Machinefabriek is the alias of Dutch composer Rutger Zuydervelt, whose work blends ambient, noise, minimalism, drone, field recordings, and electro-acoustic experimentation into immersive sonic environments that reveal rich detail upon close listening. Active since 2004 and now based in Rotterdam, he has released a steady stream of music on international labels and performed widely around the world. Zuydervelt frequently collaborates with musicians, filmmakers, choreographers, and visual artists, creating scores for film and dance as well as sound installations that engage deeply with their surroundings.

How would you describe music?

Personally I’d say I (attempt to) create sonic environments. But often used tags are ‘experimental electronic music’, ‘drone’, ‘noise’, ‘electro-acoustic music’, etc. My output is pretty diverse and not always easy to pin down, but it’s mostly electronic, that’s for sure.

What is your relationship to music?

It’s a love (or obsession) that’s grown into my livelihood. These days a lot of my music making is commissioned work — for film directors, choreographers, artists. I don’t see much difference between that and my personal work though, besides a more external source of inspiration for the former.

What draws you to the instrument(s) you play, and/or to composing?

An inner drive that’s hard to explain. That, and the ideas of collaborators, which can be super inspiring and lead to things I’d never come up with on my own.

I don’t play live that much these days, but there’s almost no stronger feeling than improvising music on stage and arriving somewhere sonically that transcends my expectations, reminding me of the power sound can have — the worlds it can build that can be alien and surprising, even for me as the creator. (Not that this happens every gig, obviously.)

What groups or musical communities have you been part of, and how have they influenced your playing or composing today?

When my first proper album, Marijn, was released, there was this wave of guitarists-with-pedals making glitchy ambient music, and I guess I was part of that? Labels like Mego, Kranky, and Touch were huge then (and still are). They taught me how music can be abstract yet emotional and exciting.

What musician(s) most influenced your approach to music, and why?

First one that comes to mind is Oren Ambarchi, especially around the time he released Grapes of the Estate. I was using guitar and effects as well back then, and his minimalism and emotional heft were hugely inspiring. Same with Fennesz. I’m not ashamed to admit that my earlier albums had quite a bit of ‘borrowing’ from those artists.

Who or what influences you most outside of music, and why?

Everything I experience — mundane or big — affects my music in some way. But a more concrete example is my background as a graphic designer. There’s a clear overlap in how I design and how I create music, and it brings a practicality to my work as a musician.

What deceased performer(s), improviser(s), or composer(s) would you most like to have a conversation with, and why?

I’m not a big talker, but if it could be a conversation in music, I’d choose Mimi Parker. I’m a big fan of Low, and love the things they’ve done with electronic producers (Spring Heel Jack and Pan•American, for example).

What advice would you give to a young musician entering your field?

I honestly don’t know. The musical landscape has changed so drastically. In a way it’s become more democratic — everyone can release music digitally everywhere — but there’s also so much music being released, it’s hard to stand out. It’s not only about talent or willingness, but also about promoting yourself, image building, and what-not. I feel lucky to have built some kind of following earlier on.

What do you hope audiences take away from experiencing your music?

Totally up to the listener. Maybe a form of escapism, a trip that’s engaging, intriguing, or bewildering? I hope it offers a deep experience, in any case.

Where do you see the music you're involved in heading in the coming years?

I’m glad I don’t know. We’ll see what happens — which is the way I like it.

If you could shape the future of this music, what would it look like?

Same as the previous answer — I wouldn’t want to shape that future. Let it evolve on its own logic. That’s how most of my music comes into existence anyway, and I love that element of surprise.

Where are you currently located or musically associated with?

I’m based in Schiedam, very close to Rotterdam, where I lived before this. It’s a small city with not much of a musical scene (as far as I know). I’m almost neighbors with Radboud Mens though, who’s quite a renowned producer within ‘my scene’.

What is your musical education or background?

My background is in graphic design — that’s what I studied, and what I still do alongside the music. I had piano and guitar lessons as a child, but the electronic side of my music is completely self-taught.

What are some of your favorite recordings by other musicians or groups?

Trust — Low
Richard D. James Album — Aphex Twin
The World Is Not a Cold Dead Place — Explosions In The Sky
Turn the Dark Off — Howie B.
Therapy — The Brian Eno Ensemble
Aether — The Necks
LP5 — Autechre

What are some of your favorite recordings that you have made?

Oehoe (with Anne Bakker) — the synth, violin, and vocals came together in such a coincidental but beautiful way.

A recent favorite is my score for choreographer Daniel Linehan’s The Wonder Of It All. It’s more dance-y than most of my releases, with a nostalgic feel harking back to the mid to late ’90s electronic music that shaped me. And the way music and movement clicked so early in the process was a very satisfying feat.

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