To English-speaking Americans who travel, the word "yurikamome" is the name of the new 21st century Tokyo mass transit system. The truth is, however, that yurikamome is the Tokyo prefecture's official bird, a black-headed gull, which makes far more sense in the title of Merzbow's (Asami Makita) third entry in his 13 Japanese Birds series of recordings. At three tracks and just over 53 minutes long, the set is filled with a lot of what one might expect from Merzbow (power electronics, in-the-red industrial noise, distortion, and feedback), though somehow all of it is more musical -- take the kick drums and tom-toms that create the pulse of the opening "Black Headed Gull." Certainly, there are plenty of overdriven, screeching, grinding, and piercing sounds here, but they are far more methodical than many of the records he's issued in the past. In fact, the drums become more "rocklike" as the piece travels through its 31-plus-minute length. The power electronics hold a steady presence but it's the drums -- played wildly and busily throughout the middle section -- that sound more like John Bonham than anything listeners have heard since he passed from this world. On "February 2002," the drums take a more intricate role in the construction of the work rather than powering it, with cymbals, snares, gongs, and overdriven polyrhythmics working to create an actual strategy for Merzbow's electronics to follow rather than drive through. The simple snare and kick-drum pattern that plays monotonously through "The Angel of the Odd" acts in concert with tempered feedback and industrial noise to create a hypnotic piece that is reminiscent of Martin Rev of Suicide without Alan Vega. At eight minutes, it's just the right length. This is among the most enjoyable, wonderfully provocative, yet aesthetically listenable sets heard from Merzbow in some time. ~ Thom Jurek, All Music Guide
Rhythm is not always a part of Merzbow's music -- cycles and pulses, yes, but not necessarily rhythm. However, some of the master of Japanoise's albums do revolve around rhythm, and strangely (or not) these often creep up in fans' best-of lists. Some examples of these would be Aqua Necromancer, Doors Open at 8 A.M., and Merzbeat. However, these drum-centric CDs feature drum samples. For his 13-volume series 13 Japanese Birds, Merzbow seems to have decided to go back to his formative years as a drummer. And, man, does he let loose! Vol. 1 in the series was a massive noise attack (you wouldn't really expect less), but Vol. 2 is slightly different. The opening "Gorosukehoukou" and closing "Noritsukehousei" are typical Merzbowian walls of sound: screeching noise from a guitar, home-made electronic device, Synthi A, or any combination of the above (there seems to be very little digital input on this album), all multi-layered over a blanket of pummeling free jazz drumming used as a noise foundation more than a rhythm foundation. It's exhilarating, frantic, but also visceral and urgent-sounding, the last two adjectives having been less necessary when describing Merzbow's music in the early to mid-2000s. In other words, the man is in top shape here. But the real treats on Vol. 2 are the shorter middle tracks "Variation No. 1" and "Variation No. 2." The first of these is spacy, almost dub-like, with swirly washes of synths being interrupted by reverb-heavy drum outbursts. It's almost ambient, and entrancing. "Variation No. 2" is basically a jam between the free drums and the EMS synth, the latter spurting, stuttering, and wailing out a long yet entertaining solo. The 13 Japanese Birds series (planned as 13 albums in 13 months) may not be a defining moment in Merzbow's career (which is already well defined), but it stands as a particularly strong artistic proposition. ~ François Couture, All Music Guide