 |
Maurizio
Bianchi
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. 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),
possibly his most terrifying work, Nh/Hn (Grafika
Airlines, 1981), Menses (Mecptyo Sounds, 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 (Mecptyo Sounds, 1982)
and Mectpyo Bakterium (DYS, 1982), possibly his
softest album of the decade. He quickly return
to his usual standards with Endometrio (Mecptyo
Sounds, 1983), his second artistic peak and the
manifesto of his "bionic" aesthetics, the more
accessible Carcinosi (Mecptyo Sounds, 1983), Das
Testament (Mectpyo Sounds, 1983), announced as
his last record and containing two of his most
extreme suites, and the film soundtrack Armaghedon
(Mecptyo Sounds, 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 sort, Colori (Ees'T,
1998), First Day Last Day (Ees'T,1999) and Dates
(Ees'T,2001), in which religious and philosophical
themes dominate, and the sound is much calmer
and almost ambient, while Frammenti (Ees'T,2002)
and Antarctic Mosaic (Ees'T,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
(2004) are collaborations with Frequency In Cycles
Per Second (Sandro Kaiser). Zehn Tage/Touka (Afe,
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 (Slaughter,
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), Neuro-munalp
(Small Voices, 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).
BACK TO TOP
|
|
|
Efficient
Refineries
EFFICIENT
REFINERIES founded in 1995 by Miguel A.
Ruiz from Spain and Siegmar Fricke from
Germany (both active in the electronic sector
since the 80's) is the clear audio-definition
of pharmacoustic industronics. After various
private CD-releases the CD "EPINERVIO" involves
the complete spectrum of their excessive
electro-experiments within the last decade.
Syncopated rhythm-constructions, medical
filtered ambiences, clinical pulses, digital
distortions and manipulations of analogue
material characterize the neurolytic sound
of meccano-clinical autorhythmatics. The
audio-textures are electronically generated
in Miguel's Gagarin Workshop (Spain) and
SF's Pharmakustik-studio in Germany. Beside
"EPINERVIO" Efficient Refineries published
material from 2003 on the Polish label SIMPLE
LOGIC as "Nitideath"-CD. Efficient Refineries
are currently working on the album "Kronotrop"
(on MOLOCHRECORDS in Poland), consisting
of various tracks from the pre-pharmacoustic
period 1995-1998 , restructered in highest
mastering-quality. The release of this powerful
industronic work is scheduled for September
2007.
BACK TO TOP
|
 |
|
MDT
( Museo Della Tortura )
MDT
is an Italian project born in September
2003. In the beginning MDT was orientated
toward rithmic noise but then the sound
evolved more and more into death industrial/ambient.
Behind MDT there is just one person : Davide
(synths, effects, wave manipulation and
rarely voice).
The project is still active though at the moment is on stand-by.
Selected discography:
- museo della tortura (2003) [virus4.it] rithmic noise
- sex & chainsaws (split with dnd) [self prod] cinematic noise
- power is nothing... (2004) [virus4.it] death industrial
- rumori di fondo/d pression (single split with dnd) (2004) [virus4.it]
- three faces of violence (2005) (split con dnd e toby dammit) [self prod] rithmic noise
- la fine (2005) [virus4.it] rithmic noise
- genologic technocide (collaboration con MB) (2006) [spatter - pagan moon]
- ossessioni di un provinciale (2006) [seven sermones ad mortuos] death industrial
- psalmodiam (collaboration con MB) (2007) [menstrualrecordings]
- night terror (2007) [virus4.it] death industrial...
BACK TO TOP
|
 |
|
Orfeon Gagarin
Miguel
Angel Ruiz, from Madrid, is one of the main
reference names of the Spanish experimental
electronic music. He created in 1986
his own label of cassettes called Toracic
Tapes. Since then, in this and other,
European and American labels, he has published
an extensive catalogue of recordings using
different pseudonyms depending on each project:
Orfeón Gagarin (the most famous), Ventral
Metaphor, Funeral Souvenir, besides the
many works edited under his own name or
as Exhaustor from the advanced 90s. M.A.
Ruiz started in 1982 to record in his house
musical pieces, centred in the abstract
and pseudocosmic electronic music with his
new Korg MS-20. In 1986 he inaugurates the
catalogue of Toracic Tapes with the legendary
first cassette of Orfeón Gagarin, an eclectic
combination that presents from environmental
sounds to industrial noise, including cut-up
exercises and some ethnic contrast. From
there, Miguel A. Ruiz's production is non-stop,
editing between 1986 and 1992 more than
a dozen cassette recordings either signing
as Orfeón Gagarin or with his real name
or with the alias Funeral Souvenir or Ventral
Metaphor. Works such as "KEDR" (Orfeón Gagarin;
Toracic Tapes, 1987), "Batan Bruits" (Orfeón
Gagarin, shared with Francisco López; I.E.P.,
1987), "La Noche del Anhídrido" (Funeral
Souvenir; Toracic Tapes, 1987), "El Niño
Carburador" (Miguel A. Ruiz; Línea Alternativa,
1989), "Biscuit Circuit" (Ventral Metaphor;
Bestattungsinstitut, 1991) or "Vasarely"
(Miguel A. Ruiz; Hyades Arts, 1991) are
today considered worthy of worship by the
Spanish electronic experimentation panorama.
In 1991 a tape sent to Asmus Tietchens will
finally give place to what will be his first
and magnificent LP "Encuentros en la Tercera
Edad" (Miguel A. Ruiz; published by Hamburger
Musikgesellschaft, Tietchens' label), recorded
in Hamburg with Tietchens and Okko Bekker.
Already in 1994 appears "Contestación Capilar",
Orfeón Gagarin's compilation CD published
by Línea Alternativa / Hyades Arts and two
years later, in 1996, with the name Exhaustor,
he presents a new sonorous facet orientated
towards the most rhythmic and ruthless techno,
whose presentation was "Coaxial" (CD, Línea
Alternativa, 1996). Miguel A. Ruiz has collaborated
actively with other artists such as Luis
Mesa (creator of the cassettes label I.E.P.),
with whom he will edit three tapes in between
1986 and 1989 under the name Técnica Material.
Also with the German Siegmar Fricke (Efficient
Refineries, with several CD-Rs published
from 1995 to 2003), Francisco López, Dieter
Mauson, etc. Next to Héctor Hernández he
published in 1989 the cassette "Han llegado
los robots" (I.E.P.), born as a hypothetic
soundtrack and whose source of reference
was the book by Rolf Strehl "Die Roboter
sind unter uns", from the end of the 50s.
"Han llegado los robots" is nowadays back
again due to its recent and really cared-after
remastered reedition.
BACK TO TOP
|
|
|
Kenji Siratori
Kenji Siratori: a Japanese cyberpunk
writer who is currently bombarding the internet
with wave upon wave of highly experimental,
uncompromising, progressive, intense prose.
His is a writing style that not only breaks
with tradition, it severs all cords, and
can only really be compared to the kind
of experimental writing techniques employed
by the Surrealists, William Burroughs and
Antonin Artaud. Embracing the image mayhem
of the digital age, his relentless prose
is nonsensical and extreme, avant-garde
and confused, with precedence given to twisted
imagery, pace and experimentation over linear
narrative and character development. With
unparalleled stylistic terrorism, he unleashes
his literary attack. An unprovoked assault
on the senses. Blood Electric (Creation
Books) was acclaimed by David Bowie.
BACK TO TOP |
|
|
|
|
Disruptor
The
beginning of the end.
Disruptor photo by hno3no3.
BACK
TO TOP |
|
|
Siegmar Fricke
Siegmar Fricke started his first musical experiments in 1981 using tape-recorders and shortwave-radio signals to create collages of musique-concrète that have been recorded on various cassettes. After intense activities in the European tape-scene between 1985 and 1993 Siegmar Fricke founded the project Efficient Refineries together with Miguel A. Ruiz (Orfeon Gagarin) from Madrid. Further CD-collaborations with the Italian sound-artist Maurizio Bianchi were realized: ENDOKRANIOSIS (on Tibprod/Norway), STROMA~KONKRET (on Monochrome Vision/Russia) and PRIMORDIUM (on Theeasternfront/Israel). Siegmar Fricke characterizes his musical works as "Pharmakustik": Pharmakustik might be a new path of sound-innovation in today's technological music that often lacks the approach of profound sound-experimentations by focussing just on preset-sounds, melodies and familiar song-structures. Pharmakustik instead consists of reduced and syncopated rhythmic patterns, clinically filtered ambiences generated by sampling-technology, electro-modulated voices and linear structure; in detail all single audio-elements are completely modulated by various electronic devices. The current working-principle is characterized by organic improvisational studies: inside the Pharmakustik-studio several analogue and digital machines are playing simultaneously and the acoustic results are recorded straight to disc. Afterwards these basics are re-treated with a wide range of computer-plug-ins and then mastered. In addition, intense studies of medical texts and terms are made to embed the resulting audio-works into a concept and to find subjective titles/concepts for them. The main aim is to create music far beyond existing musical borders: pharmakustik free-form electronics on a high abstraction-level without any involvement of conventional equipment or familiar structures. Some pharmakustik-netreleases such as CEREBROPHONIE (published in January 2008 on the Russian D.N.A.-label) involve magnetophone-treatments in the style of late 60s-psychedelia and musique-concrète. SF also continously works on the acoustic treatment of basics delivered by Maurizio Bianchi. Siegmar Fricke has just released his newest netalbum CHEMODULATOR on BYPASS (China); this work contains sequential organics of machinistic fluidity...music of 100% innovation never heard before in this form. A new genre is born: Plasmoglitch.
BACK
TO TOP |
|
|
Tetsuo
Furudate Tetsuo
Furudate (born in Tokyo) started his career
in experimental firm and video art in 1981.
From the middle of 80's, he gradually turned
toward music through performing art, contributing
to the development of the Japanese noise
music in its early period with other pioneers
such as Merzbow. He has spread his activities
throughout Europe since 1998, with many
concerts and CD releases, collaborating
with Zbigniew Karkowski, Kasper T. Toeplitz
and Leif Elggren. He achieved the premier
show of his newest experimental noise opera,"Othello",
at Podwil in Berlin in 2001. He stayed in
Berlin as a artist residence of Podewil
in 2003. During this time he held premieres
of "Wozzeck" at Podewil in Berlin
and "Auditory Sence of Mr.Roderick
Usher" at Dresdner Zentrums für
zeditgenössische Musik (DZzM) in Dresden.
"Auditory Senced...."won the BLAUE
BRÜCKE prize 2003. He has collaboration
works with Achim Wollscheid, Lillevän,
Akemi Takeya, Sigrid Schnückel and
many more.
BACK TO TOP
|
|
|
|
|
|
|
|
