(Electroacoustic, Drone, Musique Concrete, Monochrome Vision) [CD] Maurizio Bianchi & Siegmar Fricke - Stroma~Konkret - 2006, FLAC (tracks+.cue), lossless

Exact Audio Copy V1.1 from 23. June 2015
EAC extraction logfile from 9. December 2015, 20:12
Maurizio Bianchi & Siegmar Fricke / Stroma~Konkret
Used drive  : ASUS    CRW-5232AS   Adapter: 0  ID: 0
Read mode               : Secure
Utilize accurate stream : Yes
Defeat audio cache      : Yes
Make use of C2 pointers : No
Read offset correction                      : 6
Overread into Lead-In and Lead-Out          : No
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks   : No
Null samples used in CRC calculations       : Yes
Used interface                              : Installed external ASPI interface
Gap handling                                : Appended to previous track
Used output format              : User Defined Encoder
Selected bitrate                : 768 kBit/s
Quality                         : High
Add ID3 tag                     : No
Command line compressor         : C:\Program Files\FLAC\flac.exe
Additional command line options : -6 -V -T "ARTIST=%artist%" -T "TITLE=%title%" -T "ALBUM=%albumtitle%" -T "DATE=%year%" -T "TRACKNUMBER=%tracknr%" -T "GENRE=%genre%" -T "COMMENT=%comment%" -T "BAND=%albuminterpret%" -T "COMPOSER=%composer%" %haslyrics%--tag-from-file=LYRICS="%lyricsfile%"%haslyrics% -T "DISCNUMBER=%cdnumber%" -T "TOTALDISCS=%totalcds%" -T "TOTALTRACKS=%numtracks%" %hascover%--picture="%coverfile%"%hascover% %source% -o %dest%
TOC of the extracted CD
     Track |   Start  |  Length  | Start sector | End sector
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        1  |  0:00.00 | 29:57.14 |         0    |   134788
        2  | 29:57.14 | 11:15.04 |    134789    |   185417
        3  | 41:12.18 | 23:53.56 |    185418    |   292948
Track  1
     Filename D:\zzz\01 - Keratoplastie.wav
     Pre-gap length  0:00:02.00
     Peak level 100.0 %
     Extraction speed 5.0 X
     Track quality 100.0 %
     Test CRC 633184BA
     Copy CRC 633184BA
     Accurately ripped (confidence 1)  [AAC04748]  (AR v1)
     Copy OK
Track  2
     Filename D:\zzz\02 - Distrofia Atonale.wav
     Peak level 100.0 %
     Extraction speed 6.4 X
     Track quality 100.0 %
     Test CRC B470CB0C
     Copy CRC B470CB0C
     Cannot be verified as accurate (confidence 1)  [FA41E182], AccurateRip returned [BE02688B]  (AR v2)
     Copy OK
Track  3
     Filename D:\zzz\03 - Dissonanza Sclerotica.wav
     Peak level 100.0 %
     Extraction speed 7.4 X
     Track quality 100.0 %
     Test CRC C10DE462
     Copy CRC C10DE462
     Accurately ripped (confidence 1)  [4B759549]  (AR v1)
     Copy OK
 2 track(s) accurately ripped
 1 track(s) could not be verified as accurate
Some tracks could not be verified as accurate
No errors occurred
End of status report
---- AcoustID Plugin V1.2.0
Total fingerprints: 3
==== Log checksum 01DCE58A00ABC848A251541781DF26205894879F7C52F4AFB46B6D6EE14A0C47 ====

REM GENRE "Electroacoustic, Drone, Musique Concrete"
REM DATE 2006
REM DISCID 2D0F4103
REM COMMENT "ExactAudioCopy v1.1"
PERFORMER "Maurizio Bianchi & Siegmar Fricke"
TITLE "Stroma~Konkret"
FILE "01 - Keratoplastie.wav" WAVE
  TRACK 01 AUDIO
    TITLE "Keratoplastie"
    PERFORMER "Maurizio Bianchi & Siegmar Fricke"
    INDEX 01 00:00:00
FILE "02 - Distrofia Atonale.wav" WAVE
  TRACK 02 AUDIO
    TITLE "Distrofia Atonale"
    PERFORMER "Maurizio Bianchi & Siegmar Fricke"
    INDEX 01 00:00:00
FILE "03 - Dissonanza Sclerotica.wav" WAVE
  TRACK 03 AUDIO
    TITLE "Dissonanza Sclerotica"
    PERFORMER "Maurizio Bianchi & Siegmar Fricke"
    INDEX 01 00:00:00

d:\>d:\aucdtect -d/-m0 d:\zzz\*.wav
auCDtect: CD records authenticity detector, version 0.8.2
Copyright (c) 2004 Oleg Berngardt. All rights reserved.
Copyright (c) 2004 Alexander Djourik. All rights reserved.
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Processing file: [01. Keratoplastie.wav]
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This track looks like CDDA with probability 100%
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Processing file: [02. Distrofia Atonale.wav]
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This track looks like CDDA with probability 54%
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Processing file: [03. Dissonanza Sclerotica.wav]
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This track looks like CDDA with probability 100%
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Final Conclusion:
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These tracks looks like CDDA with probability 100%

This work concrete is dedicated to Pierre Schaeffer.
Cover designed by Dmitry Vasilyev for Monochrome Vision
Photos taken by Siegmar Fricke, selected by Maurizio Bianchi
Liner notes: Maurizio Bianchi, Siegmar Fricke
It's the second work by Maurizio Bianchi and Siegmar Fricke, following 'Muitnelis' (see Vital Weekly 562. Here Fricke gets the full credit. The work here is dedicated to Pierre Schaeffer, the founder of musique concrete, but it's a bit hard to understand why. Fricke and Bianchi use many electronic sounds, although in the subtitles things are mentioned such as 'sensotisches Klavier' and 'piano edematosa', which both probably (!) refer to the piano. They use loops of all kinds of electronic sounds, set against a longer wash of synthesizer sounds. It is not as collage like as some of the Schaeffer works, but also it seems to me a bit unfocussed. Things carry on a bit too long, without much sense of direction. Vaguely ambient, but it doesn't lull the listener to sleep. Things keep uptight and desolate. It's ok, but not really great. - Frans de Waard, Vital Weekly
Extra heavy fusion of industrial noise and musique concrète, this exclusive collaboration unites forces of two legendary musicians who were witnessed the roots of industrial music movement. It consists of three long tracks of mechanical aggression, clinical obsession and uncompromizing psychic attack. Dedicated to the memory of Pierre Schaeffer, this is the second part of ongoing series, started by Tibprod label CDR-release.
Maurizio Bianchi, born in Pomponesco (Italy) in 1955, came from the punk movement in the mid-seventies and started his first innovative and incomparable industrial-project Sacher Pelz in 1979. Its music was characterized by uncompromising, noisy musique-concrète-abstractions, produced by turntable, loops and tape-recorder and very different from any other industrial band of that time. The sound was the result of permanent frustration in life, love, religion and politics. Shortly after the production of four Sacher Pelz tapes, Bianchi started his solo-activity as M.B. and continued to release many tapes such as "Nervo/Hydra", "Computers S.p.A." and "I.B.M." with the aid of additional electronic equipment. Maurizio Bianchi also wrote for various music magazines in the late 70s and early 80s.
The most prolific phase in M.B.'s musical career followed and ten solo-LPs plus many tapes and contributions to compilations were realized between 1981 and 1984. The works perfectly reflected his inner soul of that time and expressed his condition of being lost in a web of own sounds and nightmares. The complex non-melodic wall-of noise-arrangements were described as "psychic cerebral works that seem to spring from a neuro-atomic continent".
In 1984 M.B. suddenly disappeared from the music-scene because of several fundamental changes in his life: he married, became religious and joined the Jehova's Witness, with whom he remains to this day. He was convinced by Emanuele Carcano to make a new musical start, and after 14 years the second M.B.-phase began, and for the first time also Maurizio also worked together with various other artists like Aube, Telepherique, Nimh and Stefano Gentile.
After 14 years of mental purification the new works by M.B. are characterized by a very spiritual approach. The first very clinical collaboration of Maurizio Bianchi and Siegmar Fricke entitled "Endokraniosis" was published on Tibprod (Norway) in the beginning of 2006.
Siegmar Fricke, born in Wilhelmshaven (Germany) in 1968, influenced by the German electronic scene, has been active in the electro-sector since the early 80s. Like M.B.'s early works the first tape-recordings by Fricke around 1981 were characterized by musique concrète influences. From 1986 to 1993, he was part of the industrial tape-scene and released many tapes and contributions for various vinyl-samplers. Beside his solo-works, he has collaborated with Miguel A. Ruiz from Spain in the project Efficient Refineries since 1995. Siegmar Fricke characterizes his works nowadays as "Pharmakustik" - syncopated rhythmic compositions, artificial robotic voices, clinical ambiences. The fascination for clinical sound-abstractions and electronic modulations is also reflected in the current collaboration-projects with M.B.
An electroacoustic ploughing is macerating our reflective horizons: 'Stroma~Konkret' is its romantic name, but the spectroscopic effect is valiantly spiritual. The outcome of this rarefied and perturbed project is stirring with its germinative disarticulation and its contrasting caution... A plenty sense of paroxysm is troubling the conscientiousness while an expiatory framework instructs some stromatic predilections. It is a concrete soundness to reutilize the simplified trembling of human vicissitudes. May we triturate the scientific truths with a probative logic? 'Stroma~Konkret' extirpates the shrunk bitumen from our weathertight self-injury as the exiguous coenaesthesia mixes again a reformative naivety. (Maurizio Bianchi)
These compositions "cellular-organelles" took place inside the spheroid surroundings of hydrophilic microfloras in the course of the radiometric age 2006. We, the concrete operators, continously analysed stromal loops by vehement freeze-fracture observations and autothrophic microfillaments. The aqueously phytoplanctonic sub-structure of this "symphony nebulitique" characterizes the terminal exhumation of cryphonectric ferro- chelatase. Constant research by isolelectric focussing on ultramicroscopic events led to the one and only nuclear-encoded aim: the sphaerialic polymetamorphose of stromatic plastocyanin. (Siegmar Fricke) - dom.com.ru