry in Merzbow's massive oeuvre 5 Mar 2008
By Steward Willons - Published on Amazon.com
Format:Audio CD
Out of my 20-30 Merzbow CDs, this is one I return to frequently. It's easily one of his most unique and varied albums to date. I'll admit that sometimes his albums can sound very similar - It would be difficult for me to tell "Hard Lovin' Man" apart from "Cycle" in a blindfold test. However, he does have a number of albums that sound obviously different, even to the casual listener. Albums like "Music for Bondage Performance" and "Pulse Demon" have a unique character and serve to remind us that Merzbow isn't just a hack noise artists, but an actual artist creatively working in a strange, but wonderful field.

1930 is definitely not for everyone. If you can't stand Merzbow, you probably won't like this album either. I would recommend this to people who have developed a taste for experimental composition and/or noise music. If you're a casual fan, this is definitely one of, say, ten Merzbow albums you should check out. While the wide selection of both digital noise manipulation and tape loop destruction albums each hold a unique interest for major fans, I can understand that a lot of people will not enjoy so much material that is, at least superficially, similar. That's exactly why I'm recommending 1930 to any Merzbow fan - especially those interested in pick up just a few recordings.

My main reason for this recommendation is the variance of texture. There are sections of harsh digital noise, but there are quiet, more atmospheric sections centered around subtle timbral variations. Periodically, bits of sine waves emerge from the cloud of distortion giving us what is probably Merzbow's equivalent of "melody" (although using that term in this context stretches its meaning to a breaking point).

You're in for an epic sonic journey with 1930. Check it out.
3 of 3 people found the following review helpful
4.0 out of 5 stars . 10 Jun 2000
By A Customer - Published on Amazon.com
Format:Audio CD
A Merzbow release with some fine moments, to be sure; it grows on me themore I listen to it. However, I don't consider this essential. Muchof it feels watered down and murky. This might be intentional, but the effect doesn't appeal to me in the way that the fascinating sea of hiss and gurgle interaction on a release like "Tentacle," does, for instance. 1930 is a good addition for the Merzbow collector, but I don't personally consider it one of Akita's best.
20 of 28 people found the following review helpful
4.0 out of 5 stars Attack on the mind. 29 Jan 2003
By Lord Chimp - Published on Amazon.com
Format:Audio CD
An old friend once told me that this album was, "Unbearable noise." Truth is, she was right. And yet I find the experience of listening to _1930_ uniquely physical and intense. It's abrasive, jarring, and leaves me wide-eyed and frightened for the entire time. This is not music: blasts of irregular frequencies that will make your ears bleed, slabs of deafening static, grotesque shrieks of lacerating distortion. Eegah...what is it? Merzbow is an experiment in noise creation, targeting physical reactions to different sonic assaults. There is nothing intellectual about this album -- you can't exactly think about it, there is no emotional response...you just react. Listening to this is a pain so acute and unusual that it is like a strange pleasure. At the very least, it's good for a prank. This would definitely work as a cruel way to jar someone out of a pleasant sleep. They'll think aliens are coming to abduct them. Seriously though, I can't recommend this to anyone. Unless you're really weird.
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