VS 15 (2013)
50 minute double sided cassette
Track Listing Cassette
Side A – Precursor Molecules/Metastatic Phonation
Side B – Linear Receptors/Terminal Cell-Matrix
Maurizio Bianchi: phonetic voice, noise emissions, no electronics.
Recorded using an Aiwa TP-C400 compact cassette tapes, during an aphonic December 2012.
“The eminent Italian industrialist purrs and emits deformed vowels while banging arrythmically on a pipe with a metal stick. No synthesizers or electronics to be found anywhwere, just Maurizio, nearly making himself laugh while he says ‘blaaaaahrhrhrhrhrhhhhhhhhhhhrhrhahaahahaaaaaaaaaah’ over & over again. Bianchi started making records in 1979, & has been consistently both reticent & petulant ever since, threatening to retire on more than one occasion, and brimming with bizarrre top-down ideas that have little clear relationship to his sounds. Heaven alone knows what he thinks he’s doing here, but even just talking-to-himself & rolling a few knives around in a bowl, he can still induce a sense of regal ritual that his excellent industrial tapes & records also drive home.” Angela Sawyer
”Bianchi, one of the great men of noise, sounds like he’s singing to himself, sottovoce, maybe while driving around in his Fiat or something with a bunch of bells flaring like crazy in the backseat.” Byron Coley in The Wire, March 2014
“Bianchi uses ‘phonetic voice, noise emissions, no electronics’ as it says on the cover, and recorded ‘using an Aiwa TP-C400 compact cassette’, which may or may not indicate a live to tape recording. Now, of course I haven’t got a clue what ‘noise emissions’ are, but this surely sounds different than much of the work we know from him. Usually a Bianchi piece is an amorpheus mass of sound, mingled together, with loads and loads of sound effects being used. Here we have two twenty-four minute pieces and it starts out with Bianchi and his voice, and a microphone. Singing? Chanting? A ritual? Just drunk? It’s hard to say and the title ‘Precursor Molecules Metastatic Phonation’ may not immediately give an indication. The microphone is also used to pick up more percussive elements, like rattling the fences on that aforementioned piece or xylophone/metallophone like on ‘Linear Receptors Terminal Cell-Matrix’. It’s all quite minimal, so I assume Bianchi is not drunk, as he repeats lines and phrases and it doesn’t seem to be looped, but rather played in real time. As said, this is an entirely different side to the work of Bianchi. A delve into the world of sound poetry perhaps? Is it great? I am not sure. I was rather pleasantly surprised by the entirely different approach of Bianchi, which I enjoyed immensely, so I tend to give this the benefit of the doubt.” Frans de Waard in Vital Weekly 915