Format : SPLIT 10"
Edition : 270 copies
Release date : 29 May 2013
Cat# : LH42
Status: SOLD OUT
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 Brainwashed.com
(Reviewed together with Merzbow / M.B. - Merzbow
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.