In this article, the author offers an overview of Japanese Noise Music, and attempts to establish a broad theory concerning its meaning, non-meaning, socio/cultural relevance, and aesthetic. In exemplifying his thoughts the author concentrates on the figure seen to epitomise Japanese Noise Music: Merzbow (aka. Masami Akita).
All references of the same author:
(English)Hegarty, Paul (2001). Noise Threshold: Merzbow and the end of natural sound