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Maurizio Bianchi

w.m.o/r 27 cdr released May 2006

Genocidio 20



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We might be surprised to see names such as MB or Bruce Russell appearing on W.M.o/r, the label that usually releases many Mattin related works (live works, collaborations, studio works), but his constant traveling lets him meet other people, and keen networker, he knows how to tie them to his label. I have no idea when Maurizio Bianchi's 'Genocidio 20' was recorded but for various reasons it could be an old work, or perhaps something new, but if that's the case than he's playing some old tricks. The first of the six tracks starts out with a nazi speech (not Adolf, but somebody else, I think Rudolf Hess, but identifying voices of nazi idiots is not my science) and quite quickly piercing electronics. Other nazi people also have their say. This could be MB's 'Weltanschauung' record from a quarter of century ago. I believe he lost interest in this kind of stuff, hence me doubting the recentness of this release. But the fourth piece starts out really soft, and that is very unlike
 early
80s
recordings, so perhaps this is recent? I don't think I care very much about all of this, as I must say I am glad he left the path of new age musics, which he marked his return to the world of music, and he is back on track with some experimental noise. The whole nazi thing, limited to the first track, is not my coffee, but throughout I thought this was a fine disc of electronic noise, skipping records. Industrial music at it's most conservative, but M.B. still does a great job, old or new. Franz de Ward


Paris transatlantic


Maurizio Bianchi
GENOCIDIO 20
wmo/r
This is a real puzzler, as there's practically no information whatsoever about it on the wmo/r website, which leads me to guess that it dates from the early 80s, Bianchi's "nasty" period, before he became a Jehovah's Witness.. see Marcelo Aguirre's Bianchi roundup from a couple of months ago. But further enquiries by Marcelo, who's hard at work on an extended interview with MB for these pages (I'm told), prompted a response from Bianchi – curiously enough in Spanish – to the effect that the archive sound recordings from Nazi Germany (who's speaking? Rudolf Hess?) are nothing at all to do with him and have been grafted on to the music by someone else. Curiouser and curiouser. Marcelo also reminds me of a quotation from Nigel "Nocturnal Emissions" Ayers: "[Whitehouse's] William Bennett told me, in 81, the first and last time I met him, that Steve Stapleton drew up a 'joke' contract for him [Bianchi] giving Maurizio absolutely no rights to the recording in any way whatever ever, which Maurizio happily signed. Bennett added overdubs of Hitler speeches, Nazi martial music etc. from one of those tapes they used to sell at the lunatic right wing shops." Frans de Waard over at Vital Weekly speculates that this might also be Bianchi's Weltanschauung album (maybe someone could confirm this?) but Bianchi has neither confirmed nor denied that rumour. In any case, whoever did it and whenever it was done, it's pretty unpleasant stuff, even without the speeches and military music (which only feature on the first – and longest – track). I can understand that some folk might still get some kind of perverse kick out of Nazi imagery, even a quarter of a century down the line, but it's hard to imagine anyone saying they actually enjoy the rest of this miserable, sludgy mess. And that presumably includes Maurizio himself, now that he's found GOD – the Supreme Being, that is, not the group of the same name (see above).-DW