Label: Sub Rosa

40年以上に渡り秀逸なノイズミュージックの制作を続けている秋田昌美氏、主にクラシックのカテゴリーで活躍している並外れた感性を持つピアニスト/コンポーザーNicolas Horvath、15年前から温められていたというコラボレーションが実現〜Sub Rosaより音盤化!!タイトルからも分かる通り、まさにピアノとノイズによる純粋なセッションを捉えたものであり、時に叙情的に、またハーモニーも出現したりする、絶え間ない強靭雑音の放射とピアノ即興を並走させた美しい狂宴。





Even the most experienced ear will not come out of PiaNoise unscathed. Consecrating the meeting of two consummate artists, this release confronts their universe like a massive head-on shock in the eye of a sound storm by which we sometimes feel totally drowned.

Masami Akita (Merzbow) has been surveying the territories of noise music for more than forty years, directing all sorts of instrumentaria analogical or digital, instrument or software-based. For this record he relied on his favorite combination, a mix of various effects pedals and noise generators.

Nicolas Horvath is a pianist of exceptional sensibility. More than
well-versed in the classical Repertoire, he also is fundamentally curious and multifaceted, as evidenced by his rescuing works and composers from oblivion, championing them on stage and patiently, carefully recording them.

Nicolas Horvath also improvises and composes electronic music. Since
the early 2000s, he has been active in the experimental and underground scene under many different names, especially Dapnom. In 2020
he released a dark ambient album under his real name, in collaboration
with Lustmord : The Fall (Sub Rosa - SR / SRV 502), a duet for piano
and electronic music that rewrites/deconstructs one of the first minimal
works in history, Dennis Johnson's November.

A collaboration with Merzbow had already been considered some fifteen years ago. In the midst of forced isolation, it was all the more tempting to meet symbolically, following the ways of the World Wide Web. PiaNoise is actually a project born from the health crisis and lockdowns, carried out from different homes in days of anguish and uncertainty. Both artists thus projected their worries about the ongoing crisis and today's ecological disaster.

The music produced took on the shape of a constant struggle between,
on the one hand, Merzbow's continuous release of energy, saturated
sounds, masses, stridencies, powerful granulations, surrounding textures, chaotic rhythms and organised chaos, and on the other, Nicolas Horvath's improvisations, sometimes lyrical, sometimes harmonic, always deeply
rooted in his classical culture and personal pantheon (Scriabine, Satie, StockhausenŠ), like a memory of a golden age forever lost, but abidingly anchored in our mind, a touch of dream to keep us alive by all means. No listener will escape it as they lend a careful and sometimes all but desperate ear to the raging soundwaves. The two continuous musical lines often collide and even seem to ignore each other every so often, but they also meet and complete each other, helping the compositions breath. This confrontation generates a great opulence of sound calling for an extremely active form of listening. In the midst of a global wreck and a period of upheaval, two artists still manage to communicate from one digital raft to another, and render the poetry of a moment.