(Free Improvisation, Experimental, Noise) [WEB] Merzbow / Keiji Haino / Balázs Pándi (Balazs Pandi) - 迷惑をかけない無防備 = An Untroublesome Defencelessness - 2016, FLAC (tracks),

Merzbow (electronics), Keiji Haino (guitar, vocals) and Balázs Pándi (percussion) rip the head off it in commandingly demonstrative three way improvisation for Rare Noise Records.
“Merzbow has found a true kindred spirit in Pandi, who has become a kind of ‘house drummer’ for RareNoiseRecords. “The chemistry between us was there right from the very beginning. Masami has been flirting with the idea of live drums on his shows for a while as he is a drummer himself, but according to him, the metal drummers were too much in the autopilot zone and jazz drummers were not intense enough and couldn’t keep up with volume. My way of playing was fitting his music perfectly, as I play both improvised music that is changing shape all the time and heavy amplified music. We don’t have things anchored, we just have a continuously expanding vocabulary and we pay attention to each other and find immediate hooks in each other’s playing.”
The third member of this formidable triumverate, singer-songwriter-guitarist Keiji Haino, had previously worked with Merzbow under the moniker Kikuri. The idea of collaborating with Keiji on An Untroublesome Defencelessnes goes back to 2010. As Pandi explains, “When Masami and I did a gig in Osaka back then, we threw a couple ideas back and forth and decided that it would be great to try and form a trio with Haino-san. Keiji is like an infinite well of ideas. It’s incredible how he can push music and sounds into new directions. Sounds coming from him have way more qualities than the ones coming from most musicians, as he uses every possible way to alternate sounds and give them extra qualities that people just don’t know about.”

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Два самых горячих представителя японской нойз-сцены в сплите с венгерским ударником, работающим с Акитой Масами уже на протяжении 5 лет. Музыка самого Акиты уже давно стала довольно популярным явлением, что кажется ещё более абсурдным, чем, собственно, содержимое. С конца 70-х на пару с Кейджи (ранее: Kikuri) они записали сотни релизов, и до сих пор не только сохраняют темп, но и стараются выводить что-то качественно новое.
Кроме некоторой "ритуальности" ударных здесь заметны ещё и тонкие слои мрачной психоделии, чему виной постоянные эксперименты японского гитариста. В отличие от последовательности Акиты, он часто менял звучание, погружался в дрон, а некоторые лайвы терпели чуть ли не психоделические гитарные партии. Но, в любом случае, на этом альбоме все эти влияния и риффы погребены под прочными слоями основной композиции из пронизывающего бессознательного шума и сырых как мир барабанов.