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Format : SPLIT 10"
Edition : 270 copies
Release date : 29 May 2013
Cat# : LH42

Status: SOLD OUT

Track list:

A - M.B. - Amniocentesi (10:43) [mp3]
B - Merzbow - Envoise 30 05 1982 (11:31) [mp3]

Two unreleased long tracks recorded in 1982.

These tracks were originally submitted for the Mail Art Music Project compilation LP. Only one minute of each track was published on the now extremely rare compilation album.

Remastered from original master tapes.

Cover photo taken in 1982 in Milan.
Numbered edition with paste-on cover.

This is Industrial Music.


Review from

(Reviewed together with Merzbow / M.B. - Merzbow Meets M.B.)

Masami Akita and Maurizio Bianchi are without question amongst the pioneers of harsh, abrasive electronic music. Both of their careers began quite prolifically around the same time, and since Bianchi's return in the late 1990s have continued as such, with both producing a massive number of albums each year. These two albums act nicely as reference points on their long careers, with the 10" capturing pieces each submitted for the Mail Music Project compilation, here appearing unedited for the first time, and the LP being a recent collaborative work that stands amongst both artists' best material as of late.

The material on the 10" was recorded contemporaneously, but independently from one another for the aforementioned 1983 compilation that presented only a minute of each work.
Bianchi's contribution, "Amniocentesi," is pure 1980s M.B.: all slow decrepit electronics and depressive atmospheres. The morose, damaged synths are occasionally met with a stammering, fragmented drum machine likely from a broken down organ, with everything staying firmly rooted in Bianchi's grey and cheerless ambience.
The Merzbow piece, "Envoise 30 05 1982," sits nicely with his early 1980s discography, before he became overly focused on piercing harsh noise blasts and instead dabbled in tape loops and found sounds. Phasing distortion overshadows slowed down tape collages, with the occasional burst of harsh noise that makes for a strong rhythmic accent. With some fuzzy textures and turntable scratch skittering, it is pure old school Akita, and easily my favorite era of his career.
As both artists are ridiculously prolific, and I personally have a fondness for their earliest work in both cases, I tend to only occasionally dabble in either of their new releases. In this case, the recent collaboration work is exactly what I hoped it would be, mixing the best sounds of both artists together splendidly. Coupled with the vintage material on the 10", and it makes for a pair of releases that demonstrates the best facets of these two long respected artists.

Creaig Dunton