NIvRITTI MARGA ~ Nivritti Marga  (2013) 




Apart from these reservations placed upon the kind of relationship more or less intimate that I should maintain with you, my mouth is ready at no matter what hour of the day to exhale like an artificial gale the flood of lies exacted strictly from each human by your vainglory from the moment that the bluish dawn arises seeking light in the satin folds of the twilight, even as I, excited by the love of virtue, seek the good.

Numbered Edition of 200
Innersleeve with French and English textsheet

Raymond Dijkstra
Frédérique Bruyas
Timo van Luijk

*NIvRITTI MARGA (LP) ~ Nivritti Marga

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NIvRITTI MARGA ~ s/t (LP) (2013)

NIvRITTI MARGA (LP by Edition Le Souffleur)
Together Raymond Dijkstra and Frederique Bruyas already released a CD, centered around 'Les Chants De Maldoror' (see Vital Weekly 801), which I didn't dig altogether. It was a mixture of spoken word (Bruyas) and music (Dijkstra), separated in the left and right channel, which is perhaps what made it for me a bit less. Here Bruyas and Dijkstra work together, with the help of Timo van Luijk on monochord and acoustic noise. The music is all trade mark Dijkstra: lots of echo used on the sound sources, which here may have a lesser focus on glass and forks, his usual instruments, but a somewhat more obscured electronic sound, maybe the harmonium and electronics? Maybe not, as it's never easy to tell. Van Luijk's flute is apparent, and there is an occasional processed feedback. There is also some curious form of processing on the voice of Bruyas, which makes it sound a bit like something that has been sped-up, a bit old school industrial, but very nice, whereas the music is actually not very industrial. Altogether this is highly obscure music, but I must say I quite like it. The voice reminded me of Cortex, or very very early Die Form, and the highly improvised music had also something vaguely old-school, like a mid-80s cassette release. It's a dark, yet fascinating sound, which is recorded quite softly and not too outspoken, but which allows the listener to perform his own meditation, his own ritual or simply adjust the volume in such a way that one feels most conformable with. Fans of Raymond Dijkstra and Timo van Luijk know what to expect, probably, yet somehow this is slightly different, slightly something else and a further expansion of a highly private universe. (FdW)(Vital Weekly)

NIVRITTI MARGA – S/T (Editions Le Souffleur) LP
Nivritti Marga is Raymond Dijkstra, Timo van Luijk, and Frederique Bruyas. (She is a professional reader!) The texts are from Maldoror by Comte de Lautreamont. There are a lot of long instrumental passages and the pacing is very dream-like. The music seems to be mostly from acoustic sources, although Raymond's trademark hard, short echo is in effect on and off throughout the LP. Bruyas' voice is also processed, leading an even odder air to the proceedings. This is another fantastic release from Raymond and he seems to have a very unique, updated and individualistic angle on Dada/Surrealism. He continues to construct a very personal sound world. The record is in a bag, with a 12" x 12" artwork and a printed inner sleeve with the texts in French and English. PS If you have not read Lautreamont, you owe it to yourself. (Scott Foust )(Swill Radio)

NIVRITTI MARGA – Nivritti Marga LP
Timo van Luijk seems to specialise in collaborations with autodidacts, semi-recluses or limelight avoiders. He's paired up with Christoph Heemann in In Camera, Andrew Chalk in Elodie and Raymond Dijkstra, firstly in the now defunct Asra duo and now in Nivritti Marga, a trio with Frédérique Bruyas. The group's moniker is a Hindu term connoting an inward path of contemplation. Dijkstra's last two solo albums (Cittavibhrama and Hiranyagarbha - also one of the track titles here) had Hindu titles, suggesting themes of spirituality or religion on which their debut album - in it's familiarly surreal, hall of mirrors confusion - disquietingly extrapolates. It's somewhat reminiscent of Dijkstra's 2011 Les Chants Du Maldoror duo with Bruyas in it's use of spoken words texts. Her narrations, in French, are treated to a higher than natural pitch and fed through delay, which at first seems a little comical, before gradually taking on a more sinister bent. Van Luijk adds monochord scrapes and acoustic noise to three tracks; elsewhere Dijkstra's spiralling synth textures resemble controlled explosions going off in the background. (Nick Cain )(The Wire)

© Nivritti Marga