» » Merzbow, Null - Deus Irae

Merzbow, Null - Deus Irae album flac

Merzbow, Null - Deus Irae album flac
  • Performer: Merzbow
  • Title: Deus Irae
  • Genre: Electronic
  • Country: Japan
  • Date of release: 1984
  • Music style: Noise, Avantgarde
  • MP3 size: 1996 mb
  • FLAC size 1709 mb
  • Formats AC3 WAV MP3 AIFF AA MOD AHX

Tracklist

A Untitled
B Untitled

Companies, etc.

  • Recorded At – Gallery Komai

Credits

  • Artwork [Art Work By] – KK*, YK
  • Bass – Asami Hayashi
  • Drums, Noises [Noise] – MA*
  • Percussion [Metal Percussion], Guitar, Vocals [Vocal], Noises [Noise] – KK*

Notes

At Gallery Komai 1984·8·3 Tokyo

Other versions

Category Artist Title (Format) Label Category Country Year
NUX-D 4 Merzbow & Null* Merzbow & Null* - Deus Irae ‎(CD, RE, RM) Nux Organization NUX-D 4 Japan 1993


Comments: (1)
EXIBUZYW
This is a live performance which lasts just over three quarters of an hour, recorded at Gallery Komai in Tokyo in 1984. It sees KAZYUKIK. NULL not only playing his guitar & shouting, but bashin' metal too. MERZBOW at this point were MASAMI AKITA on drums & effects, REIKO AZUMA on cymbals, YUSHIO KANO on electric violin, and ASAMIHAYASHI on bass. It begins in a chaotic, discordant anti/rhythm suggesting Free Jazz, yet far more manic. Although the metal motif is well to the forefront, there's hardly a suggestion of the other well-known 'Bashers' who reigned around that time. The drums, cymbals & metal all power along while the violin scrawls painfully & the bass lurks somewhere in the sub-bassment of JAH WOBBLE's old residence. It has a striving, driving, pained quality to it, a searching for release or relief. It transforms, the drumming keeping up a steady Rock-like tempo while the guitar sustains in long drones, NULL yells & screams, and the whole thing smooths out, becoming a flatter but no less dangerous piece of music. It moves through a series of structural collapses, defying the 'gravity' which sucks at it, caught up in it's own hell-bound impetus, driving along by a kind of perpetual motion. Around 10 minutes before the end it finally succumbs to the lure of dislocation, slowing down into a swirling pool of it's component parts, a soup of noise threatening to become instilled with life once more at any moment, which it does briefly before finally, abruptly departing at a high point. A classic performance from these stylish noise-makers. A loose cousin of Jazz Improv, albeit one spoken of only in hushed tones & sotto voce comments. This should fit into the collection of anyone who like their music with a more harsh edge. It borders on Pure Noise but never quite gets there, choosing instead to abuse the more universally familiar Rock sound, roughing up it's smooth-traffic-worn walls with a harsh, discordant edge. Originally reviewed for Soft Watch.
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