Your cart (0 item)

DE WAARD, FRANS - Vijf Profielen

Format: CD Label & Cat.Number: Alluvial Recordings a26 Release Year: 2007 Price (incl. 19% VAT): €12.00 Warning: Currently we do not have this album in stock! More Info "In November 2005 Frans de Waard spend a week recording and composing on location in the small Dutch town Vlissingen, near the cost. The Marine shipyard is located in the centre of that town, but activities are moved and the whole area gets new direction in years to come. As part of an exhibition '[Mijn] Domein', three musicians were asked to reflect on this transition. Frans de Waard was last and recorded the remaining activities in this building where so called 'profiles' are made used in shipbuilding. In the piece things move from hectic and busy (in the first profile) to emptyness (in the fifth profile), although it's one piece. Using mainly recordings made on site of elevators, metal cutting and room ambience, this piece is a strong work of field recordings with minor electronic processing. Frans de Waard is best known for his work with a wide variety of projects, such Kapotte Muziek, Beequeen, Goem, Freiband and many more, all in the field of experimental music and sound art since 1984. Since then he runs his own Korm Plastics, had a brief involvement in Staalplaat and since 1986 has a magazine called Vital, since 1995 known as Vital Weekly. 'Vijf Profielen' is however the first full length Cd under his own name. Housed in the usual Alluvial Recordings plastic wallet, cover was printed at Knust in Nijmegen and design is by Roger_NBH." [label info] "....Although there is just one long track on the CD, it is clearly divided into five distinct parts. This makes sense, since it emphasizes the unity of the whole, while making the individual parts actually function as profiles, similar to a series of different shots of the same location in a film. The music is neither cinematic in the sense of conjuring up images, though, nor is it a documentation on the site of the recording, but it rather captures the qualities of the original recordings of the rumble and clatter of large machinery in a suggestive way, transforming the original sounds into carefully abstracted drones. The work demonstrates a fine sense for the aesthetic possibilities of sounds found at a given location. It opens with unprocessed recordings of mechanic sounds, which show that the source material is highly interesting by itself. As the piece progresses it gets more and abstract, moving through minimalist fields of opaque sound, that are mostly subdued, but gain a powerful presence at times. In the final 'profile' the sound recedes almost totally and a fine, dark drone, just above the threshold of audibility closes the CD. Considering the contrast to the opening passage, the transformation of the material throughout the piece and the origin of the basic sounds, this is a great ending - a definite last point on the one hand, but on the other hand also like an emptiness, that reverberates in your memory while the location where the sounds originated doesn't exist anymore." [MSS / Vital Weekly] www.alluvialrecordings.com