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Key Information

Maso Yamazaki (山崎マゾ, Yamazaki Maso), better known by his stage name Masonna, is a Japanese noise musician. He was born Takushi Yamazaki (山崎卓志, Yamazaki Takushi) on November 16, 1966, in Miyazu, Kyoto, Japan.

Masonna (マゾンナ) was started in 1987 in Osaka as Maso Yamazaki's noise project. The name is a combination of the Japanese words Maso (マゾ, Masochist) and Onna (女, Woman). It is also a pun on the name of the pop singer Madonna.[1] The name is sometimes rendered as an acronym for Mademoiselle Anne Sanglante Ou Notre Nymphomanie Auréolé (血まみれのアンヌ嬢・若しくは・我等がニンフォマニアが・後光に包まれる)[2] or Mystic Another Selection Of Nurses Naked Anthology.

Maso also performs as Space Machine using vintage analog synthesizers. He has performed with the psychedelic rock group Christine 23 Onna (with Fusao Toda of Angel'in Heavy Syrup),[3] which then became Acid Eater with the addition of two members, as well as the noise supergroup Bustmonster and the noise trio Flying Testicle.

In 2018, Maso began performing and releasing under the name Controlled Death and in 2025 Maso started releasing under the name Ja a ku yamiizu lu

History

[edit]

Maso has said that he became interested in making noise music when he heard the sounds of destruction on television as a child, but that his first exposure to the Japanese noise genre was Hanatarash's debut LP, which at the time did not impress Maso. It was however later, upon happening on an LP entitled LSD by a Tokyo noise band named Nord, and mistakenly thinking it was an album by the band LSD, that these experiences had possibly kindled his future interest. A year thereafter Maso sought many different types of noise releases in the underground music stores in and around Osaka Japan. Two years would pass until Maso would start to develop his own style of noise and begin producing, at which time he quit listening to the noise albums of others and focused in on his own unique style. Previous to his interest in noise Maso played guitar in several bands, one of which he states in interviews was a Led Zeppelin cover band, playing the occasional Deep Purple song.

All of Maso's projects draw heavily from the psychedelic music scene in outward style, but sonically most of them resemble very few of the traits of late 1960s and 1970s psychedelic music. Maso has an interest in avant-garde films, having stated in interviews that his two favorite movies are the Alexandro Jodorowsky films The Holy Mountain and El Topo. He also claims to admire and had the wish to have worked with American musician Captain Beefheart.[citation needed]

The Masonna project has been the opening act for several well-known artists on their Japanese concert dates, including Sonic Youth, Beck and Slipknot. Masonna also caught the attention of John Peel and was featured on his program, having even done a limited Masonna John Peel Sessions CD.

Masonna is most known for Yamazaki's wild live performances which usually consist of damaging his equipment, jumping around madly, and at times getting injured. He has given entire concerts which last only a few seconds. In 1996 Masonna toured the United States on the "American Mystique Tour" named after his album Inner Mind Mystique.

Maso was also the manager of Jojo Hiroshige's Alchemy Music Store until its closure.[4]

Discography

[edit]

As Masonna

[edit]
  • Shinsen Na Clitoris (1990), Vanilla Records
  • Mademoiselle Anne Sanglante Ou Notre Nymphomanie Aureole (1993), Alchemy
  • Noskl in Ana (1994), Alchemy
  • Super Compact Disc (1995), Alchemy
  • Noisextra (1995), RRR
  • Ejaculation Generater (1996), Alchemy
  • Inner Mind Mystique (1996), Relapse
  • Hyper Chaotic (1996), V
  • Freak-Out Electrolyze (1997), Nanophonica
  • Spectrum Ripper (1998), Cold Spring
  • Frequency L.S.D. (1998), Alien8
  • Vestal Spacy Ritual (1999), Alchemy
  • Beauty Beast (1999), Blast First
  • Shock Rock (2002), MIDI Creative

As Flying Testicle

[edit]

with Merzbow and Zev Asher.

  • Lamerican Sextom (1992), ZSF Produkt, Japan, 7"
  • Space Desia (1993), Charnel Music, USA, CD

As Space Machine

[edit]
  • Cosmos From Diode Ladder Filter (2001), Alchemy
  • 2 (2002), Midi Creative / Noble
  • 3 (2003), Tiliqua (LP), (2004), Important (CD)

References

[edit]

Further reading

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Maso Yamazaki

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Maso Yamazaki (born Takushi Yamazaki, November 16, 1966) is a Japanese noise musician best known by his stage name Masonna, a portmanteau of the Japanese words for "masochist" (maso) and "" (onna), reflecting the intense, visceral nature of his work. Based in since the late 1980s, he has been a pivotal figure in the international scene since founding his solo project in 1987, producing raw, feedback-laden soundscapes characterized by screaming vocals, electronic distortion, and chaotic improvisation. Yamazaki's early career involved teenage rock bands before he embraced as his primary medium, drawing from Japan's underground experimental traditions while pushing boundaries with performances that often include physical exertion, microphone abuse, and object destruction to evoke a sense of auditory overload. He operates the influential label Coquette Records, which has released works by himself and other artists, establishing him as both performer and curator in the genre. Notable solo albums include Frequency L.S.D. (1998), praised for its psychedelic explorations, and Inner Mind Mystique (1996), which exemplifies his shift toward more structured yet abrasive compositions. Beyond his solo endeavors, Yamazaki has collaborated extensively, co-founding groups like Christine 23 Onna with guitarist Fusao Toda (of Angel'in Heavy Syrup), blending with psychedelic elements; Space Machine, an project evoking cosmic jams; and Acid Eater, a stoner rock-infused outfit. He has also worked with luminaries such as in the short-lived prog- band Flying Testicle and the "Japanoise" supergroup Bustmonsters, as well as international artists including Boris, , and , expanding 's global reach through joint releases and tours. These efforts underscore his role in bridging Japan's and harsh subgenres with broader , influencing subsequent generations of sound artists.

Biography

Early Life

Takushi Yamazaki, who would later adopt the stage name Maso Yamazaki, was born on November 16, 1966, in Miyazu, a small coastal city in , . He spent his childhood in this rural setting on the Tango Peninsula, surrounded by mountains, rivers, and the , during Japan's rapid economic growth in the and . As a teenager, Yamazaki became interested in and formed bands with friends, performing cover versions of songs by Led Zeppelin and on guitar. In his early twenties, he relocated to , where he immersed himself in the city's burgeoning scene and continued experimenting with music in cover bands. These early experiences marked the beginning of his engagement with sound and performance, paving the way for his later explorations in during the 1980s.

Career Milestones

Maso Yamazaki founded the project Masonna in 1987 while based in , , marking the beginning of his prolific output in the scene. He initiated home recordings that year, producing cassette tapes and seven-inch records for his independent label Coquette, which laid the groundwork for his raw, intense aesthetic. By the early , Yamazaki's work gained traction through releases on Alchemy Records, including the seminal 1993 album Mademoiselle Anne Sanglante Ou Notre Nymphomanie Auréolé, which showcased his signature chaotic vocalizations and electronic manipulations. In addition to his musical endeavors, Yamazaki managed the Alchemy Music Store in Osaka's district, a key hub for and distribution associated with label founder Jojo Hiroshige. The store served as a vital for the Kansai noise community until its closure in 2012, reflecting broader shifts in Japan's retail landscape. Yamazaki achieved an international breakthrough in 1996 with the "American Mystique Tour," a U.S. named after his album Inner Mind Mystique and featuring high-energy performances that introduced Masonna's visceral style to Western audiences. This period also saw Masonna opening for prominent acts during their Japanese tours, including and in the mid-1990s, as well as Slipknot in 2000, broadening his exposure beyond niche noise circles. During the 1990s, Yamazaki further elevated Masonna's profile with appearances on 1's show, including a notable session recorded on February 17, 1999, at the Queen Elizabeth Hall in , where his unfiltered experiments were broadcast to a global audience. In 2017, Yamazaki shifted toward new creative directions by launching the alias Controlled Death, a darker, death-industrial-oriented project that explored themes of mortality through lo-fi synthesizers and ominous soundscapes, debuting with the album Symphony for the Black Murder. This evolution allowed him to delve into more atmospheric and ritualistic forms while maintaining his core intensity. In 2025, Yamazaki released the digital album Ja a ku yamiizu lu as part of his latest project, continuing his exploration of experimental sound.

Musical Career

Beginnings and Influences

Maso Yamazaki entered the scene amid the burgeoning Japanese underground in the mid-1980s, drawing initial inspiration from pioneers like and the harsh sounds of Nord, which emphasized raw destruction and sonic extremity. These acts, emerging from the punk and experimental fringes, encouraged Yamazaki to explore as a visceral form of expression beyond traditional music structures. By 1987, he had relocated to Osaka's thriving DIY scene, where he began experiments focused on feedback loops and heavy , capturing chaotic soundscapes on limited-edition cassettes and acetates produced in runs as small as one to ten copies. That same year, Yamazaki adopted the alias Masonna for his solo noise project, a name combining the Japanese terms "maso" (masochist) and "onna" () to evoke themes of masochistic intensity and provocation. This moniker underscored his commitment to extremity, aligning with the DIY of self-released works on his own Coquette label and imprints like Vanilla Records in . His early efforts rejected conventional instruments, instead harnessing amplified feedback and distorted electronics to create shrieking, immersive walls of sound that tested the boundaries of auditory endurance. Yamazaki's transition to noise was further influenced by his roots in psychedelic rock bands during his teenage years, as well as the high-energy aggression of hardcore punk, grindcore, death metal, and power electronics, which he sought to channel into a uniquely expressive noise aesthetic. In interviews, he has described aiming for the "excitement and expressive quality" of these genres but stripped of melody, prioritizing physical and emotional impact over musicality. This fusion of influences solidified Masonna's style, positioning it as a personal evolution within Japan's noise lineage while carving out a space for bodily intensity in performance.

Major Projects and Aliases

Maso Yamazaki's primary noise project, Masonna, began in 1987 in and remains his most enduring alias, centered on transforming into abrasive sound through extreme and feedback loops. Yamazaki processes his screams and shouts via microphones fed back into effects pedals and oscillators, creating visceral walls of harsh noise that evoke masochistic intensity, as reflected in the project's name—a fusion of the Japanese terms for "masochist" (maso) and "woman" (onna). Early works emphasized chaotic, punk-infused aggression influenced by hardcore bands and pioneers like , evolving by the late 1990s toward more structured compositions that balanced raw energy with electronic abstraction, such as in the album Frequency L.S.D. (1998). This progression highlights Yamazaki's shift from prolonged, destructive live sets to concise, high-impact performances lasting around two minutes, prioritizing expressive immediacy over endurance. In the , Yamazaki explored psychedelic under the Flying Testicle moniker, a supergroup alias that delved into experimental soundscapes blending industrial harshness with trippy, disorienting textures. Formed as an early collaborative outlet, the project marked a departure from Masonna's solo vocal focus, incorporating amplified and improvisational chaos to evoke hallucinatory themes, as heard in releases like Space Desia (1993). This phase represented an evolution toward psychedelic experimentation, bridging Yamazaki's roots with broader influences before he returned to more individualized pursuits. In 2000, following a health-related hiatus and after incorporating trippy elements into Masonna performances around 1998, Yamazaki launched Space Machine as a solo counterpoint to Masonna's ferocity, embracing analogue synthesizers to craft cosmic, ambient noise explorations. Described as an "analog electronic cosmic sound project," it utilized vintage equipment like to generate non-rhythmic, introspective soundscapes infused with psychedelic and spiritual undertones, drawing from 1950s-1960s electronic traditions and improvisation. Space Machine evolved into a more meditative outlet during the early , with key works like Cosmos From Ladder Filter (2001) showcasing layered synth-psych abstractions that contrasted Masonna's physicality. In 2025, Yamazaki introduced the alias Ja a Ku Yamiizu Lu, signaling a fresh conceptual shift toward enigmatic, studio-bound compositions distinct from his earlier high-energy noise. Debuting with a self-produced digital album recorded at Death Control Studio and released on January 21, 2025, the project features tracks exploring themes of wandering and darkness—evident in titles like "yaminonakade" (in the darkness) and "samayoi" (wandering)—marking an evolution into subtler, introspective electronic forms compared to Masonna's distortion-heavy aggression. This latest endeavor underscores Yamazaki's ongoing diversification, building on decades of alias-driven innovation while maintaining his core interest in sonic extremity.

Artistic Style

Techniques and Equipment

Yamazaki's approach to production centers on extreme vocal , where he channels his screams through a of distortion pedals and amplifiers to generate clipped, shrieking bursts of sound. This technique transforms raw vocal input into overloaded, feedback-laden , emphasizing immediacy and intensity over melodic structure. The process often involves feeding the output back into effects units, creating self-reinforcing loops that amplify chaos and unpredictability in the recordings. In his studio work, Yamazaki relies heavily on to cultivate raw, organic soundscapes, incorporating modular synthesizers such as the System 100 series and vintage equipment for their inherent instability. Feedback loops form a core element, where audio signals are recirculated through amplifiers and filters to produce sustained walls of harmonic distortion and screeching tones. Specific effects, including diode ladder filters, contribute to the gritty, resonant textures heard in his compositions, as exemplified in projects where these components filter and warp electronic signals into cosmic explorations. Much of this production occurs at Death Control Studio, established by Yamazaki in the late 2010s as a dedicated space for layering dense, multi-tracked noise elements. The studio setup prioritizes analogue tape recording and real-time manipulation, allowing for the accumulation of unpredictable sonic events without digital intervention. This deliberate eschewal of digital tools preserves the tactile, chaotic essence of analogue systems, where minor variations in voltage or feedback yield unique, irreproducible results in each session.

Live Performances

Maso Yamazaki's live performances as Masonna are renowned for their raw physical intensity and masochistic themes, often incorporating self-inflicted pain and bleeding as central elements of the spectacle. In the , his Japanese gigs, particularly in the underground scene, featured chaotic displays where he would cut himself onstage, allowing blood to splatter across equipment and the audience, while screaming at the top of his lungs to generate overwhelming . These acts transformed the performance into a visceral confrontation, blending with amplified feedback to evoke a sense of uncontrollable ecstasy. Audience interaction was integral to these early shows, with Yamazaki leaping into crowds or provoking submission through direct sonic assault, fostering a participatory chaos that mirrored the masochistic undertones of his alias, derived from the Japanese word for masochist. For instance, a 1994 performance in lasted only four minutes but involved intense vocal distortion and shaking a metal can filled with coins for harsh percussion, leaving attendees immersed in a brief yet disorienting burst of energy. In venues like Club Bears around 1993, his sets emphasized immediate maximal without build-up, often ending abruptly due to physical exhaustion or injury. Yamazaki's international exposure, such as the 1996 American tour, amplified these elements on a global stage, featuring extended feedback sessions alongside acrobatic feats like climbing pillars and leaping onto tables to heighten the physical struggle with his . These tours expanded the reach of Japanese , with Yamazaki rejecting precise control over his setup to prioritize raw, destructive output. Props like , effects pedals, and amplified objects were frequently scattered or smashed, underscoring a critique of technology through stage destruction. By the 2000s, Yamazaki's performances evolved toward slightly more structured extremes while retaining their intensity, as seen in continued harsh noise sets that incorporated vocal techniques like screeching and panting for effect. He maintained the use of minimal props, such as jars and broken gear, in gigs that balanced spectacle with endurance, often documented in releases like the DVD Like a showcasing solo bodily exertion. This period reflected his adaptation to broader networks, including managing the store in , yet preserved the masochistic core of short, high-impact shows.

Collaborations and Groups

Key Partnerships

Yamazaki formed the noise supergroup Flying Testicle in the early 1990s alongside Masami Akita of and Zev Asher of , blending harsh electronics, samples, and improvised instrumentation to create chaotic soundscapes. The group's output during 1992–1993, including the album Space Desia featuring erectronix, drums, guitar, and bass, exemplified their supergroup dynamic and contributed to the era's scene. This partnership highlighted Yamazaki's ability to integrate his vocal intensity with Akita's textural noise and Asher's experimental techniques. In 1993, Yamazaki partnered with guitarist Fusao Toda of Angel'in Heavy Syrup to launch Christine 23 Onna, a space-mondo psychedelic project that fused analog synths, fuzz guitars, and retro 1960s-1970s influences into kitschy . This duo evolved into Acid Eater, expanding to include additional members for live performances while maintaining its core emphasis on psychedelic grooves and Yamazaki's production oversight. Their collaboration produced works like the 2002 album Acid Eater, where Toda's guitar concepts intertwined with Yamazaki's effects and mixing to evoke a super-sexadelic aesthetic. Yamazaki contributed vocals and noise elements to Bustmonster, a 1990s Japanoise supergroup that also featured Akita and members of , pushing boundaries in psychedelic through abrasive, high-energy recordings. He participated in similar groups like , which assembled rotating lineups of noise artists for improvised sessions emphasizing collective sonic overload and thematic . Yamazaki also co-founded Space Machine around 1998, an project evoking cosmic jams with psychedelic . Additionally, he collaborated with international artists including Boris, , and on joint releases and tours, bridging Japanese with global experimental scenes. These involvements underscored Yamazaki's role in fostering supergroup experiments that amplified the raw, communal spirit of the underground community. More recently, in 2024, Yamazaki collaborated with Swiss-Japanese artist Rudolf Eb.er under his Controlled Death alias for the Phage Tapes release Serenità per i morti viventi, a limited-edition LP exploring dark, electronic textures with Eb.er's conceptual artwork integration. This partnership marked a continuation of Yamazaki's engagement with international figures, blending his Japanese noise roots with Eb.er's Schimpfluch-influenced extremity.

Band Involvement

Maso Yamazaki's involvement in multi-member bands primarily revolved around psychedelic and noise genres, where he contributed distinctive sonic elements drawn from his noise background. In 1993, he co-founded the duo Christine 23 Onna with guitarist Fusao Toda, providing vocals, analog synthesizers (including models), samplers, drum programming, echo effects, and tape manipulation to create a spacey, psychedelic sound. This project, active from the mid-1990s through the early , emphasized experimental textures over traditional structures, blending Toda's guitar riffs with Yamazaki's electronic interventions. The group evolved into Acid Eater in 2001, initially retaining the duo format before expanding to a four-piece psychedelic garage punk outfit with the addition of /bassist Kensaku Miyaji and Shinichiro Akiba in 2005. In Acid Eater, Yamazaki served as vocalist and handled synthesizers and effects, infusing the band's fuzz-driven with noise-inflected chaos and high-energy distortion that amplified its raw, acid-punk ethos. His contributions focused on vocal ferocity and electronic effects to heighten the psychedelic intensity, contrasting his more isolated experiments under solo aliases. Yamazaki also participated in the Japanoise supergroup Bustmonster, formed in 1991 in as an offshoot of Merzbow's early rock explorations and featuring members like Masami Akita on drums, Fumio Kosakai, and Zev Asher. Active in the 1990s, Bustmonster delivered a heavy, grindcore-influenced sound, with Yamazaki adding screamed vocals during live performances to layer abrasive, chaotic energy onto the ensemble's freakish, high-volume assaults. His role emphasized vocal extremity, enhancing the band's reputation for covering punk and industrial acts like Whitehouse and in a dense, psych-tinged noise framework.

Discography

Masonna Releases

Masonna's solo releases under the Masonna alias primarily consist of noise-oriented albums and EPs that trace a progression from primal, feedback-driven experiments to more layered compositions blending chaos with psychedelic elements. His output, largely issued on Japanese underground labels like and international imprints, emphasizes vocal distortions, electronic overload, and improvisational intensity, with key works gaining cult status in the noise community. The alias debuted with Shinsen Na Clitoris in 1990 on Vanilla Records, a 31-minute EP comprising two extended tracks of raw vocal and feedback, marking early explorations in harsh, unfiltered sound manipulation. This was followed by Mademoiselle Anne Sanglante Ou Notre Nymphomanie Aureole in 1993 on Alchemy Records, featuring 31 brief, frenetic pieces that amplified the abrasive vocal shrieks and electronic bursts of his initial phase. By 1994, Noskl in Ana (Alchemy Records) continued this raw aesthetic, delivering dense walls of centered on distorted screams and analog feedback. A pivotal breakthrough came with Inner Mind Mystique in 1996 on Release Entertainment, an internationally distributed triple 7-inch set (later compiled on ) that showcased seven edited tracks of visceral, cut-up , blending high-pitched wails with rhythmic disruptions for a more dynamic structure. That same year, Ejaculation Generater (Alchemy Records) pushed boundaries with explosive, orgasmic vocal eruptions amid chaotic electronics, exemplifying the shift toward intensified sensory assault. Frequency L.S.D., released in 1998 on Alien8 Recordings, represented a key EP in this evolution, offering 14 ear-piercing tracks of cohesive yet extreme that incorporated hallucinatory feedback loops and structured . Into the late and , Masonna's releases refined this progression, as seen in Vestal Spacy Ritual (1999, Alchemy Records), a ritualistic of spacey, feedback-heavy evoking states. The 2002 Shock Rock on MIDI Creative, part of a 15th-anniversary "Freakout Triplex" series, delivered high-energy chaos with rock-infused elements, highlighting matured production techniques. Compilations like Ultimate Collection Vol. 1 (2008, Alchemy Records) revisited early material, including reissues of Masonna Vs. Bananamara (1989) and Hyper Chaotic (1996), underscoring the thematic arc from unpolished feedback to orchestrated sonic mayhem across the decade.

Flying Testicle and Space Machine

Flying Testicle was a short-lived experimental trio formed by Maso Yamazaki alongside Masami Akita () and Zev Asher, active in the early 1990s. The group's output emphasized a fusion of psychedelic and elements, blending Yamazaki's vocal screams and eclectic instrumentation with Akita's electronic manipulations and Asher's bass and tape work. This collaboration marked a departure from Yamazaki's solo intensity, incorporating varied textures like guitar, , and keyboards to create dynamic, less abrasively harsh compositions compared to individual projects. The project's debut release, Lamerican Sextom (1992), was a limited-edition 7" acetate pressed in just ten handmade sleeves on ZSF Produkt. Featuring two tracks—"Neo Orgasm " and "Making 100+1"—it showcased raw improvisation with Yamazaki contributing voice and synth, Akita on , and Asher on bass. This served as an initial foray into their psych-noise aesthetic, prioritizing spontaneous energy over polished production. Follow-up Space Desia (1993), released as a limited CD of 1,000 numbered copies on Charnel Music, expanded the sound with ten tracks including "" and "." Yamazaki handled screams, guitar, violin, , and percussion, while Akita mixed and produced using electronics, samples, and drums. The album's experimental industrial style fused psychedelic motifs with noise, evident in its rhythmic beats and sampled elements, distinguishing it through collaborative variety rather than unrelenting harshness. In contrast, Space Machine represented Yamazaki's solo venture into analog electronic exploration starting around 2000, shifting toward filter-driven ambient and cosmic using vintage synthesizers like the EMS VCS3 and Roland System 100. This project highlighted non-rhythmic, trippy electronics as a to , emphasizing pure synthesis and effects for immersive, spacey atmospheres. The debut full-length, Cosmos From Diode Ladder Filter (2001), was a limited CD of 500 copies on Alchemy Records, comprising eleven untitled tracks recorded at Yamazaki's Space Machine Systems Studio in . Produced entirely by Yamazaki, it combined modular synth filters and analog delays to generate drifting, ambient noise textures, evoking psychedelic and krautrock influences without traditional song structures. Space Machine's 2000s output included several EPs on P-Tapes, such as Dimension Degenerator and Vector Generator (both 2004), which further refined the filter-based ambient approach through abstract electronic drones. and Space-Time Echo (both 2005) continued this trajectory, utilizing diode ladder filters for ethereal, cosmic soundscapes that prioritized conceptual immersion over aggression. These releases underscored Yamazaki's evolution into ambient synthesis, distinct from Flying Testicle's psych-noise dynamics.

Recent and Other Projects

In 2017, Maso Yamazaki launched the project Controlled Death, focusing on ritualistic and noise explorations that delve into themes of , and alienation. This alias has produced several releases since its , including the 2020 double LP Ritualistic Mutilation In The Bloody Darkness, limited to 299 copies and featuring extended tracks emphasizing sonic mutilation and bloody atmospheres. In 2022, Controlled Death appeared on a split release with Yamazaki's primary alias Masonna, titled M.A.S.O.N.N.A. / Controlled Death, issued as a limited vinyl by Phage Tapes, showcasing exclusive material from both projects. The project continued with the 2023 LP Demonic Trip Through Hell, which intensified its hellish, droning soundscapes. Controlled Death's output in 2024 included a collaborative 12-inch EP with Swiss noise artist Rudolf Eb.er, Serenità per i morti viventi, released on Phage Tapes in June; Yamazaki contributed organ and echo machine to Eb.er's voices, , and noises, marking their first joint work in over two decades and evoking meditative decay through maggot-infested corpse imagery. The project's most recent release, Lost Tapes 1, arrived digitally on October 3, 2025, comprising previously unreleased recordings composed, performed, and edited by Yamazaki at his Death Control Studio, highlighting compulsive MS-20 drones and disturbing vocals. In 2025, Yamazaki debuted the alias Ja a ku yamiizu lu, emphasizing a shadowy, realm-of-the-dead aesthetic through compositions. The self-titled debut album, released digitally on January 21 via , features four tracks—"yaminonakade," "samayoi," "ikenietatito," and "towanomai"—that wander through eerie, wandering soundscapes. A limited-edition clear vinyl version, hand-numbered to 30 copies, followed in April, underscoring the project's experimental intimacy. An accompanying self-titled demo from the same year further explores this thematic void. Yamazaki has also adopted minor aliases such as Death Noisist, which appears in his official profiles as an outlet for experimental , though specific releases under this name remain sparse and integrated into his broader 2020s digital explorations.

Legacy

Impact on Noise Music

Maso Yamazaki, performing as Masonna, emerged as a key figure in Japan's noise scene in the late , beginning home recordings in 1987 and quickly establishing himself within the underground scene. His work helped solidify as an epicenter for experimental , particularly through his close ties to Alchemy Records, the influential label founded by Jojo Hiroshige that documented and distributed key acts from the . Alchemy's catalog, including numerous Masonna releases such as the 1993 album Mademoiselle Anne Sanglante Ou Notre Nymphomanie Auréolé, amplified the raw, visceral energy of local performers and fostered a DIY ecosystem that emphasized uncompromised sonic extremity over commercial viability. This contribution extended the label's role in preserving and propagating 's noise heritage, influencing subsequent generations of regional artists through shared spaces and collaborative ethos. Yamazaki earned a reputation as the "god of noise" for his relentless exploration of masochistic themes and feedback manipulation, transforming his voice into distorted, feedback-laden assaults that blurred the line between performer and instrument. In live settings, he fed screams through extreme distortion and delay effects, creating clipped bursts and metallic fuzz that evoked physical submission from audiences, as detailed in David Novak's analysis of a 1994 San Francisco performance. This approach pushed the boundaries of harsh noise, prioritizing bodily tension and auditory overload over melodic structure, and established Masonna as a legendary figure in noise music alongside . Masonna's innovations rippled into the global scene during the , inspiring international acts through his tours and recordings that circulated via labels like and beyond. His emphasis on performative chaos and vocal influenced artists such as Prurient (), who cited Masonna as a longtime inspiration for his own project. Scholar David Novak highlights how Masonna's transnational performances contributed to 's "cultural feedback," enhancing the genre's worldwide appeal by embodying its liveness and intensity in Western contexts. This legacy underscores his role in elevating Japanese from a local phenomenon to a foundational influence on global .

Recent Developments

Maso Yamazaki operates Death Control Studio in , established by at least 2017, as his primary recording space, where he composes, performs, and edits new material for his noise projects. This studio served as the hub for recent outputs, including archival and experimental works that extend his raw electronics aesthetic into darker, more introspective territories. Yamazaki resumed live performances after a period of reduced activity, delivering intense sets at events such as the Nuclear War Now!/Hospital Fest in on April 7, 2024, where his appearance was a highlight of the extreme music lineup. These shows, often documented through video recordings, showcased his signature chaotic energy, with additional appearances in and throughout 2024 and into 2025 aligning with festival circuits and intimate venues. In 2025, Yamazaki introduced Ja a ku yamiizu lu as his newest alias, evolving from the slower-paced output of his Controlled Death project into a fresh exploration of haunting, ritualistic noise. This moniker debuted with a self-titled digital album on January 21, 2025, featuring tracks like "towanomai," emphasizing themes of wandering and eternal darkness through layered, corrosive soundscapes. The project represents a continuation of his death-obsessed motifs while adapting to more subdued, atmospheric structures. Complementing this evolution, Yamazaki has shifted toward greater digital accessibility, releasing works exclusively via with options for free or "name-your-price" downloads to broaden reach beyond limited physical editions. This approach includes the Ja a ku yamiizu lu album and Controlled Death's Lost Tapes 1 (released October 3, 2025), described as "death ambient" explorations, making archival noise experiments available globally without barriers.

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  23. https://importantrecords.com/products/imprec026
  24. https://www.discogs.com/artist/15672510-Ja-a-Ku-Yamiizu-Lu
  25. https://masoyamazaki.bandcamp.com/album/ja-a-ku-yamiizu-lu
  26. https://urashima.bandcamp.com/album/filled-with-unquestionable-feelings
  27. https://www.discogs.com/artist/209964-Space-Machine
  28. https://www.soundohm.com/product/complete-space-tuning-box
  29. https://masoyamazaki.bandcamp.com/album/lost-tapes-1
  30. https://www.soundohm.com/artist/controlled-death-2
  31. https://monoskop.org/images/7/73/Hegarty_Paul_Noise_Music_A_History_2007.pdf
  32. https://www.last.fm/music/Christine%2B23%2BOnna
  33. https://rateyourmusic.com/artist/christine_23_onna
  34. https://www.discogs.com/release/34488793-Christine-23-Onna-Acid-Eater
  35. https://www.discogs.com/master/3906730-Christine-23-Onna-Acid-Eater
  36. http://www.makingnewwaves.hu/mnw2009/biographies_en.html
  37. https://rudolfeber.bandcamp.com/album/serenit-per-i-morti-viventi
  38. https://www.soundohm.com/product/serenita-per-i-morti-vive
  39. https://www.japantimes.co.jp/culture/2002/12/04/music/christine-23-onna-acid-eater/
  40. https://www.metal-archives.com/artists/Maso_Yamazaki/35104
  41. https://www.discogs.com/artist/94728-Christine-23-Onna
  42. https://www.discogs.com/release/522519-Christine-23-Onna-Acid-Eater
  43. https://www.discogs.com/artist/593309-Acid-Eater
  44. https://www.discogs.com/artist/255875-Bustmonster
  45. https://www.allmusic.com/album/inner-mind-mystique-mw0000071157
  46. https://www.allmusic.com/album/frequency-lsd-mw0000052964
  47. https://www.discogs.com/release/1202172-Masonna-Ultimate-Collection-Vol-1
  48. https://rateyourmusic.com/release/album/flying-testicle/space-desia.p/
  49. https://www.discogs.com/release/723618-Flying-Testicle-Lamerican-Sextom
  50. https://rateyourmusic.com/release/single/flying-testicle/lamerican-sextom.p/
  51. https://peel.fandom.com/wiki/Flying_Testicle
  52. https://www.discogs.com/release/326235-Space-Machine-Cosmos-From-Diode-Ladder-Filter
  53. https://www.instagram.com/p/BSa0VgEhzuz/
  54. https://www.discogs.com/release/23894171-MASONNA-Controlled-Death-MASONNA-Controlled-Death
  55. https://phagetapes.bandcamp.com/album/serenita-per-i-morti-viventi
  56. https://www.discogs.com/release/33773556-Ja-A-Ku-Yamiizu-Lu-Ja-A-Ku-Yamiizu-Lu
  57. https://www.youtube.com/watch?v=BLZHY2CxwfY
  58. https://masoyamazaki.bandcamp.com/
  59. https://www.soundohm.com/label/alchemy-records?layout=big-grid
  60. https://www.soundohm.com/product/mademoiselle-anne-sanglan-1
  61. https://releasemagazine.net/Spotlight/spotlightjapanoise.htm
  62. https://www.popmatters.com/172099-japanoise-music-at-the-edge-of-circulation-2495751730.html
  63. https://daily.redbullmusicacademy.com/2014/10/birth-of-noise-in-japan-feature/
  64. https://disciplinemag.com/news/masonna-prurient-announce-new-split-album-annihilationism/
  65. https://www.soleilmoon.com/shop/controlled-death-death-synth-box/
  66. https://www.discogs.com/artist/6449162-Controlled-Death
  67. https://disciplinemag.com/live/nuclear-war-now-hospital-fest-osaka-2024/
  68. https://www.setlist.fm/setlist/masonna/2024/gorilla-hall-osaka-osaka-japan-7babde94.html
  69. https://www.facebook.com/masonnaofficial/
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