1 Untitled
2 Untitled
We are very pleased to present this enchanting special edition LP from sculptor, painter, drawer and composer, Raymond Dijkstra. Since 2003, his recorded work has been released in very grandly designed (though extremely small editions) on the Le Souffleur label, all of which are out of print and not easy to obtain. Those who have, discovered the odd, yet personal world of Raymond Dijkstra, whose recorded output relies heavily on the acoustic side of electro-acoustic music.
In Dijkstra’s own words:
“My overall philosophy is to keep my kitchen closed. And the lid on the pot. I need to build up pressure; the only time I release pressure is when playing music. It’s all about transformation.
I guess I need to have some distance between me/my music and the public. In fact I like to see the public as non-existent. Releasing my work I only do for metaphysical reasons; to keep all psychic and physical channels open, and maintaining a healthy system. It is not much more then relieving yourself in the toilet. If not, there’ll soon or later come a point when your system gets clogged, the energy flow will cease, and the transformation into music stops…
I need complete isolation to protect my work.”
“Maskenstilleben” will be released in a limited numbered edition of 100 in a painted wooden box on 200 gm virgin vinyl.
Crouton
This is acoustic music in optima forma and one of a highly original kind. Composition? Not of great interest for Dijkstra. Structure? Nope. Being part of a scene? Which one, or in fact is there one? Not for Dijkstra. He claims to work best in strict isolation, building up the pressure and when he plays his music, he releases his pressure. Inside his closed system (both mentally and in the real world), he derives the sounds which he likes, plays them ad infinitum, without beginning or end. This is noise music, but stepped outside the relatively known genre of overload. This is improvisation, but not as we knew it. Total outsider music, as it’s hard to come across Dijkstra, who hardly plays concerts. Not part of the serious music world, the underground noise scene, microsound or the laptop flock, he persists very much in his world.”
Vital Weekly
“It’s hard to say to what extent Dijkstra has laboured over his sounds or where to place them in the finished work, because there’s a rawness to his work that aligns it more with today’s soft noise improv than with the more ahem refined esoteric electronica of the post-Nurse With Wound crowd, specifically Organum, with whom Dijkstra is, for some strange reason, often compared. Whatever bag you choose to put it in though, this is pretty tough stuff.
Paris Transatlantic
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