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Merzbow/Mamiffer/House of Low Culture Discography


  • 01. This Land
  • 02. Blanket Of Ash
  • 03. Iron Water
  • 04. Lilac
  • 05. Mole Man
  • 06. Lou Lou
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Lou Lou... In Tokyo

Limited to 330 copies, packaged in deluxe letter pressed jackets with printed innesleeves and a hand etched fourth side by Faith Coloccia and Aaron Turner.

“Lou Lou... in Tokyo” is a live collaborative recording between Mamiffer, House of Low Culture, Merzbow and Atsuo (Boris).

It was a cold and tumultuous spring day in Tokyo. The date was March 7, 2010. In between sheets of rain, the occasional snowflake could be seen, briefly floating among its more liquid counterparts. The weather set the perfect mood for a night of quiet melody and explosive noise - for this was the combination of elements woven together and unleashed on this particular occasion by the participants in Mamiffer, House of Low Culture and Merzbow. The artists involved (as well as those who would be in attendance), had come together out of respect for one another and a mutual interest in the communication of thought and feeling through tone, song and improvisation.

Mamiffer on this occasion was comprised of core members Faith Coloccia and Aaron Turner, joined by local heavy rock/experimental hero Atsuo (of the long running, largely unclassifable Japanese group Boris). Utilizing electric piano, tapes, guitar, gong and tape delay, the trio of Coloccia, Turner and Atsuo created stark soundscapes based around pre-existing compositions, finding plenty of space for free improvisation and intuitive interplay within the framework of each piece. The set was comprised of tracks from both new and old Mamiffer albums, ending with the debut of “Lilac” - a previously unreleased song built around disintegrating guitars and buzzing metallic luminance.

House of Low Culture, comprised of main members Turner and Coloccia, was joined by both Atsuo and noise magician Masami Akita (aka Merzbow) for a nightmarish take-over of the HOLC track “Ice Mole”. In its incarnation here “Ice Mole” becomes “Mole Man”: a journey through dimly lit passages of droning ambience, deconstructed blues and ragged billowing noise. Though existing largely in a state of quiet menace, the end of the 20 minute set finds the aural Mole Man looming large and hairy, gnashing its teeth with red eyes aglow and brimming with tears.

Completeing the night as an unnamed quartet, all four players worked in unison, sewing together dissonant notes, distorted vocal blasts, intent chaotic torrents of howling noise and highly active percussive waves. Sounding caustic on a surface level, the collaboration revealed a sense of calm determination, life-affirming energy, and creative joy - a veil of sonic warmth shrouding all participants before their return to the cold embrace of Tokyo in early spring....