Funny but that’s the kind of release you expect by De Waard above all on a label like Alluvial, call it suggestion but scout’s honor I’m honest!. Thought it can be confused as a remark about the predictability of this effort, it simply underlines that sometimes knowing both the label and the artist you can even imagine what kind of work it’s gonna be, it’s like back in the nineties when you read Bolt Thrower and Earache, it was hard to think about something different from a bone crusher. No jawbreaker anyway, therefore put the guard down, De Waard’s composition is cerebral and well conceived/assembled around field-recorded sounds. "Vijf Profielen" like other output of this "flying dutch" gives strength to the idea Watermann??, Tietchens, Organum, Lopez and De Waard were/are the third possible way between "music concrete" and "heavy ambient/industrial" music. This work is not so far from that isolationist definition reported by Kevin Martin in the inner notes of that incredible double cd he assembled for Virgin, but it deals with sound art much more than with isolationism and it features many unexpected "stops and gos" which usually make the listening hard for ambient freaks. Speaking about violent breaks I’m sure without the specification of the author many of us would have took them as scratches on the cd surface (as I happened during the first listening), but after you know it, you’ll probably think this idea will enrich the work and show an all european sensibility. As Lopez pointed out during a workshop: "I don’t play music... I’m not even interested in being classified as a musician", maybe De Waard won’t agree, who knows, but he belongs to the same generation of "sound designer/experimenter" just give a listen and everything will make sense. "Vijf Profielen" is a sonorization therefore it all had been designed to accompany a visual work, given that here it’s obviously absent it leaves space for interpretation and above all for imagination and personally it brings my mind into a warehouse/shipyard. Like it or not this form of music/sound art always bring forth two unanswered dilemmas: the first concerning the weak consistence of what we consider music, the second regards the fact such a work, mindless of his maker’s intention can become something else (but that could be said for every artistic output) in the ear and of the listener (I guess it’s again a matter of interpretation). Heavy, intense, severe and far from the barely melodic releases De Waard did with Freiband.