De-Soundtrack inverts conventional film music logic - rather than supporting images, these sounds demand visualization, compelling listeners to construct hallucinatory cinema in their minds. The "De-" prefix suggests removal, negation, reversal: this is soundtrack stripped of its images, music freed from visual servitude. Akita's late-80s work often evokes dramatic scenarios: chase sequences, explosions, moments of suspended tension.

The listener becomes director, editor, and audience simultaneously, assembling imaginary films from sonic fragments. This approach reflects Akita's longstanding interest in cinema - he has created actual film soundtracks throughout his career, but these recordings suggest that all Merzbow work might be understood as soundtracks for films that exist only in the listener's imagination.