Mariska Baars / Niki Jansen / Rutger Zuydervelt
Hardanger
Boomkat Product Review:
Old friends Mariska Baars (aka soccer Committee) and Rutger Zuydervelt (aka Machinefabriek) bring in violinist Niki Jansen on this one, integrating her fiddle sounds into their slow-motion soundscapes.
Named after the Hardanger fiddle, an eight or nine string Norwegian violin, 'Hardanger' began with Jansen's improvisations on the instrument, which Baars subsequently responded to with vocals and guitar. It was left to Zuydervelt to turn the recordings into finished pieces, and he works relatively subtly here, taking vastly different approaches on each side. The first long piece is a little more hands-on, an electro-acoustic collage that cuts and pastes the droning source material into a dreamy narrative with decisive twists and turns. Jansen's Hardanger scrapes are most prominent at first, set against glacial synthesized hums, and Baars' unassuming vocals and minimalist plucks add a contrasting texture as the composition glides into its second half.
Baars' contributions are more present on the flip, where duo's improvisations are formed into a what may as well be a song. Her wordless vocalizations hover above Jansen's intimate performance, and Zuydervelt is careful not to disrupt the motion, adding effects only when necessary.
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Boomkat Product Review:
Old friends Mariska Baars (aka soccer Committee) and Rutger Zuydervelt (aka Machinefabriek) bring in violinist Niki Jansen on this one, integrating her fiddle sounds into their slow-motion soundscapes.
Named after the Hardanger fiddle, an eight or nine string Norwegian violin, 'Hardanger' began with Jansen's improvisations on the instrument, which Baars subsequently responded to with vocals and guitar. It was left to Zuydervelt to turn the recordings into finished pieces, and he works relatively subtly here, taking vastly different approaches on each side. The first long piece is a little more hands-on, an electro-acoustic collage that cuts and pastes the droning source material into a dreamy narrative with decisive twists and turns. Jansen's Hardanger scrapes are most prominent at first, set against glacial synthesized hums, and Baars' unassuming vocals and minimalist plucks add a contrasting texture as the composition glides into its second half.
Baars' contributions are more present on the flip, where duo's improvisations are formed into a what may as well be a song. Her wordless vocalizations hover above Jansen's intimate performance, and Zuydervelt is careful not to disrupt the motion, adding effects only when necessary.
Boomkat Product Review:
Old friends Mariska Baars (aka soccer Committee) and Rutger Zuydervelt (aka Machinefabriek) bring in violinist Niki Jansen on this one, integrating her fiddle sounds into their slow-motion soundscapes.
Named after the Hardanger fiddle, an eight or nine string Norwegian violin, 'Hardanger' began with Jansen's improvisations on the instrument, which Baars subsequently responded to with vocals and guitar. It was left to Zuydervelt to turn the recordings into finished pieces, and he works relatively subtly here, taking vastly different approaches on each side. The first long piece is a little more hands-on, an electro-acoustic collage that cuts and pastes the droning source material into a dreamy narrative with decisive twists and turns. Jansen's Hardanger scrapes are most prominent at first, set against glacial synthesized hums, and Baars' unassuming vocals and minimalist plucks add a contrasting texture as the composition glides into its second half.
Baars' contributions are more present on the flip, where duo's improvisations are formed into a what may as well be a song. Her wordless vocalizations hover above Jansen's intimate performance, and Zuydervelt is careful not to disrupt the motion, adding effects only when necessary.
Boomkat Product Review:
Old friends Mariska Baars (aka soccer Committee) and Rutger Zuydervelt (aka Machinefabriek) bring in violinist Niki Jansen on this one, integrating her fiddle sounds into their slow-motion soundscapes.
Named after the Hardanger fiddle, an eight or nine string Norwegian violin, 'Hardanger' began with Jansen's improvisations on the instrument, which Baars subsequently responded to with vocals and guitar. It was left to Zuydervelt to turn the recordings into finished pieces, and he works relatively subtly here, taking vastly different approaches on each side. The first long piece is a little more hands-on, an electro-acoustic collage that cuts and pastes the droning source material into a dreamy narrative with decisive twists and turns. Jansen's Hardanger scrapes are most prominent at first, set against glacial synthesized hums, and Baars' unassuming vocals and minimalist plucks add a contrasting texture as the composition glides into its second half.
Baars' contributions are more present on the flip, where duo's improvisations are formed into a what may as well be a song. Her wordless vocalizations hover above Jansen's intimate performance, and Zuydervelt is careful not to disrupt the motion, adding effects only when necessary.
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Boomkat Product Review:
Old friends Mariska Baars (aka soccer Committee) and Rutger Zuydervelt (aka Machinefabriek) bring in violinist Niki Jansen on this one, integrating her fiddle sounds into their slow-motion soundscapes.
Named after the Hardanger fiddle, an eight or nine string Norwegian violin, 'Hardanger' began with Jansen's improvisations on the instrument, which Baars subsequently responded to with vocals and guitar. It was left to Zuydervelt to turn the recordings into finished pieces, and he works relatively subtly here, taking vastly different approaches on each side. The first long piece is a little more hands-on, an electro-acoustic collage that cuts and pastes the droning source material into a dreamy narrative with decisive twists and turns. Jansen's Hardanger scrapes are most prominent at first, set against glacial synthesized hums, and Baars' unassuming vocals and minimalist plucks add a contrasting texture as the composition glides into its second half.
Baars' contributions are more present on the flip, where duo's improvisations are formed into a what may as well be a song. Her wordless vocalizations hover above Jansen's intimate performance, and Zuydervelt is careful not to disrupt the motion, adding effects only when necessary.
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