Leather and Paper Collage by Raymond Dijkstra.
Signed by Raymond Dijkstra
Numbered edition of 10 ex.

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”

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“Between 2008 and 2016, I’ve worked on a Series called Catalogue du Bruit / Musique Irritante, which was published in the same period on 3″ and 5” vinyl records on my own imprint Le Souffleur.

The Music was an Attempt to break through certain Types of Self-Confinement, by repetitive Behavior.

As a Child I’ve suffered from Tics and compulsive Behavior, like blinking with my Eyes, making Sounds with Throat and Face Contortions. I also had to repeat certain Kind of Actions- when I had locked the Door, I had to repeat the same Action 3 or 4 Times. It was sometimes very tiring, because I couldn’t stop. I got a Kind of Satisfaction from doing it after a certain prolonged Period, at the same Time it was far from satisfying. Because my Parents and even my Schoolteacher acted as if I did something terribly wrong, I also felt guilty by doing it. This Behavior got less during Adolescence and almost completely left me when I was around 16, although a certain Level of Compulsion has always Kind of stayed with me.

Because of my History with Tourette, I found out that making Music in a repetitive Manner eased my Senses, by forgetting the Self. There was a certain Level of Compulsion in it as well, which was warmly familiar.

I see the Music as Expressionist Music. More than Musique Brut. I’ve made the Music to come to my Self and also always as a Way to connect with a different Level of / in Reality. In that Perspective it has been my personal Connection to Surrealism. The Sounds are not simply Sounds for the Sake of making Sounds. Or experimenting with Sound. Far from, even. I’ve never been interested in making experimental Music. The Sounds were solely a logical Outcome of my personal Preferences and Taste. Much more important is the emotional Load of the Sounds, transferred by the Movements of my Body. The Sounds were not created by my Head (Logic) or Feeling. It wasn’t a conscious Attempt to making Music / Sound before or during the Making of the Sound. In Fact it was made with an entirely empty Head and Mind, allowing my Body to move in the most possible free Way, without wanting to gain any Control over it, basically a Form of Automatic Writing, connecting a direct Link with my Subconsciousness. Body-Spasms as a Way to express. But always within the Confinement of a limited Time-Frame (1 to 2,5 minutes- with Clockalarm) and a relatively narrow Pallet of Sounds- my German Harmonium, A table of Glass and another frictional Object. These three Elements were always the Same, because these Elements allowed me to connect with my Self and lead to ease the Mind. The Music was made at once, spontaneously, without After-editing or any use of Electronics.

Between 2008 and 2016 a Series of 58 tiny Vinyl Records were produced on 3 Inch Format and 5 Inch Format. They were published together with my own handmade Collages on self-made hardcover Boxes in mostly black Linen. An Exception was the Work ‘De Slaap’ which was covered in dried Fishskin. All Titles were published in limited Editions between 1 and 10 Copies. This is the first Time these Noise Miniatures of 1 to 2,5 minutes will be published together on one LP. This LP contains the first Ten Titles from the entire Series with new original Artwork.”

“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.”

Links to the original Works on Le Souffleur:

De Zee (The Sea) (2008)(5 inch record)(box) (Le Souffleur)(NL)
More Information here
De Luis (The Louse) (2008) (5 inch record)(box) (Le Souffleur)(NL)
More Information here
De Droom (The Dream) (2008) (5 inch record)(box) (Le Souffleur)(NL)
More Information here
De Herinnering (The Memory) (2008) (5 inch record) (box)(Le Souffleur)(NL)
More Information here
De Zon (The Sun) (2008) (5 inch record)(box) (Le Souffleur)(NL)
More Information here
De Wil (The Will) (2008) (5 inch record)(box) (Le Souffleur)(NL)
More Information here
De Tegel (The Tile) (2008) (5 inch record)(box) (Le Souffleur)(NL)
More Information here
De Slaap (The Sleep) (2008) (3 inch record)(box) (Le Souffleur)(NL)
More Information here
De Varen (The Fern) (2008) (3 inch record)(box) (Le Souffleur)(NL)
More Information here
De Vijl (The File Tool) (2008) (3 inch record)(box) (Le Souffleur)(NL)
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De Luis A Side
De Luis B Side Excerpt
De Droom A Side excerpt
De Droom B Side Excerpt
De Zon B Side Excerpt
De Herinnering A Side Excerpt
De Herinnering B Side Excerpt
De Slaap A Side
De Tegel A Side Excerpt
De Wil A Side
De Wil B Side Excerpt
De Zon A Side Excerpt

Raymond Dijkstra ~ Musique Irritante
LP Original Artwork Raymond DijkstraSOLD OUT

Artwork Description: Cut’ and glued Strips of Leather and Paper on Cardboard LP Cover

01/10 Front
01/10 Back


Diptych consisting of two Paintings by Marc Hurtado.
Signed by Marc Hurtado
Numbered edition of 25 ex.

Marc Hurtado

Leading figure of the international experimental film and music scene, co-founder of the duo Etant Donnés with his brother Éric in 1977, Marc Hurtado has since then followed a polymorphous career of musician, performer, poet, visual artist, film music composer and filmmaker. He directed 23 films including 3 feature films, realised thirty albums and more than 500 concerts / performances in venues like the New York Kitchen ,Matresss Factory Pittsburg, Baltic Centre for Contemporary Art Newcastle, Kassel Documenta, Foundation Cartier Paris, Centre Beaubourg Paris, Collège des Bernardins Paris, Sonar Festival Barcelona, ​​Etrange Festival de Paris , Atonal Berlin Festival, Click Festival Copenhagen, Luff Festival Lausanne or the Transmusicales de Rennes.

He collaborated with musicians like Alan Vega and Martin Rev (Suicide), Gabi Delgabo (DAF), Genesis P. Orridge (Pyschic TV, Throbbing Gristle), Michael Gira (Swans), Lydia Lunch, Mark Cunningham (Mars), Z’ev, Vomir, The Hacker, Bachir Attar and the Master Musicians of Jajouka , Pascal Comelade and Christophe.

He made film soundtracks for the filmmakers Philippe Grandrieux, Pierre -Luc Vaillancourt, Jessica Hausner, Mathieu Dufois and Philippe Roche.

Marc Hurtado has exhibited his paintings , installations , films and videos in La Galerie du Jour in Paris, Le  Confort Moderne in Poitiers, the Microscope Gallery  in New York, Laurent Godin Gallerie in Paris, Centre d’Art De Lausanne, Deitch Gallery New York, Malba Buenos Aires, Palacio de bellas artes Mexico, Museum of Contemporary Art of Zagreb, Biennale d’art contemporain de Lyon, London Gallery, Withechapel Gallery of London, Museum of Contemporary Art of Zagreb, Stededelijk Museum in Amsterdam, Cultural Arts Council of Houston , The Empty Gallery in Hong Kong, Centre national d’art contemporain de Grenoble ( Le Magasin), Galerie Aorta , Amsterdam , Espace Lyonnais d’art Contemporain de Lyon, University of Rome, Museum of Grenoble, Kassel Documenta or the Museum of Modern Art (MoMA) of New York.

Retrospectives of his films were organized at the Cinéma du Réel Festival at the Beaubourg Center, the Cinémathèque Française in Paris, the Microscope Gallery in Brooklyn , Luff Festival , the Film Mutations Festival in Zagreb and BAFICI in Buenos Aires
Screenings of his films were made at numerous festivals, galleries and museum such as the Fid de Marseille, Locarno Festival, Belfort Interviews Festival, Cinémed de Montpellier, Distrito de Mexico Festival, Doc Festival of Buenos Aires, Fronteira Goiânia Festival in Brazil, London Gallery, Withechapel Gallery of London, Museum of Contemporary Art of Zagreb, Stededelijk Museum in Amsterdam, Cultural Arts Council of Houston , or the Museum of Modern Art (MoMA) of New York.
His films were bought by the Centre Beaubourg Paris , the Museum of Modern Art in Villeurbanne, the Magasin / Cnac in Grenoble, the Anthology Film Archives in New York, and his latest feature film “Jajouka, something good comes to you” ( co-directed with his brother Eric) was acquired by the Museum of Modern Art (MoMA) of New York

Words about HURT by Marc Hurtado

HURT is a musical and artwork project realized by Des Astres d’Or .

I made 4 tracks for the vinyl named HURT .

Names of the tracks are HURT 1 , HURT 2, HURT 3 and HURT 4. These 4 tracks are united by the chaos and the energy of the music and the voice screaming, whispering , singing poems in the center of a whirlwind of light and sound.

Each track is reflecting in the mirror of the other tracks like 4 stars dancing in an infinite violent circle circus isolated in an empty space.

I painted 25 diptychs for the 25 vinyls, all named HURT .

Each diptych is composed of one black oil paint on canvas representing infinite black crosses cut in the center with a knife and one white oil paint on canvas representing 3 or 4 black crosses surrounding a big black cross cut with in the center with a knife.
The crosses seems to move like shooting stars trapped in the infinite darkness of white light.

Light is the key of this work. Light is the key of life , love, dreams and death.

Between 4 walls

Between 4 doors

Between 4 senses

Between 4 stars

4 . 4 .4 . 4

( Marc Hurtado)

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Artwork Description: Diptych of two Paintings in Oilpaint and Knife-tear on Canvas. Each Painting measures 40-40 Cm. Signed by Marc Hurtado “MH”.


Photo by Jeremy Popelka, of Glassobjects by Jeremy Popelka.
Numbered edition of 25 ex.

Jon Mueller has been a Drummer and Percussionist since 1985. In 1990, he studied Music Theory at Columbia College and took private Drum Lessons from Hal Russell. In 2018, he took private Voice Lessons from La Monte Young and Marian Zazeela. Covering a Variety of Genres and Techniques over the Years, his aim has been to use Drums, Percussion and Sound as a Way to express something felt but not easily defined. Audiences throughout the United States, Canada, Europe, Japan, and the United Kingdom have described his Performances as ‘cathartic’, ‘intense,’ and ‘meditative’. Notable solo Performances have taken Place at the Guggenheim Museum, New Museum, SXSW, Alverno Presents, Hopscotch Fest, and Musée des Beaux-Arts de Montréal.
From 1999 – 2009 he owned the Recording Label and Promotion Company Crouton, which published and promoted over 40 Releases in deluxe Presentations from Artists out of the Avant Garde. Crouton also organized Events in the Milwaukee and Chicago Areas with Artists from around the World. These were documented by the Press and even filmed as Part of a PBS Documentary on Jazz Musician Ken Vandermark.
Mueller has given Talks about Listening and Creativity at Loyola University, Viva! Art Action, Translator Lab, Wesleyan University, and PechaKucha.
He has published two Works of Fiction, Pianobread and Endings, and contributed Non-Fiction Writing to ChangeThis, Pear Noir!, and more.
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Jeremy Popelka is an artist based in Sturgeon Bay, Wisconsin, USA. Over his 30 years of professional practice he has sought out artistic and creative collaborations involving installations, commissions and working with practitioners of different disciplines. This includes creating glasswork for other artists projects, teaching at the Corning School of Glass, and facilitating a hot glass studio in Bangkok, Thailand. Popelka received his masters degree from the California college of the arts and his work is in many public and private collections.
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Popelka Glass

‘Clarity Cycles’ focuses on various sized glass instruments made by Jeremy Popelka in mid to late 2018. They were played by Jon Mueller using various drum, gong and cymbal mallets and recorded and mixed throughout late 2018 and early 2019.

The cover photographs were taken by Jeremy Popelka at his studio in Sturgeon Bay, WI, where the instruments were made and the recording session took place.

A1: Glesum
A2: Anneal
A3: From Sand
A4: Blowing

B1: Vitrify
B2: Glass Illness
B3: Float
B4: Cold End

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Art Description: Photo Prints by Jeremy Popelka on Black LP Covers



Print by Bryan Lewis Saunders.
Signed by Bryan Lewis Saunders
Numbered edition of 50 ex.

One of my goals has always been to confront the human condition and become more engaged with my experiences. By experimenting with behaviors, environments and my senses I hope to simultaneously increase my sensitivity while expanding ideas about drawing, art and life. “The Blind Month Vinyls” document the 30 days I spent living in total darkness. I had drawn daily-self-portraits before while blindfolded, and with my eyes closed and in total darkness, but for this experiment I spent the entire month from January 6th to February 4th, 2018 totally blind. This record is an attempt to present fragments of what it was like for me. While I was blind I could no longer keep a written journal so all of my journaling had to be done on audio cassette tapes but as time went on and especially towards the end of the experiment a lot of the journaling turned into recording and documenting things that were happening in the moment instead of recording my reflections upon them. I began using the tape recorder to capture the moments as they happened instead of verbally describing them afterwards. The experience of being totally blind was a real challenge and yet it was one that I thoroughly enjoyed in part because I have such good friends. I really didn’t want this experiment to end. – Bryan L. Saunders

Special thanks to: Christopher Fleeger, Lisa Moss, Brant Withers, Aaron Kelly, Marcus Durham, Megan Christian, Zoë Dosher, Joey Salyer, Stacie Williams, Matt Volrath, Scott and Vivian and the entire Rader family, Russell Hughes, Becca Addison, Mahto Browder, Nicole Bailey, Liz Layton, Brad Ward, Zachary Jones, Tyler Cairnes, Patrik Dougherty, Ken Montgomery, and Rebecca Steele. Without you I would have suffered profoundly.

Side A:

Walking in the Woods (Unassisted)
Trip to the Mailbox
Note Taking / Journaling
Mid City Grill – Extrapolated
Car Ride
Echolocation Grunting
Pencil Tapping / Amplified Drawing
Mid City Grill – Interpolated
Walmart Walkthrough

Vocals and Voices, Christopher Fleeger and Elizabeth Messick (Mezzo-soprano) / Bryan L. Saunders, Lisa Moss, Aaron Kelly

Side B:

Replacing the Microwave Plate
At the Movies with Matt and Stacie
Brant Phone Call
Chattanooga Bathroom Walk
Eating Soup
Ass Washcloth
Roofers with Trumpet
Kalm Restaurant
Marcus and Meagan Read the Mail
Russell SIRI
Following Sarah
Snow Walk with Lisa
Stacie SIRI
Day Room Puzzles “Scratch Song”

Audio Recordings by Bryan L. Saunders

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Bryan Lewis Saunders ~ The Blind Month Vinyls

Artwork Description: One of a kind original archival Print made of the Drawings created by Bryan Lewis Saunders while totally blind.