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M.B + E.D.A - REGOLELETTRONICHE

Reviews



Krinein (FR) - September 2008
Text by wqw...
http://www.krinein.com/musique/m-b-e-d-a-regolelettroniche-8009.html

Pas la peine d'aller chercher midi à 14h, pas d'énigme derrière cet assemblage de lettres, simplement les initiales de l'avant-gardiste Maurizio Bianchi et Emanuela De Angelis de Mou,Lips!, deux italiens de génération et de sexe différents et qui partagent pourtant une même affection profonde pour les manipulations sonores, l'élaboration de drones selon des règles dont eux seuls ont la clef. De ces échanges naît "Regolelettroniche", une saine collaboration faite de boucles et d'ondes, de variations électroniques, des résonances artificielles qui pourtant aura sens dans l'oreille de l'auditeur curieux. Sobre pour ne pas dire spartiate, cette expérience se révèle rapidement entêtante, hypnotique.


Cyclic Defrost (AU) - August 2008
Text by Bob Baker Fish
http://www.cyclicdefrost.com/blog/?p=2147

Music doesn't always have to be about movement progression or intricacies. Eno taught us that sometimes just being there is enough. Of course since then you've had people pretending just to be there and subtly altering things or conversely people pretending just to be there and having faith that our shifting perception will make it seem like they are altering things. "Regolelettroniche" is a little from column a and a lot from column b, the first collaboration between renowned Italian experimental musician Maurizio Bianchi and electronic artist Emanuela De Angelis. They're calling this album electronic rules for reflecting disciplines, yet while process may well have informed this fifty odd minute collection of tunes, the results are purely experiential. They use a series of loops and drones, at times not at all dissimilar to Phillip Jeck's turntable experiments, these cyclical driving loops upon which various frequencies attach like barnacles. The effect is lulling, hypnotic where ambient seems to suddenly have transformed to noise without any perceived shift that you can understand. There are links to Eluvium in the density of the ambience, however Eluvium is considerably more gentle and low key, whilst there is at times a certain driving quality to the duos approach. Time is also really important here, and the duo play with it, stretching it and slowing it down, the feeling of immobility heightened by the 25 minute highly repetitive "Cosmic Norms". Whilst their rules are anyones guess, possibly involving the use of loops and stasis, the duos processed drones are incredibly compelling and atmospheric.


Signal To Noise (US) - August 2008
Text by Richard Moule
http://www.signaltonoisemagazine.org

When it came to their first collaboration, these two Italian composers, Maurizio Bianchi and Emanuela De Angelis, decided on a few rules for their electronic waves, loops and drones, hence the album title.

What were these rules? While they are not explicitly stated, Bianchi and De Angelis see Regolelettroniche as "a systematic sonorous assemblage for electronic instruments, axiomatic waves and essential reverberations".

How does that translate sound wise? Essentially, "Regolelettroniche" is a series of drone variations with each of the four tracks concentrating on a different set of timbres, tones, pitches and densities of sound; each one modulated slightly differently, as if like dub versions.

"Earthly Principle" kicks off with a single, recursive backwards organ tone and air pressure loop. Bianchi and De Angelis take that loop and stretch it to a 25 minute length on the subsequent track, "Cosmic Norms". This immersive track ebbs and flows as the organ and static, slide in and out of sync with each other. Sometimes the organ is stronger, other times the static dominates.

While "Earthly Principle" and "Cosmic Norms" offer a softer, diffusive and ultimately expansive side to this collaboration, "Universal Order" is a harder, internalized, more concentrated mass of guitar noise sound a la My Bloody Valentine and Tim Hecker, that cracks, decays, pulsates in a push/pull manner yet without the shimmer of those above artists. In other words, it is closer to the dark, industrial ambience of Organum and Zoviet France and even to Bianchi's early cassette work and less to Oval.

However, just as you're being engulfed by the intensity and density of "Universal Order", a whip lash effect is added as an element of surprise that continues over to "Electronic Rules", which acts as the central motif to this barren, glacial sound world a la Thomas Koner: a windswept and hermetically sealed vista that is livened by off kilter, swirling buzzes and hums and the cheerful distant vocals of De Angelis, that were barely audible on "Cosmic Norms".

Flow is important to Bianchi and De Angelis and unlike their fellow ambient peers, these two don't go in for prolonged stasis. In the end, the pulse is paramount.

Maybe, that is one of the rules of "Regolelettroniche".


The Milk Factory (UK) - July 2008
Text by themilkman
http://www.themilkfactory.co.uk/st/2008/07/mb-eda-regolelettroniche-baskaru

Born in 1955, Maurizio Bianchi is a long-standing member of the Italian experimental music scene. He debuted in 1979, and, until 1984, he released a considerable amount of work, but then withdrew from the music business completely as he entered a deeply religious and spiritual part of his life. He came out of retirement in 1997 and has since resumed a very productive work pace, with a mix of new releases and re-issues being made available. Twenty years Bianchi's junior, Emanuela De Angelis first emerged as lead singer and guitarist with noise formation Joyce Whore Not in the early nineties and later founded Mou, Lips!, an experimental electronic project, with Andrea Gabriele, and has been working as a solo artist for over four years.

For their first collaboration, Bianchi and De Angelis create long and expensive drone-like forms, developed over the four tracks and nearly fifty minutes of Regolelettroniche, which vaguely translates into 'electronic rules', and which informs the record and sets its the boundaries. Indeed, the pair focus on processed textural loops, layered into vast cyclic suites, the longest of which, Cosmic Norms, covers twenty five minutes. Built around what sounds half way between processed electric guitar distortions and a medical ventilator, this centre piece defines the austere aesthetic of this collaboration. Very little happens during the whole piece beside a slight change in the opening of the filter and almost imperceptible variations in consistency, but this almost static state, when contemplated from afar, hides a depth of tone which justifies the track title.

Albeit shorter by half, Universal Order works according to similar rules and defines a comparable spiritual space where the mind is free to reflect or wander without obstacles or distractions. As the dense layers move imperceptibly and change shape, frequency and rhythm, the hypnotic character of these two compositions becomes more apparent.

Bookending these are two shorter compositions, Earthly Principle, the shortest of the four tracks at just under three minutes, and the six minute closing track, Electronic Rules. With these two pieces, Bianchi and De Angelis tie their vast soundscapes and slow moving drones into bite-size vignettes which, whilst still retaining some of the motion stillness elements explored in the two core compositions, do away with the slow progressive approach. While this is especially true of the former, the dark atmospherics of the latter conjure images of desolate landscapes and, surprisingly for artists who come from a region where the sun plays such an important part in everyday life, eternal nights. Incidentally, Electronic Rules is also the point where M.B. + E.D.A. get closest to conventional ambient electronica, evoking in part Biosphere or Deathprod.

With Regolelettroniche, Maurizio Bianchi and Emanuela De Angelis have produced a much more serene record than what they respective work could have led to think, and this composed restraint, at times palpable, is possibly the greatest strength of this collaboration, as it actually carries the restricted scope and focus of the compositions and fuels their apparent immobility. (3.8/5)

» A related interview of M.B + E.D.A courtesy of www.themilkfactory.co.uk : [ Read ]


Stereo & Video (RU) - July 2008
Text by Дмитрий Филатов
http://www.stereo.ru

Stereo & Video, July 2008


Synthetic Club (RU) - June 2008
Text by Maeror3
http://www.synclub.ru/menu.php?t=user_section&id=5512&menuid=117&mode=full&page=0&rep=rated

Synthetic Club, June 2008


Musica (IT) - June 2008
Text by Claudio Baroni
http://blog.libero.it/musica2/commenti.php?msgid=4813287&id=156912

Quando si dice - o si scrive - volutamente di un incontro perfetto, quello tra M.B. (Maurizio Bianchi, eccelente sperimentatore sonoro) e la pescarese Emanuela De Angelis. I loro cervelli electronici si (s)contrano e sprofondano in una magica oasi intrisa di distorsioni ambient. I pervicaci loops di Bianchi che si confrontano con la lucida interpretazione dei drones di Emanuela. Una dimostrazione di perfetta maturità artistica, per due personaggi umili ed importanti della scena avant-garde. Quattro vibranti componimenti estatici di brillante rappresentazione onirica. Sogni che saltellano sul mondo irreale della società urbana.


Liability (FR) - May 2008
Text by Fabien
http://www.liabilitywebzine.com/?ac=non&contenu=viewchr&id=3419

Ancienne figure de proue de la scène industrielle des années pionnières, Maurizio Bianchi s'est eclipsé au beau milieu des années 80 pour assouvir une nouvelle passion mystique. Il n'en sortira qu'en 1998, repêché des eaux par Emanuele Carcano du label Alga Marghem. Revenu aux affaires, Bianchi a repris cette habitude de sortir frénétiquement des albums à tout va mais son radicalisme dans lequel il fustigeait la "décadence technologique" s'est particulièrement assagi, prônant une musique nettement plus portée vers les firmaments ambient. Ici associé à Emanuela De Angelis (Tu M', Mou, Lips!), il produit quatre pièces faites de boucles, de nappes et de mélodies minimalistes et discrètes. Regolelettroniche est le genre de disque qui vous absorbe rapidement et qui, par ses aspects hallucinés, redonne goût aux architectures sonores abstraites. Si on peut leur opposer leur différence d'âge, les deux protagonistes ont certainement la même vision de l'exploitation des sons. Ainsi, Bianchi et De Angelis explorent tout deux l'infini et les grands espaces. Drones, boucles, vagues, échos sonores, tout s'assemble d'une manière des plus harmoniques, comme si cela était le résultat d'une science qui n'a pas encore dévoilé tous ses secrets.

Regolelettroniche ne semble, alors, pas avoir de fin. Un morceau comme Cosmic Norms peut paraître interminable mais sa beauté immaculée efface toutes les longueurs. D'ailleurs, on imagine assez mal que ce type de musique puisse s'exprimer sur de courtes durées. On enlèverait toute substance aux pièces, les empêchant de prendre toute l'ampleur qui leur sont nécessaires. Sur Regolelettroniche on perd facilement la notion du temps. On peut rester bloqué dans ce que l'on croit être une sorte de mouvement perpétuel mais comme tout n'est qu'illusion, les compositions finissent tout de même par s'enchaîner. Regolelettroniche est, somme toute, un disque assez classique qui fait la part belle aux drones de toutes sortes. D'ailleurs, l'album est présenté comme étant l'une des incarnations des "rêgles du droning". Soit. On restera cependant sur cette impression d'un album envoûtant et solide qui est l'oeuvre de deux musiciens dont l'expérience n'est plus à remettre en cause.


Gonzo Circus (BE) - May 2008
Text by PV
http://www.gonzocircus.com

Gonzo Circus, May 2008


Skug (AT) - May 2008
Text by Heinrich Deisl
http://www.skug.at/index.php?Art_ID=4399

Maurizio Bianchi veröffentlichte in den frühen 1980ern als MB und gilt wohl als einer der obskursten Industrial-Musiker. Die kruden und alles andere als "politisch korrekten" Soundwälle erreichten damals höchstens eine eingeschworene Fanschaft. Nach langer Abstinenz ist der 1955 geborene Bianchi seit 1997 wieder aktiv und veröffentlichte u.a. mit Aube. Zusammen mit der gut 20 Jahre jüngeren Emanuela De Angelis entstand ein Werk, das indes einen kohärenten Spannungsbogen zwischen MBs Frühwerk und einer möglichen Aktualisierung anpeilt. Gleich zu Beginn scheint der Projektor, in den eine alte Filmschleife eingelegt wurde, zum Greifen nahe, Assoziationen zum "Sang d'un poète" quellen an die Oberfläche. In den folgenden drei Nummern hat man es nach wie vor mit sehr spärlichen Flächen und Wällen zu tun: Minimalste Sound- und Rhythmusverschiebungen sind auszumachen, die in ihrer psychogeografischen Mantrahaftigkeit etwa an Zoviet*France denken lassen und zwischen Chaos, Ordnung und abstrakter Schönheit oszillieren. Elegisch, romantisch.


Bant (TR) - April 2008
Text by E.Ö.
http://www.myspace.com/bantmagazine

Bant, April 2008


Blow Up (IT) - April 2008
Text by Paolo Bertoni
http://www.blowupmagazine.com

Ancora tre collaborazioni per Maurizio Bianchi che impossibile è sorvolare.

[...]

Decisamente più crudo e terreno, e con molto più a che fare con l'alienazione che col misticismo è "Regolelettroniche" in cui Maurizio viene affiancato da Emanuela De Angelis. Dai minacciosi loop di "Earthly Principle" alle ruvide, rugginose, superfici ambientali, con un eccellente decrescere destinate a sciogliersi in sedante calma, dei venticinque minuti di "Cosmic Norms", dalle spossanti, meccaniche masse industriali di "Universal Order" agli spiazzanti ribollii cosmici di "Electronic Rules", il lavoro si evolve inesorabilmente iterativo con approccio minimalista e forte valenza ipnotica che attrae quanto inquieta.


Plan B (UK) - April 2008
Text by Louis Pattison
http://www.planbmag.com

MB is Maurizio Bianchi, an Italian sound artist whose releases for early power electronics labels Come Org and Broken Flag laid the groundwork for a specific stripe of grief-laden drone ambience and, later, began to point beyond. Bianchi quit 'de-composing' in 1984 after an apparent religious conversion, but he returned to music in 1998 and has worked sporadically, often with collaborators, since. Regolelettroniche, recorded with Emanuela De Angelis, is gently ecstatic, but with strange and unknowable undercurrents: tight loops of fuzzy, pixelated sound layered with longer, slower synthesiser movements that drift in with an opaque logic and tidal speed. Regolelettroniche has a quiet, unnatural ambience, like the site of a long-razed factory where a heady, sulphurous stench still lingers.


Sound of Music (SE) - April 2008
Text by Sven Rånlund
http://www.soundofmusic.nu/0709/pages/rec_mbeda0908.php

Bakom m.b. + e.d.a står två italienska noiseheads ur olika elektroniska generationer. Maurizio Bianchi är veteran och började redan 1979 ge ut industrimusik på kassetter. 1984 slutade han tvärt med musiken, tydligen av religiösa skäl, men kom igen 1997 och har sedan dess släppt nytt och gammalt på det egna bolaget EesT Records i osannolikt hög takt (40 skivor på två år!). Emanuela De Angelis, född 1975, var sångerska och gitarrist i noisebandet Joyce Not Whore men har på senare tid sysslat mer med electronica, ofta i konstprojekt och samarbeten.

Trots olika ingångar har Bianchi och De Angelis hittat en gemensam musikalisk plattform i loopbaserad drone. "Regolelettroniche", som kan översättas med "Elektroniska regler", framstår som ett teoretiskt verk, baserat på de ramar duon bestämt för de roterande samplingarna. Exakt vilka idéer som ligger bakom, och vem som gör vad, är svårt att veta, men resultatet är hursomhelst bedårande. Behandlingen av looparna, som till en början låter fri och spontan, framstår vid närmare lyssning som sträng och formmedveten, vilket inte hindrar att musiken utvecklas i organisk riktning.

De fyra låtarna varierar rejält i längd, från tre till tjugofem minuter. Inledande "Earthly Principle" är en storslagen, skört brusande loop på ett par minuter, inte olik Belongs lysande "October Language" (recenserad i nr 2/06). Den här sortens loop-drone behöver tid att utvecklas – tänk på William Basinskis ofta citerade projekt "Disintegration Loops" där korta, filtrerade fraser snurrade bortåt en timma. Det är förstås en läggningsfråga om man blir uppfylld eller uttråkad av det repetitiva; själv njuter jag av att omslutas, insvepas och bit för bit nedsänkas i Bianchi/DeAngelis loophav.

"Cosmic Norms" är skivans höjdpunkt, en knapp halvtimme av vågskvalpande metamorfoser med hypnotiskt baksug. Vad ljudkällan är kan man bara gissa, det som börjar likt elpiano ur taggig rörförstärkare tonar ut som ambient balsam. Annorlunda brusar noiset i "Universal Order". Kanske är det elgitarr, eller cementblandare, det spelar ingen roll, det finstilta filtrerandet ger den cykliska vågrörelsen svängrum och smärtskön puls. Det är musik att bädda ner sig i.


Geiger (DK) - April 2008
Text by Jakob Baekgaard
http://www.geiger.dk/anmeldelser/anmeldelse.php?id=2979

Lyd som materialitet. Lyd som en åbning mod verden eller en verden i sig selv. Lyd som erfaringens rum eller rummets erfaring. Lyd som sansningens genkendelse eller genkendelsens sansning. Lyd som det allerede foreliggende eller det foreliggendes forvandling. Lyd som det humane eller posthumane. Lyd som et rent landskab eller landskabets lyd. Lyd som gentagelse gentaget gentagelse gentaget gentagelse gentaget gentagelse gentaget gentagelsens gentagelse gentaget. Lyd som et ekko af naturen eller naturens ekko. Lyd som den rene fortolkning eller fortolkningen uden ord?

Fortolkningen af lyd er mangfoldig, og de bedste kunstnere skaber deres egen lyd. Pladeselskaberne 12K og Baskaru er kendt for den aestetiske perfektion, hvormed deres kunstnere former lyden i vaerker, der kan opleves som en saeregen verden. Hos 12K er der isaer vaegt på de organiske og genkendelige kilders forvandling, som man kender det hos et andet sublimt selskab, Touch, hvorimod det hos Baskaru mere er lyden i dens postorganiske form, der dyrkes.

[...]

En helt anderledes tilgang til komposition finder man hos duoen m.b. + e.d.a. (Maurizio Bianchi og Emanuela De Angelis), der dyrker dronen som musikalsk princip på albummet Regolelettroniche. Jeg plejer normalt at vaere meget skeptisk overfor denne tilgang til lyd, der ofte ender i irriterende praetentiøst navlepilleri uden formål, men med Regolelettroniche er jeg solgt. Her lykkes, hvad der så ofte ellers glipper i dronemusikken, nemlig at skabe variation i stilstand. Midt i monotoniens og gentagelsens princip skabes rige teksturer, der suger lytteren ind i en naermest kosmisk verden af knitrende støj, blide ekkoer og fejende lydbølger. At høre denne musik er som at fortabe sig i mønstrene i et persisk taeppe. Man bliver beroliget uden at falde i søvn. Regolelettroniche har gjort, at jeg har genfundet min tillid til et kunstnerisk princip, som jeg ellers havde afskrevet mere eller mindre.

Autistici, Savvas Ysatis + Taylor Deupree og m.b. + e.d.a. udforsker lyden i alle dens aspekter. Det er en luksus med pladeselskaber som 12K og Baskaru, der opdyrker helt nye verdener for den nysgerrige lytter. Lyd kan heldigvis ikke saettes på formel, men den kan blive til et (kunst)vaerk i de rigtige haender og alle tre naervaerende udgivelser er eksempler på en sådan succesfuld lydlig assimilation.


Animal Psi (US) - April 2008
Text by Animal Psi
http://www.animalpsi.com/index.php?entry=entry080405-064400

The collaborative debut of Emanuela De Angelis and time-cop Maurizio Bianchi comes by way of youngish French label Baskaru. Autumnal and graceful, the four tracks of 'Regolelettroniche' offer some causal "rules of droning" to be gleaned in the disparate forms of each track. With the three-minute intro "Earthly Principle", the pair establish curtness with tight-wound organ fugues and wet hiss automated at a near-psychosis tempo. Following this brief encounter, the drone-obligatory grandeur of the spheres receives the ode "Cosmic Norms", a 25 minute loop of gradually-nudged characters barely discernable in the warm depressions and spectral tones which seem to evaporate into an accumulating tinnitus. Heavier machines produce "Universal Order" in schematic, the nuance of the former track shattered by the deepness of the frequency, yet retaining the same ephemeral quality of the other eight-count loops; cognizant of Basinski's 'Disintegration Loops', and despite the clearly additive (albeit, often microtonal) changes, it is impossible to hear this without the suspicion that a similar degradation of quality is going on as the drone constantly stays the same. Final, briefer piece "Electronic Rules" takes a different, more ambient approach with sparse, arrhythmic textures like droplets deepening the sonic space with allows the loop to enter from a distance; the oscillating quality of the funnel featuring just enough manipulation to suspect an interloping hand, yet without breaking the mechanical stillness of the meter. One can ask no more from a drone. Legit CD comes in a beautiful, three-panel digipak.


Heathen Harvest (US) - April 2008
Text by S:M:J63
http://www.heathenharvest.com/article.php?story=20080323041856704

There are moments in my life when, after listening to and reviewing a bucketful of noise and power electronics offerings, I wish for something a little less intrusive to wrap myself in – something very much like this absolutely beautiful album by Maurizio Bianchi and Emanuela De Angelis in fact, the one a well-known veteran of the experimental music scene and the other fast becoming a star within the same firmament. If it was entirely possible for me to spin myself cotton-wool clouds from the finest threads of sound then I would be floating away into the far blue after listening to this, such is its finesse and delicacy. However, before you dismiss that statement as indicative of a lack of strength or discipline then let me assure you nothing could be further from the truth.

The clue is in the album's title, as well as explicitly stated in the name of the fourth track; 'Regolelettroniche', roughly translated, means Rule Electronics, or more plainly, 'Electronic Rules'. Plus there's also more clues contained in the other track titles: 'Principle', 'Norms', and 'Order' imply structure and regularity, and this is what you find underlying each of these pieces. What superficially appear to be rather freeform and slightly chaotic meanderings possess strong foundations imbuing all the pieces with a definite substructure of order that pins them down precisely and gives them enormous strength. Consisting mainly in subtly looped segments and repetitions that evolve minimally over the course of their duration, it's a perfect echo and reflection of the workings and beauty of the universe we find ourselves the inhabitants of, to my ears at least – just like the slow millions of years that galaxies and supernovae need to expand and develop into the stunning images that telescopes like Hubble have revealed to us. Just like those interstellar phenomena, it is only when you hear these tracks unfold in their fullness that you appreciate their true glory and pristine beauty.

By far the most sweepingly grandiose track is the opener, 'Earthly Principle', twenty-five minutes of pure crystalline and uplifting chordage that slowly and minutely builds into a most glorious piece of music that'll lift your mind and feet to send you soaring out of the mundane and into the stellar. This created the same feeling in me when I first heard Ashra's 'Deep Distance' track from their classic 1976 'New Age of Earth' album – I remember shivers coursing up and down my spine and my imagination leaping into the nightsky, destined for vistas that filled lightyears and systems as yet undiscovered, when I heard it on the radio at the tender age of 13. I have never forgotten that moment, and to this day there have been very few instances where other music has brought that feeling flooding back. This is one of them.

If you like music that stubbornly refuses to remain earthbound, instead wanting to lift off into the heavenly blue and further out into the deeps, then I have absolutely no hesitation in pointing you in the direction of this fine collection of inspiring pieces. Just like the Ashra album alluded to above, this will be a mainstay of my collection for many, many years to come; I can guarantee that in a further twenty years or so this will still be getting a regular hearing, whatever technology or platform is available then.


Rumore (IT) - April 2008
Text by Vittore Baroni
http://www.rumoremag.com

Quasi ogni mese ci passa per le mani una nuova opera di Maurizio Bianchi, ed è la francese Baskaru a ospitare questa volta Regolelettroniche, collaborazione di M.B. + E.D.A., ovvero la giovane Emanuela De Angelis (Joyce Whore Not, Mou, Lips!). In quattro movimenti senza infamia e senza lode, si dipanano soffici loop-drones elettronici sporcati di rumor bianco, più aggraziati e solari di quanto solitamente associato al milanese.


Groove (SE) - April 2008
Text by Mats Almegård
http://www.groove.se

Maurizio Bianchi slutade göra elektronisk musik långt innan många av dagens electronicaartister var pottränade! 1979 började han ge ut en strid ström av kassetter med obskyra ljudexperiment, för att fem år senare helt plötsligt bara sluta. Anledningen var att Maurizio Bianchi blivit religiös. Frågan är vad som hände när han gjorde sin comeback 1997 – om hans gudar övergav honom? I vilket fall som helst är han idag åter aktiv inom gränslandet mellan lugn electronica och hårdare industrimusik. På detta album samarbetar han med Emanuela De Angelis som tidigare sjöng i noisebandet Joyce Whore Not. även om det i grunden handlar om oljud här också, ligger det långt från noisens frontalattacker. Snarare är Regolelettroniche ett album som har en vilsam och harmonisk prägel. Av skrapande fula ljud svetsar M.B + E.D.A ihop en pastoral ljudmatta som mest påminner om en extremt upprepande och minimalistisk symfoni.


Trust (DE) - April 2008
Text by (stone)
http://www.trust-zine.de

Erinnert ein wenig an Belong: Meditative Drone-Klänge, allerdings etwas strukturierter, hier dargeboten von zwei Italienern: Maurizio Bianchi arbeitet seit 1980 in elektronischer Musik und zählte einst zu den Pionieren des Tape-Untergrundes. Emanuela De Angelis ist zwanzig Jahre jünger und debütierte 1994 als Sängerin und Gitarristin der Noise-Band Joyce Whore Not.


Machina (PL) - March 2008
Text by Rafat Ksiezyk
http://www.machina.pl

Machina, March 2008


The Vibes (IT) - March 2008
Text by Vito Camarretta
http://www.thevibes.net/rec2008/regolelettroniche.html

Dopo le prime battute di apprezzabile collagismo vagamente avanguardista, la piccola etichetta indipendente francese Baskaru - che già nel recente passato ha mostrato più di qualche liaison e un notevole (nonchè giustificato) interesse nei riguardi di alcuni sperimentatori e smanettatori di macchinari sonori italiani - fa bene a deviare rotta verso un appendice della produzione elettronica, che vede le cattedrali sonore costruite sui famigerati drones e sulle microvariazioni delle frequenze sulla soglia della percezione umana come protagoniste "mute" della struttura compositiva forse memori di esperienze e di emuli di alcune avanguardie dadaiste tanto amate fino a non molto tempo fa (due nomi per tutti, Cabaret Voltaire e Zoviet France). Il fatto che sia stato scelto uno split di un'artista emergente - la "giovane" promessa Emanuela De Angelis - e un sapiente e incontinente divulgatore dell'elettronica d'avanguardia in terra italica (nonchè quasi antagonista di un altro mostriciattolo del rumorismo - l'allusione non è evidentemente riferito ad aspetti meramente estetici - qual è o quale fu il cranioclasta Merzbow), come Maurizio Bianchi (assente dalla scena per circa 14 anni, pare per via di una crisi religiosa - Bianchi è testimone di Geova... ci viene da pensare se i vari predicatori potessero raccogliere più proseliti distribuendo i suoi dischi! -) non ci pare casuale e anzi mostra un ragguardevole buongusto delle menti di Baskaru, anche se - l'unica nota negativa delle scelte editoriali - il lavoro originale è stato tagliato, risultando "sacrificati" circa una ventina di minuti di registrazione.

I tre quarti d'ora di durata del disco valgono comunque ad apprezzare la tecnica "pasticciera" dei due artisti, che strato su strato consegnano all'ascoltatore un biglietto di sola andata per un viaggio cosmico a colpi di singulti aurali di frequenze renderizzate su lavori che ci appaiono non molto dissimile da quelli che giungevano fino a non molti anni fa direttamente nelle nostre teche da progetti quali quello degli algidi Origami Galaktika o dei "krankyani" Stars Of The Lid. I "principi terrestri", punto d'ancoraggio da cui si parte per il viaggio nei postulati sonori di Maurizio e Emanuela, sono giusto un assaggio di una sorta di organo limato e incrociato a onde sinosuidoli psicoattive, prima del primo approdo concettuale - un titolo come "norme cosmiche" farebbe orgasmare qualsiasi scienziato di Palo Alto! -, che introiettano nell'ascoltatore una dolcissima ipnosi a suon di sussulti circolari e pulvurulente insufflazioni di un suono acuto, che varia verso frequenze sempre più alte e verso sub-tonali che avviluppano l'intera esperienze percettiva in una sorta di perpetua prostaferesi sonora resa da un coltre di impulsi elettrici ipostatici e viscosi loops foncé. Ovviamente consigliamo un ascolto attraverso un impianto hi-fi decente o - meglio ancora - con un buon paio di cuffie, per chè attraverso uno scornacchiato sistema di casse per auto o attraverso improbabili sistemi portatili, abbassandosi notevolmente la risoluzione sonora, le registrazioni saranno meno apprezzabili per via delle microvariazioni che caratterizzano il suo vaculo incedere. Supposto che riusciate a resistere alla tentazione di ripetere l'esperienza acusmatica plasmata sui venti minuti abbondanti del viaggio siderale di Coscmic Norms, il movimento ascendente dei drones sarà ancora più palesato in Universal Order: inizialmente si ha l'impressione di ascoltare un nastro mezzo smagnetizzato con qualche incisione di Robin Guthrie, ma gradualmente gli accordi ultracompressi sembrano espandarsi come cellule liofilizzate seguendo percorsi di progressiva saturazione e deviazioni acusmatiche già in parte tracciate in qualche loop disintegrato dal para-jazzman texano William Basinski, processo inflattivo che viene in parte meno nelle più "placide" ondulazioni di Electronic Rules. Nè troppo industriale, nè troppo organico. Bel lavoro.


Ultrasonica (IT) - March 2008
Text by Urbanspaceman
http://www.ultrasonica.it/site/modules/recensioni/index.php?op=r&rev_id=410&cat_id=1&sort_by

Splendida collaborazione tra due artisti nostrani che escono per la francese Baskaru Rec. (come i connazionali Urkuma e Pirandèlo) con un album essenziale per gli amanti dei lunghi Drone 'alla Basinski', quattro brani d'atmosfera nati dall'unione tra due musicisti con alle spalle una carriera consolidata, Maurizio Bianchi attivo dalla fine degli anni settanta e riconosciuto come uno dei personaggi più influenti della musica sperimentale italiana, ed Emanuela De Angelis, vent'anni più giovane di Bianchi ed in attività dalla metà dei novanta, prima come cantante chitarrista dei 'Joyce Whore Not' e poi insieme ad Andrea Gabriele come co-fondatrice del collettivo Mou, Lips! Per la lavorazione di quest'album i due hanno impiegato oltre ai Drone, dosi di reverbero controllate per ammorbidire i numerosi layer creati dalla stratificazione progressiva di loop dalle connotazioni a tratti alienanti, impercettibili cambiamenti all'interno del corpo sonoro modificano in modo cellulare la consistenza armonica dei brani il tutto a favore di un'esperienza d'ascolto unica. (4/5)


Quiet Noise (AT) - March 2008
Text by Tobias Bolt
http://www.quietnoise.org/main.php?mode=r&id=103&arc=curr#currid

Ein generationsübergreifendes Elektronikduo aus Italien verbirgt sich hinter den beiden Initialen: Maurizio Bianchi sowie Emanuela De Angelis unterwerfen hier gemeinsam somnambule loops, waves, drones und re-echoings ihren rulelectronics, die zu entdecken dem Hörer als Fleissaufgabe überlassen wird. Nach der kurzen Ouvertüre 'Earthly principle' folgt das zentrale Stück des Albums: 'Cosmic Norms' ist fünfundzwanzig beeindruckend schöne Minuten lang und hauptsächlich aus kurzen Dröhnschleifchen, die pro Durchlauf kaum merkbar homöopathischen Metamorphosen unterzogen werden, aufgebaut. Aus diesem in strenger Form aufgerautem Kitsch kann man im Idealfall und mit fortschreitender Spieldauer immer wieder akustische Täuschungen empor steigen hören, per Repetition und sanfter Verschiebung induzierte Metaphänomene, die zu vorzüglichem Versinken in solcherart gestrickten Sphären einladen. Und auch wenn die beiden abschliessenden Stücke nicht mehr ganz jene Intensität zu wiederholen vermögen, dürfen Menschen, die etwas mit William Basinski anzufangen wissen - wie eigentlich jegliche Anhänger repetitiven Gedröhns - hier durchaus mal rein schnuppern. Könnte sich ja lohnen.


Magic (FR) - March 2008
Text by Marie Daubert
http://www.magicrpm.com/

Jamais on ne saura explicitement comment s'est réparti le travail entre Maurizio Bianchi et Emanuela De Angelis pour cet album collaboratif. Car il semble qu'ils appartiennent à cette sorte d'artistes qui ne croient pas à l'implacabilité de la méthode, qui ne placent pas leur foi en la technique - bien qu'elle fasse partie intégrante de leur pratique. Et s'ils se sont donné des règles, ou un protocole d'échange pour parvenir ensemble à ces Electronic Rules For Reflecting Disciples, ils préfèrent, en dernier ressort, ne pas nous livrer la clé. Nous laisser face à l'absence du mode d'emploi, c'est aussi nous forcer à compenser par la sensation les lacunes de l'encyclopédie. Ce que l'on sait c'est que Maurizio Bianchi eut un passé d'artiste sonore électro-contestataire, auquel mit fin une crise spirituelle et religieuse au milieu des années 80. Son retour à la fin des nineties le mena, à travers la scène underground italienne, à collaborer avec Emanuela De Angelis, de vingt ans sa cadette, E.D.A. de son nom de scène. Avec le duo Mou, Lips!, elle pouvait par exemple instrumentaliser le frottement d'un stylo feutre sur un bloc de papier, pour teinter d'une pointe de nostalgique un morceau electro-ambient inoubliable. Alors, si l'on ne veut pas nous donner les règles, tant mieux ! Car au vu de ces parcours sinueux et pourtant irréprochables, on accepte volontiers d'aller scruter, au-delà des systèmes, ces instrumentaux logés entre songe et sonore.


De:Bug (DE) - March 2008
Text by ASB
http://www.de-bug.de

M.B ist Maurizio Bianchi, war einer der italienischen Tape-Szene-Pioniere und veröffentlicht seit dreissig Jahren Unmengen von elektronischen Experimenten. Hinter E.D.A verbirgt sich Emanuela De Angelis, ehemals Sängerin und Gitarristin der Noiseband Joyce Whore Not. Zusammen fabrizieren sie ruhige, wellenartig loopbasierte und schleifende Ambient-Drones, deren Quellen und Bearbeitungsweisen im Dunkeln bleiben. Ein sehr entspanntes Album.


Chain D.L.K. (US) - March 2008
Text by Eugenio Maggi
http://www.chaindlk.com/reviews/?id=4250

I found it surprising, at first, to see a record by Maurizio Bianchi on a label like Baskaru, usually hosting softer sounds, but after listening this five-track collaboration (recorded over 2004-2006) with Emanuela De Angelis (Mou, Lips!, guest for Tu M' etc.) the choice definitely makes sense. "Regolelettroniche" is a quiet, melancholic work which is entirely loops based, be it with Bianchi's grating tape action, be it with cleaner, more ethereal digital treatments (which I presume are due to De Angelis). While this time it's hard to tell where the loops come from (some treated strings or guitars may be there), the experiment is quite close, as an approach to cyclic repetition, to Bianchi's "Cycles" or some atmospheres of "a M. B. Ienh Tale". It is very static music, which could even get on your nerves, but this can be said of any loop-based composition, including Basinski's acclaimed "Disintegration Loops", which I've found not that far from these pieces. Unsurprisingly for my personal tastes, I think that the massive, 20+ minute second track, "Cosmic Norms", is also the most successful one: its length guarantees that you wrap yourself in its sounds as in a warm blanket. A perfect disc to lull you in lonely afternoons.


D-Side (FR) - March 2008
Text by Jean-François Micard
http://www.d-side.org

Collaboration intergénérationnelle (pour reprendre un mot à la mode), Regolelettroniche voit deux périodes distinctes de la musique expérimentale, en l'occurence italienne, se cacher sous une poignée d'initiales. Car, sous M.B. se dissimule Maurizio Bianchi, pionnier de la scène industrielle, qui a publié des dizaines de cassettes et vyniles dans les années 80 avant de disparaître, pour des raisons religieuses, en 1984 et de ne refaire surface que plus d'une décennie plus tard. E.D.A., cache pour sa part Emanuela De Angelis, qui a démarré sa carrière en 1994, fondant Mou, Lips! et en tant que chanteuse et guitariste pour le groupe noise Joyce Whore Not.

Deux approches radicales, et souvent brutales, qui donnent pourtant sur Regolelettroniche naissance à quatre titres longs et liquides, traversés d'échos et de superpositions.

Evidemment proches d'un Fennesz, mais également des travaux les plus méditatifs de William Basinski, leur oeuvre commune s'avère constamment passionante, à mesure que les cieux s'ouvrent, qu'une pluie harmonique s'écoule, et qu'on se prend à y guetter l'éclaircie divine. Superbe.


Musiques & Cultures Digitales (FR) - March 2008
Text by Laurent Diouf
http://www.digitalmcd.com/

Ces initiales cachent deux artistes italiens. D'une part, Maurizio Bianchi, dont les premiers faits d'armes remontent au tout début des années 80s, dans la mouvance indus-noise. D'autre part, Emmanuela De Angelis, jeune musicienne qui s'est illustrée en fondant Mou, Lips!, avant de délaisser ce projet au profit d'Andrea Gabriele pour voguer en solo à la recherche d'autres expérimentations sonores. Elle semble avoir trouver son alter-ego avec ce vétéran. Le fruit de leur collaboration s'incarne en seulement quatre pistes. La première fait à peine trois minutes, mais tout est là ! Des loops taillés à la serpe, dont les imperfections, le souffle et le raclement perceptibles en arrière-plan donnent chair à cette "drone-music". Ces oscillations évoquent aussi les "plaques tournantes" de Philip Jeck. Une fois cette base posée, notre duo passe au long-métrage. Le 2ème morceau s'étire sur plus de vingt-cinq minutes, laissant percevoir de lentes et subtiles variations. Même son de cloches, ensuite, pendant plus d'un quart d'heure avant une ultime plage de six minutes beaucoup plus ambient et insidieuse. Du grand art.


Pop News (FR) - March 2008
Text by Cyril Lacaud
http://www.popnews.com/popnews/mb-eda/

Etonnant parcours que celui de Maurizio Bianchi, figure emblématique de la musique industrielle. Milan, 1979, Maurizio Bianchi sous le nom de Sacher-Pelz manipule aussi bien les sons extrêmes que les symboles les plus repoussants de notre histoire. Il diffuse ses travaux via le réseau mondial industriel, fait d'échanges de cassettes et de mail-art, qui finiront par arriver jusqu'aux oreilles perverses de Whitehouse, personnages ô combien controversés de la scène industrielle Anglaise. William Bennett et Steven Stapleton via le label Come Organisation sortiront plusieurs de ses cassettes, dès lors la production de Maurizio Bianchi sera, comme celle de Masami Akita avec Merzbow, absolument frénétique avec la publication de plusieurs albums par an sur d'innombrables labels plus ou moins incestueux. Au fil de cette production colossale, l'esprit fondateur du projet de Maurizio Bianchi demeure intact : l'incarnation à travers une musique violente, puissante et bien souvent effrayante de l'aliénation mentale de l'individu dépersonnalisé par une société industrielle et décadente.

Puis au milieu des années 80, il arrête brutalement toute activité musicale pour entamer une retraite religieuse qui sera interrompue en 1998 lorsque Emanuele Carcano du label Alga Marghen ré-édite ses premiers travaux et lui redonne alors le goût de la création musicale. Cette parenthèse spirituelle est pour ainsi dire une renaissance, au moins musicale, pour Maurizio Bianchi. Les assauts bruitistes et sordides des débuts ont fait place à des pièces proches de l'ambient, faites de drones et de répétitions minimalistes à l'image de ce "Regolelettroniche" pour lequel il s'est associé à Emanuela De Angelis, jeune et jolie pousse (elle pourrait être sa fille) de l'avant-garde italienne (Tu M', Mou-Lips!).

En guise de présentation, précisons que les auteurs de ce disque le définissent comme un assemblage sonore systématique pour instruments électroniques, ondes axiomatiques et réverbérations essentielles. En disant ça, ils ont tout dit ! "Eartlhy Pinciple" avec son motif bouclé sur lui-même, entre groove mutilé à la Philip Jeck et mélodie bancale à la Pierre Bastien, introduit magnifiquement les deux très longues pièces qui suivent. Ces deux impressionnantes masses sonores, ondulantes, composées de boucles de sons rugueux qui sur la longueur deviennent totalement obsédantes, constituent le véritable monument de "Regolelettroniche". Enfin "Electronic Rules" et ses boucles aquatiques concluent tout en douceur cet album remarquable et hors norme. Par son caractère ascétique et sa répétitivité obstinée, la musique de M.B + E.D.A en est presque déshumanisée et pour le coup proprement industrielle. Une approche radicale qui n'aurait pas déplu à un certain Luigi Russolo.


Losing Today (IT) - March 2008
Text by Roberto Mandolini
http://www.losingtoday.com/it/reviews.php?review_id=4464

Maurizio Bianchi ed Emanuela De Angelis hanno registrato un album strepitoso. I tipici frammenti sonori del veterano MB (trent'anni di onorata carriera alle spalle e ancora in prima linea per quanto riguarda la musica elettronica sperimentale) sono stati avvolti in camere d'eco e drones naturistici seguendo le regole elettroniche dettate da EDA (vent'anni più giovane di MB e un florido futuro davanti a sè). Il risultato suona molto simile alle disintegrazioni sonore di Basinski. Quattro le tracce sul cd, ognuna con un titolo altisonante. "Earthly Principle" dura meno di tre minuti ma già calibra le orecchie sull'elevato livello di drammaticità contenuto nella musica. Dura molto di più l'estasi di "Cosmic Norms", che nei suoi venticinque minuti di durata ha tutto il tempo di dispiegarsi seguendo le lentissime regole dei drones. Più cupa e 'industriale' la terza traccia, "Universal Order", un'ipnosi alienante lunga treduci minuti. Chiude il disco "Electronic Rules" dove l'approccio sembra cambiare seguendo un'attitudine decisamente più spacey. In bella evidenza nel libretto del bel digipak della Baskaru i ringraziamenti a Giuseppe Verticchio (NIMH) e a Lawrence English per il mastering finale.


Octopus (FR) - March 2008
Text by Fabrice Vanoverberg
http://www.octopus-enligne.com/template.php?css=sommaire&page=oursinsc&num=798

Ces cinq initiales sont celles des Italiens Maurizio Bianchi (né en 1955) et Emanuela De Angelis (née en 1975), qu'une génération sépare et que le présent disque rapproche pour la première fois. Membre parmi les plus actifs de la scène cassette underground des années quatre-vingts, Bianchi stoppa net toute activité en 1984, pour une longue interruption de treize années dictée par d'obscurs motifs religieux. Après avoir collaboré avec des personnages aussi importants que Jozef van Wissem, c'est auprès de sa compatriote De Angelis (dont le début de carrière mentionne un rôle de chanteuse et guitariste dans le combo noise rock Joyce Whore Not) que le musicien transalpin explore le monde des drones, désormais très fréquenté depuis qu'Eliane Radigue est revenue à la mode (et à juste titre) et que Sunno))) remplit les salles de concert mainstream. Tout en demeurant dans la sphère ambient de leur compagnon de label GoGooo (et son magnifique "Long, Lointain"), le duo italien nous réserve deux plages très longues d'une belle inquiétude brumeuse, qui n'atteint toutefois ni la plénitude de l'auteur de L'île Re-Sonante, ni la déconcertante obsession de la bande à Stephen O'Malley, ni la stupéfiante angoisse mortifère de ce dernier avec Peter Rehberg, nous avons nommé les essentiels KTL. Des quatre séquences, nous retiendrons surtout - bien qu'il soit difficile de sortir un titre du brouillard anxieux peuplant Regolelettroniche – le troisième "Universal Order", peuplé d'ombres maléfiques tapies dans une forêt humide et promptes à vous saisir à la gorge pour ne plus vous lâcher. Comme toujours sur ce type de projet, le mieux est de lâcher prise et de laisser dérouler ces quelques instants d'éternité électronique sans même songer à pousser le bouton Stop.


The Wire (UK) - March 2008
Text by David Stubbs
http://www.thewire.co.uk

Maurizio Bianchi has been active since the late 70s, when he was a key figure in the Italian cassette underground scene. In 1984 he gave up all musical practice for obscure, religious reasons, but in 1997 made a comeback. Emanuela De Angelis, 20 years younger than Bianchi, started out as singer and guitarist with noise group Joyce Whore Not. Theirs is an unlikely pairing, but this album, as its title implies, is about establishing common working ground. Not new ground, mind - these four tracks range from Fennesz-style billowing clouds of grainy beauty to Basinski-esque decaying chords. But this is an immensely satisfying listen, its looped, gaseous emissions subtly and incrementally transporting the listener to better places.


Sonic Seducer (DE) - March 2008
Text by Sascha Bertoncin
http://www.sonic-seducer.de

Daran, hier von einem Generationentreffen zu sprechen, kommt wohl keiner vorbei. Maurizio Bianchi gehört zu den dienstältesten Vertretern der Industrial-Gründergeneration; seine musikalische Partnerin Emanuela De Angelis hat zwanzig Jahre weniger auf dem Buckel und begann ihre Solokarriere esrt 2004, war jedoch bereits zehn Jahre zuvor als Sängerin und Gitarristin bei Joyce Whore Not aktiv. Auf ihrem gemeinsamen Album mit dem zungenbrecherischen Namen "Regolelettroniche" kreieren diese beiden unterschiedlichen Charaktere auf Loops basierende ambient-industrielle Soundscapes, unter deren rauer Oberfläche längst nicht nur chaotische Strukturen, sondern auch warme einladende Klänge zu entdecken sind, die man aus der Feder M.B. kaum erwartet hätte. Musik für Spaziergänge auf zuwuchernden Industriebrachen.


Textura (CA) - March 2008
Text by Ron Schepper
http://www.textura.org/reviews/english_mbeda.htm

Of vastly different sonic character is Regolelettroniche by M.B + E.D.A. (Maurizio Bianchi and Emanuela De Angelis). A generation separates the two but they're of simpatico minds on their four-track collection of deep drones. Their backgrounds are radically different too: active in electronic music circles since 1979, Bianchi abruptly quit in 1984 for "religious reasons" before returning to the scene thirteen years later. Younger by twenty years, De Angelis's debuted in 1994 as the guitarist and singer in noise band Joyce Whore Not, appeared on the first record by Tu M', and went solo ten years later. On this recording, Bianchi is credited with loops and waves, and De Angelis with drones and re-echoings though, predictably, the sonic results—guided by so-called "rulelectronics" the pair agreed upon—meld their contributions into undifferentiated wholes. The release begins with a rather restrained overture "Earthly Principle" before plunging into the deep end in "Cosmic Norms." Over the course of twenty-five, engulfing minutes, grimy tones waver and drift in tranquil manner with the waves and loops undergoing nearly imperceptible metamorphoses. The shimmering "Universal Order" heats up immediately but may exhaust some listeners' patience by repeating its minimal chords to excess. The meditative drone style of Regolelettroniche isn't unfamiliar, but what is ear-catching is the peaceful ambiance the material's industrial, machine-like sounds cultivate.


Gaz-Eta (PL) - March 2008
Text by Tom Sekowski
http://www.gaz-eta.vivo.pl/gaz-eta/recenzje/gazeta.php?nr=64&id=s_12

On "Regolelettroniche", Italian sound artist Maurizio Bianchi is credited with rulelectronics, loops and waves, while his younger musical partner, Emanuela De Angelis [co-founder of Mou, Lips!] contributes drones, re-echoings and rulelectronics. When they come together under the keen ear of Lawrence English [who was responsible for final mastering of the record], their sound is that of a never-ending drone. The 25-minute "Cosmic Norms" is one extended slab of drone - scorching, scraping and rough around the edges, while "Universal Order" [only half the length of the previous track] is a loop that is reminiscent of ghastly sounds inside of a deep, ominous cave. The album ends off with "Electronic Rules", which may have appropriated sounds of deep water explorations [sound of bubbles popping? someone gasping for air?]. As a whole, a highly evocative piece of work; one that hopefully spells out a successful, long-term relationship at its primal stages.


Muziklandet (SE) - March 2008
Text by Daniel Magnusson
http://www.musiklandet.se/ml/index.nsf/1?Open&a=sk&id=318FED195357F8F4C12573E70054C283

Cirkulär musik

Italienarna Maurizio Bianchi och Emanuela De Angelis tror sig förstå reglerna av droning. Det tror jag med. På "Regolelettroniche" har de till och med skapat egna regler - lite som en dogma-utarbetad ambient. De håller dock tyst om vilka begränsningar som satts. Det ska lyssnaren själv komma underfund med.

I min korta men förhoppningsvis kärnfulla analys använder jag orden: repetetiv, cirkulär musik med små – nästintill gömda - omställningar som märks av först när blomman helt slagit ut. Hela skivan osar av industri på halvfart. Oljiga kullager som surrar in i evigheten. Loopade ljudbilder som maler sig rakt in i hjärtat utan minsta tanke att sluta.


Rockerilla (IT) - March 2008
Text by Michele Casella
http://www.rockerilla.com

Con un suono che potrebbe fare invidia alle storiche uscite della Kranky Records, Maurizio Bianchi torna alla ribalta dell'electronica internazionale grazie alla label francese Baskaru. Questa volta al suo fianco troviamo Emanuela De Angelis che, dopo un passato noise-rock, con "Regolelettroniche" arriva a tessere le trame iridescenti di un album decisamente evocativo. Strutturato attraverso loop, saturazioni elettroniche e un'infinità di drone, questo disco si dilata in una complessa struttura musicale. Un gioco di riverberi sottomarini e suoni vibranti, a tratti più impetuosi ed in altri furbamente docili, che si sviluppano in tortuose composizioni ma che - in alcuni casi - non riescono a farci dimenticare quel molesto senso di deja-vu. (7/10)


EtherReal (FR) - February 2008
Text by François Bousquet
http://www.etherreal.com/spip.php?article2645

Moitié de Mou, Lips! (ce duo italien signé sur List, dont a parlé ici en 2003 et qui a malheureusement cessé ses activités depuis), Emanuela De Angelis s'associe à Maurizio Bianchi, vétéran de la scène expérimentale italienne, pour proposer un album paraissant sur le label français Baskaru.

Composé de trois longues pistes (de six à vingt-cinq minutes) et d'une quatrième plus courte, ce long-format offre, comme on pouvait s'y attendre, une ambient composite, faite de nappes superposées, de travaux sur la texture des sonorités, d'évolutions infinitésimales et d'ondoiements soyeux. à cet égard, force est de reconnaître qu'on éprouve une certaine délectation à se perdre dans ces boucles aussi enveloppantes que complexes. Parvenant, malgré des avancées réduites dans le propos, à ne jamais ennuyer l'auditeur, les deux Italiens dispensent une musique qui conjugue avec succès luminosité des arrangements (réverbérations, tonalités électroniques) et opacité de l'agrégat alors constitué (Cosmic Norms).

Utilisant avec habileté la longueur de leurs morceaux, Maurizio Bianchi et Emanuela De Angelis (présentés sous leurs simples initiales sur la pochette) passent imperceptiblement, dans le même titre, de passages plutôt chaotiques à des moments plus apaisés, portés par une petite boucle mélodique dans le lointain. Archétype même de l'album ambient réussi, Regolelettroniche prouve une nouvelle fois que le jeune label Baskaru sélectionne avec soin ses sorties.


Bodyspace (PT) - February 2008
Text by Miguel Arsénio
http://www.bodyspace.net/album.php?album_id=1260

Maurizio Bianchi e Emanuela De Angelis, mãos que embalam o denso drone em Regolelettroniche, encontram óptimo paralelo em Mestre Yehudi e Walter Rawley, personagens criadas por Paul Auster no seu (incrível) oitavo livro, Mr. Vertigo. Sem revelar demasiado sobre o segredo que torna mais compulsiva a leitura de Mr. Vertigo, diga-se apenas que o perfil de guru charlatão - excepcionalmente capaz de criar ilusões - que caracterizava o Mestre Yehudi, pode ser adaptado à descrição de Maurizio Bianchi, incansável e articuloso druida ao serviço da música experimental italiana que, segundo rezam os registos biográficos, terá já andado metido em sarilhos com Aube - injustiçada sombra de Merzbow no reino do verdadeiro noise japonês - e adoptado termos menos ortodoxos como fachada provocatória para o seu activo artístico. Emanuela De Angelis partilha da pátria do tutor M.B. e, tal como o miúdo Walter Rawley, é ávida de aprendizagem – neste caso, em termos das ciências ocultas do drone (tendo já demonstrado prodigiosos resultados na compilação Sonic Scope 04 : The Portable Edition a cargo da portuguesa Grain of Sound).

Apresentados os personagens a ambas as partes do eixo ficcional, saliente-se agora que, onde Mr. Vertigo contava a história de um rapaz que aprende a voar, Regolelettroniche - assinado pelas iniciais do par italiano - regista a conclusão obtida conjuntamente pelo mestre e aprendiz numa tese debruçada sobre a gestão de um oceano de drones, que, dentro do seu ecossistema equilibrado, encontra vaga para a infiltração de alguma exacerbação lírica (como chega a ser a de Burning Star Core quando mais apaixonado pelo ocaso), de um verdejar fungoso - que torna mais imprevisível a dispersão da electrónica adicionada - e, sobretudo, de uma conduta disciplinada que impede os loops engelhados e vagas constantes de galgarem a barreira terrestre (todas as matérias preteridas) que lhes serve de comportas.

Sem diferir dos restantes processos de assimilação, Regolelettroniche repete persistentemente as mesmas bases (de som contínuo em espiral), que, só quando bem firmadas, encaixam adicional progressão - sendo que a gradualidade desta colaboração compete com a de uma lesma na sua travessia pela superfície de uma cana de bambu. Mas a natureza de Regolelettroniche actua assim mesmo - levando - o a respeitar todas as formalidades auto-impostas e insinuadas nos títulos dos seus quatro actos, para, quando manifesta alterações do mais subtil grau, ser mais intenso o fruir das revelações que oferece uma metamorfose circular que só o é em pleno quando acompanhada com obsessiva minúcia. Este é essencialmente um disco conduzido pela fé e como os calcanhares dessa podem ser arranhados a cada vez que o mar e céu se tocam na linha do horizonte.


Hair Entertainment (DE) - February 2008
Text by Nic
http://hairentertainment.com/M.B.E.D.A/Regolelettroniche

M.B. + E.D.A., it seems, are made up of two Italians on either side of the generational divide – Maurizio Bianchi, an elder statesman of the Italian experimental scene, and solo noisenik Emanuela De Angelis, twenty years his junior. Though the two share roots in noise, together De Angelis and Bianchi retire to gentler pastures on Regolelettroniche, their first LP as a duo, trafficking in a kind of muted, cyclic noise, a language of soporific repetition limited in its range and sure in its execution. A set of rules the two came up with, apparently, were the basis for this collaboration, an unspoken framework the two call 'ruletronics', a system whose provenance is as uncertain as the resulting drones are beautiful, all wondering about whatever conceptual arrangement arrived at these experiments moot once you actually hear them. 'Universal Order', the record's third track, trades in the same grainy greys as Belong's excellent October Language, but is even more static, allowing each loop to bend, warp, expand and contract until each beginning is lost in its end. In this sense, much of Regolelettroniche speaks the same tones as William Basinski's Disintegration Loops, the songs gaining direction and movement from staying in one place and revealing their shadows and lights, content to play without anything resembling conventional songform. 'Cosmic Norms', the record's 25-minute centrepiece and undeniable highlight, is a gorgeous, shifting wash of oceanic noise that shows Bianchi and De Angelis, for all their rules, very clearly of one mind. As elsewhere on the record, 'Cosmic Norms' sees only a few phrases given voice, but each are stretched and unfurled in a way that they never outstay their welcome. De Angelis and Bianchi play with the kind of sonics that displace normal notions of time, progression and order, replacing them with something simpler, truer even.


Bad Alchemy (DE) - February 2008
Text by ???
http://www.badalchemy.de

M.B steht für den vor 10 Jahren als sanfter Dröhnminimalist wiedergeborenen Ex-Industrialisten Maurizio Bianchi, E.D.A für Emanuela De Angelis, seine exakt 20 Jahre jüngere Landsfrau aus Pescara. In den 90ern Sängerin & Gitarristin von Joyce Whore Not und anschliessend mit dem Sweet-new-glitch-Projekt Mou, Lips! aktiv, scheint ihr Appetit auf Normabweichung ungestillt. Umso erstaunlicher, dass sie mit M.B sich gleich vierfach Fesseln anlegt - Prinzip, Normen, Ordnung & Regeln, angewandt auf irdische, kosmische, universale und elektronische Seinsweisen. Daraus resultieren als Bewegungsform Loops, spiraliges Rauschen, Drones, die sich wie Raupen voran schieben - Strecken, Rücken wölben, Hinterteil nachziehen, ad infinitum. Loops & Waves verbinden sich nach "rulelectronischen" Formeln mit Drones & Re-Echoings zu Mantras, die in ihrer automatenhaften, geradezu kosmischen Monotonie eher irritieren als beruhigen. Ist Demut die Fähigkeit, ständige Demütigung klagos zu ertragen? Oder die Gleichmut, das, was nicht zu ändern ist, unaufgeregt durch sich hindurch strömen zu lassen? Wenn die Raupe weit genug in den Kosmos hinaus gekrochen ist, wird es unvermutet stiller, lichter und sogar die Halluzination einer teleologischen Melodiösität stellt sich ein. Das Universum pulsiert und vibriert, mit etwas Phantasie könnte man sogar sagen, singt unordentlicher als es sich für eine Ordnung gehört. Selbst Blitze oder Peitschenschläge ändern daran nichts. Ausgerechnet bei "Electronic Rules" setzt Unruhe ein und es umkreist einen minutenlang das Flüstern einer Frauenstimme, ein Lockruf, eine Mahnung, die sich einfach nicht entziffern lässt.


Solénoïde (FR) - February 2008
Text by Le Solénopole
http://www.solenopole.org/mission120.htm

Signées de deux activistes de l'avant-garde musicale italienne, les quatre plages de ce CD concentrent les caractéristiques ordinairement prêtées aux musiques atmosphériques. A la seule différence, de taille, que ces compositions quasi-hypnotiques se dispensent de toute ambition mélodique... Une caractéristique qui n'empêche pas les deux compères de faire rimer répétition avec émotion, augurant au passage d'un futur discographique plus que prometteur.


Musique Machine (BE) - February 2008
Text by Roger Batty
http://www.musiquemachine.com/reviews/reviews_template.php?id=1594

This collaboration between Italian noise/industrial/ambient legend Maurizio Bianchi & fellow electronic artist Emanuela De Angelis follows the drone and sampled based loop path, sort of like a more urgent and less dissolving take on William Basinski's work.

Each of the four tracks selects a looped texture or musical moment and slowly loops it over and over again with slight sonic growths and movements occurring along the way. The tracks last between two and twenty five minutes and are for the most part quite hypnotic and lovely, with the odd texture been a little more jarring and ominous but for the most part this is trance inducing glory and wonder. My favourite moment here is the longest piece Cosmic Norms which loops this stuck coral loop over and over, with a collection of nice smouldering and slightly shifting ambient textures underneath the main loop that warm you more and more as the track progresses.

Though hardly the most original or world shattering thing you'll hear, it does have a tendency to get under your skin, all in all a pleasant enough drone/loop based release.


Jazzthetik (DE) - February 2008
Text by Klaus Smit
http://www.jazzthetik.de/

Was die Italiener Maurizio Bianchi und Emanuela De Angelis als M.B + E.D.A auf "Regolelettroniche" machen, klingt im Vergleich dazu fast schon brachial, ist aber ebenso feingliedrig zusammengesetzt. Und dabei handelt es sich um Drones, gebündelte Sound-Schleifen, akustischen undelektronischen. Und die dürfen gem mal 25 Minuten und länger dauern, weil sie einen richtig gehört in sich hineinsaugen, umschlingen, mitnehmen in andere Weiten.
Wenn sie gut gemacht sind, wie die Kranky-Künstler es immer wieder eindrucksvoll beweisen. Aber die beiden Italiener können das durchaus auch, allerdings haben ihre Stücke nicht ganz diese Tiefen von Stars of the Lid oder anderen. Und in dem Sound tummeln sich auch nicht so feine Melodien oder andere Schönheiten. Was schade ist, denn der Rahmen dafür ist durchaus zu entdecken.


Foxy Digitalis (US) - January 2008
Text by Mike Wood
http://www.digitalisindustries.com/foxyd/reviews.php?which=3066

"Regolelettroniche" is a fruitful meeting between electronica/avant-garde legend Maurizio Bianchi and former Joyce Whore Not singer/guitarist Emanuela De Angelis. The title means "rulelectronics," are supposedly refers to the set of informal rules for composition agreed upon for the project by the two artists. Yet this is no exercise, nor does it appear that the rules were that rigid.

Ambient electronic music does, however, have certain tools that are relied on, if not exclusively, then at least primarily relied on. So too here: drone, loops, soundwaves, electronic instruments and programmed patterns repeating to create a framework for the overall feel of the set.

The four tracks, each titled with a phrase that suggests a broad psychic overview ("Earthly Principle", "Cosmic Norms", etc.) are created in ways that allow for a lingering over their tone; time allowed for meditating on the title? Time for thinking about your own loose rules of the universe?

Bianchi and De Angelis, veterans who have both taken great risks and been prolific in a genre that often thrives on hermetic repetition, create in "Regolelettroniche" an opportunity to transcend the genre and at least suggest a larger context. (7/10 )


Tapage Nocturne / France-Musique (FR) - January 2008
Text by Eric Serva
http://www.radiofrance.fr/francemusique/em/tapage/emission.php?e_id=18&d_id=315002458&arch=1

Maurizio Bianchi est depuis la fin des années 70 un acteur essentiel de la musique électronique expérimentale italienne. Mais son parcours spirituel est venu en 1984 mettre entre parenthèse son activité de compositeur pendant 13 ans. De retour depuis 1997, il revient aujourd'hui avec Regolelettroniche un nouvel album composé entre 2004 et 2006 en duo avec la jeune Emanuela De Angelis (Joyce Whore Not, Mou,Lips!). Signé sur le label Baskaru, cet opus discographique est une oeuvre en quatre parties de 2, 25, 12 et 6 minutes qui toutes prennent une forme dense et répétitive et s'écoutent tel un message de sagesse noyé dans un brouillard sonore persistant.


Vital Weekly (NL) - January 2008
Text by Frans de Waard
http://www.vitalweekly.net/610.html

Twenty years of silence is made up in a few years via an endless stream of releases from our beloved Maurizio Bianchi, also known as M.B. who teams up here with his twenty year colleague Emanuela De Angelis, who was the lead singer and guitarist of Joyce Whore Not and who founded later Mou, Lips!. Since 2004 she works solo. Like with a lot of collaborations that Bianchi undertook in recent times, it's pretty unclear how things were made, who did what. Bianchi gets credit for 'rulelectronics', loops and waves and De Angelis for drones, re-echoings and also 'rulelectronics'. 'Electronic rules for reflecting disciples' it says on the cover. The four pieces are pretty minimal affairs of shifting layers of drones of similar yet detailed differences. The whole things hums, vibrates and shakes on all sides. Ambient industrial at it's very best, steady moving, slowly changing. Very cleverly things get stretched throughout a piece, to make more space, which works best in the opening piece 'Earthly Principle'. This is a pretty strong collaborative disc, of highly unsettling ambient drone music.


Smallfish Records (UK) - January 2008
Text by Mike Oliver
http://www.smallfish.co.uk/

Frankly, this is brilliant and is without doubt my favourite release on Baskaru thus far (and that's saying something as I adore the Lawrence English CD). Maurizio Bianchi and Emanuela De Angelis have combined their talents here to provide a simply gorgeous 4-track work of deep, electronic drone music. Lush, atmospheric and full of wonderfully manipulated sounds, this is one for fans of Bianchi's other work as well as the output of labels like Line, and/OAR, Cronica and more. This is one of the very last new releases we'll be getting before we close and what a way to go out! Marvellous.


ONDEFIXE + Benzine Magazine (FR) - January 2008
Text by Benoît Richard
http://ondefixe.over-blog.com/article-7351725.html
http://www.benzinemag.net/2008/01/22/chroniques-express-46/

Du label français Baskaru, on connaissait principalement le très bel album de Gogooo sorti fin 2007 sur lequel le français mettait en avant une musique ambient somptueuse. A la même époque sortait sur ce même label un autre album, lui aussi dédié à l'ambient, mais avec une démarche foncièrement différente pour un résultat lui aussi assez différent.
"Regolelettroniche", puisque c'est le nom de l'album, cache derrière son titre en forme de blague une musique ascétique où le drone est roi, où les nappes et les boucles se font répétitives et la mélodie se fait imperceptible, voire inexistante.
Composé par le vieux Maurizio Bianchi (né en 1955), figure de la scène avant-gardiste italienne, et la jeune Emanuela De Angelis (née en 1975) associée à de nombreux projets (Tu M', Mou,Lips!), le duo M.B. + E.D.A. propose quatre titres, dont deux très longs qui servent de plat de résistance à un album assez difficile d'accès et pour lequel on a un peu de mal à tenir la longeur. On conseillera donc avant tout ce "Regolelettroniche" à ceux qui apprécient la frange la plus avant-gardiste de la musique ambient actuelle.


Oltre Il Suono (IT) - January 2008
Text by Giuseppe Verticchio
http://www.oltreilsuono.com/recensioni.html

Artista estremamente prolifico, Maurizio Bianchi in questi ultimi anni, nonchè anche negli ultimi mesi, ha messo a segno e pubblicato molti lavori, alcuni dei quali particolarmente interessanti e significativi. In tempi recenti, oltre al presente CD, ho avuto modo di ascoltare e apprezzare ad esempio "Escape to Bela Zoar", pubblicato da L.White Records, e "The Epidemic Symphony NO.9", uscito per Octpia e realizzato in collaborazione con Nobu Kasahara e Hitoshi Kojo. "Regolelettroniche", appena rilasciato da Baskaru, nasce da una collaborazione tra Maurizio Bianchi ed Emanuela De Angelis, e il materiale incluso è stato registrato, sviluppato e messo a punto tra il 2004 e il 2006. Allineato, stilisticamente e qualitativamente parlando, a molti altri CD realizzati dall'artista nel medesimo periodo, "Regolelettroniche" propone 4 tracce costituite sostanzialmente da ripetitive e talvolta "alienanti" strutture a base di loops di brevi frammenti sonori, talvolta stratificati, sostanziosamente trattati ed elaborati elettronicamente, che nel loro progressivo e martellante progredire sviluppano via via variazioni e forme più complesse, plasmando lentamente suggestive e avvolgenti masse sonore che lasciano con l'amaro in bocca soltanto nel momento in cui le tracce sfumano e si concludono, palesando a pieno, attraverso il decadimento finale dei suoni e il ritorno al silenzio, tutta l'intensità espressiva e la drammaticità che fino a pochi attimi prima erano stati in grado di sprigionare... Ho parlato poco sopra di "frammenti di suoni", ma ciò non faccia pensare a particolari analogie con altri vecchi lavori di Maurizio quali ad esempio "Frammenti" o "M.I. Nheem Alysm"; "Regolelettroniche" infatti appare nell'insieme completamente diverso, meno "frammentario" e al tempo stesso molto meno "minimale" rispetto ad essi, vuoi per il tipo di "frammenti sonori" utilizzati, vuoi per la sostanziosa elaborazione elettronica delle parti utilizzate, vuoi per la matrice timbrica molto più "ricca", vuoi per la sua particolare "natura" che unisce egregiamente ad uno spirito di ricerca e sperimentazione ai limiti dell'estremo, una particolare attenzione per la "fruibilità" e per l'imprescindibile "piacevolezza d'ascolto" di quanto proposto. Ovviamente si tratta pur sempre di un CD indirizzato soltanto ad orecchie ben "navigate" e avvezze ad esperienze d'ascolto inusuali e in qualche modo "impegnative", ma non aspettatevi un "esercizio" di pura sperimentazione fine a sè stessa, nè un insopportabile ed estenuante "mattone sonoro"... Peccato soltanto che Baskaru abbia scelto di non includere in versione integrale anche l'ultimo brano, "Electronic Rules", brano che da una durata iniziale di quasi ventotto minuti è stato qui estremamente "sintetizzato" nella durata totale, decisamente troppo "sacrificata", di soli sei minuti... Se così è assolutamente doveroso un plauso all'etichetta che ha scelto di pubblicare questo bel lavoro di Maurizio Bianchi, presentato peraltro in una curata ed elegante confezione digipack, è altresì necessario associare ad esso anche un "rimprovero" per aver mancato di lungimiranza, e per aver sentito la poco opportuna necessità di apportare un drastico taglio ad un'opera che, nella versione di 69 minuti del master originale, sicuramente offriva qualcosa "in più", e non certo soltanto in termini di durata...


Rockerilla (IT) - November 2007
Text by Aldo Chimenti
http://www.rockerilla.com

'Systematic sonorous assemblage for electronic instruments, axiomatic waves and essential reverberations' si legge nelle note di copertina di "Regolelettroniche", intrepida sfida sonica a quattro mani di Maurizio Bianchi ed Emanuela De Angelis che ritroviamo dietro le sigle M.B. + E.D.A. L'effetto di surreale immanenza che tale prova però sortisce è assai più potente delle parole, come intercettare il respiro di un canto iperuranico che cavalca le meccaniche delle sfere e del kosmos, epifanie del subconscio che riverberano alle luci del dopo caos. Ma sono nemesi spazio-sensoriali troppo grandi per essere contenute in una linea d'orizzonte, soltanto liberate in un profilo continuo di loops/armonici a scansione lunga, di molecole dronanti, scabre, viscerali... Come quasar urlanti oltre le fasi del tempo. (7/10)



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