Excluding the avantgarde composers of the 1950/60s, Maurizio Bianchi is probably the most well-known and respected italian experimental composer.
He started his first experiments with sound in 1976/77 using acoustic sources. During the Punk years he was involved in the reaction against such an inhuman and conformist society.
The same spirit trained his musical path, aiming at the disintegration of pre-manufactured sounds and the achievement of musical independence, far away from the mass-media clichès and the music business.
At the end of the 70s, at the peak of the Industrial scene, he released several tapes of noise music under the Sacher-Pelz moniker.
Despite similarities with groups such as Throbbing Gristle, Whitehouse, SPK and Nocturnal Emissions, his dissonant compositions had more in common with the musique concrete experiments of the 50s.
In the early 80s he started using the M.B. moniker and as the tape network was growing, a lot of his cassettes, such as Mectpyo/Blut, Industrial Tape, Computer S.p.A., Technology, Dicembre 1980 and many more were released.
Symphony for a Genocide was his first vinyl record, soon followed by other cult albums such as Menses, Neuro Habitat, Regel, Mectpyo Bakterium (released under his own real name), Das Testament, Endometrio, Carcinosi and The Plain Truth.
In 1984, "Armaghedon" was announced as his last record. Having said everything he had to say and avoiding the risk of sterile repetition, Maurizio Bianchi retired from the scene and dedicated all of his energies to satisfy his spiritual needs.
In 1998-2000, due to the interest of Emanuele Carcano, founder of the Alga Marghen label, after having been sadly bootlegged all over the world for more than a decade, the whole M.B. vinyl catalogue was officially re-released on CD by Ees't Records.
At the same time, after a 14 years of meditative pause, Maurizio Bianchi returned to create music with renovated aims describing his coloured sphere in a world painted in black and white. Colori (Colours) was just the first part in a trilogy that included First Day, Last Day and was completed in 2001 with Dates.
Frammenti and Antarctic Mosaic, two long compositions based on cut-up, were released more recently and seemed to hark back to his original style of the end of the 70s.
During 2003, Maurizio Bianchi collaborated with the german duo
Telepherique on a project focused on the
uselessness of time calculation compared to the precision of time itself.
Zehn Tage (Touka) was released
by Afe in June 2004.