Soleilmoon Recordings (2008)
While listening to Eucalypse it struck me that my interest in Merzbow’s noise has little rhyme or reason. What I dislike about one of his records is what attracts me to another. So, technically I shouldn’t enjoy Eucalypse because it shares the same walls of noise found on records like Mercurated and Annica, both of which really bore me but instead I’m loving it in same way that Great American Nude/Crash for Hi-Fi charmed the pants of me despite its obsession with white noise.
Eucalypse is five tracks of thick, uncompromising and static-y noise, a prime example of digital Merzbow, but the difference is in the delicate elements camouflaged amongst the din; specks of Merzbear’s bass-heavy chug, the distant drones from Zophorous, and even moments of melody when subdued synths (and guitars?) change key randomly.
It’s difficult NOT to fantasise about hearing this blasted out of a decent PA system, and feeling the physical presence of each element Mr Akita uses to conjure his squall as it ejects itself out from the speaker stack.
The closing track is my favourite. It’s wayyyyyyy heavy and sludgy, like some buzz saw Black Metal band slowed down to a bass-driven dirge and played really fucking loud so that everything merges into one charred, shapeless mess. Mr Akita would look great in corpse paint, would he just?
Eucalypse comes packaged in a spunky tear-shaped wooden box with five cards that explain the demise of the Eucalyptus tree. This is the first specially packaged Merzbow record that I’ve bought, having always been weary that the gimmick has been used to disguise the average recording within. This is definitely not the case here.