I don’t know the meaning or origin of the poetic title, but on this track, Modelbau, a.k.a. Frans de Waard, starts a bit more erratic than what I’m used to from him. But finding that basic drone we know and love him for doesn’t take long. At the same time, Modelbau, being Modelbau, will not do the same thing twice, so after a few minutes of drones, the creepy high-pitched frequencies enter the composition, and nothing is as it seems anymore. I have no clue what the origin of all the used sounds is. Still, it ranges from – possibly – the same organ Maurizio Bianchi used on #4 in this series, field recordings from a Sunday afternoon sitting alongside the canal or river, toys and stuff he collected over the years and never threw out because ‘I might use it some time still’ and loads of gear of all sorts to manipulate granules / micro samples/soundbites as per definition of Jos Smolders. At moments, this track is creepy or eerie; in other moments, it’s almost symphonic or sacral; at some moments, it’s “mechanical”, as the title suggests. Only the end is fading, though. That’s called an outro.
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