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.
