[AllHandsOnTheBigOne]

The allmusic review of the Merzbox is classic.

It is common for critics to resort to hyperbole when outlining the salient traits of mid-level artists. By overstating their noteworthy characteristics, one can draw attention to even minor or tepid figures, and make them seem far larger than they actually are. In the case of Merzbow's release, the Merzbox, this could not happen. No matter how overblown, no matter how shameless or self-indulgent the criticism, it is not enough. No matter how rabid or scathing the review, it pales in comparison to the art itself. The Merzbox defies simple description, and so it defies traditional notions of criticism. One cannot exaggerate the ridiculous, the obscene, and the mindblowingly abrasive nature of the Merzbox. With 50 CDs and over 40 hours of unapologetic sound experimentation, Masami Akita demands a response that goes above and beyond the normal protocol. No number of stars could summarize the emotions that well up when listening to the incessant yelps, interminable screeches, and directionless feedback of the Merzbox for days on end. Fundamental descriptors such as "good" and "bad" don't capture the spirit of the endeavor any more than a slide rule could be used to measure the size of the universe.
Akita's audacity is unparalleled, and the existence of this most brazen of box sets raises many questions. Does Akita honestly believe that these two full days of unedited noodling are worth a serious listen? Is he toying with gullible listeners? Is the ultimate conclusion he wants us to reach that, in the end, after enough time, all music sounds like the same old processed crap? It will never be possible to understand his intentions. When all is said and done, though, the Merzbox belongs in Ripley's Believe It or Not, and not in your record collection.