Reviews:

From Filth Forge: (by Simon V.)

  One of Masami Akita's latest outputs sees the light under the banners of Cold Spring and presents three tracks, the first recorded in London the day after a live performance in the City, and the other two in Tokyo. "Annica Part. 1" is particularly interesting, as it's surely one of Merzbow's most accessible creations, with live drums freely improvised and played on top of the traditional noise assaults. Memories of the very early Merz-albums, such as "Antimonument" or "Material Action 2", definitely surface in this very interesting piece. "Part. 2" and "Part. 3" move back into the direction of the ultrasonic mayhem that made Masami famous.

  Obviously, "Annica" is a precious addition to the titanic collection of every hardcore Merz-fan, but it also represents a precious chance for the skeptical to approach the ear-shattering world of Merzbow, since it comprises a more structured and organic composition side-by-side with the typical devastating walls of noise.

From Chain D.L.K.: (by Maurizio Pustianaz)

  It is a privilege to write down some thought about the GOD OF NOISE, Merzbow, aka Masami Akita. His art is so well known and extreme that every work is a must to have for NOISE Friends and for men of control working for hidden prisons. Another time Merzbow destroys reality, annihilates every slice of the air around him with special tools played/destroyed without compromises an with his deepest knowledge on signals and sound terrorism. There are no words to express the amount of violence and desperation he puts inside his recording system, but for sure this art is not made to think but just to be overwhelmed by the force of the artist. His competence is absolute and the modulations he is able to give to the wall of noise he created is the proof of the fact that for him the noise has no secrets anymore. This is another time not only sound experiments and noise music, it is a complex system of de-programming from normal sound/normal music/normal living/normal feelings; we cannot decode the real program set up by Merzbow, it is a secret we won't know ever. His plan and aims aren't yet clear, we can only try to find a meaning, an inspiration, in the fortress of noise, inside the noise weapons he is able to set up. Probably he gets through noise a status of reality we cannot see. (5/5)

From Vital Weekly: (by NM)

  To begin a review by claiming Masami Akita as "the undisputed king of Japanese noise" would be a cliché that has probably been used 200 times before, counting each time Masami Akita has come up with a new Merzbow-album from his laboratory of sonic extremity. On this latest album "Anicca" released on the excellent British Cold Spring-label, Merzbow presents three pieces of ear-shattering noise. Opening piece titled "Anicca Part 1" is a twenty minutes piece recorded in London just after the well-acclaimed noise event at the UlU club in April 2008 featuring Merzbow, Satori and Sutcliffe Jugend. The piece separates in its inclusion of improvised freestyle drum-work from Masami Akita. The use of drums adds an interesting rhythm structure in the abrasive work. The contrast between acoustic sounds and electronic noise gives a quite interesting result. The next two pieces has been derived from Munemi House in Tokyo demonstrating Merzbow's ability to control and manipulate harsh sound textures and thus create the effect of hypnotism. Especially the third and final part of Anicca is an enjoyable exploration with the use of sonar sounds as part of the noise texture. Yet another fine work of anti-music from the Japanese legend which 30 years after his first shot still seems to find new paths in his jungle of sonic madness.

From Darkroom: (by Michele Viali)

  Il giapponese Masami Akita, massimo rappresentante della scena noise, torna a distanza di brevissimo tempo a proporci un altro massacro audio, licenziato dall'attenta label inglese Cold Spring. "Anicca" è suddiviso in tre lunghe fasi a sé stanti, assai compatte e abbastanza diverse tra loro. La prima parte in particolare, registrata a Londra, si presenta con caratteristiche singolari, essendo costruita su un intreccio di percussioni improvvisate e rumori ricavati da alte frequenze: l'effetto è stridente ed emana curiosi sentori a metà strada tra il tribalismo e il rock vecchio stile, lacerato dall'elettronica. I rumori feroci, modulati sugli alti, proseguono anche in "Anicca Part 2" (registrato a Tokyo, insieme alla successiva "Part 3"), la quale, senza percussioni, si riallaccia al suono più tradizionale di Merzbow: una sorta di ininterrotto gorgo noise, diviso tra una base più cupa e una linea sovrapposta dall'andamento imbizzarrito e scomposto, che si dimena per oltre 20 minuti torturando senza pietà l'udito. La fase conclusiva si attesta su traiettorie più dimesse e composte, segnando un percorso audio meno sconnesso, ma al tempo stesso più insistente e ossessivo. "Anicca" è un classico album di noise giapponese, che prende vita unicamente dal gusto per la ricerca e l'eccesso; come di norma i rumori hanno sempre un forte mood metallico e artificiale, fatto che ne rende doloroso l'ascolto: non a caso dopo la prima mezz'ora si ha l'impressione di avere un punteruolo di ferro ficcato nell'orecchio. Se da un lato gli appassionati del genere avranno pane (durissimo) per i loro denti, in assoluto la prima parte del dischetto rimane un bell'esempio di sperimentazione libera: uno di quei piccoli lampi di genio che hanno reso e rendono tuttora celebre l'opera di Merzbow.

From Rock-A-Rolla: (by Scott McKeating)

  It things started sounding bleak for a minute there, Cold Spring's Anicca sets things right with a 58-minute crash-landing-too-late-to-abort of a record - a combination of pre-recorded harsh noise over which Akita plays free drums, the opener lying somewhere between explosives and fractured martial rhythm patterns. The other two tracks spit the ferocity of his fiercest battles, waylaying his less effective noise work of other releases like a tank heading face-first into a cyclist.

From Dagheisha: (by Roberto Michieletto)

  Se la scelta fosse stata quella di pubblicare un EP comprendente solo la prima parte di ‘Anicca’ (ovvero il primo dei tre brani di cui si compone il disco), l’operazione avrebbe potuto avere un significato pienamente compiuto e avrebbe permesso a Merzbow di slegarsi da quella che è ormai diventata un’evidente palla al piede che lo tiene incatenato a una catalogazione dalla quale, pur con le distinzioni e micro differenziazioni che vanno evidenziate, non vuole liberarsi. Ed è proprio questo che i 18 minuti di ‘Anicca Part. 1’ (registrata ai Tin Pan Alley Studios di Londra) riescono a fare, poiché Masami Akita, oltre al consueto e infernale corredo di power noise disumano generato con apparecchiatura assortita (computer, effetti e strumenti auto-costruiti), introduce una concreta variabile, poiché per tutto il pezzo è impegnato in una estenuante performance alla batteria! Ne viene così fuori un free power jazz noise esemplare e realmente rilevante, sia per la violenza con sui ti annichilisce e sia per la strutturazione della composizione, chiaramente improvvisata e capace di abbinare creatività e devastazione. Capite che dopo un tale brano risultano inutili le due restanti parti (procreate alla Munemi House di Tokyo), dal momento che si ripiomba in un troppo prevedibile e convenzionale, per quanto ineccepibile nella forma, muro di feedback elettronico in alta frequenza senza soluzione di continuità vomitato addosso all’ascoltatore per 40 minuti (con il pezzo conclusivo più “riflessivo” e orientato alla “digitalizzazione”). Voto 8 alla prima traccia, 5 alle restanti due.

From Alternativmusik: (by Marius Meyer)

   Man sollte sich da nicht täuschen lassen: Auf dem Cover sieht man erst einmal eine Menge Grün von den Bäumen und Blättern Das strahlt zunächst Harmonie aus. Auf den zweiten Blick aber sieht man, dass diese Blätter eine zusammengefallene Holzhausruine umranken. Und dazu sieht man schließlich den Künstlernamen: Merzbow. Das kann ja gar nicht harmonisch sein. Ist es natürlich auch nicht. Wer in irgendeiner Weise je mit Industrial in Berührung kam, kann am Namen Merzbow schwer vorbeigekommen sein – und auch nach fast 30 Jahren ist Masami Akita noch sehr aktiv, wie er mit der CD Anicca jetzt aufs Neue zeigt. Diese enthält zwar nur drei Stücke, ist aber dennoch fast eine Stunde lang.

  Vom ersten Moment an hört man auf dieser Veröffentlichung das, was zu erwarten war: Brutalen Japanoise. Anicca Part. 1 besteht gute 18 Minuten lang aus hohen Frequenzen in einem hohen Tempo, die auch über die ganze Länge nicht nachlassen, sondern beständig rauschen und flimmern. Was an diesem ersten Titel als Besonderheit auffällt: Es wird über die gesamte Länge mit einem Schlagzeug gearbeitet, das stets vorantreibt und im Hintergrund das Rauschen untermalt. Dabei werden immer Erinnerungen an Dave Lombardo bei Fantômas wach.

  Bei Anicca Part. 2 ist es dann aber auch vorbei mit den „echten“ Instrumenten – zumindest insofern, dass man sie nicht mehr als solche erkennen kann. Die Gitarre wird wohl noch gespielt, aber so sehr verfremdet, dass sie nicht mehr im klassischen Sinne als solche gezählt werden kann. Hier wird auf voller Länger gedröhnt, was das Zeug hält – um es mal so salopp zu sagen. Beachtlich ist dabei das hohe Tempo, in dem hier gerauscht wird. Da ist nichts mit sphärischen Klängen, sondern nur Rauschen, hohe Frequenzen, schnelle Wechsel, aber kein Anzeichen von Ruhe dabei.

  Anicca Part. 3 legt dann wiederum ein nicht ganz so hohes Tempo vor. Dies allerdings lässt sich nur in Relation zum zweiten Teil betrachten, denn schnell ist der dritte Teil immer noch. Insgesamt aber strahlt er weniger Hektik aus, sondern gibt sich wieder mehr dem Flirren und dem Klangwandel hin.

  Mit den drei Stücken beweist Masami Akita definitiv, dass er sein Werk noch lange nicht vollendet hat. Mögen muss man diese CD deswegen längst nicht. Ganz klar kann die Kategorie hier nur sein: Was für Fans und Liebhaber! Zum Ausklang nach einem anstrengenden Arbeitstag ist das hier genau so wenig empfehlenswert wie zur Meditation. Ohne eine hohe Begeisterung für Noise und Japanoise kann das hier nichts werden mit der Bindung zwischen Tonträger und Rezipient. Aber so ist diese CD sicherlich auch nicht ausgelegt. Herr Akita hatte hörbaren Spaß – und wer’s mag, kann gerne zuschlagen… Andere hingegen hören aber wohl doch lieber Musik.

From Judas Kiss: (by Simon Collins)

  This new release from Masami Akita, a.k.a. Merzbow, the Nabob of Japanese Noise, contains three tracks, simply entitled ‘Anicca parts 1-3’, adding up to nearly an hour of sonic severity. The first part of ‘Annica’ was recorded at the famous Tin Pan Alley studio in London on 20th April, 2008, the day after Merzbow’s live performance at ULU, supported by Satori and Sutcliffe Jugend. The second and third parts were recorded later at Munemi House in Tokyo.

  The last couple of times I've seen Merzbow play live, at the ULU gig and then at the 2008 Supersonic festival in Birmingham, where he appeared with Keiji Haino as Kikuru, he’s played a homemade instrument consisting of a rectangular metal body slung on a guitar strap, with various metal springs and pickups mounted on it, and as the booklet of Anicca includes photos of this contraption and Merzbow playing it, I assume that this contributes towards the music on this release.

   Another thing I learned from witnessing the Kikuru performance is that Merzbow is a pretty handy rock drummer, and this can be heard on ‘Anicca part 1’, as he plays improvised drums throughout the 18-minute track over the typical Merzbow maelstrom of cut-up noise and coruscating blasts of shrieking frequencies, giving the piece an almost free jazz-like feel, which is also reminiscent of the ‘Rocket Incantation’ track on last year’s Experience The Concreteness live album from Japanoise supergroup South Saturn Delta. I'm certainly not enough of a Merzbow buff to know whether drums feature on any of his other hundreds of releases, but I can’t recall having heard any Merzbow with drums before.

  ‘Anicca part 2’ is more conventional, at least by the extremely unconventional standards of Merzbow – there are no drums, and the track is dominated by vicious swarms of mid-frequency attacks overlaid with piercing feedback, the layers of tones swooping and whirling around each other in an endless vertiginous collapse. As with other noise releases, I find the trick to enjoying this is just to relax and let it rage around me. It’s like being trapped on a particularly queasy rollercoaster ride whilst simultaneously being flayed alive and electrocuted, true, but it’ll just hurt worse if you offer it any resistance.

  ‘Anicca part 3’ is arguably less painful, with babbling torrents of digital pulses coming in around the two-minute mark recalling Merzbow’s Partikel collaborations with Nordvargr, and a generally thinner, less overpowering sound than ‘Anicca part 2’ throughout. By the time the track settles into a looped, metallic rhythm at around 15 minutes, it sounds almost mellow by comparison with what has gone before.

  Again, I'm not really enough of a noise aficionado to offer a very authoritative evaluation of Anicca, but it certainly seems to offer something new for Merzbow’s fans to engage with. Now if you’ll excuse me, I'm going to lie down in darkness and silence for a while.