Mar 10 2009, 20h16
Jan 7 2009, 11h13Saturday January 17th:
Machinist & Industrial Passage
Fragments of Duration
live at Ciccionina, Delft
22:00 - €3.
Nov 18 2008, 10h36My postrock/ambient/drone band 'Fragments of Duration' has released its first album! Infinite Resonance.
you can stream the full album on http://www.last.fm/music/Fragments+of+Duration/Infinite+Resonance
or buy it and get a nice package to go with the music ;)
Ago 16 2008, 19h14here's the video of our performance at the museumnight Rotterdam, Dutch institute of Architecture, in the Wiel Arets pavilion.
Jun 11 2008, 9h14LE SALON D'ESPRIT – DISTORTED ILLUSIONS
08-08-08 | Academy Building, Dom Square, Utrecht
17:00-19:00h | entrance free
Le Salon d'Esprit is Utrecht's platform for experimental and innovative art
At Uncanny Media Le Salon d'Esprit reveals its 'Distorted Illusions'
in a spine-chilling parallel presentation of music and visuals
Senate Hall | Music
Machinist & Industrial Passage's pervasive noise drones are bewildering and alienating, simultaneously inhumanly machinal and superhumanly spiritual. Soundwaves, feedback loops and noise merge with Juliana's vocals and evoke an uncanny borderland between the real and the ghostly that takes the listener into the eerie realm of half-forgotten memories. Machinist & Industrial Passage moves from Richard Serra and Anselm Kiefer to Mondriaan's 'Metamorphosis' and voodoo art. Zeno van den Broek and Ewell Juliana have formerly presented their soul-changing work at the Noise Central Festival and NAI.
Svarrogh is a Bulgarian artist whose live performance at Le Salon d'Esprit is a Dutch premiere. While he will be mixing full-volume martial neofolk with industrial noise during the third Noise Central Festival at ACU later in the night, Svarrogh will appear at Uncanny Media armed only with acoustic instruments and authentic, unnerving Bulgarian (neo)folk. His music arouses associations of lost times, battle and pride, but also of deserted forests full of ghosts and overwhelming natural forces.
Time & Tide present an improvised composition full of ambient and industrial noise that balances on the thin line between light and dark, spaciousness and claustrophobia. In this performance, which is designed especially for Le Salon d'Esprit, Time & Tide express the uncanny in a through-composed soundscape that explores the boundaries between the comfortable and the disturbing. This Dutch project has formerly performed at various noise evenings and prides itself in a record of highly original artistic co-operations. The recordings of tonight's performance will be available for download for Uncanny Media participants at the website after the conference.
Masquerade Hall | Visuals
Young visual artists will present an exhibit of challenging and boundary breaking multimedial art exploring the ghostly borderland of uncanny media.
Abr 23 2008, 13h40From Heathen Harvest
Zeno van der Broek, the musician behind the Machinist project, envisions a pretty bleak future for both mankind and the world on this, his third CD. The three lengthy tracks showcased here paint a monochrome picture of a world totally devoid of human life; the light of humanity has long been extinguished, and in its place are massed ranks of machines – machines whose only purpose seems to be that they have no purpose. They run day and night, going about their unthinking way, endlessly enacting the same ritualisms day in, day out, and doing so without the slightest notion that it is both fruitless and unobserved.
The vision confronting us is a bleak prospect indeed; emptiness, desolation, ruination and ultimately soulless. Van der Broek piles on the lengthy deeply rumbling, dark, and densely-packed drones, stacking one upon the other, creating and constructing a black, weighty, monolithic mass of heaviness and brooding malevolence. The air is thick with treacly fogs and choking smogs, physical miasmas stifling any life that has dared to carry on the legacy of earth and nature. Landscapes have been denuded and eroded; where once were vast cities, themselves choked with the hustle and bustle of commerce, traffic and life, nothing remains but toothless and eyeless ruins, or level plains of compacted rubble, forever archaeologising whatever was left of the creature called homo sapiens. It is in such devastated arenas, spectatorless, that the machines have their stomping ground.
Van der Broek certainly possesses an innate ability to conjure up the overarching twilit vistas where the sun, pale and wan even on a good day, attempts to force its light through that fog and smog; inevitably, though, it only succeeds in snatching miniscule patches carelessly torn in the compacted swirling fabric enveloping the world through which to project its little packets of photonic energy. It’s a place where even Gaia herself would feel depressed. However, it would be fair to say that throughout the three pieces on here I caught only glimpses of those machines; the predominant aesthetic here, for me at least, is the sinister blackness left in the wake of humanity’s abject failures. That’s not to say that this is no good; van der Broek’s encapsulation of the oppressively filthy rot and decay concomitant on our disappearance is well envisioned and captured, but like I say I am not entirely sure if I felt anything of the machine element emerging out of this – the word machine implies, to me, a sense of rhythm as well as noise and although there was certainly plenty of noise rhythm was noticeable by its absence, and this meant that I didn’t quite make that connection with ’machine’.
However that is only a very minor criticism indeed. Seen in the round, this can be judged to be a mostly successful album I would say; if you’re looking for heavy oppressive dank atmospheres, where the air itself is a physical medium thick enough to suffocate and kill, this is definitely an artefact to be acquired – the sound will sit on your shoulders and drag you down, pulling you into the hadean depths, humankind’s ultimate destination it would seem. This left me shivering, thinking of the mournful possibility of our ultimate demise; it also brought home a realisation that it would be terrible indeed if the world’s endgame were to be played out solely by machines and robots. Of course, the saddest aspect of all is the fact that we will have sown the seeds of our own destruction.
check out their other excellent reviews and site!
from Vital Weekly 613
The name Machinist may suggest something industrial, mechanical, something alien (as in 'not human') perhaps, and the three long pieces by Zeno van den Broek, the man behind Machinist is alike that, yet it has a certain quality that makes it very human. Machinist is inspired by the art of Richard Serra and Anselm Kiefer, the beauty of decay, rust, earth, brown and grey. In the opening piece Machinist plays a very dark ambient tune which is along the lines of Lustmord, in a very cinematographic way. The desolated and empty industrial park at night with strong suspense.Soundsources are hard to trace down. The second piece seems to be drums and guitars and is quite a rock like piece, not at all like the first or the third piece. More Skullflower inspired drones than anything ambient industrial. 'Blackblock' ends with a piece that is a combination of the two previous ones. Slow rumbling percussive bang on a can against a darkened wall of alien machines trying to conquer the world. The
rhythm here is the most mechanical. Quite a strong release, and the length of the pieces might be considered long, but this music needs that kind of development, and Machinist makes all the right moves only a human make to create some interesting shapes and moves. Very nice indeed. The right noise!
Jan 26 2007, 10h49Check het uit