The late 70's rejection of punk and rock-oriented music within select underground subcultures was signified by the works of of bands like Throbbing Gristle, Cabaret Voltaire and Whitehouse. Using their network of record labels and propaganda, these like-minded noise makers created a sound and aesthetic that is known far and wide as something quite English. But in Italy, a storm was slowly brewing in the works of a lone composer by the name of Maurizio Bianchi.

Starting in 1979, Bianchi formed his earliest sketches of abstract loop composition under the pseudonym Sacher-Pelz. After only a few months, he felt it was time to start producing more conceptual works under his given name, sometimes shortening his authorship to only MB. The following years saw some of industrial and ambient music's most genre defining works. Rumors surrounded a series of mischievous unauthorized releases, only to be contradicted by his humble and earnest willingness to collaborate with other like minded composers coincidentally followed up by his ominous "disappearance" from music during the late 80's / early 90's. His various comebacks always showed Bianchi to be the master of his own device who undoubtedly influenced and inspired thousands of musicians, artists and composers with his creative output. Most recently, Bianchi has been reflective on his 35 year history in music and the impact he has had on it. His recent works show him as undoubtedly reflective yet remaining persistently original.

Amentestis Bianchi's most recent undertaking employing the 7'' single format, a medium that MB has only dabbled in briefly. Keeping his abrasive rhythmic sounds, beautiful use of delay patterns and selective subject matters at hand, Bianchi's genius is as relevant today as it was back when he was quietly manufacturing his echoed sound sculptures in the foothills of Italy in 1979. Edited by Kris Lapke (Alberich) with artwork by Ryan Martin (York Factory Complaint / Dais).