Maurizio Bianchi

from Wikipedia, the free encyclopedia
Maurizio Bianchi

Maurizio Bianchi (born December 4, 1955 in Pomponesco near Mantua ) is an Italian pioneer of noise and industrial music.

Life

Bianchi left Pomponesco in 1960 at the age of four with his parents, who moved to Milan for economic reasons , where Bianchi grew up. Around 1976 he saw himself as punk , but broke away from it again because he increasingly felt the movement had been instrumentalized.

Since 1983 he has worked as a receptionist in a hotel in Milan. In 1984 Bianchi had reached a personal end point that he could no longer overcome with the means of his music alone. Staying here would have been fatal, he would only “sit in his room. Waiting for biology to stop. Waiting for the atoms to die. “(GX Jupitter-Larsen from The Haters via MB).

Bianchi wanted to give his life a new direction, withdrew from the music business, became religious and confessed to the Jehovah's Witnesses , of which he still belongs to this day. On October 29th of that year he married his wife Teresa, with whom he still lives today. In his new home Opera near Milan, Bianchi is currently (2006) active as an elder of the local Jehovah's Witnesses community.

plant

1976 to 1984

Bianchi came from the punk environment in 1976, where he began to experiment with an acoustic guitar . Bianchi did not take up these attempts, he describes them as only present in his archaic memory ( "they are concealed in my archaic memory" ).

After having written reports and reviews in Italian fanzines and magazines about the English industrial scene in particular, Bianchi began producing music himself in 1979 . Under the name Sacher-Pelz, he initially simply used a record player and tape recorder to record tape loops . The first recordings were in the style of musique concrète . Since 1980 he worked under the name MB using electronic instruments, initially with a KORG MS 20 synthesizer and a two-track cassette recorder, later other electronic instruments were added. He recorded with the self-proclaimed goal “to put the receiver on the electric chair in my radical work, to gargle with his blood and to injure his nervous system. You can find that sadistic, but it's resolute, clear and uncompromising. " With this attitude he published many cassettes in a short time.

At this time, Bianchi was also trying to find a connection to the English industrial and noise scene. Since 1979 he corresponded with Nigel Ayers, head of Nocturnal Emissions and sent tapes to the British label Come Org , which were positively discussed in its in-house newspaper "Kata". Bianchi also made a few contributions for later editions of the “Kata”. Even so, he was not taken very seriously in London and interest in his tapes was close to zero.

In 1981, William Bennett, the owner of Come Org, and Ayers, who ran Sterile Records, enabled him to simultaneously release his first LPs. The publication of - published only in an edition of 227 pieces and is now regarded as a classic - Symphony For A Genocide (dt. Symphony for genocide ), was more of a favor from Ayers and was funded by Bianchi largely self. Bennett, however, offered him a "real" recording deal, and Bianchi, who spoke very poor English, signed in good faith. However, the contract was based on a "joke contract" drawn up by Steven Stapleton of Nurse With Wound , and took all rights to his work from Bianchi. After the tapes had been delivered, speeches by Nazi greats were played into them, marching music was faded in, synthesizers were added and the album was released under the lurid pseudonym Leibstandarte SS MB as "Triumph Of The Will" instead of under the rather "unspectacular" name MB . A second release, originally intended as a reparation, the album “Weltanschauung” , did not appear without (albeit minor) manipulations. Bianchi tried at times to represent this manipulation to the outside world, but later distanced himself from it because he saw the changes as a "pubescent Nazi flirt", accordingly Bianchi's two albums are no longer seen as part of his discography. As a result of this disappointment, Bianchi decided in 1982 to publish his other work again himself.

From a combination of this negative experience, his geographical isolation (Italy was far from the European centers of noise or industrial) and a certain solitary confusion, Bianchi stayed relatively far from other scenes afterwards. After the personal disappointment, there was only loose contact with the Haters , whose label in the USA released two albums with unreleased and rare material in the early 1990s.

Until he fell silent for many years in 1984, Bianchi published intensively, including a total of ten albums and numerous cassettes per year, as well as contributions to compilations. His publications from this period are sought-after collector's items today, as they only appeared in small editions of thirty (!) To a maximum of eight hundred copies. In 1982 he brought out a quieter album called Mectpyo Bacterium . On January 1st 1983, together with Edgardo Cellerino, Bianchi had the only live appearance to date on a local radio station called Radio Popolare , later published under the title "Das Testament". Bianchi also composed film scores for the two film projects Mörder Unter Uns (director: Paul Hirst ) and Armagheddon .

1998 until today

Emanuele Carcano, operator of the avant-garde label Alga Marghen , had been looking for Bianchi for a long time. At the end of 1997 he finally found him and convinced him to start over musically. Carcano founded his own label, EEs'T Records, especially for him . In 1998, unexpectedly for the public, Colori was released , a concept album on the subject of colors . The first part of a trilogy, followed by First Day Last Day in 1999 and Dates in 2001 , was still experimental, but showed a clearly matured style. Aside from pure apocalyptic, the banal game with shock and the Nazi camp kitsch so typical of early industrial , Bianchi turned to philosophical-religious questions and musically recorded elements of the ambient . In an interview, he commented on the change in style by saying that he used to be caught in a web of his tones and nightmares , but now feels free to express his true inner self. (" I was in the web of my own sounds and nightmares. In opposite, now I feel really free to express my real internality - and the current works are proof of this. ").

Since from the beginning of the 1990s, with the increasing popularization of industrial, a small cult had also developed around Bianchi's work, due to the rarity of his material there were regular illegal re-publications and new publications, especially in Italy and Japan. With the second release on EEs'T, Symphony of a Genocide , Bianchi began to reissue his old albums, which were already fully available again in 2000, supplemented by bonus material. In the following year he worked as a Sacher fur.

With Frammenti (2002) and Antarctic Mosaic (2003), Bianchi then made it clear that at least at the speed of publication he was tying back to the 1980s. Shortly afterwards it also became clear how much the new Maurizio Bianchi differed from the one of the 80s: for the first time he worked with other musicians, all the more surprising since he had always emphasized beforehand how much loneliness was a prerequisite for his creativity . In 2003 and 2004 respectively Chaotic Fractals and Last Technology appeared , collaborations with the German musician Sandro Kaiser alias Frequency In Cycles Per Second , followed in 2004 by a collaboration with the German duo Telepherique . In 2005 there were collaborations with the Japanese noise legend Aube . Further collaborations took place with Land Use , Giuseppe Verticchio / Nimh , Matteo Uggeri / Hue and Sparkle in Gray .

Influences

Bianchi was influenced on the one hand by electronic Krautrock from Germany, such as Conrad Schnitzler , Kluster , Organization , early Tangerine Dream , Klaus Schulze , but also the young industrial movement from England, such as Throbbing Gristle , Monte Cazazza and the scene around the Come Org label . Although he also confessed to these influences, he once answered the question about his influences in an interview with the sentence “ No groups, no artists - just human ignorance. "

music

Bianchi almost completely dispenses with melodies in his works; Rhythms can be found, but they are repeatedly dissolved and destroyed by sudden breaks, the omission of individual beats or pauses as well as abrupt changes in time. The structuring elements are loops and drones (a noise that is not or only slightly varied throughout the piece), the basis of his compositions are unpleasant noises in the classic sense (dissonances, overdrive, high-frequency tones, trills in the bass range, clusters ).

Music sample

In 2006 a remix of his first ten LPs was released with the 2-CD set Blut und Nebel . Bianchi has already licensed the first CD of the set, which remixes the five LPs from 1981 and 1982, for Wikipedia. For technical reasons, the 45-minute long piece cannot be downloaded as a whole, but only in three parts.

  • Blood and Fog , CD 1, Part 1
  • Blood and Fog , CD 1, Part 2
  • Blood and Fog , CD 1, Part 3

Discography

Sacher fur

  • Cainus , Cassette C-60, 1979, Marquis Tapes
  • Venus , Cassette C-60, 1979, Marquis Tapes
  • Cease to Exist , Cassette C-60, 1979, Marquis Tapes
  • Velor , cassette C-60, 1980, Marquis Tapes
  • Clerzphase , CD-R, 2006, Stridulum Recordings
  • In Hoc Urbia Miazi , CD, 2007, Old Europa Cafe
  • Hibakusha , CD-R, 2009, CPS, with: Amun Cell

Work edition

  • Mutation For A Continuity , 4CD, 2001, Marquis Records

Leibstandarte SS MB

The material published under this pseudonym was heavily manipulated by William Bennett. Bianchi therefore refuses to have these albums as part of his discography.

  • Triumph Of The Will , LP, 1981, Come Org
  • Weltanschauung , LP, 1982, Come Org

MB / Maurizio Bianchi

Early work

The dates of the first publication are given. Almost all publications have been re-published several times afterwards.

  • Noise O Rama , undated
  • Computer SPA , 1980, self-published
  • Gene-P , 1980, self-published
  • Nervo / Hydra , 1980, self-published
  • Mectpyo / Blut , 1980, self-published
  • Com.SA , 1980, self-published
  • Technology I & Technology II , 1980, self-published (also as a double cassette "Technology I + II")
  • December 1980 , self-published
  • Industrial Tape , 1980, self-published
  • IBM , 1981, self-published
  • Nh / Hn , 1981, self-published
  • Cold Tape , 1981, self-published
  • Voyeur Tape , 1981, YHR
  • Endometrio , 1981, self-published
  • Activity , 1981, self-published
  • Symphony For A Genocide , LP, 1981, Sterile
  • Menses , 1981, self-published
  • Murderer Among Us / Neuro Habitat , 1981, self-published
  • Examples of Cannibalism , 1982, self-published
  • Regel , LP, 1983, self-published
  • Mectpyo Bacterium , LP, 1983, DYS
  • Das Testament , LP, 1983, self-published
  • The Plain Truth , LP, 1983, Broken Flag
  • Carcinosi , LP, 1984, self-published
  • Armaghedon , LP, 1984, self-published

Late work

  • Colori , CD, 1998, EEs'T Records
  • First Day Last Day , CD, 1999, EEs'T Records
  • Dates , CD, 2001, EEs'T Records
  • Frammenti , CD, 2002, EEs'T Records
  • Antarctic Mosaic , CD, 2003, EEs'T Records
  • Maurizio Bianchi Plays The Clockwork Orange , LP, 2003, Marquis Records
  • Cycles , CD, 2004, EEs'T Records
  • A MB Iehn Tale , CD, 2005, Small Voices
  • Mind Us Trial , 2CD, 2005, EEs'T Records
  • MI Nheem Alysm , CD, 2005, Silentes
  • Dead Colors , CD, 2005, Silentes
  • Niddah Emmhna , CD, 2005, Silentes
  • Blood And Fog , CD, 2006, Slaughter Productions
  • The Testamentary Corridor , CD, 2006, Silentes
  • Men's True Hated , CD, 2006, menstrual records
  • Carcimetrio , CD-R, 2006, Simple Logic
  • Escape to Bela-Zoar , CD, 2006, L. White
  • RCE , CD-R, 2006, Simple Logic
  • Elisionem , CD, 2006, sound gallery
  • Nevrobatterio , CD-R, 2006, Authorized Version
  • Muitnelis , CD-R, 2007, Tibprod
  • The Industrious Tubal-Cain , CD-R, 2007, Shasha
  • The Platinum Age , CD, 2007, Incunabulum
  • Menstruum Regles , CD, 2007, Silentes
  • Aybasi , compact cassette, 2007, Young Girls records
  • The Self-portrait of MB , CD, 2007, Silentes
  • Avaddohn , CD-R, 2007, Transmit
  • Zyklusters , CD-R, 2007, Lona Records
  • Spiritualis , CD, 2007, Kubitsuri Tapes Int.l
  • The Valley Of Deep Shadow , CD, 2008, menstrual recordings
  • Atholgog , 3 "CD-R, 2008, Stridulum Recordings
  • Akoustikoriginem , CD-R, 2008, Lona Records
  • Inexistence , CD, 2008, Cold Current

Net label publications

  • Mokushi XVI, XVI , MP3, 2006, miracle music
  • 603 ... Annus Mundi , MP3, 2006, Sinewaves, Online: [1] ( ZIP ; 62.8 MB)
  • Konkrete Klaenge , MP3, 2006, Radical Matters, Online: [2] ( ZIP ; 110 MB)

Work editions

  • Archeo CD box, 1999, EEs'T Records (early albums)
  • Archeo II CD box, 2000, EEs'T Records (early albums)
  • Archives , LP-Box, 2006, Vinyl-On-Demand, (cassette releases of the early work)

Collaborations

  • Chaotic Fractals , CD-R, 2003, CPS, with: Frequency In Cycles Per Second
  • Last Technologie , CD-R, 2004, CPS, with: Frequency In Cycles Per Second
  • Final Signal , CD, 2005, CPS, with: Frequency In Cycles Per Second
  • Ten days / Touka , CD, 2004, Afe, with: Telepherique
  • Junkyo , CD, 2005, Noctovision, with: Aube
  • Mectpyo Saisei , CD, 2005, Para Disc, with: Aube
  • Psychoneurosis , CD, 2005, manifold, with: Land Use
  • Secluded Truths , CD, 2005, Silentes, with: NIMH
  • Together's Symphony , CD, 2005, Silentes, with: NIMH
  • Arkaeo Planum , CD, 2006, Small Voices, with: TH26
  • The House Of Mourning , CD, 2006, Radiotarab / Coldcurrent, with: Telepherique
  • Endokraniosis , CD-R, 2006, Tibprod, with: Siegmar Fricke
  • Genologic Technocide , CD, 2006, Spatter / Pagan Moon, with: MDT
  • The Epidemic Symphony No. 9 , CD, 2006, Octpia, with: Nobu Kasahara and Hitoshi Kojo
  • Stroma-Konkret , CD, 2006, Monochrome Vision, with: Siegmar Fricke
  • Environmental Meditations , CD, 2006, Tophet Prophet, with: Maor Appelbaum
  • Regolelettroniche , CD, 2007, Baskaru, with: Emanuela de Angelis
  • Micromal Sonorities , CD, 2007, Artecnico Inc., with: Saverio Evangelista
  • Psalmodiam , CD-R, 2007, menstrual recordings, with: MDT
  • Chaotic Fractals / Last Technology , 2CD, 2007, Silentes, with: FICPS
  • Neural Frequencies , 3 "CD, 2007, Steinklang Industries, with: Land Use
  • Electrostatic Deflection , CD, 2007, Silentes, with: Maor Appelbaum
  • Der Abgrund , CD, 2007, Silentes, with: Frequency In Cycles Per Second
  • Erimos , CD, 2007, Digitalis Industries, with: Hue and Fhievel
  • Nefelodhis , CD, 2007, Cold Current, with: Sparkle in Gray
  • PU 94 , CD-R, 2007, Simple Logic, with: Craig Hilton
  • Primordium , CD-R, 2007, The Eastern Front, with: Siegmar Fricke
  • TSE-K , LP, 2007, Small Voices, with: Land Use
  • Paradoxos , CD-R, 2008, Tibprod, with: Cheapmachines
  • M. Plus T. , CD, 2008, Silentes, with: Atrax Morgue
  • Alienation , CD, 2008, final music, with: Claudio Rocchetti
  • Innervation , CD-R, 2008, Afe, with: Maor Appelbaum
  • Isometry Sonore , Vinile 12 ", 2013, Maurizio Bianchi, Massimo Croce, Xxena, DBPIT, cooproduttore ozky e-sound, Arte Nel Rumore & Dischi Gatto Alieno
  • Artemisio, Cassetta , 2013, Maurizio Bianchi, Massimo Croce, Xxena, DBPIT, cooproduttore ozky e-sound, Arte Nel Rumore & Dischi Gatto Alieno

literature

Web links

Commons : Maurizio Bianchi  - album with pictures, videos and audio files
This version was added to the list of articles worth reading on March 15, 2006 .
personal data
SURNAME Bianchi, Maurizio
ALTERNATIVE NAMES MB; Sacher fur; Leibstandarte SS MB
BRIEF DESCRIPTION Italian musician
DATE OF BIRTH 4th December 1955
PLACE OF BIRTH Pomponesco , Italy