|
|
|
|
viewing 1 To 18 of 18 items
|
|
|
|
|
|
|
|
|
|
|
|
CD
|
|
MB 012CD
|
2014 repress, originally released in 2000. Private LP edition of 300 copies in 1984. This record is the soundtrack to a film with the same title, produced and directed by Maurizio Bianchi. For obscure reasons, the original LP remained unavailable for a long time, and was distributed only one year after it was printed. Moreover, most of the copies were destroyed. Less than 100 actually exist. This was M.B.'s last vinyl production, and also the only one featuring recordings of the artist's voice. It was made during a period of huge change in M.B.'s life. Tenth in the "ArcheoMB" CD reissue series.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
MB 010CD
|
2014 repress, originally released in 2000. Originally issued as a private LP in an edition of 400 copies in 1983. De-composition for bionic organisms and concrete sounds. A sound that refuses both the cold logic of the fetish electronic computer-man-of-the-year and the sterile exasperation of the negative. A sound that dilutes and coagulates, eluding the listeners with minimal variations that make the cyclic style of Phillip Glass resemble a carousel of colors. This CD also features two untitled tracks first issued on compilation cassettes. Compositive discipline. The eighth in the "ArcheoMB" CD reissue series.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
MB 009CD
|
2014 repress, originally released in 2000. Originally issued as a private LP edition of 400 copies in 1983. De-composition for synthetic sounds and electronically generated noises. Here M.B. distanced himself from the movement of the industrial Bruitists, introducing his "bionic music." Notwithstanding the difficulty of listening, especially upon initial impact, you are facing treated and filtered synthetic sounds that become new organisms -- sound cells analyzed under the microscope. This CD also includes excerpts from private tape editions originally issued on compilation cassettes. Personal and obsessive. The seventh in the "ArcheoMB" CD reissue series.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
MB 005CD
|
2014 repress, originally released in 1998. Reissue of the private LP, issued in an edition of 300 copies in 1982; his experimentation with noise syndrome has developed into a powerful stylistic electronic music that on Regel is coherent and dynamic. A dense synthetic mélange sets the backdrop over which he uses various rhythms/effects to achieve maximum intensity. "Acido Prussica," first issued on the Neuengamme LP compilation, is also included on this CD edition. Maurizio is ready to unload this death cargo. Fourth in the "ArcheoMB" CD reissue series.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
MB 011CD
|
2014 repress, originally released in 2000. First issued on the Broken Flag label in the UK in an edition of 500 in 1983. A different style, providing some distance from all his previous works; a more expansive experimentation with multiple layers of synthesizer sounds. Still very intense. M.B.'s recordings come closest to classical electronics, but always with a very personal style. This CD edition also features an interview on Radio Popolare in Milan from 1/1/83. An English translation is included in the liner notes. Dedicated to all the redeemed people. Ninth in the "ArcheoMB" CD reissue series.
|
|
|
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 008CD
|
2014 repress, originally released in 2000. The second batch of the complete M.B. reissue program continues, once again issued by EEs'T (in conjunction with Alga Marghen) as a series of five separate CDs, or altogether as a box set. The CDs have been mastered to digital under the supervision of Maurizio Bianchi himself; each CD features the original artwork, the complete documentation (liner notes, reviews, statements) as well as bonus tracks. Reissue of a private LP edition of 300 copies in 1983. M.B.: electronics, rhythms, neutronic effects. The two suites of Das Testament were recorded in 1982 and can be included among the most extreme and uncompromising M.B. recordings. Once more, maximum electronics. Bonus track for this CD edition: more than 30 minutes of M.B. live, recorded at Radio Popolare in Milan on 1/1/83. A unique event, the first and only M.B. concert and the only time he ever played as a synthesizer duo.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
MB 003CD
|
2014 repress, originally released in 1998. Reissue of the private LP edition of 300 copies from 1981; the pyramidal construction of these two "suites," with its intentionally brutal and grotesque deformations, elaborates on overflowing and apocalyptical collapse, dragging a completely dissolvent conception of the world and of the para-industrial sound. Bonus tracks: "Milan Bruits" from the Fix Planet! comp (Ata Tak) and the two tracks first issued on the very limited Nowhere to Play in 1981. Let M.B. be your executioner! The second in the "ArcheoMB" CD reissue series.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
MB 004CD
|
2014 repress, originally released in 1998. Reissue of a private LP, issued in an edition of 300 copies in 1982; a skeletal extremist project that will then transform into the "soundtrack" of a movie with the same title, edited and directed by Paul Hurst. It's the setting of the griable pre-apocalyptic fossilization, the supreme lapidation of the meanness which creates the myth. There are actual melodies present -- dense and dark that mutate into harsh electronic outbursts. The release also features "Plutoniumetrico" from the Fur Ilse Koch LP compilation. Third in the "ArcheoMB" CD reissue series.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
MB 002CD
|
2014 repress of these classic M.B. albums (M.B. = Maurizio Bianchi, for those of you who haven't been saved yet). These were first reissued in 1998 by EEs'T (a division of Alga Marghen) and are now back again. Symphony... was the first M.B. album, issued in 1981, at the gates of the industrial noise revolution (it was also reissued on CD in the U.S. on Hospital Productions). "ArcheoMB" is the title given to the complete reprint of old M.B. records and here is part 1. EEs'T Records and M.B. collaborated on this project, well understanding the value of these early works and their importance in the evolution of M.B. The sound has been improved for this digital edition from original master tapes and under the supervision of M.B. himself. All CDs feature the original artwork plus the complete historical documentation (liner notes, reviews, statements). Symphony... was first issued on the Sterile label in the UK in an edition of 200 copies. M.B.: electronics, effects, rhythms. Symphony... is the most extreme music you're ever likely to hear. There are seven tracks, all consisting of a never-changing hissing or clanking rhythm, electronic effects over the top and a wall of distortion somewhere in the middle. This is the sound of industrial music, not T.G. Maximum electronics! Three bonus tracks first issued on Bain Total's International Compilation 2 in 1980.
|
|
|
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 # |
|
|
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 # |
|
|
4CD
|
|
MART 001/4
|
2021 restock. "Very few are aware of the beginning of Maurizio Bianchi's adventures? Before starting the complex and compelling production of many records and tapes in the early eighties under the M.B. trademark, Maurizio Bianchi was documenting the new music scene writing essays and reviews for independent magazines. It was August 1979 in Milan, Italy and his sound was strengthening when he felt the time had come to prove his desire for something new. So he started his first solo project, under the name Sacher-pelz. He assembled a concrete equipment -- the endurance of M.B. had started. During the following few months four C60 magnetic tapes were created 'Cainus' (August/September 1979), 'Venus' (October/November 1979), 'Cease to Exist' (December 1979/January 1980) and 'Velours' (February/March 1980), a couple of copies for friends, never getting an official distribution. Surely a very private moment but still the first and only production at that time in Italy to go beyond the TG movement, the direct reference. Ees'T records got into possession of the original masters and decided this was the right moment to let those obscure sonorities see the night light. The tapes were remastered for a more powerful digital sound featured in this four CD boxset including the original graphics and liner notes as well as a new visionary essay, written expressly for this edition. After a long research in the archives spread around the Italian territories a few more documents were found (the original presentation text titled 'Sacher-pelz: mutation for a continuity', a collage titled 'Pure art for crime people', more graphics and reviews) and they are also included here. Edition of 480 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.
|
|
|
|