One of the heaviest and most sinister releases in Maurizio Bianchi's sizeable discography, the 2006 disc Blut Und Nebel (released on the Italian death-industrial label Slaughter Productions) is made up of remixed/reworked material that Italian industrial pioneer Bianchi took from his first ten Lps released in the early part of the 1980's and transformed into completely new pieces of industrial sound. These new tracks follow the trajectory that Bianchi has pursued following the release of his landmark album The Plain Truth in 1983, as he explores intensely focused claustrophobic drones and multi-layered ambience, and is a far colder and bleaker listening experience than the more recent experiments in synthesized ambience and intricate loop-based electronic soundscapes.

The beginning of the album is populated with corrosive noise blasted into thick clouds of reverb-pit murk and warped synthesizer rumble, oppressive drones and fluttering echoplex waves that streak across the hellish black skies of "Genocide - Symphonic Holocaust", echo and reverb effects being pushed into extreme levels of feedback. The following track "Womenses - Instrumental Secretion" is a throbbing factory dream, a swarming nest of clicking, grinding, infinitely echoing machine noise and warning sirens screaming into a six-minute sprawl of symphonic factory terror that eventually organizes itself into precisely arranged blocks of rumbling echo. Grinding low-end distortion and stuttering echo effects crawl out of the opening minutes of "Neuro Moerder - Concrete Anamnesis", then peel back to extend an eerie minor key synth line before it crumbles into a massive wash of dark corrupted ambience.

The next two tracks drift through oppressive metallic drones and shrieking black industrial ambience, but when we reach "Testamento - Electrophonic Ultimatum", the sound descends rapidly into slow motion industrial dirge, massive crushing percussive heaviness lurking in the background, Bianchi now invoking a kind of stretched out, washed out industrial doom with what cound like oil drums being hammered in slow motion, and the heavily distorted synths being pulled apart into huge growling smears of heaviness. To say this is one of Bianchi's heaviest moments is an understatement; it�s a crushing, malevolent industrial deathdrone dirge, roaring straight out of the abyss...

From there, the remainder of the album sinks back into black industrial ambience. The heavy cavernous drone of "Endometrium - Haematic Cacophony" slowly uncovers minimal clicks and scraping noises; "Har-Maghedon - Apocalyptic Dissonance" melts into shadow with minimal midnight thrum, resembling the black drift of Lull. And " Carcynosi - Minimal Metastasis " unfurls black clouds of sinister cathedral ambience and murky pipe organ tones, creepy smears of backwards sound, rattling metal, and melted minor key eeriness sounding like the blurred and slippery murkiness of an old horror movie soundtrack Lp slowly melting...