Thisguy who seems to care about the welfare of animals and suffers from asevere case of misanthropy has me entranced. Masami Akita'spredisposition to releasing animal-related albums has spawned yetanother record that has perhaps no sonic relation to its title or PETAsponsorship.At certain points listening to Senmaida reminds me of what itmust feel like to be torn to pieces and relocated somewhere else, likestepping into the transporters in all those sci-fi television series. Iused to listen to a Merzbow records a few times a year and then shelvethem for whenever I decided a headache was in order or whenever I feltlike listening to something that would purify my mind and wipe mymemory clean. When "Tract 3" kicks in with it's game-like, poppingrhythm and the call of animal sounds, it's hard to believe that Merzbowhas been doing anything but this for his entire career. This isn't aharsh noise extravaganza, it's simply my favorite Merzbow album to dateand one of the best records I've heard all year.
Save for a few animal sounds clearly tucked away under Akita's monumental barrage of noise splatter, Senmaidais a predominantly rhythmic album that is catchy enough to keep thealbum in my player. The inclusion of beats over his white noise,all-the-sounds-in-a-blender provided a way for Akita to explore his noise further. NowAkita has almost completely eschewed the pure noise approach andcreated something vaguely new so far as my knowledge of the infiniteMerzbow catalogue goes. Don't get me wrong, there are still longstrokes of jumbled chaos riddled all over this disc, but morediscernable samples are used and space is absolutely essential to eachof the three tracks.
The variations in tempo, timbre, and intensity make for a far more interesting album and, instead of sounding simply loud and powerful, Senmaida has a dark feel to it that isn't too far removed from all the dark jungle or drum 'n bass that was popular years back. The beats aren't what is out of control, though, it's the dark, mechanical, nearly industrial pulse of Merzbow's percussion that seems the most sane and consistent part of the record. Above those beatings, however, is the rattle of marbles being chucked around inside the skull of dead animal, the ADD-driven smashing of a billion toms hurtled through a wood cutter with the performer still attached, and all the digital means necessary to pin it all together.
The word "senmaida" literally means "a thousand rice paddies" and, so far as a thematic must go, serves as Akita's way of saying "don't eat animals." The album cover, however, sports a cartoon rabbit shooting a needle into a human's eyeball, the individual being strapped down to a medical bed and looking awfully uncomfortable. I guess Akita has never claimed he was the master of holding down a narrative, but whatever the case may be, this is one of Merzbow's strongest records.
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