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 M.B. / MAURIZO BIANCHI

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PostSubject: M.B. / MAURIZO BIANCHI   Wed May 15, 2013 2:40 pm

・name: M.B. / MAURIZO BIANCHI
・area: Milano, Italy
・member: Maurizio Bianchi
・aliases: Sacher-Pelz, Leibstandarte SS MB
・involved project: Maribor
・accomplice labels: Mectpyo Sounds, Come Organisation, Sterile Records, Broken Flag, YHR Tapes, Flowmotion, Grafika Airlines, DYS, Aquilifer Sodality, Trax, Zabriskie Point, EEs'T Records/Marquis Records, Slaughter Productions, menstrualrecordings, Urashima, Silentes, Rotorelief, Mirror Tapes, Stratosphere Music, Hate Song, Kubitsuri Tapes, etc.

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/Hn (Grafika Airlines, 1981), Menses (Mecptyo Sounds, 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 (Mecptyo Sounds, 1982) and Mectpyo Bakterium (DYS, 1982), possibly his softest album of the decade. He quickly return to his usual standards with Endometrio (Mecptyo Sounds, 1983), his second artistic peak and the manifesto of his "bionic" aesthetics, the more accessible Carcinosi (Mecptyo Sounds, 1983), Das Testament (Mectpyo Sounds, 1983), announced as his last record and containing two of his most extreme suites, and the film soundtrack Armaghedon (Mecptyo Sounds, 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 (Ees'T,1999) and Dates (Ees'T,2001), in which religious and philosophical themes dominate, and the sound is much calmer and almost ambient, while Frammenti (Ees'T,2002) and Antarctic Mosaic (Ees'T,2003) seemed to hark back to his original style of the 1980s.

Chaotische Fraktale (2003) and Letzte Technologie (2004) are collaborations with Frequency In Cycles Per Second (Sandro Kaiser). Zehn Tage/Touka (Afe, 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 (Slaughter, 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-munalp (Small Voices, 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).
In recent years also many reissue of deleted material were released.

On August 19, 2009, due to non specified personal reasons, Maurizio Bianchi decided again to completely stop making music.
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