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 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)
LP Original Artwork by Pierre Bastien Numbered edition of 40 ex. d’or028 Date of Release: 28 March 2019
Musicworks by Pierre Bastien
This Album is a Unicum in the Œuvre of Pierre Bastien. Pierre Bastien has always played together with the Meccano Orchestra. In these Pieces however, the Music contains the mechanical Sounds by the Meccano Orchestra only, with the Artist only observing the Orchestra as the sole Spectator in a vast and empty Circus Arena… A wonderful Collection of automated music, pure Poetry of a tiny mechanical Orchestra, fragile and touching in it’s primitive Mechanics… An absolute Highlight in the Œuvre of Bastien.
The Meccano Orchestra is a unique and constantly evolving Orchestra consisting of selfplaying Machines made from Meccano, imagined by Pierre Bastien.
Artwork Description: Stamped Forms in Gouache on brown Cardboard. Forms are stamped from Meccano Parts. Artwork by Pierre Bastien
This is only the third Album from the Legendary Kraut Group Anima Sound with German Artists Limpe Fuchs and Paul Fuchs. Previous Albums of Anima Sound were “Musik für Alle” (1971) and “Stürmischer Himmel” (1971). After this they continued releasing their Work as Anima. The Group is known for their free Improvisations in an Area bordered by Psychedelic Music, Jazz and Improvisation. Instruments were often build by themselves. During 1972 and 1973 they toured extensively through Europe with a Tractor, Mobile Stage and some Sheep, to give unanounced (and unsolicited) Concerts in smaller and bigger Villages, often to the despair of uninformed Villagers… These Tours were recently published in the Documentary “Anima-Sound: Mit 20 km/h durch Europa (1972) & Gruppe Anima in Salzburg (1973)” https://vimeo.com/233453157
Limpe Fuchs is currently still highly active as a Musician, Instrument Builder and Visual Artist. http://www.limpefuchs.de/ Paul Fuchs is a prolific Artist, working as a Musician, Instrument Builder and in the Visual Arts as Painter, Sculptor among other. https://www.paulfuchs.com/
LP Original Artwork by Lauren O’Connor Numbered edition of 25 ex. d’or025 Date of Release: 4 March 2019
Musicworks by Bombay Lunatic Asylum
Bombay Lunatic Asylum: Louise Landes Levi: Sarangi, Voice Koen Vandenhoudt: Sarangi, Shruti Box Bart de Paepe: Indian Harmonium
Produced by Raymond Dijkstra
Artwork is from the highly talented Artist Lauren O’Connor, who has previously collaborated with Louise Landes Levi; handstamped Paperscrolls for ‘Love Cantos 1-5’ (Jack in your Box, 2012) and handstamped booklets for ‘From the Ming Oracle’ (Sloowax, 2014)
10×3″ Vinyl Records in Wooden Box with 10x Wooden Dowels Original Artwork by AsRA, LA pOUPéE dILETtANTe… Numbered, dated, signed edition of 1 ex. d’or024 Date of Release: 11 February 2019
20x 1 minute Pieces by AsRA, LA pOUPéE dILETtANTe… Recorded in 2001 by Timo van Luijk and Raymond Dijkstra at Kulta Saha & bhaavitaaH bhuutasthaH Studio, Netherlands.
This is the 5th Publication of Timo van Luijk and Raymond Dijkstra’s group Asra, la Poupée Vivante…
Souvenir à Asra, la poupée vivante (2003, Le Souffleur), La poupée vivante (2014, La Scie Dorée), Le Feu (2017, Des Astres d’Or), Souvenir à Asra, la poupée oubliée (Upcoming, April 2019 Des Astres d’Or) were published under changing groupnames (Respectively ‘Asra’ / ‘La poupée vivante’ / ‘Asra la poupée vivante’ / ‘Asra, la poupée oubliée’) and changing groupmember names…
Artwork Description: 10 Handmade Collages by TvL and 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.
Artwork Description: Cover tied with rope; Innercover with wooden Dowel (Design RD) Original Artwork by BdP, RD
Original Artwork by The Bohman Brothers
Numbered edition of 25 ex.
Date of Release: 10 August 2018
The Bohman Brothers are the creators of a unique and impure experimental music. Traces of Fluxus japery, musique concrete, sound poetry and free improvisation can be detected, yet ultimately the whole is greater and more arcane than the sum of it’s parts.
As a performing duo Adam and Jonathan Bohman have been operative since 1996(Adam Bohman is also a member of Morphogenesis and The London Improvisors Orchestra).Their sound art oscillates between states of the absurd and (sonically)grotesque to highly articulate explorations of extra-musical sound. One can hear various traces of out-noise lurking in the undergrowth of their 2002 debut album ` A Twist For All Pockets’ (Rossbin).
Electroacoustic music and free-improvisation could be regarded as co-ordinates on the grid. However,unlike the hermeticism of electro-acoustic music or the purism of free-improvisation, the Bohman’s freely quote from any source and aren’t afraid to show it. So you get Varesesian sound montage supporting spoken word material sourced from a pub menu, or frenetic juxtapositions between amplified shoe brushes and a frenzied tape cut-up of 17 th Century instruments. The Bohman aesthetic can be a dense and tangled thing to unpick and describe. Various and nefarious sounds and artistic influences merge and collide. Pinning it all down seem’s a bit reductive and, given the multiplicity and elusiveness of the Bohman genes, quite tough.Indeed, The Wire’s usually ebullient Ben Watson feel’s the same way but nonetheless makes a stab at it.
“It’s hard to describe the raw, explosive audio art they perpetrate.Everyday objects and sounds are worked on until they become saturated with lurid suggestion, resulting in a bizarre, hysterical immediacy. The convulsive beauty bears comparison to both composers Helmut Lachemann and James Dillon and to sound terrorisers Bark! and Furt. Nevertheless, in the traditions of the Bonzo Dog Doo-Dah Band, the Bohman Brothers kitchen-sink realism laughs at the grand claims of lofty art.They will show you fear in a sponge from a drainer.”Ben Watson, The Wire Magazine, March 2002.
Not only do they show you `fear in a sponge’, they’ll more than likely play the sponge jacked-up through a crusty amp-combo. The use of amplified and unamplified objects is a distinctive feature of their work and it’s a pleasing coincidence that their Grandparents were antiques dealers, since the Bohman Brothers live set-up often resembles a hard-wired flea market.
The visual aspect, therefore, is also a strong, deliberated feature, alongside a pervading sense of the comedic. This is most evident in their deployment of spoken word material. Ridiculous advertising spiel and found texts are the sources for accompanied/unaccompanied speech, it’s a tactic that play’s on their duality, as the Brothers bounce-off or collide with each other. Reciting in blurred simultaneity, or wragged call and response.
The Bohman Brothers are also active in the support of other peoples music and other media. They have for two years run one of the handful of London’s experimental music clubs at The Bonnington Center, in Vauxhall south London. On the top storey of a Victorian terraced house, within earshot of the Spooks at the MI6 headquarters, The Bohman Brothers have curated over 80 shows featuring an international line-up of experimental music makers, freaks, free-improvisors and filmakers.
The Bohman Brothers themselves perform live frequently throughout the U.K and Europe. They also sometimes perform in a collaborative context and this has been cemented by the formation of a regular expanded unit, The Bohman Brothers Extended Family.
1. Coffee and Introductions
2. Drawn from Memory
3. Mysteries of the
5. End the eguine
6. Benzol Nighthouse
8. The Mèè Generation
9. Down to the Tastebuds
11. Runnymede and Ribs
12. Icke O Icke O Année
14. Comb Martin
15. Boredness Be My Friend
16. Spelthorne Blues
1. Upper Case
3. Aleateric Means Aleateric
7. Axillary Theatre
8. The Satin Affirmative
9. Yawaekat Ronitae
10. Walnut Symbolism
12. Tinto trings
13. (…)(NB Des Astres d’Or – every last Track has a different Title for each different Record )
Recorded March & April 2018 in Chertsey, England
Edited and Mastered by Richard Thomas