Hand Cut Vinyl Records

The Vinyl Records issued by Des Astres d’Or are guaranteed of Hi-Fi Quality with the same Sound Characteristics and Durability / Life Span as a normal Pressed Record. The Records are made of real Vinyl and each individually cut by Hand and visually checked.  Because of this, you can expect the same Quality, or higher, as normal pressed Records.

Why is the above mentioned on this Site?
Lathe Cut Records are generally associated with Lo-Fi Quality. Records with lots of extra Noise, in mono and playable only for a few Times because of the Wear of the Material. Those Records are made of inferior Plastics and made on old mono Machines from Decades ago. The Bulk of Lathe Cuts are unfortunately Lo-Fi. Because of this, Des Astres d’Or feels it’s necessary to mention the Records it issues are of HI-Fi Qualty and don’t have Anything in common with the average Lo-Fi Lathes.

Let’s not forget that every normal pressed Record originates from a single hand cut Record from which it is multipied… These hand cut Records are made on high End Equipment, like those on Des Astres d’Or.

Des Astres d’Or has it’s own indoor Analog Studio (bhaavitaaH bhuutasthaH) which is equiped for High End Recording, Mixing and Mastering Music and Cutting Records.  Together with the Part of Des Astres d’Or which functions as a Music / Art Publisher, Des Astres d’Or holds the entire Route from making Music to Publishing, in it’s own Hands and is therefor Artistically and Economically Free. <3 DIY <3

Distortion as a Self Reflection

(A Rant for Failure…)

I like to stand up for Degeneration…

Recording of Music should not merely be a dry Registration of an Event. It’s Qualities (like Color or Imperfections) should reflect the Music and it should give the right Atmosphere for the Mind to thrive in.

I always find that Distortion is a genuine Part of my Music… I’ve never been a Supporter of clean Music. Even the cleanliest Music often benefits from a slight Amount of Distortion, wether it being Hiss or just because of primitive Equipment. Minimal Music with Distortion always sounds better than the Same recorded super clean. An old Recording of an Opera has a certain Charm over it which is never possible to attain with perfect recording Techniques.
In the second Half of the 80’s there was an interesting Shift in Music. Lot’s of psychedelic Bands suddenly started to do Albums which were recorded in the Studio with perfect Sound. Away with the Distortion and Imperfections went the Filth and Psychedelia in the Music. You can even feel how the clean Sound affects the Musicians who’s playing became more controlled. Those Bands which sounded incredibly weird, degenerated and dirty sounded like a caged impotent Beast on their Studio Albums.
For me, Distortions in all it’s minute Forms, wether it being Feedback, overloaded Sounds, Overmodulation, Hiss, bad Microphones, Deterioration of Tape, cracking Volume Faders, Disbalances of any Kind, failing Equipment, false Instruments etc, etc. are like the Flaws in the Psyche, translated to Sound. Like the overloaded high pitched Feedback you hear in your inner Ear when your Brain is overstimulated by Worrying. The Swirling in your Head, of Sounds going in endless spiraling Circles, or Sounds spiraling into Oblivion, it is never a clean organized Sound. The Brain subconsciously is aware of all the Dirt Particles and other Imperfections in both Sound, Image, Touch and any other sensory Experiences. Sound and Image are distorted. Smell and Touch are as well. Everything is out of Position to a certain Degree. And Nothing is clean.
My Music should be a Reflection of my Innerworld. Since it’s not clean… my Music is not clean…
It’s not merely a pathetic Excuse for my bad Recording Techniques… Although perhaps partly… More important is that I’m Way to occupied with where the Sounds are leading me. Where I lead the Sound and becoming in a State wherein it’s no longer clear if I started the Sound or if I’m being lead by it. Creativity, Confusion, Chaos… In this State I’m seldomly capable of giving the right Amount of Attention to my Recordings which would otherwise lead to more perfect Recordings. So yes, the Recordings are bad and full with technical Failures, but it’s simply a Reflection of the State of my Psyche at that specific Point in Time… The bad Recordings and imperfect Recording Surroundings (the Studio, recording Space etc.) therefor become not only a Reflection of my State while playing, it also interacts with me whíle playing… The Hiss, Feedback and Distortion, it subconsciously inspires me, stimulates me.
A sudden Burst of overmodulated Sound in my Plate Reverb can throw me in a mental Deep. Feedback may take me with it in a Spiraling Course. The constant Hiss already lays down a nice Carpet of Disfunction…
A Misstep, a Fall, a Mistake, a faulty Judgement, a Projection of the Self, a Cup which slides out of your Hands and scatters on the Floor, a Crack in the Wall of your Livingroom, waking up screaming from a bad Dream, a Misunderstanding, a faded Color, being attacked by vicious Dogs on the Street, a Fault in your Head, Discomfort, a Man talking on an imaginary Televisionscreen on your Bedroom Wall, your House burning, a Car Crash. The Colors of Reality would simply vanish when trying to hold on to something which is destined to go…
Failures in Sound are for me a Reflection of Failures in the Mind. People always tend to strive for Perfection and Cleanliness… That’s why Plastic was invented. The Dirt in Sound is for me like the Yellowing of the Colors in 15th Century Paintings of Dutch Masters. And German Expressionist Painting would never have the same Impact when there would not have been a certain Degree of Disfunction. Even the Ruins of Persepolis look better than they would have ever been in their full original Glory…

(Raymond Dijkstra)

RAYMOND DIJKSTRA ~ GROMMEND, BLAFFEND, BROMMEND, DONDEREND, SPUGEND, FLUITEND

LP
Handmade Artwork by Raymond Dijkstra.
Signed by the Artist
Edition of 25 ex.
d’or007
Date of Release: 10 January 2018 / SOLD

“These crude Electro-Acoustic Works are constructed from Material derived from Experimentations with 1950’s Test Equipment and 1950’s Audio Effects in Conjunction with Acoustic Instruments of Choice. Brüel & Kjaer Tube Filters and Oscillators, Philips discrete Oscillators, a modular solid State Vocoder, Rohde & Schwarz UBM Tube Feedback Filters, Krohn-Hite Tube Filters, EMT 140 Tube Plate Reverbs, AKG BX20 Spring Reverb, Tapedelays, Pianoharp, Glass and Metal Frottage, etc. The Music shows the rudimentary electronic Treatments done and the acoustic Sounds recorded and electronically manipulated in real Time, exploring the different Possibilities of the Equipment in an improvisory, searching Manner.” RD


bhaavitaaH bhuutasthaH Studio 2016

Further Reading :

“Distortion as a Self Reflection””

A1 GROMMEND, BLAFFEND, BROMMEND, DONDEREND, SPUGEND, FLUITEND
 23:23
B1 SNAUWEND, KAKELEND, GILLEND, RUISEND, ADEMEND, HUILEND
 25:52

Recorded, mixed, mastered and cut on Vinyl by Raymond Dijkstra at bhaavitaaH bhuutasthaH Studio, Amsterdam, Netherlands, 2015.

Raymond Dijkstra: https://www.raymonddijkstra.com

Listen to full album / Digital download

Raymond Dijkstra ~ GROMMEND, BLAFFEND, BROMMEND, DONDEREND, SPUGEND, FLUITEND
SOLD

 

  9/25

  9/25

Artwork Description:
Shreds of early 20th Century printed Book Pages glued to Paper
(More Pictures follow)

  1/25  2/25  3/25  4/25  5/25  6/25  7/25  8/25  9/25  10/25  11/25  12/25  13/25  14/25

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