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DIJKSTRA, RAYMOND - Maskenstilleben

Format: LP-box Label & Cat.Number: Crouton No.36 Release Year: 2007 Note: art-release by the Drone Records-artist (as INDRA KARMUKA); 200gr vinyl in beautiful black painted wood-box with golden embossing, numb. ed. of 100 copies!! Price (incl. 19% VAT): €88.00 Warning: Currently we do not have this album in stock! More Info Neue unklassifizierbare Sound-Art von RAYMOND DIJKSTRA, der behauptet, seine Musik nicht für die Öffentlichkeit, sondern nur aus "metaphysischen" Gründen zu machen. Das 'Maskenstilleben' besteht hier aus obskuren quietschend-schneidend-konkreten Objekt-Noises (von Glas, Metall, Holz, Messer..) die nur mit kurzem Analog-Echo versehen werden, "dahinter" leise disharmonische Harmonium- oder Synth-Akkorde... hat eine ganz eigene Dynamik und Atmosphäre, kein Anfang und kein Ende, kein Spannungsbogen, keine Entwicklung.... "es" ist einfach DA... das ganze kommt in einer wunderschönen, bemalten, aufschiebbaren Holzbox, mit Golddruck-Prägung, in nummerierter Auflage. Das ist ziemlich weit weg von allem was man kennt oder sich vorstellen kann, ganz weit draussen... "We are very pleased to present this enchanting special edition LP from sculptor, painter, drawer and composer, Raymond Dijkstra. Since 2003, his recorded work has been released in very grandly designed (though extremely small editions) on the Le Souffleur label, all of which are out of print and not easy to obtain. Those who have, discovered the odd, yet personal world of Raymond Dijkstra, whose recorded output relies heavily on the acoustic side of electro-acoustic music. In Dijkstra's own words: 'My overall philosophy is to keep my kitchen closed. And the lid on the pot. I need to build up pressure; the only time I release pressure is when playing music. It's all about transformation. I guess I need to have some distance between me/my music and the public. In fact I like to see the public as non-existent. Releasing my work I only do for metaphysical reasons; to keep all psychic and physical channels open, and maintaining a healthy system. It is not much more then relieving yourself in the toilet. If not, there'll soon or later come a point when your system gets clogged, the energy flow will cease, and the transformation into music stops... I need complete isolation to protect my work.' Maskenstilleben will be released in a limited numbered edition of 100 in a painted wooden box on 200 gm virgin vinyl." [label info] "It's perhaps no big secret that I am a big fan of the work of Raymond Dijkstra, and maybe reviewing all of his previous work, entitled me to a copy of each of this: a big black wooden box with golden text, in an edition of merely 100 copies - the preprogrammed art item or well calculated collector's item? (You decide) [...] Sound wise Dijkstra continues the road he choose now for a while. A while ago I saw him in concert, with Timo van Luyck, with whom he has an ongoing collaboration, and their set up is very simple. An ancient loop echo, a small table and a small bunch of objects that are played on the table, like glass, knives, forks and wood. On 'Maskenstilleben' Dijkstra continues this. Somewhere in the back there are the disharmonious drone like chords he plays, seemingly at random, whereas in the foreground there are scrapings and scratching of the surface, which are fed through the ancient echo machine (which, to be honest, could have been a little less). Perhaps the use of echo makes this 'electro-acoustic' music, but its merely a deception to call it like that. This is acoustic music in optima forma and one of a highly original kind. Composition? Not of great interest for Dijkstra. Structure? Nope. Being part of a scene? Which one, or in fact is there one? Not for Dijkstra. He claims to work best in strict isolation, building up the pressure and when he plays his music, he releases his pressure. Inside his closed system (both mentally and in the real world), he derives the sounds which he likes, plays them ad infinitum, without beginning or end. This is noise music, but stepped outside the relatively known genre of overload. This is improvisation, but not as we knew it. Total outsider music, as it's hard to come across Dijkstra, who hardly plays concerts. Not part of the serious music world, the underground noise scene, microsound or the laptop flock, he persists very much in his world... [...] We hardly complain about people using guitars and drums, so why should we complain about Dijkstra using objects like glass and metal? It's not the same song repeated three times. Each is genuinely different from the previous or the following record. The instruments remain the same, the 'composition' remains the same, yet, like a good monochrome painting, the differences are in the detail. 'Die Sonne' I thought was a bit more minimal than the other two, more sparse, while 'Maskenstilleben' was a bit more dense, and 'Die Wille', although close to 'Die Sonne' fell sort of in between the two. After a bunch of self-released records, the release for Crouton may open more doors for Dijkstra, and probably he doesn't care, but at least the public should care. Three great LPs, by all means, although Art (big A in place) doesn't come cheap." [FdW / Vital Weekly] www.croutonmusic.com/cr36.htm