MODELBAU – 1×33.3

CDr, http://www.loveearthmusic.com/

Thirty-three minutes and thirty-three seconds. That is how long this track is. Again, some Frans de Waard, not too long after the beautiful vinyl “Blackout” on the same label (reviewed in VW 1426). No introductions are needed here, so we’re diving headfirst into the material.

The composition is built the way we are used from Modelbau. It is a slow, generative ambience piece with a loopy character of sound after sound after sound. And whether it’s done through huge tape loops or digitally, these sounds might or might not return after some time. That is something you will never know from Modelbau. The origin of the sounds is always unknown unless you see him live. Then you can see if it’s from a digital device, some ancient electronic toy, or a guitar with (e)bow.

The beauty of Modelbau lies in the atmospheric patterns. In this case, it’s all about the space between the tones/notes (yes, there is a difference here, too, but that’s for another time). Because of the sonic artefacts between the tones at the end of the composition (if you play it really loud in between the sounds), my suspicion is that this is not a digitally recorded piece, but it’s done with tape loops or tape delays. Those artefacts signify that the moment between the sounds is never wholly silent but is riddled with small, inaudible noises which create a ‘living’ space. It’s not all within the purity of an anechoic chamber or if you prefer a ‘sterile’ environment. It’s alive. Even the emptiness is alive. Not filled up with layers of drones of sounds, yet also not filled up with complete silence.

Looking at it this way, I can imagine that this piece is too minimal for some of you, but for others – like me – it’s a treat in how minimalism, ambience and the true beauty of analogue recording meet.