Merzbow vs. Tamarin | Merzbow vs. Tamarin

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Merzbow vs. Tamarin

by Merzbow vs. Tamarin

Soundscapes built using everything from sampled guitar loops to ghostly hissing to dark-hop beats, and everything in between.
Genre: Electronic: Experimental
Release Date: 

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  Song Share Time Download
1. Processed 3
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12:01 album only
2. Processed 1
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13:59 album only
3. Processed 2
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5:40 album only
4. Untitled 1
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5:39 album only
5. Untitled 2
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15:38 album only
6. Untitled 3
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14:53 album only


Album Notes
Merzbow is Masami Akita, widely acknowledged as the most important noise artist in the world. The first Merzbow release appeared in 1979 on Lowest Arts & Music, Masami's own record label in Tokyo, and his name has since appeared on hundreds of releases. Live performances across the globe, collaborations with other sound artists, and a 50-CD box set (released in 2000) have cemented his already legendary reputation. Throughout the last 25 years, Masami has utilized myriad electronic devices and techniques for sound experimentation, resulting in an immense and extremely diverse catalog of recorded works.

Tamarin is Daniel De Los Santos, a Texas noise artist who also founded Mad Monkey Records, Circumvent, and Plan DX17. His two albums as Tamarin (released by Frozen Empire Media) are dark explorations of rhythmic noise and unsettling drones punctuated by eerie voices and unexpected glitches. After completing a collaboration with Xingu Hill and Brian Evenson for Hymen Records, Daniel began working with Merzbow. This project represents a new direction for Tamarin, moving beyond his industrial influences and incorporating elements of both jazz and drone into his careful remixing of Merzbow's source material.

The result of this collaboration is a challenging but rewarding album that is worthy of close attention. Merzbow and Tamarin's soundscapes incorporate many diverse sonic elements including sampled guitar, hypnotic dark-hop beats, ominously mutating machine sounds, and menacing distorted bass loops. Layers of evolving noise, ghostly hissing, and stuttered rhythms all reveal further complexity on each subsequent listen. Merzbow demonstrates here that "noise" can be carefully constructed and engaging, rather than abrasive and thoughtless. For his part, Tamarin manipulates and repurposes Merzbow's source material in unexpected ways, creating new compositions which range from raw and oppressive to sparse and abstract. Tamarin's second untitled track is a particular highlight of the album, featuring the mournful sound of a processed clarinet accompanied by noise that escalates from a gentle susurrus into a blistering assault that overwhelms the listener.

This release is limited to 500 copies worldwide.

For more information visit the official web sites:
Merzbow -
Tamarin -


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