Background/Info: Rutger Zuydervelt set up his Machinefabriek project in 2004. Hailing from The Netherlands, this artist has released a countless number of productions featuring many collaborations. “Amalgaam” is his newest work, which has been introduced as ‘based on a series of improvisations on a very hands-on hardware setup’. He used an old tone generator, effect pedals, dictaphones, contact mics ao. The noises were originally recorded and next mixed and transformed in the studio.
Content: Machinefabriek stands for experimental music and that’s what “Amalgaam” simply stands for. You clearly can see the improvised way of working, mixing numerous noises creating a truly sonic patchwork. The album features 2 shorter cuts and 2 elaborated ones holding you in their grip for 11- and 15 minutes. Next to the experimental/industrial influence, the album also reveals a dark-ambient touch, which is hanging over the work.
Notice by the way the track “Metallic” is an older cut that was originally released on a compilation. As the cut fitted with the global approach of “Amalgaam” it has been simply re-edited.
+ + + : If you’re into experimental music and you like improvisations, Machinefabriek is for sure a project you have to get on your radar. This new work will fulfill your expectations, Rutger Zuydervelt is operating as an experienced sound architect in the genre. From self-created noises to pure electro-acoustic work, this album will especially catch your attention by its longer cuts. “Amalgaam I” and “Amalgaam II” both are efficient track and I especially like the way both cuts evolved into a crescendo.
– – – : The experimental side however remains difficult to be accessible for non initiated music freaks.
Conclusion: I often have some reservations with prolific artists, but “Amalgaam” is worthy of examination for experimental lovers.
Since you’re here …
… we have a small favour to ask. More people are reading Side-Line Magazine than ever but advertising revenues across the media are falling fast. And unlike many news organisations, we haven’t put up a paywall – we want to keep our journalism as open as we can. So you can see why we need to ask for your help.
Side-Line’s independent journalism takes a lot of time, money and hard work to produce. But we do it because we want to push the artists we like and who are equally fighting to survive.
If everyone who reads our reporting, who likes it, helps fund it, our future would be much more secure. For as little as 5 US$, you can support Side-Line Magazine – and it only takes a minute. Thank you.
The donations are safely powered by Paypal.
This website uses cookies to improve your experience. We'll assume you're ok with this, but you can opt-out if you wish. Cookie settingsACCEPT
Privacy & Cookies Policy
Privacy Overview
This website uses cookies to improve your experience while you navigate through the website. Out of these cookies, the cookies that are categorized as necessary are stored on your browser as they are essential for the working of basic functionalities of the website. We also use third-party cookies that help us analyze and understand how you use this website. These cookies will be stored in your browser only with your consent. You also have the option to opt-out of these cookies. But opting out of some of these cookies may have an effect on your browsing experience.
Necessary cookies are absolutely essential for the website to function properly. This category only includes cookies that ensures basic functionalities and security features of the website. These cookies do not store any personal information.
Any cookies that may not be particularly necessary for the website to function and is used specifically to collect user personal data via analytics, ads, other embedded contents are termed as non-necessary cookies. It is mandatory to procure user consent prior to running these cookies on your website.