Merzbow
Masami Akita was born in 1956 in Tokyo, Japan. Akita is a graduate of Tamagawa University, Art Department, and majored in Painting & Art Theory. Akita formed the premier Japanese Noise group Merzbow in 1979. Merzbow have released over 300 recordings, on tape, LP and CD, to date, working with many different media such as video, film and CD-ROM, both in the directorial and soundtrack role.
Masami Akita was born in 1956 in Tokyo, Japan. Akita is a graduate of Tamagawa University, Art Department, and majored in Painting & Art Theory. Akita formed the premier Japanese Noise group Merzbow in 1979. Merzbow have released over 300 recordings, on tape, LP and CD, to date, working with many different media such as video, film and CD-ROM, both in the directorial and soundtrack role.
Avian Hydraulics
On Avian Hydraulics, Merzbow compresses four decades of noise praxis into a rarefied 10". A liquid-filled, rainbow-variant disc mirrors the music’s churning pressure: Masami Akita’s latest Munemihouse recording converts imagined bird-machines and flu…
Nine Studies of Ephemeral Resonance Volume 1 - 9
Urashima gathers Merzbow's complete nine-volume cycle in a single box, in an edition of 199: 26 tracks filtering noise through the Japan of haiku and ukiyo-e. Nine vinyl-replica CDs and two Leporello inserts on fine Japanese paper. Noise as contempla…
Vapor Hoof
Etherworld is proud to announce a new Merzbow album, "Vapor Hoof" on CD. Our previous Merzbow album, "Electric Salad" came out on the Etherworld label in 1996. This pulse-warping, mind-smashing new release by Masami Akita is coming to stores on Frida…
Synthesis Post-Contact
Exclusive Merzbow tape release for his live-gig at XXI Congresso Post Industriale.
Cuts Cut
"As expected, the set began with some brain-blasting brutal noise [...] Although Merzbow is known for his extreme electronics, he is much more diverse and creative than most give him credit for. The best part of the set was when both Merzbow and Mats…
Strange City
On Strange City, Merzbow drags Sun Ra’s archival fire through a bank of howling electronics, turning rare Saturnian jazz fragments into towering, cosmic noise storms where horn blasts, rhythms and feedback fuse into a single, irradiated signal.
![Metal Machine Music: Power To Consume [Vol. 2]](https://cdn.soundohm.com/data/products/2026-05/metal-machine-music-power-to-consume-vol-2-jpg.jpg.500.jpg)
Metal Machine Music: Power To Consume [Vol. 2]
Metal Machine Music: Power To Consume Vol. 2 pushes Lou Reed’s feedback inferno into a new era, unleashing Merzbow, Masonna, Lydia Lunch, Blixa Bargeld, Martin Rev and more in a maximalist, Record Store Day 2026 hallucination of infinite noise.
Bardo Thödol
In their third collaboration, the shared project between Merzbow and Pedro Vian shifts towards less confrontational and more introspective terrain. Bardo Thödol, released as an LP, draws on The Tibetan Book of the Dead not so much as an explicit narr…
Tsubute Mosaic
Merzbow (aka Masami Akita), animal rights activist, writer, and musician, an Iconic figure in International noise scene. Renowned for his pioneering contributions to the noise music genre, Merzbow has solidified his position as one of its most signif…
Yoshinotsune
* Edition of 199 copies * Between 1999 and 2000. By the early 2000s, Merzbow had entered a markedly new phase. The tape collages, junk electronics, and analogue chains that had defined his work across the 1980s and 1990s gave way to a digital practic…
The Human Race Was Restored To Life Repeatedly / Yoshinotsune / Hadayro (3LP Bundle)
Across three decades of uncompromising sound, this series of vinyl reissues traces a raw and evolving lineage within Japanese noise. From the mid-1980s underground to the turn of the millennium, these works capture a continuous process of transformat…
Ongaku Otaku - Complete Edition (Book, Hardcover)
Hardcover, 527 pages, 21×27 cm! In the mid-1990s, four thick, annual issues of Ongaku Otaku magazine were published. Operating from San Francisco, California, the goal was to spread the word about the compelling independent music being produced in Ja…
Aural Corrosion
*2026 stock* 2 years after their debut album on Utech Records, P/O Massacre goes deeper in their immersive noise experimentation in this collaboration album with Alex Buess, and Merzbow (Masami Akita). An architecture of distortion, Moog processors, …
Double Beat Sequencer Vol.2
Double Beat Sequencer Vol.2 continues Merzbow’s deep dive into a particularly vicious corner of his archive: mid‑2010s sessions built around a relentless “double beat” framework, then buried under signature torrents of noise. Where Vol.1 sketched the…
Double Beat Sequencer Vol.1
Double Beat Sequencer Vol.1 finds Merzbow threading a hard, skeletal pulse through the heart of his noise, treating rhythm less as a scaffold for genre than as another engine of excess. Across these tracks, fixed and cycling beats - the “double” sequ…
TripleAkuma
TripleAkuma is the third in a series of essential live documents from Merzbow. The stage and the studio are not the same place, and Merzbow has an acute understanding of this juxtaposition. Whilst the sheer density of the music might be maintained ac…
Remblandt Assemblage
One of the most essential early documents of Japanese noise, originally recorded and mixed at home in 1980 and released in 1981 on cassette by Lowest Music & Arts, now given the physical treatment it always deserved: a 2LP set housed in a natural bir…
Tapestry Of Noise
** 2026 Stock ** If Laptop Noise looks forward into the blinding glare of the digital, Tapestry of Noise looks outward and backward, unspooling an expansive grid of analogue and hybrid recordings that show how Merzbow’s classic language was woven to…
Laptop Noise
** 2026 Stock ** Laptop Noise zeroes in on the period where Merzbow’s long‑running practice of junk‑metal abuse, feedback and tape saturation is rechannelled through the seemingly modest frame of a computer. Across six discs, this edition amplifies t…
Kachouzu
On Kachouzu, Merzbow compresses his late‑period harshness into four short movements, a 2×6″ lathe‑cut blast where metallic textures, searing feedback and dense midrange roar behave less like tracks than like successive cross‑sections of the same nois…