Sur l’onde calme et noire où dorment les étoiles La blanche Ophélia flotte comme un grand lys, Flotte très lentement, couchée en ses longs voiles… – On entend dans les bois lointains des hallalis. Voici plus de mille ans que la triste Ophélie Passe, fantôme blanc, sur le long fleuve noir Voici plus de mille ans que sa douce folie Murmure sa romance à la brise du soir Le vent baise ses seins et déploie en corolle Ses grands voiles bercés mollement par les eaux ; Les saules frissonnants pleurent sur son épaule, Sur son grand front rêveur s’inclinent les roseaux. Les nénuphars froissés soupirent autour d’elle ; Elle éveille parfois, dans un aune qui dort, Quelque nid, d’où s’échappe un petit frisson d’aile : – Un chant mystérieux tombe des astres d’or
LP Original Artwork by Bart de Paepe Numbered edition of 25 ex. d’or044 Date of Release: 25 August 2020
Bart de PaepeDe 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
LP Original Artwork Numbered & signed edition of 25 ex. d’or043 Date of Release: July 5, 2020
A thin belly. A belly of fine powder and as in a picture. At the foot of the belly, a burst grenade. The grenade deploys a flaky circulation which rises in tongues of fire, a cold fire. The circulation takes the belly and turns it over. But the belly does not rotate. They are veins of vinous blood, of blood mixed with saffron and sulfur, but of a sulfur sweetened with water. Above the belly breasts are visible. And higher, and more deep, but on another plane of the mind, a sun burns, but in such a way that it is thought that it is the breast that is burning. And at the foot of the grenade, a bird. The sun is like a gaze. But a gaze that seems to gaze at the sun. The gaze is a cone that spills over at the sun. And all the air is like frozen music, but vast, profound music, well built and secret, and full of icy ramifications. And all this, put together with columns, and a kind of architect’s drawing which connects the stomach with reality. The canvas is hollow and multi-layered. The painting is well enclosed in the canvas. It is like a closed circle, a sort of abyss which turns, and doubles in the middle. It is like a spirit that sees itself and hollows itself out, it is malaxed and worked endlessly by the clenched hands of the spirit. However, the spirit sows its phosphor. The mind is safe. He stands well with a foot in the world. The pomegranate, the belly, the breasts are like witness testimonies of reality. There is a dead bird, there’s a bud out of columns. The air is full of pencil strokes, pencil strokes like knife strokes, like streaks of a magic nail. The air has returned sufficiently. And here he disposes himself in cells where grows a seed of unreality. The cells are each placed in their place, spreading around the belly, in front of the sun, beyond the bird, and around this circulation of sulfur water. But the architecture is indifferent to the cells, it sustains and does not speak. Each cell carries an egg, where shines which germ? In each cell an egg is suddenly born. In each there is an inhuman but clear swarming, the stratifications of a fixed universe. Each cell carries its egg well and offers it to us; but it matters little to the egg to be chosen or rejected. Not all cells carry eggs. In some, a spiral is born. And in the air a bigger spiral hangs, but as sulfurous as if already of phosphor and enveloped in unreality. And this spiral has all the importance of the most powerful thought. The belly evokes surgery and the Morgue, building site, public square and operating table. The corpse of the belly appears to be made of granite, or marble, or plaster, but than hardened plaster. There is a case for a mountain. The foam of the sky makes the mountain a ring, translucent and fresh. The air around the mountain is sonorous, pious, legendary, forbidden. Access to the mountain is prohibited. The mountain has its place in the soul. She is the horizon of something that is constantly receding. She gives the sensation of the eternal horizon. In this, I feel my thought unfold as in an ideal, absolute space, but a space that would have a form which can be introduced into reality.
I fall from the sky.
And each of my fibers opens and finds their place in their designated boxes. I go back up to it as at my source.
LP Original Artwork by Raymond Dijkstra Numbered & signed edition of 2 ex. d’or042 Date of Release: July 04, 2020
De Merel. 14 Expressionist Music Pieces by Raymond Dijkstra
Raymond Dijkstra is a musician/visual artist active since 1987 in experimental 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, loneliness, alienation, drug-experiences, self-exploration, dreams and psychedelic medicines like psilocybin and Bufo Alvarius… 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 new doors within himself and has distributed his music mostly through self-raised music and art publishing platforms like Le Souffleur (2003-current) and Astres d’Or (2017-current). “An artist should be independent- from the making of art to the freeing of the work to the public.” 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. Visual work: Rayastre Audio work: Le Souffleur Listen
Artwork description: Black thread on Black Cardboard Artwork on Covers by Raymond Dijkstra
LP Original Artwork by Timo van Luijk Numbered & signed edition of 25 ex. d’or040 Date of Release: June 20, 2020
Asra, La Poupée Délirante… is the epiphany of Asra, La Poupée Dilettante… while dreaming of existing as La Poupée Vivante… She has never really existed… Nor will she ever… Asra, she lives in a dream, undreamed by no-one. She is the all-forgotten… The non-sensical, incapable of being sensed. She lurks somewhere in lightness. Só light, it can’t be spotted. She radiates a beautiful smell, só nice, it can’t be smelled. That is, here, where you are… Where I am… I have never seen her… But I have met her… In a moment só intense, it can’t be remembered. A moment where I no longer was me. Where there were no memories and which moment could never be remembered. I have forgotten about her.
Rayastre, Timo van Luijk
Artwork description: Artwork on Covers by Timo van Luijk. Front: Black etchings. Back: handstamped letters. Drawings on Vinyl Records by Rayastre. Some records contain normal handwriting without drawings.
LP Original Artwork by Edward Ka-spel Numbered edition of 40 ex. d’or039 Date of Release: February 17, 2020
Edward Ka-Spel (born Edward Francis Sharp, 23 January 1954 in London) is an English singer/songwriter and musician. He is best known for his work with the band The Legendary Pink Dots, which he co-founded in 1980. He has a discography of over 80 solo-titles and 118 published works with The Legendary Pink Dots, apart from collaborations with the likes of Steven Stapleton, cEvin Key (of Skinny Puppy), Christoph Heemann, Jim O’Rourke and many others . His work spans a wide terrain from psychedelic underground popmusic to more serious electronic music, but always in a highly distinguishable style.
A Spoken Word Piece by Edward Ka-spel.
ON THE REBOUND
I looked in the mirror and saw healthy colour in my cheeks. Even the wrinkles seemed to be disappearing although those laugh lines stuck around for a while. “It gets better,” they all said. And it did until the first problem appeared in the form of a letter from someone called Rosemary. This Rosemary accused me of cheating her out of her precious possessions and threatened me with a lawyer. I would have written her off as a lunatic if the handwriting hadn’t seemed so worryingly familiar. Rosemary….Rosemary….the name nagged me as the letters increased in number and ferocity. Then, one day, Rosemary turned up on the doorstep with suitcases, and scowled at me as she stormed upstairs before emptying her things all over my bed. I just accepted it too. Wordlessly, like a puppy I moved downstairs and did my best to avoid her, though this became harder and harder as time passed. Sometimes Jake and a rather beautiful young lady named Amber, who was apparently my daughter, would come to visit. Jake would talk to me about compromise and communication while Amber tended to ignore me at first, preferring to talk to Rosemary upstairs. The odd thing is that I began to connect to Rosemary after a while. Her anger seemed to subside, and I began to wish for a surprise meeting in the kitchen.
Edward Ka-spel ~ On The Rebound
LP Original Artwork
Artwork Description: Digitally designed Text-Collages by Edward Ka-spel
LP Gatefold Cover with Artwork by Ragnar Grippe. Signed by Ragnar Grippe Numbered edition of 25 ex. d’or038 Date of Release: February 17, 2020
Ragnar Grippe is a Swedish composer, born October 15, 1951 in Stockholm. He has studied at one of the first electronic music studio’s, the legendary GRM studio’s in Paris in the 1970’s and has worked in other early electronic studio’s where he has composed numerous pioneering works in the avantgarde / electronic domain. Besides his autonomous work he makes music for dance theatre, film and television.
Unpublished Work from the 80’s by Ragnar Grippe
Tamis was composed 1980 at the Electronic Music Studio EMS in Stockholm at its original address Kungsgatan 8 in Stockholm.
The Buchla synthesizer and voice are the only sources to the composition. EMS had at this time just recently installed a 24 track tape deck and mixing console which allowed the layering of many tracks on top of each other, This new method of work did also change the compositional process; here we can hear a more instrumental approach to the material than in earlier compositions by Grippe.
T A M I S Choreography S U S AN BUIRGE
friend Philip Glass composed for her the music
for Enallantdel’ouestàl’est (1976).
She then commissioned musics from Ragnar Grippe
for Lapse (1978), Restes (1979), Tamis (1980)
and DesSites (1983);
from Jean-Yves Bosseur for ChargeAlaire (1982,
presented at the Aix-Les Milles aerodrome); from Luc Ferrari
for LesyeuxdeMathieu (1984,
a film for La Sept); from Steve Lacy and his sextet
for Artémis (1988,
Grande Halle de la Villette); from Marian S. Kouzan
for GrandExil (1990);
from Patrick Marcland for Lejourd’avant(1999)
and Lejourd’après (2000),
and from Jean-François Laporte (L’œildelaforêt,
2002). She also collaborated with Tomihisa Hida for an adaptation of
Gagaku music for the four pieces of LeCycledesSaisons (1994
Horst, composer who taught dance composition at the Juilliard School,
had helped Susan Buirge to make the decision to leave Juilliard and
to follow her desire to study with Nikolais by saying, “Do what you
have to do and everything will fall into place.”
R A G N A R G R I P P E lives in Stockholm Sweden and lived in Paris between 1972 and 1994.
in electronic music, chamber music, instrumental music and film music
besides his many collaborations with choreographers.
interesting part is that Grippe’s electronic music has to a great
extent dealt with virtual acoustics in the electronic music,
something which was in Buirge’s choreography defined as space,
time, shape and motion.
“All pieces we collaborated on were based on a mutual understanding for each other’s work, where the liberty given to me as a composer was essential for the completion of the collaboration.” (Ragnar Grippe)
Onesided LP Original Paintings by Leigh Barbier Numbered edition of 25 ex. d’or037 Date of Release: February 17, 2020
The Residents are an American art collective, active since end 1960’s. Between 1973 and now the group has issued around 140 titles. The group has in their 50 years existence never disclosed their true identities, which has lead to much speculation. Their style of music is perhaps best described as avantgarde rock with a high sense for experiment and a love for the strange. They were pioneers in including art, poetry, theatre performance and music in a truly original form.
A Spoken Word Piece by The Residents.
THE HEALER AND THE ARCHER
A Fable of Love and Loss by The Residents
Sweet like the smell of honeysuckle in the summer sun… sweet like the taste of rock candy crushed between the teeth… sweet like the touch of a baby’s skin beneath your fingertips. Yes, the Archer’s life was sweet. Never was the aim of his arrow more true, his sense of direction more succinct, his adoration more complete, but… something was missing. An empty spot existing just outside his line of sight, unspoken, intangible and roaming the edges of his essence. Like an itch that wasn’t there, with no specific connection to his otherwise well ordered life, it lingered… always present but never quite real.
The Residents ~ The Healer And The Archer
LP Original Paintings, Mixed Media
Artwork Description: Two Tableau’s, consisting of a Painting and a Collage. Tableau 1: Acrylic Paint on Cardboard. Tableau 2: Acrylic Paint, Stamps, Stickers, Collage on Cardboard. Size: 31,5-31,5 CM. Back of Tableau 1: Numbered and dated. Signed on Front Tableau 1: LB. (Leigh Barbier)
LP Original Artwork by Raymond Dijkstra / Louise Landes Levi Numbered edition of 25 ex. d’or036 Date of Release: 8 september 2019
Henri Michaux (Namur 1899 – Paris 1984) The French writer, painter and graphic artist Henri Michaux was born in the Belgian town of Namur in 1899 and spent his childhood in Brussels. He wanted to become a priest, but followed his father’s wish and began to study medicine in 1919, but soon abandoned this plan and signed on as a seaman. After reading works by Lautréamont he began writing in 1922. His acquaintance with Paul Klee, Max Ernst and Giorgio de Chirico, whom he met in Paris in 1925, inspired him to first painting and drawing attempts. Between 1927 and 1937 he travelled through South America and Asia. Afterwards Michaux sketched and painted his Phantomisms. He had his first exhibitions in Parisian galleries, followed by important shows abroad. In the mid 1950s Michaux began experimenting with hallucinatory drugs, particularly with mescaline, letting his experiences inspire his writing, painting and drawing. These works were first exhibited in 1956 at the Galerie La Hune in Paris. Then there was a large exhibition at the Palais des Beaux-Arts in Brussels in December 1957 and a retrospective exhibition organised by Daniel Cordier in Frankfurt/Main in March 1959. His ink drawings evoke scriptural elements and calligraphic symbols which are a seismographic reflection of the artist’s inner emotions. The two systems of word-language and sign-language pervade each other. Henri Michaux’s impressive oeuvre attracted much international recognition. He exhibited works at the “documenta” in Kassel in 1959 and 1964; he was awarded the Einaudi-Prize at the Biennale in Venice in 1960. Henri Michaux’s paintings always remained figurative, in-spite of all tendency towards abstraction. The artist’s intention was not to flee from the world, but to expand the world by changing the awareness. The real world was to be enhanced by additional levels of perception. Henri Michaux died in Paris in 1984 at the age of 85.
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.
Raymond Dijkstra is a musician/visual artist active since 1987 in experimental 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, loneliness, alienation, drug-experiences, self-exploration, dreams and psychedelic medicines like psilocybin and Bufo Alvarius… 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 new doors within himself and has distributed his music mostly through self-raised music and art publishing platforms like Le Souffleur (2003-current) and Astres d’Or (2017-current). “An artist should be independent- from the making of art to the freeing of the work to the public.” 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. Visual work: Rayastre Audio work: Le Souffleur
Spoken Word and Music by Raymond Dijkstra (Mellotron, Organ, Gong, Oscillator, Percussion, Mixage, Effects) and Louise Landes Levi (Voice, Sarangi), Somewhere in 2019, Somewhere. Text: Henri Michaux.
Raymond Dijkstra & Louise Landes Levi ~ In The Face Of Faceless Eye
LP Original Photo-collage Prints, Mixed Media
Artwork Description: Photo-collages by Raymond Dijkstra
Text by Henri Michaux, recited by Louise Landes Levi on Side A:
AN INTRODUCTION“La Terre n’est pas ronde, pas encore. Non, il faut la faire ronde” “The world is not yet round, No, not yet ,we must make it round.”
“Dans quelques cents ans, J’ai confiance, le monde sera large Enfin on communiquera avec lec animaux, on leur parlera.” In a hundred years, or so, I am sure, the world will be large. Finally, one will communicate with animals, one will speak to them: Épreuves. Exorcisme.
“Je lis surtoute ces textes archaiques,de peuple étrangères ou la poesie n’est pas mise a part, elle vient a l’improvise, on ne sait comment.” I read , above all, those archaic texts of foreign peoples for whom poetry is not something isolated, it comes spontaneously, one doesn’t know how.
Text by Henri Michaux, recited by Louise Landes Levi on Side B:
THE LETTERI am writing to you from a country that was formerly light. I write to you from a country of cloak and shadow. For years we live, we live in the tower of a flag broken by wind. Oh! Summer! Poisoned summer! And ever since it is always the same day, the day of encrusted memory. The ensnared fish thinks as much as he can of water. As much as he can, isn’t it natural? At the top of a mountain slope one receives a pike-blow. It is then that a whole life changes. One instant breaks down the door to the temple. We consult each other. We no longer know. Neither one nor the other knows anymore. That one is confused. All are distraught. Calm is no more. Wisdom does not outlast inspiration. Tell me, who having received three arrows in the cheek will present himself in a flippant way? Death takes some. Prison, exile, famine, misery take the others. Great swords of cold crossed us, then the abject and the sly crossed us. Who, on our soil, still receives the kiss of joy in the depth of his heart? The union of myself and wine is a poem. The union of myself and a woman is a poem. The union of the sky and the earth is a poem. But the poem which we have heard has paralyzed our minds… Our song in the great suffering could not be sung. Art has the mark of arrested jade. The clouds pass, clouds with the contours of rocks, clouds with the contours of sins, and we, like the clouds, we pass, padded with the vain powers of grief. One no longer likes the day. It shrieks. One no longer likes the night, haunted with worry. A thousand voices in order to deceive. No voice on which to lean. Our skin is tired of our pale face. The event is great. Night is also great, but what can it do? A thousand stars do not light a single bed. Those who knew no longer know. They leap with the train, the roll with the wheel. “To live in one’s own skin”. Don’t even think of it. The solitary house does not exist on the island of Parrots. In the fall, the villainess revealed herself. Pure is not pure. It shows its abstinence, its spite. Some manifest in squeaks. Others manifest in escape. Dignity does not manifest. Ardor in secret, farewell to truth. The silence of the pavement, the cry of the stabbed, the harmony of frozen repose and feelings which burn was our harmony. The path of the perplexed dog, our path. We have not recognized ourselves in the silence, we have not recognized ourselves in the screams, nor in our caves nor in the gestures of strangers. All around us the country is indifferent and the sky without purpose.
We have seen ourselves in the mirror of death. We have seen ourselves in the mirror of the outraged seal, of flowing blood, of decapitated rapture, in the charred mirror of insult.
Louise Landes Levi and Henri Michaux were personal friends during the life of Michaux. LLL has translated his work into English with the personal appreciation of Michaux. The texts used on this LP are from these translations. These translated text by LLL can be read in the book “TOWARD TOTALITY (Vers La Complétude) &OTHER POEMS by Henri MICHAUX translated by Louise Landes Levi” (Coronamundi Press, 2002 ;Longhouse, 2006)