|
|
viewing 1 To 15 of 15 items
|
|
|
|
|
|
|
|
|
|
|
|
LP
|
|
OB 001X-LP
|
Launching into the early, wintering months of the new year, the brand-new imprint Oblio -- the latest adventure in the Die Schachtel/Blume family -- delivers their debut LP, the first ever fully remastered vinyl reissue of Maurizio Bianchi's seminal 1982 album Regel. A startling bridge between 1950s and '60s avant-garde electronic music and the legacies of punk, originally released on Bianchi's own Mectpyo Sounds imprint under the moniker M.B., for decades it has been hotly pursued as one of the great cornerstones of early '80s Italian experimentalism and industrial music. In 1979, Maurizio Bianchi turned his focus to making music of his own, initially self-releasing four cassettes under the moniker Sacher-Pelz, before beginning to work under his own name or the abbreviation M.B. in 1980. He was regarded as a foundational project in the movements of Italian industrial music and noise, as well as a crucial link between the Milan scene and similar artists working in other parts of the world. Of these, M.B.'s 1982 album Regel, originally released in a tiny edition of 300 copies by Bianchi's own Mectpyo Sounds imprint, remains one of the most celebrated and sought-after. Comprising two, untitled, side-long compositions, M.B.'s Regel stands among the best illuminations of the tangible links between the early electronic avant-garde and certain forms of music that blossomed from the cultural revolution of punk. The first piece draws upon manipulated sound sources, threaded with synthesizer or theremin, which collectively gather an almost post-apocalyptic sensibility. Using a similar sound palette, the album's second side delves toward a more markedly tonal realm, utilizing deconstructed melodic elements, striking harmonic collisions and pulses, placed within a cavernous sense of space and texture that achieves thrilling seductiveness. Regel is made up of two sprawling, long-form sides standing in stark contrast to M.B.'s more aggressive, industrial-oriented works. Instead, what unfolds is a classic of austere musical hypnotism. A high-water mark of early '80s Italian experimentalism. Fully remastered by Andrea Marutti and issued in collaboration with the artist. Limited edition of 300 copies on black vinyl.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
7xCASSETTE BOX
|
|
URA 023-029CS
|
Among artists released on cassette in the 1980s was the great Maurizio Bianchi, one of the primary architects of Italian industrial music, whose early experimental works were almost entirely constrained to small run self-issued tapes, and, in this case pertinently, a handful of equally limited LPs. Urashima present REMS/MECAT Complete Discography Vol. I, a beautiful seven-cassette box set drawing on this remarkable era in Maurizio's output. Maurizio Bianchi's early period of musical productively was relatively brief, between 1979-1983, after which he withdrew for religious reasons. The period produced around 40 releases, roughly half of which were self-released, and nearly all of which were conceived for cassette. Whether by necessity or design, it is the format through which his work is best understood. In addition to the inception of Italian industrial and noise music, Bianchi represents one of that scene's most concise links to similar movements across the globe, during this period finding himself in regular contact with members of Throbbing Gristle, GX Jupitter-Larsen, SPK, Nocturnal Emissions, and Whitehouse, among many others. REMS/MECAT, stretching across seven cassettes, draws most of its material from Bianchi's slim output on LP, originally issued on his own imprints Mectpyo Sounds and M.B., or with other labels, such as William Sharp's Dys, and Gary Mundy's Broken Flag. This is the first time that most have been issued on cassette. Each album presents a writhing sea of abrasively brilliant sound. Brittle and creatively brilliant, these are the utterances of a new movement and its position in culture and society, birthed in the shadowy spirit of punk, and from the death of the countercultural idealism which defined the era before. Electronic music, with music at large, conceived entirely anew for a generation of disillusioned ears. Across each, creative singularity erupts; the organization of sound is pushed to unknown depths. As the critic Vittore Baroni noted in 1984, Bianchi's work is defined by "long magnetic suites in which the sound particles seem to have an independent character, stagnating and reproducing themselves with infinitesimal variations, and with a never lacking tension and 'logic to the absurd'." Includes: Regel (1982), Menses (1982), Symphony For A Genocide (1981), Mectpyo Bakterium (1981), Endometrio (1982), Carcinosi (1983), and The Plain Truth (1983). This is an essential release for fans of Italian avant-garde, industrial, and noise music. Produced in a stunning wooden box; Edition of 99 (hand-signed).
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
UMA 098LP
|
Mindblowing double LP reissue of Maurizio Bianchi's impossible-to-find 1980 cassette, "decomposed" in October 1980 using cacophonelectronics and dedicated to the physical attraction to Sylvia Simonelli (September 1980/June 1981). "The genesis of this work is incredible. In the office where I worked, I had found a stamp with 'COMPRESA' (in English, included) written over it, and so I came to the starting point for a new experimental work. Erasing before the second, fourth, sixth and eighth letter, so I obtained the title 'CMRS,' on the other hand by deleting the first, third, fifth and seventh letter, I obtained the title 'OPEA,' and it fascinated me. I had recently bought a synth KORG MS20 and so I began to experiment with it, but having only one output jack, I had to connect it to an AKAI cassette recorder that had two inputs, so the inevitable consequence was a mono recording (something that was strictly maintained, but divided on two channels). The result that followed was a cassette format C-90, with very grim and voluptuous electronic sounds, and it was distributed only to a very few friends and followers. All this happened back in October 1980. Then this recording became virtually untraceable, until a few years ago when I was in contact with Vittore Baroni who wrote me that he had a recording that I had given him several years previously, precisely CMRS/OPEA! So this work of historical value will surely make a lot of my genuine fans happy" --Maurizio Bianchi, February 7, 2015. Originally issued as private C-90 cassette in about seven or eight copies, and distributed only to very close friends. Mastered with supervision by M.B., Milano, 2015. No changes of pitch were made in the mastering process.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
10CD BOX
|
|
MECTPYO 001CD
|
2022 restock; previously released in 2008. Legendary Maurizio Bianchi recordings from the early '80s remastered and collected in a 10CD box. Includes the following industrial music classics: Symphony for a Genocide (1981), Menses (1982), Neuro Habitat (1982), Regel (1982), Mectpyo Bakterium (1981), Das Testament (1983), Endometrio (1982), Carcinosi (1983), The Plain Truth (1983), and Armaghedon (1984). Also contains two hours of bonus tracks from the same period, with compilation contributions previously issued on Bain Total, Broken Flag, Come Organisation, and TRAX, as well as various mail art collaborations and a unique live recording and interview from January 1st, 1983. Includes 35 folded inserts with original artworks and collages; essays on Throbbing Gristle, Whitehouse and Come, Conrad Schnitzler, Leibstandarte SS MB, and SPK; playlists from 1981 and '82; a 1981 interview issued in Datenverarbeitung; an essay by Vittore Baroni on Bianchi titled "Milan Burns"; and Bianchi's "Fanta Punk Tale" from 1978. Limited to 200 numbered copies.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
IMPREC 414CD
|
Active since 1979, Maurizio Bianchi is an Italian pioneer of noise and industrial music. Untitled 1980 was originally released in 1980 on cassette in Japan. This release marks the first re-issue of this work and pairs it with a 2013 re-working of the original material into four entirely new compositions. This work was created using only a single semi-modular, monophonic synthesizer or, as Maurizio says: "Originally composed in October 1980 simply by using a synthesizer Korg MS20, but with so much imagination. Dedicated to technological sophistication." RIYL: Astro, Space Machine, Merzbow, Francisco Lopez, Nurse With Wound, Conrad Schnitzler.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
MB 014CD
|
2014 repress, originally released in 2002. Frammenti, i.e. Fragments, is the new direction in Maurizio Bianchi's music. An acoustic-bionic composition for electromagnetic waves and cyclic sonorities. Left now are all the indeterminate atmospheres gently fluctuating, in order to reach a more formal and structured work. Still dealing with the fragments of our memories made of joy and tribulations, sensations and awareness, aspirations and disappointments, with the carnal and the spiritual assistance. This new composition, quite as literally as the title suggests, consists of two long sound-collages reminding some of the techniques that M.B. was using in the late '70s under the name of Sacher-Pelz. The music is not that brutal DIY intensity of analogic treatments, but more a digital version of nowadays oscillating clinic sonorities. As the author stated: "Those who will have the courage to listen to and investigate it, will remain mentally upright when confronted with the opposition of today's music -- which is so mechanical, hybrid, aseptic, narcotic, obsessive -- while in their heart nothing will be left but the principal fragment, which originated the sonorous universe: the sacredness of infinity!"
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
MB 001CD
|
2014 repress. Originally released in 1998. EEs'T Records is a subdivision of Alga Marghen, to deal with Maurizio Bianchi's music. "The very first new recording from Maurizio Bianchi (MB) since his decision to quit the arena of sound in 1984. Yes, he's back, the world-wide recognized master of apocalyptic electronics has decided to come back to music, opening up a new phase for his creativity."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
MB 007CD
|
2014 repress. Originally released in 1999. Released one year after M.B./Maurizio Bianchi decided to come back to the music arena with his very personal new sound exploration. Conceived in the same direction of the previous CD titled Colori, this new work found its basis in the revaluation of the events that started the Creation, when an intelligent and complex act of sublime love started our physical universe off, transposing them in the form of eight electronic compositions elaborated in a two-year work. A darker atmosphere marks the background sounds, giving to the whole program a more obscure and less "easy" impression, while the more melodic traces fluctuate without direction in an empty space. M.B. has always worked in a very direct way, following his true inspiration; he has devoted his music to the sincere listeners who will now immerse themselves in these sound waves and in the sea of primordial sonorities. The connection to his past recordings is to be found in this attitude and a reference to these feelings already existed in the early 1980s, as reported in some interviews and statements included in the full documentation of the ArcheoMB Boxset 2 (not a reference to the specific religious themes, but a more general idea of spiritual collapse and chancing). What could be interesting is to notice this continuity and consider the past and present works as a whole, of course, with a huge formal difference in the material sound approach.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
MB 006CD
|
2014 repress, originally released in 1998. First issued by the Mnemonists' label (Dys in the U.S.) in 1982. M.B.: proto-electronics, compositions, arrangements. Mektpyo Bakterium is a work furnished of implacable plastic exasperation. The icy oppression, the hallucinative electronic wounds, are a precious and singular fact in a technological society brought to the limit. The emotion is pushed into dangerous zones, and unusual zones, and unusual tensions -- free biological groans of extreme effectiveness. A vivid expression of a world in extinction! Bonus tracks: "Placenta," first issued on the 40 Days/40 Nights picture-disc LP in 1982, and the M.B. contribution to the International Friendship compilation LP from 1983. Fifth in the "ArcheoMB" CD reissue series.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
STRANA 001LP
|
"Maurizio Bianchi's 1981 Symphony For a Genocide LP is the artist's most well known work, widely recognized as a classic of early industrial music. A year and a half after its initial release on vinyl in a limited edition of 227 copies, the album was reissued on cassette by the Broken Flag label. It was at this time that Bianchi created an entirely new recording drawn from the audio of the original LP. Entitled S.F.A.G. 81 and issued in January 1983 as a companion to the Symphony For a Genocide cassette release, it was a radically different work comprised solely of two extended, side-long tracks. Bianchi had already began to evolve from the harsh and primitive attack of his earliest releases toward a more desolate, introspective sound exemplified by The Plain Truth and Armaghedon albums; S.F.A.G. 81 lands somewhere in between these two approaches. Remnants of the relentless mechanical rhythms and synthesizer churn of the original Symphony remain, but it is as though one were listening to them from a distance, lost in the midst of a massive blizzard. Strains of recognizable sound drift in and out of earshot like hallucinations, echoing across the bleak stretches of grayed-out sound. S.F.A.G. 81 has been re-released (often in abridged form) on cassette and CD several times over the years, and an excerpt appeared on one LP side of Vinyl On Demand's massive five-disc Broken Flag retrospective box set; this reissue marks the first time ever the complete album has been available on vinyl. Remastered and fully authorized, it comes packaged in thick tip-on jackets with artwork by longtime Bianchi collaborator Siegmar Fricke. One-time pressing of 500 copies."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
MART 006LP
|
2021 restock. "At the beginning of the metabolic year 1980, after Maurizio Bianchi finished the embryonal experience as Sacher-Pelz, he decided to undertake the concrete-synchronized course as M.B., a long-lived acronym that will accompany him along his next way of neuro-synthetic experimenter. His first ever release was the private cassette-tape entitled Metcpyo/Blut. An hematopoietic experiment decomposed during the months of March and beginning of April 1980 at Mectpyo Studio. Proposed here in its original layout, this 2LP set holds intact, at a distance of almost three decades, the epicenter of M.B. sonorous universe, projected towards an euphonic cacophony. Mectpyo/Blut consists of two tragic sections imbued with synthetic chloroform: the 1st, 'Maidanek Bakterium / Musique Belzec,' exhales an icy atmosphere conveying a sense of mystery and annihilation. The 2nd, 'Mutant Brain / Mord Banhof' assembled the most disparate electro-hypnotic levitation's into a vertical rationality, bold, morbid and haunting. Psychic-cerebral works, they seem to spring from a neuro-atomic continent, with unreal outlines, where its influence artificially expands the ankylotic tissues by environmental arthrosis. Edition limited to 300 copies in full colour gatefold sleeve, reproducing various graphic materials from the original cassette edition. Attention: this is the real thing, top powerful and modern in its integral length (and not a meaningless edited excerpt as other inexperienced labels in demand would have cheaply proposed you!)." On red-colored vinyl.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2CD
|
|
MB 017CD
|
As w/ other recent Ees't releases, these are CDR's! "EEs'T presents two new works by Maurizio Bianchi: Mind Us Trial. Phonological de-composition in eight dissections for tapes, noises and neurologic piano. This paleogenetic work wants to be an epitaph, and at the same time a commemoration, of those corrosive instants when M.B. was an equalized disciple of the industrial delirium. The technological obsession is omnipresent in every fibre of these tenebrous and stainless sounds. Smooth lumps sliding along the limits of the rudimental anguish. Not a barren repetition of the past but a wrinkled celebration of the present. The electrolytic mind is not developing the signal of a more radical experimentation and the vibration course has reached its partial reinstatement! With respectful thanks to the electroacoustic influence of the decadent and palpitating past. 'Ihc Naib Oizir Uam.' Cyclic improvisation for chaotic piano, apocalyptic guitar and final frequencies. If we go back, the memories strike us; if we project ourselves into the future, we're overwhelmed with fears; and if we remain at the present, we must face the anxieties. This comatose opera is in remembrance of M.B. atavistic past, M.B. fugitive present and M.B. atemporal future."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CDR
|
|
MB 016CD
|
"The terminal concept of Cycles is matured after the sharp Fragments and the Glacial Mosaics of MB's recent artistic reproduction, at the end of a triennial project, aiming to exacerbate the routine of prefab sound, the common and forgone sound created to be exclusively consumed by an amorphous and servile mass, sunken in a sullen entertainment. The approach here is totally new and the fragment is isolated and constantly repeated in order to build an aural minimal architecture. As MB states: 'Our whole existence is subordinated to intense and mathematical cycles, from the biological to the technological one, from the solar to the lunar one, from the historical to the legendary one. The cyclicity of the sonorous meanders of Cycles is, probably, the unique example of cyclic music. Particular and interatomic sonorous repercussions infinitely and distinctly repeating themselves, captured in a spectroscopy of atavic and coriaceous notes'. And in the classic mood of the early 80s style, MB continues: 'The establishment will disagree. Such an experiment will be considered tedious and banal. What matters to me is not the ephemeral judgement of this sick and condemned reality. Finally the nine cycles included in this minimal work could be considered my appropriate epitaph. I have already entirely expressed my own artistic freedom and I wonder whether this might be nothing but the end of another cycle, in anxious expectation of the... eternal cycle'. Due to the extreme nature of the material included, the reproduction of this edition has been limited to 200 copies only."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CDR
|
|
MB 015CDR
|
"Following the path opened by Frammenti, this new work represents the radicalization of the fragmentary approach in Maurizio Bianchi's music. A musical composition resulting from the combination of various elements: Hetzian-waves, classical and electronic music. MB eagerly explores the immaculate spaces of the so-called 'frozen continent', the only one not contaminated by the human presence. The hostile surroundings and the prohibitive temperatures made the frozen paradise so stimulating and pure. Antarctica was an immense park frozen after the post-Flood events when unexpectedly and suddenly the temperatures felt of many centigrade degrees. This process is well emphasized in the 'Antartic' track. On the other hand, in 'Mosaic' the listener mind is projected into the future when, after the decontamination process of human presence on Earth, the frozen continent will become again a paradise. Again a strictly formal and structured work, two long and exhausting sound-collages made of little fragments, even more radical than his approach when MB was active under the name of Sacher-pelz. Also included is an excerpt from 'The Technological Nonsense', a text presenting the forthcoming book on Maurizio Bianchi activities soon to be issued by EEs'T. As MB stated: 'Antarctic: sonorous infiltration in a deteriorated glacier' and 'Mosaic: liquid resonances for asymmetric decodings'. Are the glacial 1980s so far away? Available now in a CDR edition limited to 300 copies."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
MB 013CD
|
2014 repress, originally released in 2001. EEs'T records is happy to announce a further step into Maurizio Bianchi's productions, a CD that completes the trilogy starting with the Colori and First Day-Last Day. This time the author concentrates on Time, or the inevitable. A sound counterpointalistic journey beginning with the creation of the first human being, in autumn 4026 B.C.E. and passing through the two big planetary cataclysms. Then the individual experience of M.B. himself is investigated, a sort of electro-biography. The climax of this work is represented by the dramatic collapse describing the imminent destruction of today's society. M.B. explains that this is not a utopian perspective, but those feelings rise from the "Revelator" of all the secrets, the One who knows the future in advance and all the connected events. The Creator of the majestic universe and the One to whom all of us will give account when the final war of Har-Maghedon will break out. Will there be any survivors, then? Hopefully there will be among the listeners of this work, who will delight their ears and fill their hearts with the compelling and intense emotional sounds of Dates.
|
viewing 1 To 15 of 15 items
|
|