Le Souffleur publishes reviews from third parties on it's website.
Unless explicitly mentioned Le Souffleur is not affiliated with any of the writers.
Le Souffleur is not responsible for the writings, nor does it agree with what is written.

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SCHIJNHEILIGE VISSEN (Lathe cut LP) (2007)
DAS SCHÖNE (Lathe cut LP) (2007)





RAYMOND DIJKSTRA - DAS SCHÖNE (LP by Le Souffleur)
RAYMOND DIJKSTRA - SCHIJNHEILIGE VISSEN (LP by Le Souffleur)
For the superficial listener (for whom this is certainly not produced) what Dijkstra does may sound the same. Like say a guitarist he uses his instrument: on 'Das Schöne' a table played with glass and an echo unit. A reduction that is in various way. Before he used an organ too, more electronics. That's one difference. But here he also plays with silence. He plays for maybe twenty second shrieking sounds, fed through echo and then there is silence, in which nothing happens. Sometimes these silences are longer than the actual music. It leaves the listener in nothing less but a state of confusion. To the annoyed, who think: is this it? Is the record over? But to the more careful listeners, he builds great tension - the strongest line between silence and sound. The other new LP is more along the lines of the previous ones, the glass sounds, organ/harmonium and echo unit at work. There are strong similarities between all of these works, but it's the smaller details that these works do differ from each other. 'Schijnheilige Vissen' seems to be using the element of silence and also a bit more distortion, but that might very well be the King pressing at work. Dijkstra builds a consistent piece work - an oeuvre as you will. A highly personal world of sound. (
Frans de Waard)(Vital)






DIE SONNE (LP Box) (2007)
DIE WILLE (LP Box) (2007)
MASKENSTILLEBEN (LP Box) (2007)





RAYMOND DIJKSTRA - MASKENSTILLEBEN (LP by Crouton)
RAYMOND DIJKSTRA - DIE WILLE (LP by Le Souffleur)
RAYMOND DIJKSTRA - DIE SONNE (LP by Le Souffleur)
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). Times three. Crouton released a big wooden box, while Dijkstra's Le Souffleur label releases two LPs at the same time in a linen hardcover box with debossed and gold print, like his previous 'Affen-Theater' (see Vital Weekly 479). 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. "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", he says. I hardly see anything more beautiful, both music and package wise, coming from 'relieving yourself in the toilet' (the analogy is a bit lost on me, but then I am an outsider to his world). The differences between the three LPs is not very big. Normally it could result in me nagging about that, but in the case of Dijkstra you can only see the purity by which he works. 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. (
Frans de Waard)(Vital)


RAYMOND DIJKSTRA - MASKENSTILLEBEN (LP by Crouton)
Elsewhere in this issue I noted that musicians, more than visual artists, feel the need to evolve from one work to the next. It's rare indeed to find one whose latest album sounds so similar to the ones that preceded it that you have to go scurrying back to the shelves to make sure somebody hasn't been pulling some kind of elaborate hoax. It's perhaps significant then that Raymond Dijkstra is a sculptor as well as sound artist, releasing his music in austere, beautifully produced limited edition on his Le Souffleur label. This latest offering, however, is on Crouton, whose head honcho Jon Mueller is just as dedicated to producing discs that are beautiful art objects in their own right. In the spirit of the Le Souffleur releases though, Maskenstilleben comes dressed entirely in black, this time in a 34x34x2 cm wooden box whose lid slides off to reveal the 200g virgin vinyl lying inside. Anyone already familiar with the companion albums Die Wille and Die Sonne (and here I should say a big thankyou to the artist himself for sending me copies, as they're as rare as hen's teeth and probably cost a fortune, assuming they haven't already sold out) won't be in the least surprised by the music. Maskenstilleben is just under half an hour ­ a standard duration for Dijkstra it seems ­ of strange watery harmonium (?) clusters forming a backdrop to sporadic, mildly disturbing and sometimes downright vicious squeaks and scrapes, metal on glass for the most part, all fed through the kind of echo unit that fans of 60s Sun Ra know and love. If you're one of those sensitive souls who faints at the sound of fingernails on a blackboard or knives cutting through polystyrene, you'd be well advised to save yourself $100 (yes, you read that right) and leave this one in its coffin. It's hard to say to what extent Dijkstra has laboured over his sounds or where to place them in the finished work, because there's a rawness to his work that aligns it more with today's soft noise improv than with the more ahem refined esoteric electronica of the post-Nurse With Wound crowd, specifically Organum, with whom Dijkstra is, for some strange reason, often compared. Whatever bag you choose to put it in though, this is pretty tough stuff. The listener's attention is sustained neither out of a desire to follow the development of the sound material (there isn't any), nor to immerse themselves in its static beauty (the music is neither static nor beautiful), but more out of a kind of morbid curiosity as to whether anything significantly different is going happen before the needle slides inexorably into the runout grooves. It doesn't. But that's not a problem; the weight of the box, the smell of the inner sleeve, the whole uncompromising blackness / bleakness of the package is as much part and parcel of the experience as the music itself.­(Dan Warburton) (Paris Transatlantic)


RAYMOND DIJKSTRA - DIE SONNE (LP by Le Souffleur)
RAYMOND DIJKSTRA - DIE WILLE (LP by Le Souffleur)
Raymond Dijkstra calls himself a "sculptor, painter, drawer and composer of acoustic music". We already met him several times through the years, both with solo releases and under the Dadaphon alias. He clearly prefers vinyl to make his sounds heard, and in this particular case the two albums are interesting items as artistic objects in themselves, contained as they are in a linen hardcover box with debossed gold print on total black. The music, in both records, is made of a few elements, and apparently is totally improvised. The most evident sound is a shrieking, frictional rubbing of strings and/or metals - like a wrecked violin or a creaking door's noise, but not quite. It's incessant, uneasy, anarchic and unclassifiable. At times, the source is treated with echo and other effects but just so slightly, in order for the whole to be "spaced out" a bit. In the background, something like an electric organ or a harmonium continuously arpeggiates in unpredictable ways, similar to a crazed sequencer. But its volume in the mix is so low that one just feels that presence. Both albums feature a pretty long first side and a very short second side, in a sort of symmetry. On "Die Sonne" we read "In memoriam Jacoba Francisca Josephine Dijkstra-Nettekoven"; this seems to be the only real difference in these practically twin records. With Raymond Dijkstra, you get exactly what you see and hear; that's not bad amidst a lot of people whose hollow words hide a total absence of anything meaningful. (Massimo Ricci) (Touching Extremes)


RAYMOND DIJKSTRA - MASKENSTILLEBEN (LP by Crouton)
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... (Stefan Knappe)(Drone records)


RAYMOND DIJKSTRA - DIE SONNE (LP by Le Souffleur)
RAYMOND DIJKSTRA - DIE WILLE (LP by Le Souffleur)
Here we see two LP records, Die Sonne and Die Wille. These two foreboding slabs of extreme electro-acoustic art were sent to me by Raymond Dijkstra, who calls himself Le Souffleur for his sound-art endeavours. At time of writing I must confess I have not managed to sit through any one of these four sides in their entirety, as I find the music incredibly bleak, tense, and angst-inducing. Both these records are filled with strangely non-musical scrapes and squeaks as of something produced by some badly-oiled machinery, all set against a recurring backdrop of extremely discordant chords played on the harmonium. Some delicate and judicious use of electronic echo enhances the scrapes every so often, spinning them off into abstracted realms of controlled gestural noise. These are not especially loud or obnoxious records; indeed, their quietness and restraint borders on the clinical. Rarely have I encountered something that fills me with such a sense of isolation and dread; impersonal, cold, almost terrifying, these records present bleak statements about the unknowable nature of a vacant and meaningless universe.

As you may have gathered, Le Souffleur’s records may not be exactly to my taste. However, I still think the man’s work deserves your time and investigation, and this for two reasons.

(1) He clearly believes whole-heartedly in what he is doing, to the extent that having crafted the work he funds it completely by himself, and for all I know he even runs the mail order business to sell the work through his website. His fierce dedication to creating a quality art-statement product is amply reflected in the sumptuous production values for these records. Just look at them. Casebound in black linen, embossed in gold and in blind, with elaborate cardboard mounts for the records which include rolled spines with gold lettering. Each artefact is individually numbered, and the paper sleeve is signed with a soft pencil by the artist. These are more like luxury edition art books than record albums. (See here for some intriguing pictures). There’s also his insistence on the utter superiority of vinyl as a representation format, which aligns him with American Scott Foust (another electronic loner whose name often appears alongside the word ‘uncompromising’).

(2) Le Souffleur, like all good dedicated artists, has created a hermetic universe all of his own. The fact that I can’t readily apprehend its dimensions is more to my detriment than to his. These two records are just two key statements from a larger cosmology, one ruled by a very particular choice of words (the titles are in a language called Middle Dutch, or old Dutch) and precise symbols as esoteric as anything you’ll find in an Alchemist’s engraved handbook. The mystery is simply deepened by the inexplicable and, in places, haunting sounds that can be heard should you purchase one of these limited-edition artefacts from another world. (Ed Pinsent)(The Sound Projector)






DER TRIUMPH (LP Box) (2006)




RAYMOND DIJKSTRA - DER TRIUMPH (CDR by Le Souffleur)
The previous LP 'Affen-Theater' was packed in hardcover box and so is this new CDR, which seems to me also music-wise a continuation of 'Affen-Theater'. Seven tracks (now that is something odd for him), which are relatively short (odd!), but contain the similar sound elements as before: scratching the surface, most likely glass with metal objects, a harmonium, and some sound effects, mainly echo. Everything stays on a similar sound level through the piece. By itself these are probably highly annoying, but when played/placed all together they start making sense. Small patterns are formed, giving a sort of a hallucinating feel to the music. This is the kind of drone music that certainly adds something new to the notion of drone. Not endless patterns of treated guitars, synths or field recordings, but electro-acoustic music played very tightly. The previous 'Affen-Theater' was announced here (see Vital Weekly 479) as the strongest release by Dijkstra so far and in that respect 'Der Triumph' (I must admit I keep wondering about his love of German titles) doesn't surpass that one, but extends it's beauty to this release. (
Frans de Waard) (Vital)


RAYMOND DIJKSTRA - DER TRIUMPH (LP by Le Souffleur)
What sounds like a man scraping broken glass on metal w/   brain-burnt organ accompaniment makes for one killer LP.
Dijkstra has been honing his skin splitting aurality for years and presents us this masterpiece in a hardback linen box sleeve.
(Byron Coley / Thurston Moore)






AFFEN-THEATER (LP Box) (2005)




RAYMOND DIJKSTRA - AFFEN-THEATER (LP by Le Souffleur)
Strange man, Raymond Dijkstra. It's hard to pin him down to any sort of artist name, although this is the second in a row to use his own name (instead of Ki Sync Pulse, Dadaphon, Asra (with Af Ursin) or Razoul Uzlu). Some of his previous records were poorly packed, but "Affen Theater", translated as Monkey Theater, has an absolute beautiful cover: a hardcover box in black linen with an embossed golden print on the front, and released in an edition of merely 120 copies. Dijkstra's musical style didn't see any changes for this new release. What he does he does best: on his multi-track recorder he places acoustic sounds, like scratching glass on glass, a harmonium loop and other hard to define sources. Then he mixes all the sources, adds a little bit of sound effects (mainly echo and somewhere some reverb), but he intends to keep his sounds as "dry" as possible and makes no hierarchy in sound. Everything stays on the same level. I read somewhere about "automatic playing", just as the surrealists did with "automatic writing", and that seems very much true. Dijkstra's music, although divided over many tracks of the multi-track recorder, also deals with mistakes made, small accidents are not removed, but also not extended - they are just there, as much as the rest is there. The sounds are all closely miked, giving it a very present sound, without being noisey in any way. Another captivating moment - music wise and presentation wise the strongest release by Raymond Dijkstra so far. Grab one while the last. (
Frans de Waard) (Vital)


RAYMOND DIJKSTRA - AFFEN-THEATER (LP by Le Souffleur)
While exploring various territories of sound Raymond Dijkstra has released recordings under the names Ki Sync Pulse, Razoul Uzlu and Dadaphon, as well as being part of Indra Karmuka and Asra. Having passed through these phases he finally settled on releasing music under his own name. Published by himself only on vinyl releases, Raymond makes the format fit his music, some times only using one side of the disc for music rather than matching it with a piece which had no connection. On this latest LP we are presented an automatic [in the sense that the Surrealists understood this word] suite in two pieces. This distilled work of less than one-half hour shows to our ears the mysterious workings of an imaginary space. taking the title of the album, "Affen-Theater" [which translates as "Monkey Theater"], as a jumping off point, one might envision a secretive performance wherein creatures go about their actions - twisting, turning, stacking and otherwise moving around in curious actions. Not really creating music but a theater of aural actions, the nature of which remains impenetrable. This is accomplished through the use and abuse of various acoustic instruments and their coloration through a minimal amount of electronic processing. The simple nature and the interjection of space in the various layers of squeaks, bumps, scraps and wheezes gives the result of an unhurried density, one created through the agent of various hands, not cold machines. Being a rather personal music, this music is released in only a small edition. (Eric Lanzillotta)


RAYMOND DIJKSTRA - AFFEN-THEATER (LP by Le Souffleur)
Well according to my humble opinion, this was one of the key releases to see the light in 2005. Ultra limited disc that comes in a package one has to see in order to believe it. The music is of another otherworldly quality that gets just more profoundly ecstatically beautiful with each repeated listening experience. Multi-layered petals of a lotus flower will unfold themselves within your earlobes when spinning this one. (Johan Wellens)(Tiliqua)






LA PHILOSOPHIE DES CHIOTTES (LP) (2004)




RAYMOND DIJKSTRA - LA PHILOSOPHIE DES CHIOTTES (LP by Le Souffleur)
Raymond Dijkstra is a veteran Dutch sound artist and his Le Souffleur label has released a handful of his own works on vinyl both solo and in collaboration with Timo van Luijk as Asra. This is a one-sided LP that comes in a plastic sleeve with a printed white card insert which is slightly smaller than the record. The insert has the title of the record printed in block letters, and nothing more. The record labels add no more information other that the artist's name. This all adds to the mystery. "La Philosophie des Chiottes" apparently translates as "Philosophy of the Toilet"- though I'm not sure I can guess at how that might apply to the composition. The piece is a sparse mix of closely-mic'ed scratches and scrapes, faint electric cable hum, subtle feedback whistles and a recurring "organ-like" sequence. There is some delay and possibly some other effects at play but the sounds that dominate are the raw scratchy microphone sounds, which remain prominent throughout. The sound that I identify as "feedback whistles" rises in volume as the mix progresses, but the overall feel of the track is very balanced- the sounds flow at a constant pace and rarely rise to any level which might even remotely be considered as "loud". I'm reminded of the work of Ralf Wehowsky and late P16 D4- subtle and mysterious electroacoustic music (heavy on the acoustic element) that follows a logic of its own. The organ-like sequence (perhaps a harmonium) becomes a bit freer as the track passes the halfway point, as the effects and delay seem to acquire a bit more intensity. The whole track dissolves into near-silence as it winds down to the finish, leaving nothing but the ambient hiss of an empty room. Or, at least that is what it sounds like to me. Fans of the work of Wehowsky and related Selektion label artists should investigate Djikstra's work. (Carlos M. Pozo)
(Angbase)


RAYMOND DIJKSTRA - LA PHILOSOPHIE DES CHIOTTES (LP by Le Souffleur)
For people like Raymond Dijkstra content is more important than apparence. His new LP is comes in an plastic bag with the title printed on the cover and nothing else. Also the label has no other information. Dijkstra played music as Ky Sync Pulse, Asra (with Af Ursin), Razoul Uzlu aswell as his own name. I always find it hard to draw out the differences between these names, if they are there at all. It's a pity that for whatever reason this LP has only one side of music, and me thinks it's also one piece on the side that contains the music. It starts out with the close miked recordings of objects and surfaces, but as the piece continues the close miked recordings are fed through a line of delay effects, some reverb and small electronic backdrops start to occur. A bit of drone, but it's hardly continuous. Soundwise Dijkstra comes close to Merzbow's late 80s period: scraping metal, disjointed organ/drone sounds, with just a little bit of electronic sounds. These days one could compare his music with Seth Nehil, MNortham or Yannick Dauby. A pity that's only one half of a record. (
Frans de Waard) (Vital)






UNTERMENSCH LIEDER (7 inch) (2004)




RAYMOND DIJKSTRA - UNTERMENSCH LIEDER (7" by Le Souffleur)
The name Raymond Dijkstra may not be sparkling alive, but the man has been around for some time, and he has released many works, under his own name, aswell as Dadaphon, Razoul Uzlu, Ki Sync Pulse, Asra (a duo with Af Ursin) and at one point one-third Indra Karmuka. On this 7" he doesn't return to the noise work he released before under his own name, but rather continues paths taken by the work as Dadaphon: amplifying objects, layering them and making a collage out of it. On the a-side there is the scratch of glass on metal sound in the foreground and osbscure, semi-percussive rumbling in the back. Similar scratch is on the b-side but the percussive element is louder here. Not dissimilar to Organum, Raymond Dijkstra however likes his sounds to be free of any electronic treatment, rather keeping in close contact with the original sounds. The treatments are played and not generated. A rather solitary voice in this kind of music. Should appeal to more people than it does by the name and that's a pity. Check it out, will y'a? (
Frans de Waard) (Vital)






ASRA, LA POUPÉE VIVANTE ~ SOUVENIR A ASRA, LA POUPÉE VIVANTE (LP) (2003)




ASRA - SOUVENIR A ASRA, LA POUPEE VIVANTE (LP by Le Souffleur)
Asra is a duo, consisting of Af Ursin and Raymond Dijkstra. Both of these people have by now quite some history in releasing music. Their interest is mainly in releasing vinyl, for whatever obscure reasons, and they both have done a few. Both Af Ursin aswell as Dadaphon (in whatever guise he pops up) have a personal way of creating music. Using an old eight channel reel to reel tape machine and a mixing board, they record densely layered sounds. Rubbing sounds, scratching objects, but also they play a wide variety of instruments, such as wind instruments and violins. Just as they don't like CDs, they also don't like electronica that much. So it's a highly analog affair. It's hard to describe what it sounds like. There are traces of old Nurse With Wound (but not as collage like) or the recent minimalist drone masters (Mirror, Ora, Monos), but it's less closed. On their collaborative record, they of course do whatever they can do best. The a-side has three tracks (although one is so short it's merely an intro), staying close to the recent Af Ursin LP or the Dadaphon 10". "Electronisch Samenspel" (meaning "electronic interplay") is a short track on the b-side (being clueless why they used only one third of the available vinyl) and a rather lo-fi theremin play, I assume by the both of them. Strange to hear them doing electronic music, but it's kinda of nice, really. Strange and remotely playing. A very nice record by two lovely boys. (
Frans de Waard) (Vital)


ASRA - SOUVENIR A ASRA, LA POUPEE VIVANTE (LP by Le Souffleur)
"While a newfound farmhand glam seems to be tripping through the hearts of American underground noise folk, it’s the unpinned nature of trad-surrealism, which seems to be guiding the Euro-scene. Case in point may be the remarkable sound cantations of Raymond Dijkstra and Timo van Luyk. Both have had involvement with an ongoing array of slippery activity through the years (Dijkstra with Razoul Uzlu, Indra Karmukaand and Dadaphon; Luyk with Af Ursin and Noise Makers Fifes amongst others.) The two have recently combined their spirit force as ASRA and have released an initial document Souvenir ‡ ASRA la PoupÈe Vivante on the Le Souffleur label. An engaging outsider dada stroke vibe pulls you into this weirdo soundcurrent and it breathes a serious and graceful drift into the air. Chamber LSD expositions for the new mind. Edition of 300. No web presence found though they reside in or around the Netherlands and the Dutch noise/industrial distributor Staalplat may be of service. In the USA try Self Abuse. Also check out the Dadaphon 10-inch on Le Souffleur for further kosmische scloob." ( Byron Coley and Thurston Moore)(Bull Tongue)


ASRA - SOUVENIR A ASRA, LA POUPEE VIVANTE (LP by Le Souffleur)
Asra is the project of af ursin & raymond dijkstra & gotta admit that its philosophy/idea is something wonderful. 4 pieces included herein in a record that can be said to be an one sided lp/7" in the package of 1. side a offers the 3 pieces, the little opening "voix de jeune fille" and then follow "dada black" & "aux chiotes" both of a splendid surreal (often nwwish) atmosphere, and full of rich textures & creativity. The second side, the 7" let me say has a completely diffent track in perception/creation. a piece of lo-fi (superb the idea of tape hiss in the background upon which the soundscapes are built!) nature, kinda a "parody" of 50's electronics? or more decomposed minimalism? frankly am flattered w/ raymond's works, as said above, has this surreal thing that sadly ceases today slowly. (Nicolas Malevitsis)(Absurd)






DADAPHON (10 inch) (2003)




RAYMOND DIJKSTRA - DADAPHON (10" by Le Souffleur)
This is a nice 10" vinyl artifact by Raymond Dijkstra, according to whom the "Dadaphon" moniker identifies a group...even if this music soundslike a studio creature made by a single entity. The two sides are both very interesting and pretty unpredictable: mostly made of electronic/concrete, sound/noise collages, they remind yours truly of a cross between the older, radical Mnemonists albums and MB (Maurizio Bianchi) in his "industrial" era, but with a distinct mitteleuropean flavour separating this production from the mass of wannabes we're full of these days. I also loved the "old style" vinyl label - everything helps to make things not easily foreseeable before putting the record on. Looking forward to new works!(Massimo Ricci)(Touching Extremes)


RAYMOND DIJKSTRA - DADAPHON (10" by Le Souffleur)
This is one of the more stranger records to land on my desk. Under the monniker of Raymond Dijkstra we hail the return of Raymond Dijkstra, who in the past worked as Razoul Uzlu, Ki Sync Pulse and was once a member of Indra Karmuka. By now he has a small discography with as many releases as monnikers. This new 10", released on his label, sees him return to his Razoul style. Scraping sounds, metal on glass that sort of thing, backed with a variety of drony sounds that have gotten a nice bath of reverb, which occassionally leap into feedback. It's an odd mixture of sounds that are far away and very nearby. It's a sound that reminds me of old, very old Merzbow, circa Ecobondage or Disclosure. Strangely continous movements, very raw and minimal, but a strongely captivating sound. Loaded from bottom to top, from deep end to high end, every gap is filled. It unfolds it's beauty after repeated listening. (Frans de Waard) (Vital)

RAYMOND DIJKSTRA - DADAPHON (10" by Le Souffleur)
- each time Raymond Dijkstra records, it seems to come out under a different name. in the past he has used Ki Sync Pulse and Razoul Üzlü, and now he becomes Dadaphon. the changing names make sense because each project is so different. in this guise, he has created two wonderful pieces of reverberant junk noise. these slow motion pieces (as opposed to the more intense cut ups of Razoul Üzlü) would lead one more to think he was a contemporary of Merzbow, MB and TNB than a contemporary artist. add to this the simple cover with its paste on photocopy collage (each copy different), it looks a genuine artifact from a previous decade, the sort which would be coveted by now. in edition of only 400 numbered copies. (Eric Lanzillotta)

RAYMOND DIJKSTRA - DADAPHON (10" by Le Souffleur)
le soufleur our dutch friend has issued 2 super yummies in his collection. the first being the 10" of dadaphon which is probably an experimental record that I truly enjoyed. being the baby of raymond dijkstra, known from various disguises like ki sync pulse, razoul uzlu & so this one that has a very nice record label as a parody of old 50's classical records & simple handmade cover on a white sleeve, is an intense surreal soundscape. often organumesque not in sound but in the perception, well actually raymond's work reminds me a lot of 80's groups (that once were amazing and now are retarded) but with very creative and as aforementioned surreal sounding, a thing that am afraid ceases today. a more drone/feedback game here and various sounds coming & going w/ an intensity (on the first side) & more obscurity (on the second) made this 10" as probably the best work of his I've come across to the day. limited to 400 (le soufleur does only limited edition vinyls) so guess you should hurry up.(Nicolas Malevitsis)(Absurd)

RAYMOND DIJKSTRA - DADAPHON (10" by Le Souffleur)
Outside a number of cassette and CD-R releases, the fifth "proper" one by Dutch artist Raymond Dijkstra, whose work (including three releases with Indra Karmuka for German labels Drone & Radical Rendezvous and Poland's Ignis) began in the mid-'90s. The two pieces here comprise scrunched-up electronics, barely discernible analogue skewering, hallucinatory textures and fragmented signals from a lost civilisation that're, together, poised with a purpose rarely glimpsed in such realms these days. Very nice. Limited to 400 copies, pressed on heavy vinyl and packaged in handmade covers incorporating an individual piece of exclusive (photocopied) artwork by Dijkstra himself on a new label dedicated to vinyl only releases of a surrealistic, psychedelic or "outsider" nature. (Richard Johnson)(Adverse Effect)