Raymond Dijkstra
(Copyright © 2006 Piero Scaruffi | Terms of use )

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Dutch soundsculptor Raymond Dijkstra, who debuted with the cassette Ki Sync Pulse (Korm Plastics, 1996), is purveyor of improvised noise impressionism.

He honed his skills through Indra Karmuka, is a collaboration with Petyr Veenstra and Floris Sirag, Asra La Poupee Vivante (Le Souffleur, 2003), a collaboration with Af Ursin, and La Philosophie Des Chiottes (Le Souffleur, 2004), a one-sided LP of feedback used as an instrument.

Affen-theater (2005) for harmonium and musique concrete. The chaotic reverbed granular screeching, creaking and shrieking sounds duet with intermittent pulses of the harmonium. The intensity of the distortion achieves an Hendrix-ian climax during the second half.

Der Triumph (2006) continued the study with a more ferocious attitude, as in a Dadaistic attempt to destroy the "musical" objects, a quest for extreme cacophony and anarchy. At times the concert sounds like a crowd of desperate squealing beings. The music pauses for a bit on the second half, and, when it restarts, the frenzy and articulation make it sound like some free-jazz jam, each object an instrument trying to harmonize with the others.

Musique Irritante (2006)

Die Sonne (2007) is another work for harmonium and musique concrete. Compared with its predecessors, what is missing is the relentless, virulent stream of consciousness. This is instead a fragmented experience of austere dissonant chamber music. The overall effect is far less powerful.

Die Wille (2007) was the fourth work scored for the harmonium. Again, it favored fragmentation to the cascading stream of noise, thereby focusing on audio qualities rather than on psychological impact.

The four parts of the "harmonium" tetralogy were collected on a four-LP set.

Maskenstilleben (2007) and Schijnheilige Vissen (2007) are also for harmonium.

Das Schoene (2007)

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(Copyright © 2006 Piero Scaruffi | Terms of use )
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