Maurizio Bianchi

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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. The four-cd set Mutation For A Continuity (E'est) collects the Sacher Pelz cassettes.

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 - Hospital Productions, 2007), possibly his most terrifying work, Nervo/ Hydra (1981 - Kubitsuri Tapes, 2012), also known as Nh/Hn, Menses (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 -Final Muzik, 2008) and Mectpyo Bakterium (DYS, 1982), possibly his softest album of the decade.

He quickly return to his usual standards with Endometrio (EEs'T, 1983), his second artistic peak and the manifesto of his "bionic" aesthetics, based on the cassette Oirt Emo-Dne (1981), 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 sorts, 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 Frammenti (2002) and Antarctic 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.

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), Men's True Hated (Menstrualrecordings, 2005), The Testamentary Corridor (Staalplat, 2006).

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.

Psalmodiam (Menstrual Recordings, 2007) was a collaboration with M.D.T that was based on Psalm 63 (Bianchi is a devout Jehovah's Witness).

The 4-cd set Together's Symphony (Silentes, 2006) is a collaboration with NIMH (Italian composer Giuseppe Verticchio).

Micromal Sonorities (2007) is a collaboration with Saverio Evangelista.

Environmental Meditations and Electrostatic Deflections (2007) were collaborations with Israeli composer Maor Appelbaum.

Das Platinzeitalter (Incunabulum, 2005) is moody ambient music.

Nefelodhis (Cold Current, 2008) is a collaboration with Italian rock band Sparkle In Grey; Erimos (2008) with Italian experimental musicians Hue and Fhievel; Regolelettroniche (2008) with EDA (Emanuela De Angelis); TSE-K (Small Voices, 2008) with Land Use.

Bianchi resurrected the moniker Sacher Pelz for the extreme wall of noise of In Hoc Urbia Miazi (Old Europa Cafe, 2007) and Clerzphase (Stridulum, 2007).

The ten-disc box-set Mectpyo Box (E'Est, 2008) collects music from the early 1980s.

Vinyl-On-Demand is a five-LP boxset of archival recordings.

The double-disc Technology 1 & 2 (At War With False Noise, 2009) collects works that appeared on cassettes in 1981 under the MB moniker. Technology X (Mirror Tapes) is some sort of remix of its music.

Mectpyo Bakterium / Genocide O.T.M. (Menstrual Recordings, 2009) compiles Mectpyo Bakterium, a Japanese bootleg, the single Genocide Of The Menses and the Leibstandarte.

(Translation by/ Tradotto da Alberto Clara)

Il musicista e compositore Maurizio Bianchi (1955) produce il suo primo lavoro noise in cassetta nei primi anni 80 all'acme della scena industriale, ma le sue dissonanti e caotiche orge sonore si rifanno alla musica concreta degli anni 50, nonostante si ritrovino somiglianze con i Nocturnal Emissions, Metabolist, Whitehouse e i primi Throbbing Gristle. Debutta sotto lo pseudonimo Sacher-Pelz con le cassette auto-prodotte Cainus (1979), Venus (1980), Cease To Exist e Velours, in seguito raccolte in Mutation For A Continuity (Ees'T). Si tratta di collage di suoni elettronici. "Mectpyo/Blut" nel 1980, è la prima cassetta realizzata sotto il suo vero nome. Sotto l'alias Leibstandarte, Bianchi realizza il suo primo vinile: Triumph of the Will (Come Organization, 1981), che riprende materiale già precedentemente edito in cassetta, e Weltanschauung (1982). I lavori più importanti escono sotto il suo vero nome: Symphony For A Genocide (Sterile, 1981), probabilmente la sua opera più terrificante, Nh/Hn (Grafika Airlines, 1981), Menses (EEs'T, 1982), sono dei classici reportage di horror-shock musicale, divisi in due suite (particolarmente Scent). Seguono delle uscite meno potenti, come la colonna sonora del film Morder Unter Uns (Mectpyo Sounds, 1982) e due album "più leggeri" entrambi composti da due parti, Regel (EEs'T, 1982) e Mectpyo Bakterium (DYS, 1982), forse il suo lavoro più soft della decade.

Ritorna rapidamente ai suoi standard usuali con Endometrio (EEs'T, 1983), manifesto della sua estetica "bionica" e teoricamente meno difficile delle precedenti uscite, l'accessibile Carcinosi (EEs'T, 1983), Das Testament (Mectpyo Sounds, 1983), annunciato come la sua ultima registrazione e contenente due delle sue suite più estreme e la colonna sonora del film Armaghedon (EEs'T, 1984), tutti caratterizzati da lunghe suite di improvvisazone. L'unica eccezione è The Plain Truth (Broken Flag, 1983), sulla scia della scena elettronica tedesca.

Industrial Murder (Banned Production, 1992) e Aktivitat (Zabriskie Point, 1992) raccolgono materiale inedito.

Dopo un lungo periodo di silenzio, Bianchi rientra in scena con una trilogia di ispirazione metafisica, composta da "Colori" (Ees'T, 1998), First Day Last Day (1999) e Dates (2001), nei quali dominano temi religiosi e filosofici e nei quali troneggiano placide sonorità ambientali, mentre Frammenti (2002) e Antarctic Mosaic (2003) sembrano rinviare al suo stile originario degli anni 80.

Chaotische Fraktale (2003) e Letzte Technologie (2004) sono collaborazioni effettuate con Frequency In Cycles Per Second (Sandro Kaiser), Zehn Tage/Touka (2004), invece, con il duo tedesco Telepherique.

L'ipnotico Cycles (Ees't, 2004), infine, esplora le possibili atmosfere tra loop e pause, mentre è di recentissima pubblicazione A M. B. Iehn Tale (Small Voices, 2004).

A M. B. Iehn Tale (Small Voices, 2004), una raccolta di "decomposizioni per piano" (pezzi minimalist/ambientali per piano e dissonanze elettroniche) e il doppio-CD Mind Us Trial (EEs't, 2005) continuano la sua regressione verso gli stati d'animo pi— oscuri.

M. I. Nheem Alysm (Silentes, 2005) contiene due pezzi sulla lunga distanza di suite per piano alla Cycles (Ees't, 2004).

Blut und Nebel (EES'T, 2005), che remixa i primi dieci LP dei primi anni 80, Š un'eccellente dimostrazione delle competenze di Bianchi al collage dadaistico, all'improvvisazione libera e alla scultura sonora astratta, pervenute da oltre venti anni di manipolazioni elettroniche. Il rumore Š utilizzato come una chitarra elettrica per produrre assoli di maniacale intensit…. Junkyo (Noctovision) e Mectpyo Saisei (Para Disc) sono collaborazioni con Aube.

Collaborazioni pi— recenti includono: Psychoneurose (Manifold, 2005) con Land Use, uno dei migliori in questa fase, Final Signal (2005) con Frequency In Cycles Per Second, Secluded Truths (Silentes, 2005) con NIMH.

La prolifica carriera di Bianchi continua con Neuro-munalp (Small Voices, 2005), Men's True Hated (Menstrualrecordings, 2005), The Testamentary Corridor (Staalplat, 2006).

Epidemic Symphony No 9 (Octpia, 2006) e` principalmente un lavoro dello scultore sonoro giapponese Hitosji Kojo.

Arkaeo Planum (Small Voices, 2007) e` una collaborazione con l'artista italiano TH26.

Psalmodiam (Menstrual Recordings, 2007) e` una collaborazione con M.D.T tratta dal salmo 63 (Bianchi Š un testimone di Geova).

Il set di 4-cd Together's Symphony (Silentes, 2006) e` una collaborazione con NIMH (il compositore italiano Giuseppe Verticchio).

Micromal Sonorities (2007) e` una collaborazione con Saverio Evangelista.

Environmental Meditations e Electrostatic Deflections (2007) sono entambe collaborazioni con il compositore israeliano Maor Appelbaum.

Das Platinzeitalter (Incunabulum, 2005) e` una triste musica ambientale.

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