Telmegiddo was the last tape-decomposition by Maurizio Bianchi and was recorded in February 1983 after the Armaghedon LP.
Apocalyptic echo-sounds, originally decomposed at Mectpyo Studio in February
Unofficially issued as cassette tape in 1990 with the given title of "Extreme
Bakterihabitat by M.B. contains sound sketches that
were later used in Telmegiddo.
Mixture of bacteriological wall of noises, originally decomposed at the
Mectpyo Studio in May 1982. Unofficially issued as cassette tape in 1990
the given title of "Extreme Man 1".
Cover image is a 1981 original M.B. artwork.
Numbered edition in a paste-on metal box. Bacterihabitat CD-R is professionally printed.
Review from Vitalweekly.net
(...) On the other release we have a CD by Maurizio Bianchi and a CDR by M.B., and that's why a book is such a great idea. Why is that? 'Telmegiddo' (CD) is 'the last cassette tape decomposition' and was previously released as 'Extreme Man 2'. The two pieces on 'Bacterihabitat' (CDR) are from May 1982 and previously released as 'Extreme Man 1' - both of the releases actually released without permission. Its hard to say what the differences would be between both works, but they (all four pieces, over the two CDs) mark indeed the end of that first phase of Bianchi. Having started out with heavy tape-loops, skipping records, and loud synth music, towards the end of this phase, with 'The Plain Truth' LP on Broken Flag as it's prime example, the music became more and more bleak. The echo machine full on open, with synthesizer waves flowing slow but steady into that echo machine, the music is endless, minimal in movements and quite austere. Doomsday music, the sound of the apocalypse, or perhaps what comes right before that (or right after?). The two pieces that form 'Telmegiddo' seem to have a more synth-like sound, and more variation. Sounds are pushed more into the echo machines, especially in 'Megiddo', and have a vaguely sort of machine like drive to them. 'Bacterihabitat' appears at a virtual stand-still: nothing happens here. Maybe I did at one point call 'The Plain Truth' to be an ambient album, and perhaps I should be called this release ambientů however, I am reluctant to do so. Maybe it's because I tend to think of ambient music as something more easy going, more generally appropriate to your environment, to fill up space sonically, and that's perhaps not the idea I have with these bleak sonic pictures of coldness and alienation. But I really do like these releases - both of them - as it makes a sucker like me for anything Bianchi more essential listening.