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 Raymond Dijkstra / Louise Landes Levi Numbered edition of 25 ex. d’or036 Date of Release: 8 september 2019
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.
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.
Spoken Word and Music by Raymond Dijkstra and Louise Landes Levi, Somewhere in 2019, Somewhere. Text: Henri Michaux.
ON THE STREET OF DEATH
On the street of Death,
My mother met a great ice field;
She wanted to speak,
It was already late,
A great cotton ice field.
She looked at us my brother and I,
And then she cried,
We told her — a truly absurd lie — that we understood. And then she smiled the very gracious smile, of a young girl, That was truly herself, Such a lovely smile, almost coy; And was taken into the Opaque.
Peace in the nerves of a sick heart.
Steady peace ripens its law,
sucked into life,
into a nebulous life, into life…
but heavy the chariot, heavy, heavy.
Send wind to them,
the warm wind of delicate mouths,
the warm wind of sovereign deserts.
your corollas of anguish!”
THE MASTER OF HO
THE MASTER OF HO
I heard the crowd of the spanked speaking of pride, says the
Master of Ho. And I did not laugh.
New laws have been prepared. New laws have come. The laws
accumulate says the Master of Ho. But it is still the edict of the old
dwarf, scattered leaves of an already uprooted tree.
Calm, says the Master.
Calm and worry. These are the peregrinations of the doe and
the panther until finally they meet. O moment! O extraordinary
moment! and everything becomes so simple, so simple.
Calm, says the Master of Ho.
Labyrinth, life, labyrinth, death
Labyrinth without end, says the Master of Ho.
Everything buries, nothing frees,
The one who suicides is reborn to a new suffering.
The prison opens onto a prison.
The corridor opens another corridor:
He who believes he unwinds the thread of his life
Unwinds nothing at all.
Nothing leads nowhere, The centuries also live underground, says the Master of Ho.
Everything falls, says the Master of Ho. Everything falls, alreadyyou wander in the ruins of tomorrow. The man who talks to you is Sphinx. The man who you were,the father that you had, was Sphinx. And then, what did you understand of the Sphinx who made you submit? He who does not dissolve the one who comes to him, a Sphinx,grows there and it is from this Sphinx that one dies.
Everything hardens, says the Master of Ho, everything hardensand returns to the skull. The incomplete gesture, the faltering ofthe heart, the remark that strikes the ear is him, it is he himself, notunderstood, who will wound you and who, in time, will obstructyou, endlessly, with hard rocks.
Everything sediments. Everything turns into stone, says theMaster of Ho. From the lip to the stone, from the ray to the ruin.
He whose destiny it is to die must be born. Alas, a thousand
times alas for the births, says the Master of Ho. It is an enlacing
which is an interlacing.
One loses in gaining. One retreats in approaching. The girl with
the tight yoni, however great her heart, has a fault.
Many fine things have them.
Take from me the scholar, says the Master of Ho. The coffin of
knowing has limited his thought. O! Liberty says the Master. Take
from me he who sits down to think.
Speak first. Speak and you will not be ignorant. First attain, and
then you will approach.
Everything flows, says the Master of Ho. Everything overflows.
Everything is there.
A look with the wings of a dragonfly poses itself on the loved one and rhymes the World without the knowledge of he who must sing of it.
EACH DAY MORE WEAK
Unhappiness whistled to his little ones and designated me.
“It’s him, he said to them, don’t leave him alone anymore.”
And they no longer left me alone.
Unhappiness whistled to his little ones, “It’s him, he said to them, don’t leave him alone anymore.” They have no longer left me alone.
BUT YOU, WHEN WILL YOU COME?
But You, when will you come?
One day, stretching out Your hand
In the quarter where I live,
in the mature moment when I truly despair;
in a second of thunder,
uprooting me with terror and sovereignty,
from my body and from the scabbed body,
from my thoughts-images, ridiculous universe;
leaving in me Your horrible probe,
the dreadful drill of Your presence,
raising itself up in an instant on my diarrhea
Your great and insurmountable cathedral,
projecting me not like a man
but like a mortar shell in the vertical path
YOU WILL COME
You will come, if you exist,
attracted by my waste,
my odious autonomy.
Coming from Ether, from it doesn’t matter where, from beneath
my overwhelmed self, perhaps;
throwing my match in Your immeasurableness,
and goodbye, Michaux.
And then, what?
Say, Great fortune, where then do you wish to fall?
LP Leather and Paper Collage by Raymond Dijkstra. Signed by Raymond Dijkstra Numbered edition of 10 ex. d’or035 Date of Release: June 16, 2019
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-erected music and art publishing houses 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. The works are distributed through his imprint Astres d’Or.
“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:
Raymond Dijkstra ~ Musique Irritante
LP Original Artwork Raymond Dijkstra
Artwork Description: Cut’ and glued Strips of Leather and Paper on Cardboard LP Cover
LP Original Photography by B de Paepe. Original Handwriting and Drawings by R Dijkstra Numbered edition of 40 ex. d’or031 Date of Release: June 2, 2019
1 Part I
2 Part II
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 it had a Swivel-chair. Because of this, the surrounding Couch functioned more like a Table. 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.”
LP Original Artwork by Raymond Dijkstra Numbered, dated, signed edition of 40 ex. d’or029 Date of Release: 18 March 2019
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)
“Little by little, the mass turned like a slimy and forceful nausea, a kind of immense influx of vegetable and thundering blood. And the small fibers trembling at the edge of my mental eye, broke off with a vertiginous speed of the tense mass of the wind. And all the space trembled like a sex organ which the globe of the burning sky was battering.”
Raymond Dijkstra is an autodidact Artist from Indonesian / Dutch / English / Belgian / Portuguese descent. He has developed a highly personal acoustic-experimental and expressionist style, using his body as a tool for ‘automatic writing’. His explorations in this area are carefully documented by his own imprint Le Souffleur, especially in the series “Catalogue du Bruit”. Since about 2009 he also started working on a different, more ‘musical’ type of music, hereby incorporating electronic sources and a more eleborate use of effects. Since 2003 he’s been combining most of his limited publications with original exclusive handmade artworks of himself.
Bart de Paepe is a Belgian Musician and Artist who has worked in many diverse directions, leading to an eclectic array of experimental and underground escavations of his innerworld. His solo music is portrayed by a compact electronic, yet psychedelic style. He’s the Art Direcor for the labels Sloow Tapes and Sloowax and has collaborated with Louise Landes Levi, Timo van Luijk and members of Embryo.
Frédérique Bruyas is a Native French Reciter of (mainly) French Literature. Approaching the texts almost as an actor, she’s showcasing her superb sensitivity for atmosphere and her excellent ability to translate written word in spoken word with great respect to the original texts. The texts used on “Tremblaient à la lisière de mon œil mental” are part of L’Ombilic des Limbes by Antonin Artaud, a text written in 1918 during his stay in a mental asylum and published only a decade later.
Wendingen 1918 is dedicated to the Dutch Architectural Magazine ‘Wendingen’ from 1918 and the Work and Life of Antonin Artaud.
Cover tied with rope; Innercover with wooden Dowel (Design RD)
Original Artwork by BdP, RD
Photography & Artwork by Raymond Dijkstra.
Signed by the Artist
Edition of 25 ex.
Date of Release: 31 May 2018.
paNa pakShiNaaaM (Play of Birds)
I was in a Bus full with People… The Ceiling of the Bus was from an old victorian House… richely ornamented Stucco which was about to fall down upon us… Outside the Bus there was a Fairground Caroussel and Lots of playful Animals were running around… We were driving… I looked outside and marvelled at the fantastic old Jugendstil Architecture of Madrid… I was discussing this with the Woman next to me… Later we would walk Outside. I was hungry. We were standing in a Queue for a Restaurant. But the Woman with who I was was suddenly gone… Instead, T was standing there. Then, from one Moment to the Other, everyone else was gone, including T. So I went searching for them… I walked through the Parc…
I was in an unknown Building and speaking inaudibly… But for some Reason, everyone outside the Building could hear me… They all looked at me. There was something peculiar with the Window. At first it was on the 1st Floor, later it was on the Groundfloor. First there were Windows on all Sides, but later when it was on the Groundfloor, the Room was disconnected from the House, with People walking near by on the Pavement invading my Privacy…
I was still in a strange City, probably Madrid, in the Queue. A Neighbor passed by and gave a Coin to the Person behind the Counter and ordered a Coffee for me. Close to me there was a Man repairing a huge Clock about 10 Meters above the Ground. There were several giant Gongs but they didn’t make a full Sound because I had hung a Piece of Cloth over it. Suddely I realized I was the Man and looking below at the Ground. It was very high and I didn’t dare to climb down. A Woman was talking to me. She told me: “remember 2014” She was cursing the Year… I realized I had to leave the Past behind and stop dragging it with me. Climbing down suddenly became very easy. More even, I simply had to take one little Step and I was at the Ground. I took off all my Clothes, with the Water so close by for a Swim… There were already some People swimming in the small Pond and it was beautiful and nicely warm Weather… Birds were playing in the Water, playfully chasing eachother and throwing Water at eachother to make other Birds wet…
paNa pakShiNaaaM (With Mark Alban Lotz)
Play of Birds
Music composed by / All instruments by R Dijkstra. Except for Side A: Flutes by Mark Alban Lotz
Recorded, mixed, mastered and cut on Vinyl by Raymond Dijkstra at bhaavitaaH bhuutasthaH Studio, Amsterdam, Netherlands, 2018.
LP in Hardcover Black Linen Box with Wooden Dowel.
Original Artwork by Raymond Dijkstra & The New Blockaders.
Box Design Raymond Dijkstra
Signed by the Artist
Numbered edition of 25 ex.
Date of Release: 24 June 2018
LP in Softcover Black Normal LP Cover.
Original Artwork by Raymond Dijkstra or The New Blockaders.
Numbered edition of 25 ex.
Date of Release: 24 September 2018
Second Title by RD & TNB
RD & TNB ~ Kunst in Gebreke I
RD & TNB ~ Kunst in Gebreke II
RD & TNB ~ Kunst in Gebreke III
TNB & RD ~ Kunst in Gebreke IV
Collage Artwork by Raymond Dijkstra & The New Blockaders.
Hardcover Black Linen Box / Wooden Dowel Design by & executed by Raymond Dijkstra
Every Box comes with Artwork of Dijkstra and Rupenus on Front and Back of the Box.
Softcover Edition: Artwork by Raymond Dijkstra or The New Blockaders.
Composed, mixed by Raymond Dijkstra & The New Blockaders
Handmade Artwork by Raymond Dijkstra and Jon Mueller.
Signed by the Artist
Edition of 25 ex.
Date of Release: 22 March 2018.
“While the Momentum arose from Time, we’d been the Filters and had been filtered, in an overall Alchemical Process, Roasting the Salamander.”
“These Pieces are the Result of a long Process which lasted 10 Years or more. I’ve been in Touch with Jon off and on, exchanging Music for each to work on. Working on Tracks and leaving them to rest. On the Surface, nothing much happened. The Music was somewhere filed up, almost forgotten. We didn’t make music together for Years to come. Then early 2018 there was a sudden Breakthrough. The Pieces now published on this LP are the Result from this… I strongly see a great Analogy with certain alchemic and hermetic Processes . In Hermetism there’s the Process of slow cooking. Cooking the content of a Pot, with the Lid on, to preserve it’s full Potency and to build up Power. The Content of the Pot is mixed, transformed, sublimated without anyone seeing it, or being aware of it. The Lid is only taken off when the Content is ready. The same Process was applied to my Collaboration with Jon Mueller, without us being aware… Time had silently transformed and sublimated our Collaboration. Roasting the Salamander, thus transforming the Prima Materia.” (RD)
About Jon Mueller:
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.
More Information: Rhythmplex
About Raymond Dijkstra:
Raymond Dijkstra is a Multidisciplinary Artist working in the Fields of Music and Visual Art. His Discography entails over 120 Titles of mostly Vinyl Records. Between 2008-now he has been working on an ungoing Catalogue of 3″ and 5″ Vinyl Records, published by Editions Le Souffleur These miniature Music Pieces of 1 minute (on 3″) and 2,5 minute (on 5″) comprise Music only made with Acoustic Instruments and Acoustic Found or Household Objects, without any use of Audio Effects, thus creating A Musique Brut Type of Music, which Dijkstra likes to designate as Expressionist Music. These Experimental Acoustic Pieces (till this date 58 in total of which some contain up to 3 or 9 Records per Title) form together Raymond Dijkstra’s ‘Catalogue du Bruit’ (Noise Catalogue). Each Title came with Handmade Hardcover Mini Boxes and a Wooden Dowel attached to the Innersleeves; aswell as Handmade Artwork, often including Collage and sometimes Needle and thread, and even a Box with Mackerel Fish Skin (which innerflesh had been previously devoured by Dijkstra and after this was dried for over half a year) among others. Dijkstra sees Catalogue du Bruit as the Centrework in his œuvre of which all different Branches of his Art and Music grows. His Music ranges from the aforementioned Musique Brut to different Types of Electronic Music. In his Electronic Music he has rarely used normal Synthesizers but prefers to work with 1950’s and 60’s Tube Oscillators and Filters.
Roasting the Salamander
Prima Materia Excerpt:
Roasting The Salamander Excerpt:
Raymond Dijkstra & Jon Mueller ~ Prima Materia
LP Original Artwork by Raymond Dijkstra & Jon Mueller
Raymond Dijkstra Artwork:
Gatefold Cover of Grey Cardboard with Construktivist and Cubist handdrawn Pencil Lines / Thread and Needle.
Jon Mueller Artwork:
Green/Black Mat Board, Black and Metallic Gold Acrylic Paint, Photo Corners, Pure Essential Oil, Poly Sleeve.
Improvised Symbols on Each Cover were executed using Broom Stick Fibers.
Handmade Artwork by Raymond Dijkstra.
Signed by the Artist
Edition of 25 ex.
Date of Release: 10 January 2018.
“These crude Electro-Acoustic Works I made during the Course of 2015 when I was experimenting with some 1950’s electronic Devices I had just acquired. 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, 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