Monday, June 18, 2007

YGR # 8



TAPE - - 91 copies (5€)

by Maurizio Bianchi/M. B.


Dedicated to Batur Sonmez.

Maurizio Bianchi/M. B. used gelatinous comglomerates of consubstantial sounds, mixed with discretional eviscerated noises.

Antithetic metal crucibles for contemplative adherents.


Italian composer
Maurizio Bianchi (1955) produced his first tapes of noise in the early 1980s, at the peak of the industrial scene, but his chaotic dissonant orgies harked back to the musique concrete of the 1950s, despite similarities with Nocturnal Emissions, Metabolist, Whitehouse, early Throbbing Gristle. He debuted under the moniker Sacher-Pelz with the home-made cassettes Cainus (1979), Venus (1980), Cease To Exist and Velours, later collected on Mutation For A Continuity (Ees'T). They were all-instrumental collages of electronic sounds. Mectpyo/Blut (1980) was the first cassette to be released under his own name. Under the moniker Leibstandarte, Bianchi released his first vinyl albums: Triumph of the Will (Come Organization, 1981), which recycled material already released on cassette, and Weltanschauung (1982). His most relevant works came out under his own name: Symphony For A Genocide (Sterile, 1981), possibly his most terrifying work, Nh/HnMenses (EEs'T, 1982), another classic of horror-shock musical reportage, divided in two lengthy suites (particularly Scent). There followed less powerful works, such as the film soundtrack Morder Unter Uns (Mectpyo Sounds, 1982), and two "softer" albums divided in two lengthy halves each, Regel (EEs'T, 1982) and Mectpyo Bakterium (DYS, 1982), possibly his softest album of the decade. (Grafika Airlines, 1981),

He quickly return to his usual standards with Endometrio (EEs'T, 1983), his second artistic peak and the manifesto of his "bionic" aesthetics, the more accessible Carcinosi (EEs'T, 1983), Das Testament (Mectpyo Sounds, 1983), announced as his last record and containing two of his most extreme suites, and the film soundtrack Armaghedon (EEs'T, 1984), all of them comprised of lengthy free-form suites of noise. The one notable exception was The Plain Truth (Broken Flag, 1983), in the vein of German electronic music.

Industrial Murder (Banned Production, 1992) and Aktivitat (Zabriskie Point, 1992) collect unreleased and rare material.

After a long hiatus, Bianchi returned to music with a metaphysical trilogy of sort, Colori (Ees'T, 1998), First Day Last Day (1999) and Dates (2001), in which religious and philosophical themes dominate, and the sound is much calmer and almost ambient, while FrammentiAntarctic Mosaic (2003) seemed to hark back to his original style of the 1980s. These works, possibly influenced by new-age music, were much more relaxed and almost negated the expressionist power of his early experiments. (2002) and

Chaotische Fraktale (2003) and Letzte Technologie (0404) are collaborations with Frequency In Cycles Per Second (Sandro Kaiser). Zehn Tage/Touka (2004) and The House Of Mourning (Radiotarab, 2005) were collaborations with German duo Telepherique. Through these collaborations, Bianchi slowly returned to atonal industrial music.

The hypnotic Cycles (Ees't, 2004) explored different kinds of loops and pauses.

A M. B. Iehn Tale (Small Voices, 2004), a collection of "piano decompositions," (minimalist/ambient pieces for piano and electronic dissonances) and the double-CD Mind Us Trial (EEs't, 2005) continued his regression to darker moods.

M. I. Nheem Alysm (Silentes, 2005) contains two lengthy piano suites a` la Cycles (Ees't, 2004).

Blut und Nebel (EES'T, 2005), that "remixes" the first ten LPs of the early 1980s, is an excellent demonstration of Bianchi's skills at dadaistic collage, free-form improvisation and abstract soundsculpting, as accrued over twenty years of electronic manipulation. Noise is employed like an electric guitar to produce solos of manic intensity.

Junkyo (Noctovision) and Mectpyo Saisei (Para Disc) are collaborations with Aube.

New collaborations include: Psychoneurose (Manifold, 2005) with Land Use, one of the best of this phase, Final Signal (2005) with Frequency In Cycles Per Second, Secluded Truths (Silentes, 2005) with NIMH.

Bianchi's prolific career continued with Niddah Emmhna (Silentes, 2005), Neuro-munalpMen's True Hated (Menstrualrecordings, 2005), The Testamentary Corridor (Staalplat, 2006). (Small Voices, 2005),

The Epidemic Symphony No 9 (Octpia, 2006) is actually a work mainly by Japanese soundsculptor Hitosji Kojo.

Arkaeo Planum (Small Voices, 2007) is a collaboration with Italian sound artist TH26.


Interview by Marcello Aguirre
Interview by Alternative Zine
The sonic Abyss