Original Photography by B de Paepe. Original Handwriting and Drawings by R Dijkstra
Numbered edition of 40 ex.


Bart de Paepe De Paepe has released several solo albums of psychedelic soggy murkiness on Vohu Manah, Beyond Beyond Is Beyond and No Basement Is Deep Enough exploring the shifting relations between reality and perception. He plays in several bands such as Innercity (with Hans Dens), Ilta Hämärä (with Timo van Luijk), Wendingen 1918 (with Raymond Dijkstra), Bombay Lunatic Asylum (with Koen Vandenhoudt and Louise Landes Levi), Fort Bedmar (with Dave Colohan), Fuji (with Mik Quantius and Junzo Suzuki) etc.
For over 10 years, Bart De Paepe has sated the appetites of psychedelic searchers with his label Sloow Tapes. A peerless curator, De Paepe has unleashed crucial underground transmissions ranging from paint-peeling Japanese rock over bedroom poetry readings to laid-back cosmic Euro-prog in microscopic editions.
Websites: Slowtapes

Raymond Dijkstra is an artist active since 1987 in music, sculpture, painting, photography, collage and drawing.
Founding member of Asra, La Poupée Vivante (with Timo van Luijk), Wendingen 1918 (with Bart de Paepe). He has collaborated with Frédérique Bruyas, Jon Mueller, The New Blockaders among others. RD is an autodidact who believes strongly art should be derived from worldly experiences and can’t be learned at school. The basis of the art lies in non knowledge, from which roads are chosen and lessons learned. Teachings came from life, alienation, dreams… Dijkstra has a discography of approximately 150 titles. His work shows a high degree of DIY in the sense that he has taught himself music ‘along the way’ while opening doors within himself. He has outed his music mostly through self-raised music and art publishing platforms like Le Souffleur (2003-current) and Astres d’Or (2017-current). The vinyl-records of this publication are hand-cut by RD himself.
As a visual artist, Dijkstra works in the field of painting, drawing, photography, collage, sculpture and objects. He currently works under the name Rayastre for his visual work as well for some of his audiowork.
“A love for experiences which connect me to the stranger realms are at the basis of my work”

Frédérique Bruyas Public reader, Frédérique Bruyas conceives reading aloud as an art of written words, the subject of which is literature in its variety and vitality. Her strong taste for the connections that books weave with the voice and music is at the origin of her artistic commitment.
She presents her public readings at numerous bookstores, at spoken word events, and at national and international manifestations.
She shares the state of her research during training courses in spoken word with librarians, teachers and artists in France and abroad (Lebanon, Morocco, Algeria, Tunisia, Canada, Armenia … ).
She has collaborated with the Orchester National d’Ile-de-France, the companies voQue / Jacques Rebotier, La route des livres, Les Souffleur (s), the festivals Ritournelles, Textes en l’air, Rencontres d’été en Normandie , The Voice is Free, Out of Limits, etc.
She recorded in duo with musicians the texts of Victor Hugo, James Joyce, William Blake, Gertrude Stein, Emily Dickinson, Gustave Flaubert, Joyce Mansour, Edgar Allan Poe, Walt Whitman…
She is the author of the books
Le métier de lire à voix haute (The profession of reading aloud) (Éditions Magellan & Cie / 2014) in which she retraces her sensitive experience of fifteen years of public reading and La lecture à voix haute expliquée aux enfants (Reading aloud explained to children) (Éditions Magellan & Cie / 2018) conceived as the answer she would give to a child who asked her: “What is reading aloud?” “.
Frédérique Bruyas is director of the company
Escargot Ma Non Troppo in which she invites many artists to create together new complicities around literature, a subject of extraordinary plasticity.

Face A:
1 Part I
2 Part II

Face B:
1 Part III
2 Part IV

“I often wander in huge empty Buildings. I realize I once squatted this Building and lived in it for a while, but I completely forgot about it. Now I’m here, the Rooms are a bit filthy and covered with Dust. The same Dust there was when I first came here. There’s still the old Machines from the previous Factory and the Content of their Storage, abandoned. Months later, after having forgotten about my Home again, I return and realize it’s been evicted. I feel a bit sad I no longer have this House as my Home.

Another Day… I’m in my other House… Here also, there’s a Part which I’d forgotten about. I hadn’t been there for at least Months… I walk Downstairs and come in a kind of small, rectangular Hallway. It’s a very pleasant Place. But behind a Door, there’s a Neighbor who I despise.

Quite recently I was living with my Parents. I walked Upstairs and saw a Room which was vaguely familiar. It was full with beautiful Plants, which my Mother was taking Care off. I went further Upstairs and came to a very large Space. About as large as a huge Factory-hall and it even looked like one. It was clear the Factory-hall hadn’t been visited often by People for Ages. Dusty, flaked off Lime Plaster, Concrete Floors and almost entirely empty, apart from a very few Objects, among which was a strange but nice looking small red Couch from the 18th Century. The Couch had a Pluche Fabric and in the Middle of this Couch it had a Swivel-chair. Because of this, the Couch functioned more like a Table for the Swivel-chair. The Factory-hall was fully to my Liking and I took up the Plan to live here from now on, instead of living in my small Room at the Groundfloor… Walking through the Hall, it became more and more spacious… I saw new Parts, equally messy and abandoned. Above, there was a gigantic Attic, which I’d been visiting once, in a Dream. It was the Attic of my Grandmother. We (I was apparently in the Company of my Father and a Group of Acquaintances who I barely knew) were able to climb up a rickety Ladder and entered the Attic, where it was even more dusty and entirely empty. It had a wooden Floor, with Sections where one could easily crash through and other Parts where there wasn’t even a Floor at all. I remembered the spooky Atmosphere from the previous Time I’d been here and felt also now, how the Room was filled with a unnerving Type of old Fear. Someone said, a little Child was once hung here, on her arms and legs- and died.”

Wendingen 1918 ~ La decorporisation de la realite

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Artwork Description: Photography by Bart de Paepe. Handwriting and Drawings in Goldmarker by Raymond Dijkstra. Black LP Cover.




Original Artwork by Raymond Dijkstra
Numbered, dated, signed edition of 40 ex.

Reïssue of Raymond Dijkstra ~ Affen-theater (Le Souffleur, 2005) with original Artwork

Affen-Theater is an early Le Souffleur Period RD Work from 2005, opening a new Artistic Direction in the Œuvre of RD, with a high Focus on an expressionist Style of Playing Harmonium, experimental frotting and scratching of Glass Surfaces with different Materials, sometimes combined with manual Tape Manipulation and rudimentary Delay Effects. The Key Element in these expressionist Works (starting with Affen-Theater and involving 73 published Titles between 2005-2017) is an Approach very close to Surrealist Automatism, giving free Reign to the Unconscious of the Artist.

“My music is made in an abstract process of self-detachment. While detaching myself from myself, I connect with my Self. My expressionistic music should be regarded more as a physical act, more than music. It’s a constant training in opening up my mind, removing obstacles with violence, and seeing a different reality through the debris.” “The final result is a pile of fragments, but I guess something of the initial light still shimmers through.” “The publication is simply a registration of a physical event, and should be left untouched. Any changing of the initial energy is a weakening.” (RD)


Side A   Affen-theater20:00
Side B   Affen-theater08:00
Affen-Theater (Excerpt)
Raymond Dijkstra
Affen-theaterLP Original Artwork by Raymond DijkstraSold

Artwork Description: Charcoal on Brown Paper




Original Artwork by Pierre Bastien
Numbered edition of 40 ex.

Musicworks by Pierre Bastien

This Album is a Unicum in the Œuvre of Pierre Bastien. Pierre Bastien has always played together with the Meccano Orchestra. In these Pieces however, the Music contains the mechanical Sounds by the Meccano Orchestra only, with the Artist only observing the Orchestra as the sole Spectator in a vast and empty Circus Arena… A wonderful Collection of automated music, pure Poetry of a tiny mechanical Orchestra, fragile and touching in it’s primitive Mechanics… An absolute Highlight in the Œuvre of Bastien.

The Meccano Orchestra is a unique and constantly evolving Orchestra consisting of selfplaying Machines made from Meccano, imagined by Pierre Bastien.


The Toy Kora Herewith; one of the Players in the Orchestra.
The Gong is another Participant on “Impressions de Meccano”


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Artwork Description: Stamped Forms in Gouache on brown Cardboard. Forms are stamped from Meccano Parts. Artwork by Pierre Bastien

More Artworks follow

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Pierre Bastien ~ Impressions de Meccano


Original Artwork by Limpe Fuchs
Numbered edition of 40 ex.

Previously unpublished Live Recordings by Anima Sound, 1978 at LOFT, München

Limpe Fuchs: Footzitter, Kettledrum, Hihat, Fuchsbass, Woodblocks, Snare, Tubedrums, Voice, Organ

Paul Fuchs: Fuchshorn, Electric Harp

Produced by Raymond Dijkstra. Mixage of the original dry recordings with EMT 140 platereverb.

This is only the third Album from the Legendary Kraut Group Anima Sound with German Artists Limpe Fuchs and Paul Fuchs.
Previous Albums of Anima Sound were “Musik für Alle” (1971) and “Stürmischer Himmel” (1971). After this they continued releasing their Work as Anima. The Group is known for their free Improvisations in an Area bordered by Psychedelic Music, Jazz and Kraut Rock. Instruments were often build by themselves. During 1972 and 1973 they toured extensively through Europe with a Tractor, Mobile Stage and some Sheep, to give unanounced (and unsolicited) Concerts in smaller and bigger Villages, often to the despair of uninformed Villagers… These Tours were recently published in the Documentary “Anima-Sound: Mit 20 km/h durch Europa (1972) & Gruppe Anima in Salzburg (1973)” https://vimeo.com/233453157

Limpe Fuchs is currently still highly active as a Musician, Instrument Builder and Visual Artist. http://www.limpefuchs.de/
Paul Fuchs is a prolific Artist, working as a Musician, Instrument Builder and in the Visual Arts as Painter, Sculptor among other Activities. https://www.paulfuchs.com/

The beautiful Artwork is from Limpe Fuchs in her own distinct Style of Paper Cuts. More Information about her Art can be found here: http://dothephantomlimbo.blogspot.com/2017/09/spurensicherung-limpe-fuchs-ausstellung.html

A recent Interview with Limpe Fuchs in It’s Psychedelic Baby: https://www.psychedelicbabymag.com/2019/04/anima-interview-with-limpe-fuchs.html

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Anima Sound ~ ’78

Artwork Description: Paper Collage from Colored Paper by Limpe Fuchs

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Original Artwork by Lauren O’Connor
Numbered edition of 25 ex.

Musicworks by Bombay Lunatic Asylum

Bombay Lunatic Asylum:
Louise Landes Levi: Sarangi, Voice
Koen Vandenhoudt: Sarangi, Shruti Box
Bart de Paepe: Indian Harmonium

Louise Landes Levi is a poet/performer-translator/traveler and a founding member of Daniel Moore’s Floating Lotus Magic Opera Company, America’s first fusion orchestra. After receiving a BA, with Honors, from UC-Berkeley, and studying at Mills College with the sarangi-master Pandit Ram Narayan, she traveled alone overland to Afghanistan in the late 1960s and to India, via Istanbul, Tabriz, Mashed, Herat, Khandahar, Kabul, Peshawar, Rawalpundi and Lahore, to research North Indian sangeet (classical music) and its poetic tradition. Several translations followed: Rene Daumal’s classic study of Indian Aesthetics, RASA (New Directions, 1982); from the Middle Hindi of Mira Bai, an archetypal singer-saint of the 16th century, Sweet On My Lips: The Love Poems of Mira Bai (Cool Grove Press, 1997, 2003 & 2016); and Henri Michaux’s Toward Totality: Selected Poems (Shivastan, 2006). She has published more than a dozen books of poetry and autobiographical prose, including most recently: Love Cantos, 1-5 (Jack In Your Box, 2011); The Book L (Cool Grove Press, 2010); Tower 2/Tara or dc-x (Il Bagatto, 2009); Banana Baby, with facing Italian translations by Alessandro Tuoni (Super Nova, 2006); and Avenue A & Ninth Street (Shivastan, 2004). Her electronic chapbooks may be found at the website Big Bridge. Her recordings include most recently: From the Ming Oracle (Sloowax, 2014), an instrumental and spoken word compilation of her works from the late sixties to the near present; City of Delirium (Sloow Tapes, 2011); Colloidal Love Poem (AudioMER.); Poetry Reading (Astres d’Or, 2018); Bombay Lunatic Asylum (Astres d’Or 2018). John Giorno writes: “Her poems sing in the mind and dance through the heart and throat, and arms & legs, w. great clarity and bliss. Louise is Saranswati, goddess of poetry.” Levi has studied with such masters as Annapurna Devi, Ali Akbar Khan & La Monte Young. When not performing, she lives in a stone tower in Bagnore, Italy, with winter quarters in New York, her birthplace, and elsewhere.
More Information:

Bart de Paepe De Paepe has released several solo albums of psychedelic soggy murkiness on Vohu Manah, Beyond Beyond Is Beyond and No Basement Is Deep Enough exploring the shifting relations between reality and perception. He plays in several bands such as Innercity (with Hans Dens), Ilta Hämärä (with Timo van Luijk), Wendingen 1918 (with Raymond Dijkstra), Bombay Lunatic Asylum (with Koen Vandenhoudt and Louise Landes Levi), Fort Bedmar (with Dave Colohan), Fuji (with Mik Quantius and Junzo Suzuki) etc.
For over 10 years, Bart De Paepe has sated the appetites of psychedelic searchers with his label Sloow Tapes. A peerless curator, De Paepe has unleashed crucial underground transmissions ranging from paint-peeling Japanese rock over bedroom poetry readings to laid-back cosmic Euro-prog in microscopic editions.
Bart de Paepe

Koen Vandenhoudt Antwerp based artist Koen Vandenhoudt works solo under the Shifter or Scene Shifter moniker, was part of the extremely short lived trio Laser Quest with Ignatz and Laurent Cartuyvels (R.O.T) and co-founded Bombay Lunatic Asylum with Bart De Paepe and Louise Landes Levi in 2017. He composed music for choreographer Stijn Celis (Wölfli Doodle Diary 1998, Paradise Practice 2003, Stations, 2004), worked on recordings (live and studio) and productions with artists like Mette Rasmussen, Dennis Tyfus, Chie Mukai, Masayoshi Urabe, Chris Corsano, Ken Vandermark, Nate Wooley, Dave Rempis, Peter Brötzmann, Fred Van Hove, jamie branch, Archie Shepp, Margarida Garcia, Pak Yan Lau, Manuel Mota, Marcia Bassett, Samara Lubelski, Bill Nace … Together with partner Christel Kumpen he runs the not for profit organisation Sound in Motion, the Dropa Disc record label, the Oorstof concert series, the Visitations residency project and the yearly Summer Bummer festival for adventurous music.
Drop a Disc

Lauren O’Connor (Information Follows)

Dream Girl (Poster insert), Artwork by Lauren O’Connor
Poetry by Louise Landes Levi

Produced by Raymond Dijkstra

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Side A  
Side B  
Bombay Lunatic Asylum

Artwork Description: Original Artwork. Indian Ink and stamped Forms in red Ink on transparent Ricepaper by Lauren O’Connor

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