[Everyneurotic]

more maurizio bianchi.

Sacher-Pelz (Maurizio Bianchi) - Cainus & Cease To Exist CS's

MB is the mysterious-autistic abbreviation of the name of an Italian "TONE CREATOR" from Milan, who - between 1979 and 1984 - recorded and released some highly obscure "music" that had actually gone far beyond that narrow term.
As initial influences upon his sound works MB quoted - amongst others - such teutonic-krautrockic "Elekktro-Akkustik-Okkultists" like KLUSTER, ORGANISATION and very early TANGERINE DREAM...

Apart from these "initial influences" the NOISE COSMOS of MB became a totally unique, basically unmistakable (but often hard to swallow) "brand of sonic austerity" that is simultaneously able to activate and atomise all kinds of neurosis, disgruntlement and depression within the mind of the listener of MBs records. This effect is always achieved by an aural CUT in unfathomable chasms of psycho-neural privacy...!!!

The "MUSIC" of MB (- going more and more astray from "musical definitions" the longer one is exposed to it -) is presenting itself without any (official) task to entertain... - but that goes not for those listeners who feel highly amused by the repetitive exorcism of monotony, dullness and boredom. As a matter of fact the soundscapes of Maurizio Bianchi are full of monotony, dullness and boredom, but without creating a boring, dulling or monotonous effect upon the listener. MBs pieces - often lasting twenty to thirty minutes in one go - are creeping into the ears and minds like a stream of lava slowly becoming cold. The recordings of MB might be loosely and historically associated with the field of "Industrial Music" - though you would neither do the MB-noises nor the term "Industrial Music" a big favour in assuming so.

By the means of his uncouth and overcastted "Tonkunst", MB is performing an exorcism on daily frustrations... - ejecting it out of his soul and also out of the souls of the listener by adopting and incorporating a touch of the MACHINE-LIKE that is always to be found in his streaky, surging and meandering compositions within a darkened, evaporating form. Therefore a certain AURAL AURA is created that hardly reaches the body by the hearing apparatus but is directly perceived as a physical signal...: "A MUSIC THAT IS RATHER FELT THAN TO BE HEARD".

From the liner notes to a re-issue of an early audio tape by MB (USA, 1992) [1]...:

"The emergence of MB, from Milano, heralds in a new era of experimental electronics emerging from Italy. MB's compositions are influenced by the power of industrial technology and its dehumanising effect on society and the individual. MB's electronic storms create images ranging from industrial power to chaos, confusion and violence." (Kent of Aeon)
MB in an interview (1982)...:
"I can define my sound as physiological disinfestation. You can't use my noise as background, only as foreground. In my radical works I try to electrocute the listener, to gurgle his blood and to violate his nervous system. This is sadistic you may think; but it's resolute, determined and without compromise. I'm living in a decrepit society and the superstructures everywhere try to bend my creativity. I come out with violence as the listener unconsciously needs this harsh raw treatment to dispel his doubts about life and death. (...) I can't call my sounds music, but only feelings in a wall of sound. They're progressing only in the measure that the listener remains tormented by their power and feels the need to change his life in a less blind manner. (...) I think my work expresses the fear of the forthcoming totalitarianism in life, in death, in the mind, and in art. I want to stay in my corner without compromise and to continue my daily struggle against superstructures and social lobotomy."
Maurizio Bianchi started his sonic "anti-art" in August 1979 under the pseudonym "SACHER-PELZ" by recording early sound experiments. His self-produced audio tapes were then distributed by MB himself on his own label "Marquis-Tape" which only existed a few years. I have at hand the C60-tapes "Cainus", "Venus", "Cease To Exist" and "Velours"...; the entire output as "SACHER-PELZ" comprised - according to MB - six hours of recordings...; they were situated at the very brink of aural doom...!!!
These four tapes (- with tiny dedications to such notorious people like Throbbing Gristle, Monte Cazazza, Marquis de Sade, Leopold von Sacher-Masoch, Charlie M. and his Family and Metabolist Device -) impress the listener - despite of a clear separation of titled pieces - by emitting an indiscriminate surge of dense and primitive "Musique Concrète "...; this goes without any academic pretentiousness in the fashion of Pierre Henry or Pierre Schaeffer. On these early tapes MB had already exercised his first etudes in grim inaccessibility...: By using monotony and dullness in a retrograde fashion to shape his sounds, an effect of negative hypnotism was achieved. This effect, however, was not at all suitable for entering a trance-like condition - it rather served as a means to expose and attack neurotic structures in the relentlessly bombarded mind of the listener - structures which were well known to MB as they seemed to be part of his psyche and should also be regarded as an important breeding ground for his creativity.

***

These are nothing like later Bianchi works. In my opinion they're just about the most radical and important documents even loosely tied to the early Industrial scene (sans Throbbing Gristle or early Boyd Rice)...As the description says...this goes way beyond any kind of "music" and is not meant to be thought of as such. You might hate it the first couple listens, but once it sinks in, you'll thank yourself. Or maybe I'm just giving it too much credit. I dunno, decide for yourself.

Cease to Exist was 1979-80 and I have no idea what the date is for Cainus. All four of his Sacher-Pelz tapes have been re-released as a set called "Mutation for a Continuity" (also credited as Sacher-Pelz) but I do not know if this is easy to find or even in print anymore.

Cease to Exist
Cainus