BRYAN LEWIS SAUNDERS ~ THE DEAF MONTH VINYLS

LP
Acrilyc Paintings by Bryan Lewis Saunders.
Signed by the Artist
Edition of 25 ex.
d’or010
Date of Release: 24 June 2018.

The Deaf Month Vinyls is a Collection of Recordings done by Bryan Lewis Saunders during his Month long Experiment of External Ear Blocking in 2011.

“The Third Ear Experiment, produced by Brant Withers, was an attempt to connect my eustachian tubes to my pineal gland by physically rerouting the way in which sound entered my body. For 28 days straight, from October 25th to November 21st 2011, I blocked up my external ears and attached a copper funnel to my mouth and set out to see and hear what would happen. The experiment was both extremely torturous and meditative. Each day gave birth to a multitude of new ideas of which I was unable to document thoroughly. The act of documentation itself was often a hindrance to the experience so I made quick notes and as many sketches and paintings as possible for future illustration and investigation and I could easily spend the rest of my life in doing so.” (BLS, 19 September 2012)

“I didn’t even know I was going to swallow anything, or have problems swallowing anything when a human arm appeared from another dimension. Not a cloud or “thin air”. I saw where it came from and where it went back to. Anyway, it grabbed me by the Adam’s apple and started tugging on it up and down. I thought it was trying to kill me, so I twisted my body and tried to turn my head away from it when a Vicks lozenge popped down my throat. The human arm then disappeared back behind this plane of geometry we can’t see. It saved my life. At least it thinks it did. There is a higher power for goodness. A spiritual strong arm of safety. I saw it and I felt it and it left one little mark. Maybe tomorrow I’ll have bruises.” (BLS, 13 November 2011)

Literal Silence (Side A, Track 2)
“I am now experiencing “Literal Silence”, for the first time ever in my life. The shape of it inside my skull is growing. If I don’t move a single muscle and sit or lay perfectly still, I experience silence. I can hear my heartbeat at times and I can also hear the tension in my neck muscles when I move. It’s beautiful. The world can be a very quiet and peaceful place. But my mouth hurts like shit.”
(BLS, 26 October 2011)

Bike Breath Balance (Side A, Track 7)
“My first bike ride to test my equilibrium. I hear a low hum inside my silence and I am breathing pretty hard. I feel like I’m moving two pedals forward and less than a half a pedal back at first, until I get in the groove of it. There is a copper screen inside the funnel to catch bugs with and prevent foreign objects from flying in.”
(BLS, 27 October 2011)

Third Ear Phone Call (Side A, Track 9)
“I’ve made one phone call to Nicole and tried to talk through my third ear. She was upset for several reasons as you can imagine. I recorded the conversation without telling her, and she has since allowed me to put it up.”
(BLS, 28 October 2011)

More Information on the Third Ear Experiment: Bryan Lewis Saunders Website

Bryan Lewis Saunders is an American Artist who works in a broad Array of Art Disciplines among which are Visual Art, Spoken Word and Art Performance. The Experiential Element is a crucial Factor in all his Works. He’s been making Self Portraits on Paper for each day since 30 March 1995. Since 2006 BLS has documented his dreams off / on for each day through Audio Recordings. In 2011 BLS underwent a Self induced Experiment in which he ingested different Types of Mind altering Substances for 11 Days and ‘documented’ each Day in a Series of Drawings. In 2014 BLS and John Duncan collaborated on a Performance titled Under the Influence of Torture in which BLS was tortured on Stage by JD with electrical Shocks and other Torturous Treatments.
In 2014 Bryan Lewis Saunders was portrayed in the Documentaries  Art of Darkness by David Parker and Self Portrait Portrait by James Hollenbaugh

An interview with BLS about the Deaf Month Vinyls: https://artfully2017.wordpress.com/2018/04/13/bryan-lewis-saunders-deaf/

A1 Stage 1_Aural Eigengrau

01:59

A2 Stage 2_Literal Silence

01:59

A3 Stage 3_Purgatory

02:00

A4 Stage 4_ Elements of Sound

02:00

A5 (Silence)

01:00

A6 Document 5_Saliva Sucking

01:00

A7 Document 6_Bike Breath Balance

0:52

A8 Document 11_Glans-Brain

02:00

A9 Document 7_Third Ear Phone Call

05:08

B1 Document 9_Bellflower Speaks

04:00

B2 Birth of the Otic Vesicle

12:04

For Orders: contact Des Astres d’Or for Invoice including Postage Costs.

Bryan Lewis Saunders ~ The Deaf Month Vinyls
SOLD

 

Listen to full album / Digital download

Work in Progress:

  Work in Progress 10/25

  Work in Progress 01/25

Artwork Description: Acrilyc Paintings by Bryan Lewis Saunders

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MODELBAU ~ XEROX

LP
Handmade Artwork by Frans de Waard.
Signed by the Artist
Edition of 25 ex.
d’or008
Date of Release: 17 February 2018.

“Modelbau is not Frans de Waard’s latest in a series of names used to create music, but it is indeed the latest one for a solo vehicle. Each of the names, and that includes my own name, stands for something particular, an idea, and something not found in the other monikers I am using. Modelbau is, like Freiband, not a proper German word (it should be Modellbau, but I thought that looked ugly) and as such is probably already a lo-fi name, and as such also very personal. As a musician I have no a particular instrument, nor do I favour any technique, and I think one should use what is needed for a particular project or a piece of music.
When I started Modelbau, I wanted to use various lo-fi sound sources, such as Dictaphones, walkman, shortwave radio, small synthesizers and such like. This would not be a project for improvisation, but more or less planned pieces of music. All of which to be released in the digital domain only. That was in 2012. Now, in 2018, almost nothing is left of this outline, and yet the music is very much what I envisaged as Modelbau. These days Modelbau uses pre-recorded cassettes, iPad apps, sound effects, laptop, shortwave radio, small synthesizers, ancient 2bit sampling device; everything is recorded on the spot, as is, and without multi-tracking and very minimal editing (save for fades and mastering) released as downloads, but also on cassette, CDs and CDrs. ‘Xerox’ marks the very first release on vinyl. Whenever Modelbau plays a concert (all of which are recorded) preparations are made, and these are also recorded; sometimes these preparations can have the length of a concert, but they can also be single pieces of a few minutes. All of these recordings are archived and whenever a release is prepared, the latest sessions are listened to again. ‘Does it stand the test of time’, is it still interesting and thus: can it be released?” (Frans de Waard)

A1 Xylophone  

17:32

B1 X Marks
 

8:38

B2 Xelem  

9:46

Recorded by Frans de Waard December 2017 – January 2018

http://www.fransdewaard.com

Listen to full album / Digital download

 

Modelbau ~ Xerox
   
     
    SOLD

 

Artwork description:
Model construction elements (plastic) on painted paper

 


Distortion as a Self Reflection

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. 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 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. 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 like 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 more than that, it’s 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 scattering on the Floor, a Crack in the Wall of your Livingroom, waking up screaming from a bad Dream, bad Memories, a Misunderstanding, a faded Color, being attacked by vicious Dogs on the Street, an Error in your Head, Discomfort, a Man talking on an imaginary Televisionscreen on your Bedroom Wall, looking at Yourself from two Meters above your body while sitting in Schoolclass, a distorted Image from the Past in an otherwise normal Environment in a small Town somewhere in the North of the Netherlands, 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 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)

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RAYMOND DIJKSTRA ~ DE STAAL

3×10″
Handmade Artwork by RD.
Signed by the Artist
Edition of 1.
d’or006
Date of Release: 10 January 2018.

RAYMOND DIJKSTRA – DE STAAL (3×10″ on ASTRES D’OR)

A1 De Staal I
B1 De Staal II
C1 De Staal III
D1 De Staal IV
E1 De Staal V
F1 De Staal VI

raymonddijkstra.com

Raymond Dijkstra ~ De Staal
De Staal 3×10″  Original Artwork by RD Edition of 1.

SOLD

Artwork Description:
Wooden Box. Outside Front: Frame, Glass. Collage and Drawing. Mixed Media.
3 Vinyl Records in Hardboard Innercover. The Hardboard Innercover is attached to a wooden Dowel and can be slid out of the wooden Outerbox.
Signed, dated, numbered by RD

More Pictures and Soundfiles follow

______________________________________________

ASRA, LA POUPEE VIVANTE ~ LE FEU

 

LP
Handmade Artwork by Asra, La Poupée Vivante.
Signed by the Artist
Edition of 25 ex.
d’or005
Date of Release: 18 December 2017.

 

LE FEU (The Fire)

“When I projected upon me, the Image I thought I saw and thus acted accordingly,
I shattered, what I imagined was, a mirrored Image, which in it’s turn, revealed a Projection… upon a Projection… upon a Projection… upon a Projection…”

“From which Illusion my Being is consumed!
In retracing the Image to the Violence of the heavy Wind.” (RD)

 

 

A1 Le Feu I
 18:04
B1 Le Feu II
 19:55

Raymond Dijkstra: Voice, Strings, Effects
Timo van Luijk: Synths, Effects

Recorded 2014 at Kulta Saha, Heusden-Zolder, Belgium.
Mixed, mastered and cut on vinyl by Raymond Dijkstra at bhaavitaaH bhuutasthaH Studio, Amsterdam, Netherlands.

Timo van Luijk: http://www.lasciedoree.be
Raymond Dijkstra: http://www.le-souffleur.nl

 

Listen to full album / Digital download

 

Asra, La Poupée Vivante ~ Le Feu
SOLD  
     
   

 

 

 

Description: 13 Works by Timo van Luijk;  Ink – Doubleprint Monotype).
12 Works by Raymond Dijkstra; Fire, Paint, Ink, Thread and Needle.

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DITTERICH VON EULER-DONNERSPERG ~ TILL UND FRITZ AUF REISEFAHRT NACH KLOPSTOCKLAND

LP.
Original Artwork.
Signed by the Artist
Numbered edition of 25 ex.
d’or004
Date of Release: 30 December 2017

 

Ditterich von Euler-Donnersperg

Ditterich von Euler-Donnersperg is a German Politician active for the Neo-Communist Party KED, Film Director, Writer, Artist and Musician.
He is also the Founder of one of the longest existing Industrial / Post-Industrial Music Labels (early 1980’s till this Date); the Legendary Label Walter Ulbricht Schallfolien for which he has released Albums of Throbbing Gristle, SPK, Laibach, Hafler Trio and Werkbund.
He has long running Musical Collaborations with Asmus Tietchens, Felix Kubin and Timo van Luijk (Af ursin) as well as being Part of Werkbund.

“Sieg der Vernunft” is an ideological and philosophical Film von Euler-Donnersperg made for his political Neo-Communist Party KED in 2015.
Zeit Online (1-5-2015): “Victory of Reason is the Name of the Work, which has a reference at the Title of Leni Riefenstahl’s Nazi Party Rally Film ‘Sieg des Glaubens’ (Victory of Belief) (1933). But of course, the Film understands this and Itself – according to Hegel’s Hypothesis that all World History repeats itself as a ‘lousy Farce’.”


DvE-D addressing the Party at the first screening of Sieg der Vernunft (Photo courtesy of Peter Blase)

Till und Fritz auf Reisefahrt nach Klopstockland
is the Monumental Journey of Till and Fritz, the two Sons of mr. von Euler-Donnersperg, to the imaginary Land of Klopstockland; Till und Fritz are both returning Characters in Ditterich von Euler-Donnersperg’s Phantasmagoric Universe.

Klopstockland is rumored to be the Republic as envisioned in “Die Deutsche Gelehrtenrepublik” (The German Republic of the Learned), the Enlightened Utopia of German Poet Friedrich Gottlieb Klopstock, who lived from 1724-1803. Klopstock was a lyrical Poet whose subjective Vision marked a Break with the Rationalism that had dominated German Literature in the early 18th Century and is seen by some as the direct Inspiration of Friedrich Nietzsche.
Die Deutsche Gelehrtenrepublik (1774) is a Concept that employs an educated Elite in Power of the Country for the Princely Ruler was regarded as incapable of Government. The Republic is to be ruled by Aldermen, Guilds and the People, with the First – as the most learned – having the greatest Powers, less to Guilds and People. The “Mob”, however, would get at most a Crier at the State Parliament, because Klopstock did not trust the People any popular Sovereignty. Education is the highest Good in this Republic and qualifies its Bearer to higher Offices. According to the scholarly Handling it goes in this Republic extremely Pacifist: As Punishments between the Learned estimated Klopstock “Turning the Nose up at a Person, Mocking, Laughter and Frown”.

 

Music Recorded 1995 / 96 at Suchtraum Hamburg – Altona by DvE-D

Box includes printed, signed / numbered inlay card designed by DvE-D

 

A1 Till und Fritz auf Reisefahrt nach Klopstockland – Die Abfahrt ins Ungewisse  26:18
B1 Till und Fritz auf Reisefahrt nach Klopstockland – Die Ankunft im Nirgendwo  25:44

Listen to full album / Digital download

 

Ditterich von Euler-Donnersperg: http://siegdervernunft.blogspot.nl/

 

 

Ditterich von Euler-Donnersperg ~ Till und Fritz auf Reisefahrt nach Klopstockland
   
     
   

SOLD

Description:
Perspex Transparent Plates held together by 4 Iron Bolts. In between is a transparent Polyvinyl Innercover with an LP.
2x Original Photographs glued on the Perspex Plates (Front & Back)
Signed, dated, numbered by DvED

NB: the following Pictures have a brown Background because of the Transparancy of the Artworks. When you click on the Numbers next to the Pictures, you can see the same Work with a different Background.

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SMEGMA ~ FOOD CITY 1974 / INSIDE JOB

10″.
Original Artwork by Smegma.
Signed by the Artist
Numbered edition of 25 ex.
d’or003
Date of Release: 24 November 2017

As a Celebration of the 43rd Year Anniversary of Smegma (24/11/17):
Historical, Previously Unreleased Recordings from 1974, plus a new Piece from October 2017

About Food City:
“This is an edit of a 30 min. Jam recorded on a open Reel to Reel Tape Deck, all the strange tape speed sounds were done in real time by messing with the tape reels as it was recording.
This Jam took place in the Garage of Craig’s Parent’s house in Temple City, Calif. They were good sports about the crazy noise and brought us snacks.“ (Ju Suk Reet Meate)

 

A1 Food City
 
B1 Inside Job

 

Food City — Recorded in Temple City, California Aug. 1974
Personnel: Ju Suk Reet Meate, Ace Farren Ford, Dennis Duck, Allen Lloyd, Craig, Amy, Bev, Dr. Odd, and others.

Inside Job — Recorded at Smegma Studio, Portland, Oregon Oct. 2017
Personnel: Ju Suk Reet Meate, Ace Farren Ford, Oblivia

Smegma: http://smegmamusic.com/site/

 

 

Excerpt Food City

Excerpt Inside Job

 

Smegma ~ Food City 1974 / Inside Job Sold out  
     
Food City 1974 / Inside Job 10″ Original Artwork by Smegma  

 

Artwork Description:
-Smegmatized Doll (Signed: “Smegma”)
-Collage, Ink, Gouache, Marker drawings on Paper

 

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A short A & Q between Silvia Kastel & Raymond Dijkstra…

 

August 2017

RD: Can you tell something about the background of ‘The Gap’?

SK: I had recently moved to Berlin and I had a very minimal set up with me. Just my synth, a drum machine, some pedals, a tape recorder and a couple mics. I held on to my gear like it was all I had. It was light and heavy at the same time. I thought a lot about void, physical and emotional. And all the different (or same) ways that people fill it with. The Gap mostly refers to that. 

RD: Did your music change since you live in Berlin?

SK: Most of the music on The Gap was made here. I was living a lot at night at the time, taking long walks on headphones at night. The city lights, the canal, the things I experienced during those walks informed the music on it. 

RD: What do you think of the current state of so called experimental music.
I’m using this term in lack of a better description. Do you think there
still exists such music at all at the current time?

SK: It’s always hard to define what’s “experimental”, but yes, it still exists. I would say that people are definitely a bit more open to “stranger” sounds now, than a few years ago.

RD: Are there things, experiences, people, other artists which have
influenced your work, or your work in a certain period?

SK: Life is the main influence of course. Some artists I really love and draw inspiration from are: Pierre Molinier, Rei Kawakubo, Anne Gillis.

RD: Can you tell something about your collaborations

SK: For many years I played in a band called Control Unit. At the same time me and Ninni (my partner in the band) would play a lot of improv – free jazz shows with other people. Some of those were just one off collaborations, some of them were a series of shows/tours, sometimes we would record sessions and release them. The collaborations I enjoyed most were probably the ones with Ju Suk & Oblivia of Smegma, Aki Onda, Gary Smith.

RD: As a person who likes to spend a lot of time by yourself, how do you cope with social life

SK: I am quite asocial in general. Over the years I’ve realized that Music is what’s really kept me going. Both in my solitary phases and in the social realm.   Thanks to music, I’ve been able to meet and make friends with like minded people. I’ve met my dearest friends through music, very special people. But music has also shown me how horrible some people can be.

RD: Has your music ever taught you something about yourself?

SK: Definitely. Not only it uplifts me when I’m sad, it helps me understand why, it’s like a translator of emotions.

RD: Do you ever think about your public when making music? Or is it a purely solitary trip?

SK: It’s both. The solitary trip is a part of the immersive process. Of course I think about people as well at some point. If you are moved by something you’re making, it’s only natural to want to share that and hopefully convey emotions to others.

RD: You also perform live. Is there a difference with playing in your studio?

SK: Yes, very different.  The tension and energy of a live show are very unique and feed into studio work, inevitably.

RD: Working as an artist involves more than creativity and ideas. It’s also about clarity in perception and the ability to somehow communicate it, wether towards yourself or the public. In my perception this determines if a work of art is good or not.
The ability to communicate. To ‘materialize’ personal experiences. This has taken me personally, years before I was able to do so, because for a long time, the fuzz and chaos of life got in the way.
Do you feel the audience perceives your work (within broad parameters) like you perceive it yourself?

SK: Interesting question. It depends. Sometimes my own perception matches other people’s. That feels good of course. Other times their impressions are very different. Whether it’s a compliment or a critique, it doesn’t matter, it makes you see your own work in a different light, makes you less obsessed with your own self perception so you can discover more in the process. 

 

Editorial Note: It is allowed to take Parts of this Interview for Publication by third Parties when the Name of Writer and a direct Link to this Interview is included in the Article.

About Astres d’Or

***** ASTRES D’OR 5TH ANNIVERSARY! *****
In 2022 Astres d’Or enters it’s 5th year of existence. We thank all our dear customers who have supported us during these early years. This is an exciting time for us. We hope the works inspire you. We’ll continue doing our best to  publish interesting music and great art and have great and secret plans for the future. Greetings! And speak soon.

Muziek en kunst galerie Astres d’Or is an Artist’ lead Platform and online Gallery for the promotion of Artist Records, erected in October 2017. Avant-garde Music and Visual Art combined as a Gesamtkunstwerk.

The Focus is on the Publication of Music and Poetry on Vinyl Records, combined with original Art from the Artist involved. Combining Visual Art by Musicians and Music by Visual Artists.

Astres d’Or believes Art should stay far away from Contemporary Society. That it should live as a Hermit far from People. Art should stay far from Modern Society’s Reasonings to preserve it’s own pure Nature.

De Wending ~ Raymond Dijkstra. Upcoming  5″ Vinyl Release on Astres d’Or. Artwork & Box Design by RD.

(Continue reading here)