Merzsale *not Merzbow approved

Posted in Uncategorized on May 5, 2019 by noisenoisenoise

Well after 13 years of Merzbow fandom it is time to say goodbye to (most) of my Merzbow collection. All prices in Australian dollars (heaps cheaper than US) – have a look at to get an idea of international postage prices. I think it is about $9.00 AU for a CD and for  and 4 CD’s would be $18.00 AU. It’s about $30.00 AU for a kilo of CD’s (probably about 7 or 8).

For Australia buyers look at

Email for questions, offers orders or photo requests. The prices are reflective of the cheapest Discogs prices.

Merzbient $200 (free postage world wide)

Rattus Rattus $20

Tamago $60

Merzbow vs Tamarin $6

Sha Mo 3000 $12

Yoshinotsune $12

Venerology $12 (sold)

Tombo $25

Higabana $12

Pulse Demon $60

Puroland $6

Oersted $8 (sold)

Senmaida $12

Merzbow Vs Nordvargr Parikel II $7

Noisembryo $60 (sold)

Merzbow and Consumer Electronics – Horn of the Goat $30 (sold)

Minazo $12

Synth Destruction (with Carlos Giffoni) $8

Anicca $6

F.I.D. (2 CD) $13

Vibractance $80

SCSI Duck $10

Collapse 12 Floors $8

Dead Leaves $8

Doors Open 8am $18

Aqua Necromancer $20

Machinenstil $14

Amlux $40 (sold)

Kibako (Delux Box) $30

Mercurated (cover has shelf ware) $80

Lop Lop (Delux Box) $30 (sold)

… and the Devil Makes Three (wth Porn) $5uuki $18

Another Merzbow Records (3 CD) $40

Cycle $12

Konchuuki  $18

Sphere $12

Space Metalizer $8

Animal Magnestism $12

Dust of Dreams $12

Zophorus ($11)

Suzume $15

Kukurou $12

Yurikamame $12

Karasu $12

Uzura $15

Kujakubato $12

Kamo $12

Kokuchou $10

Hiyodori $8

Niwatori $8

Shirasagi $8

Tsubame $8

Chabo $8

Dead Zone $8

Kouhei $8

Spiral Honey $50 (sold)

Last of the Analog Sessions (Box set) $75 – Has some damage to spine

Scene $5

Ouroboros $14

Electric Salad $40

Pinkeam $12

Fantail $13

Hybrid Noisebloom $12 (sold)

Age of 369/Chant 2 $21

Keio Line (ith Richard Pihnas) $15

Hodosan $12

Somei $15

Tentacle $35 (sold)

Rainbow Electronics2 $12

Merzbird $7

Coma Berenices $12

Ikebukuro Dada $4

Dolphon Sonar $9

Merzbuta $8

Merzbeat $10

Camouflage $18

Merzdub (with Jamie Saft) $40

Kamadhenu $30

Hanakisasage $8

Green Wheels $80 (sold)

Kali-yuga Karma $30

Kookaburra $20










The DBS approved records that you should definitely listen to (aka my favorite 2016 releases)

Posted in Uncategorized on January 1, 2017 by noisenoisenoise

Well it goes without saying that 2016 was a year of strange shit. In saying that though, there were some absolutely blinding releases last year that gave me all the feelings at once. There weren’t too many of those records but there was a still some great stuff that came out that made 2016 a but less shit than you may have remembered. In DBS world it was a year of wonder watching my three boys tackle challenges and overcoming them. A year in which my job became insane and I became a published author. A year of podcasting with my mate Ingmar who I would never have met if it wasn’t for this dusty old blog. A year of challenge and reward. Anyway enough of that – here we go.

Records released in 2016 that gave me all the feelings.

  1. Olm – Little Boy
  2. Kristian M Roberts – Two Portraits
  3. Meyer – Negative Space
  4. Andrew Tuttle – Fantasy League
  5. Equiknoxx – Bird Sound Power
  6. Valerio Tricoli – Colonic Earth
  7. Missing Organ – Hard Walls
  8. Anthony Child – Electronic Recordings from Maui Vol.2
  9. Puce Mary – The Spiral

Records released in 2016 that gave me the happies

  1. Sim Hutchins – I enjoy to Sweep a Room
  2. Regler – Regler #8 Metal
  3. Avvennir – Natural Language
  4. Jim O’Rourke – Steamroom #26
  5. Shit and Shine – Teardops
  6. Bjanri Gunnarson – Paths
  7. Aaron Jimmy Harris – Nerves
  8. The Body  – No-one Deserves Happiness
  9. Daniel Menche – Sleeper
  10. Floorplan – Victorious
  11. Pita – Get In
  12. Krause – 2 am Thoughts
  13. Nurse with Wound – Dark Fat
  14. Dedekind Cut – Successor
  15. Whitehouse – The Sound of Being Alive
  16. Oren Ambarci – Hubris
  17. Mike Shiflet – Abstracting Grace
  18. Kevin Drumm – Middle of Nothing
  19. Russell Haswell – Panther Noise

Old stuff I listened to heaps

  1. Various – Dope Guns and Fucking in the Streets
  2. Burning Star Core – Challenger
  3. Yellow Swans – Live During War Crimes 1 and 2
  4. Throbbing Gristle – 20 Jazz Funk Greats
  5. Talk Talk – Spirit of Eden
  6. The Necks – Chemist
  7. Roland S Howard – Teenage Snuff Film
  8. Prurient – Oxidation
  9. Wayne/Jayne Country – Rock N Roll Cleopatra
  10. The Rita/Wilt – Werewolf in the Black Space
  11. Mike Cooper – White Shadows in the South Seas
  12. Lawrence English – The Peregrine
  13. People Like Us – Don’t Think Right /It’s All Twice


Cows – Cunning Stunts (Amphetamine Reptile) 1992

Posted in Uncategorized on May 1, 2016 by noisenoisenoise


Hey Ho. Sorry for the break in transmission. I got commissioned to write an online text book/guide thing which has sucked up huge amounts of time leaving most of my musing on albums restricted to the podcast.So let’s start again shall we?


In my high school and university days  I was a bit of a label whore for records coming out on labels such as Blast First, Sub-pop and Touch & Go. In this pre-internet age I had to rely on the record labels themselves to be my own personal musical curators. For the most part they did a pretty awesome job and there were only a few releases from those labels over the years that made me question my collecting masterplan. Like many kids growing up in a regional area, my ability to acquire records was limited to special orders from my sympathetic local record shop (“mate is Killdozer one word of two?”) and an annual Christmas trip to Brisbane where I would paw over the racks in Rockinghorse, Kent and Skinny’s. Those shops are mostly all gone now with Rockinghorse being  one of the last few left in the country. I’ve started frequenting Rockinghorse again this year in a conscious effort to stop buying so many records online and supporting the little guy. Every now and then I browse their webstore and a couple of weeks ago I couldn’t quite believe my eyes. They had, in stock no less, Halo of Flies Music Insect Minds and this, Cows definitive Midwestern hardcore statement of1992. These have been out of print for years and there they were both  on disc and cheap. I headed for an early lunch and bought both within the hour. The big surprise for me was that both records were new. They are two of the first three releases that Am Rep are re-issuing with the help of some mob called MVD Audio Group.

Cows wereone of the classic mid-western hardcore punk bands that spanned the mid-1980’s to mid-1990’s.  Cunning Stunts came out just as grunge was breaking. It’s probably a bit more sedate than Sexy Pee Story their 1993 follow up but there are some absolutely cracking tunes here. The fourth track Mr Cancelled may be the best unknown grunge anthem of the era and has this nice slacker vibe like something wedged between Bitch Magnet and godheadsilo with a cool late-Husker Du musicality (with better drums of course). The rest of the album has similarities with other mid-western bands of the era such as Mule and Killdozer. I love this record. It may be me getting all nostalgic  but I’m keen for the next batch of re-issues. May I suggest Lubricated Goat’s Plays the Devil’s Music, Boss Hog’s Cold Hands and King Snake Roost’s Things That Play Themselves.


Prurient – Arrowhead (Editions Mego) 2008

Posted in Uncategorized on January 14, 2016 by noisenoisenoise


Well Happy New Year and all that shit. In my time proven tradition I try to start each new year with some good intentions to post regularly. From logging into this blog again after an absence of 12 months it appears that there are still a shit ton of you out there popping by to read my confused ramblings on records. In tribute to the diehards, let’s see how I go this year. As many of you know my review mojo has been exhausted over at The Antidote Podcast but due to our inexact release schedule I have missed talking about a ton of records that have made an impact on me over the past few years,

Lets’s start with an oldie. Prurient’s Arrowhead has a bit of a reputation as being one of Prurient’s defining works. As you probably know Prurient is the name used by Dominick Fernow for his nasty, transgressive, noisy musical output. This year he released the epic Frozen Niagra Falls, a sprawling double CD of darkwave industrial goodness which appears to have been universally ignored in everyone’s best of lists for 2015. I think the problem that people have with Fernow (I think the attitude transcends into his other projects such as Rainforest Spiritual Enslavement and Vatican Shadow) is that he’s a bit of a caricature – like a goth art school major with a flair for the dramatic. I’ve been guilty of ragging on him from time to time. I may have even stated that “I was done with him” during a rather tiresome tirade on the podcast. At the time of that statement I was a bit tired of Prurient’s embrace of darkwave forms in his records. Yet in 2015 I began to embrace this side of Prurient’s work. A decent noisenerd should only consideris whether the record is good, and not some semantic argument about whether such and such record is as good as (insert particular band’s name here)  their old stuff.

But whatever anyone’s views on Fernow as an artist the man has made some fantastic records over the years and this critical sniffery from many reviewers (hey I’m just as guilty –  OK) in some ways diminish the fact that he is an important artist in the intersection between noise and industrial music.  Few of his albums give me as much pleasure as Arrowhead. I bought this last year and gave it a cursory listen on the day it arrived. It didn’t start well – a sadistic drone of high pitched microphone feedback ala Roman Shower. I wasn’t in the headspace for it at the time and I moved on to something else. Just before Christmas I gave it another try and discovered that the feedback of the track, Sternum,  is accompanied by minimal drum strikes and some tonal interference which gave the track texture and created tension. The second track, Ribcage, embraces the  feedback once more but here it is supplemented with Fernow’s patented cries of anguish to scale up the creep factor. It is the final track, Lungs, which tickled me the most though. A four minute race of tribal style drumming being immersed in washed of feedback. It may be the closest Prurient has come to a noise banger.

Arrowhead delivers a bucketload of noise goodness in just over half an hour. If you’ve become a recent adopter of Prurient’s laterstuff go back and have a listen to this. It won’t disappoint.

Regler – Noisecore / Free Jazz (Turgid Animal) 2014

Posted in Mattin, Music, noise, Regler with tags , , on January 24, 2015 by noisenoisenoise



Happy New Year and all that shit. It’s been pretty hectic at DBS as I’ve moved into Daddy Daycare mode for the summer holidays. My chances to listen to music have been somewhat compromised as a result hence the lack of posts. So to kick off the New Year I wanted to bring to your attention this epic two disc release from Regler.”Who are Regler?” I hear you ask. Well  many of you may be aware of Mattin, the Basque experimental musician who warranted a significant story in The Wire a few years back. I’ve written about him when I covered a record by Billy Bao (you can find it by using the  search thing on the site – too lazy to link).

Regler is a duo he performs in with Anders Bryngelsson from the epic Brainbombs. Henrik Andersson also joins the duo on bass and on the Free Jazz disc Yoann Durant provides sax. Essentially this release is too hour long  tracks of uncompromising, play as hard as they possible can, noise. Many listeners might find listening to this a test of endurance, but my experience with it has been one which is oddly hypnotic. I preferred the Free Jazz disc only because there is a little bit more variation. For the part the sax of Durant seems to be subsumed by the unrelenting forces of the bass and guitar attack but there are textures scattered throughout the din that deserve the listener’s attention. In fact the longer the tracks go the more interesting they become  and I think much of that has to do with the fact that  Bryngelsson gets a bit tired and either has a break completely from drumming or simply slows it down a bit (listen to Noise Core 21 minutes in to hear what I mean). I suppose what I’m trying to say is that it is folly to judge the tracks by the first ten minutes of each. There is texture, movement and progression here. Listeners who stick with it will be pleasantly surprised.

If your interested in getting a copy head over to It’s one of the few places you can find it.


The Rita – The Voyage of the Decima MAS (Troniks) 2009

Posted in noise, The Rita with tags , on November 17, 2014 by noisenoisenoise


In the past few months I’ve dipped my toes back into some old school noise. I’ve been trolling Discogs for old Wolf Eyes, Aaron Dilloway and Sick Lama CDR’s and have managed to snap up a few. When I scroll through a Discogs noise seller’s inventory there is invariably a coupe of The Rita CD’s up for grabs as well and I suspect that these records probably haven’t necessarily got the attention they deserve.

I’ve got a fair few The Rita records and this is one of my favourites. For those of you who haven’t heard of him before, The Rita is the pseudonym of Sam McKinlay, a Canadian noise artist who specialises in that most specialist of noise sub genres, Harsh Wall Noise. HWN is pretty well described by its title. It is usually identified by tracks consisting of thick walls of static with very little or absolutely no compromise to anything that may comfort the listener by way of any recognisable musical forms. There are certainly no beats or homages to industrial noise – the sound can either be overwhelming or strangely trance inducing and on occasions exceptionally boring.

I can assure you that The Rita and specifically The Voyage of the Decima MAS are not boring. The Decima MAS were an Italian frogmen unit formed during the second world war. McKinlay references the subject matter by interposing snorkel sounds that he recorded in Vancouver Harbour as breaks in the walls of static that he conjures up. It’s not the first time he has used nautical subject matter and related field recordings, his Thousands of Dead Gods CD from 2006 used recordings of a great white shark dive cage to weave through all the static. I suppose the reason I like both these records so much is that unlike most harsh wall noise, my listening experience has been active rather than passive as I anticipate the use of the field recordings.

This record is pretty great but if you decide to pick up a copy expect something brutal, harsh and noisy.

Merzbow – Takahe Collage (Handmade Birds) 2013

Posted in Merzbow, Music, noise with tags , on November 13, 2014 by noisenoisenoise


Look, when you neglect a blog as much as I have in the past few years it can be easy to forget what I’ve posted on and what I haven’t. For some reason I was under the impression that my thoughts on Takahe Collage  had been published. Nup – found it sitting in draft form consisting of a number of mean references to Merzbow’s  13 Japanese Birds. Screw that review I thought – time to listen to this again with fresh ( although increasingly degraded) ears.

Merzbow has seemed to go a bit quiet in 2014.  He’s released a few bits and bobs but nothing like the pace he has set in the  past. I’m actually a bit sad about that fact because  Merzbow, ever since the end of the 13 Japanese  Birds Series, has been releasing some of the  records of his career. I’d go so far to say that you can’t really go wrong with any of them. I think most of  CD’s he released in the past four or so years are covered on this site except for the mighty Kibako that I also found in draft form (and which I’ll publish soon).

Takahe Collage is a great example of prime Merzbow. Three lengthy tracks (32, 29 and 12 minutes respectively are on offer. The first track is indeed a bit of a collage, degraded beats give the entire track a post-industrial feel. The second track is my favourite – it starts as one of those Merzbow pieces that create layers from scree, static and noise to form a brutal soup of sound in which no recognisable instruments or form can be detected. I actually forget how much I love it when he just lets loose.  The beats come back with a vengence for the final track. It starts off as a trance track for the damned and never really lets up. It’s great and one of the rare moments where I’ve started bobbing my head to a Merzbow track.

All in all a great Merzbow record and an extremely good noise record full stop. Noise nerds won’t be disappointed.

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