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ARTIST
TITLE
REMS/MECAT Complete Discography Vol. I
FORMAT
7xCASSETTE BOX
LABEL
CATALOG #
URA 023-029CS
URA 023-029CS
GENRE
RELEASE DATE
11/17/2017
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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).
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