Dutch sound designers Frans de Waard and Rutger Zuydervelt, better known as Freiband and Machinefabriek, have a particularly dense and impressive past behind them – de Waard as a member of Beequeen and Zuydervelt as the undisputed most prolific experimental musician of the past five years. Zuydervelt has had a penchant for manipulating from basic or folky source material, and has certainly shown his ability to maintain the integrity of the original material while dismantling the very fabric of its sound.

Oahu presents, as usual for these musicians, an intriguing musical thesis – this time the processing of a oahu acoustic lapsteel. Zuydervelt’s influence on the project possibly sees it achieve both the cleverness that de Waard is known for, as well as sense of heart and simplicity that is displayed in the last track, mixed by Zuydervelt. In just concept, though, it is already an impressive release that builds on some of the other collaborations that Zuydervelt has involved himself with in 2008, another of which, Box Music with Stephen Vitiello, formed a similar ethos, the manipulation of very basic materials.

One fascinating aspect that I found to be present in the release is it taking on the structure of magic trick. Now, I’m going off what was perhaps manufactured in the Christopher Nolan film adaptation of the Priest novel – The Prestige. Regardless, it seems to fit the outlook of De Waard and Zuydervelt quite well. The Pledge is the first act, here, the first track, the presentation of the base materials – the solitary oahu lapsteel – “A magician turns to his audience and introduces something ordinary”, as Michael Caine offers in the film. This is followed by The Turn, where the magician offers the extraordinary, often making an object disappear. There is little remnants of the original materials in the second track of “Oahu”, at least seemingly at the time – little fragments and imitations, perhaps, but it is all ultimately buried under the assumption that it has been made from the original materials. Then, the final act, The Prestige. “It isn’t enough that you can make something disappear, you have to bring it back.” And so, the full tones of the oahu make a return toward the end of the suite, albeit moving in and out of manipulation through the final track.

Even if we eschewed the magic trick mumbo jumbo, this is a particularly impressive release for its structural poise, its ability to encompass both the beautiful timbre of the source material, and the cleverness of its manipulation. As with many Machinefabriek and de Waard releases, this one has a life that is based in real progression, moving achingly to a simple, and a very emotional conclusion. Now you see it, now you…

-Marcus Whale