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Interview with: Maurizio Bianchi, an independent noise artist
Back in 1979 noise wasn't what it is today; there weren't organizations (or rather pseudo-organizations) like Mothers Against Noise, or as many noise makers to provoke the all American mother, there was no Myspace, no Forums, no web-labels, and in fact no home computers with an internet connection.
Maurizio Bianchi, originating from Milan , is a pioneer in terms of noise; he started in 1979 under the alias "Sacher-Pelz", went on to release edited speeches of Nazi leaders (for artistic use) under the name "Leibstandarte SS MB" and continued releasing albums both under those names and under his own name (or under MB) until 1984 when he became Christian.
Up until 1997 there weren't any releases by Bianchi, but from 1998 and to this very day Bianchi is an active noise maker.
I had the rare opportunity to ask him some questions, hoping to introduce and further know his intriguing personality and music to anyone who finds it interesting
First of all, introduce yourself and your work
I'm a non-musician in activity since August 1979, except a long hiatus between 1984 and 1997. I'm used to work in the experimental field because it's the only one I can express my freedom completely in researching emotional sound sculptures.
Which of your albums/projects would you recommend those who are unfamiliar with your work to start with?
From the early period I recommend "Symphony for a genocide", "Mectpyo bakterium" and "Carcinosi"; about the last, works like "Mind us trial", "Niddah emmhna" and "The testamentary corridor" are more representative.
How did you start making music?
I started on August 1979 in Milan with the pseudonym of Sacher-Pelz, just using a long-playing recorder and some used long playings, manipulating them with loops, scratches, noises, crumbling them until to be unrecognizable from the originals. It was a sort of defragmentation of usual music into several atoms of unusual non-music. Later, from 1980, I introduced the synthetic sounds and a rhythms-machine, and in the end (from 1983) an echoes-machine with a microphone.
What messages/feeling are you trying to provoke with your music?
The uncompromising message is very clear and the inner feelings are so intense that the listener seems to make a fascinating journey in his own mind paths.
How would you define the music you make?
I can define it as psycho-neurotic sound.
Where do you get inspiration from?
I get inspiration from the concrete music of the 50's and the German electro-acoustic/electronic music of early 70's, but probably my main inspiration is the human alienation.
Do you have any professional musical training?
Not at all! Even I don't know how the read the seven traditional notes of the stave.
Youve collaborated with many artists with which did you enjoy working the most? And what is the album youre most satisfied with from those collaborations?
Yes, recently I've collaborated with more than ten artists and groups and I've enjoyed with all of them! And there is not a particular album I'm more satisfied than the others. Maybe I'm a little bit diplomatic?
Do you feel more comfortable working alone or collaborating with other artists?
It's a different point of view, because alone I can decide and determine by myself everything, but when we're two or more, there is to take care of the opinions, decisions, etc. of your collaborators, and respect their decisions and their suggestions; but until now I found a very good co-operation and I take the opportunity to thank very much all of them for their precious and faithful support.
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