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,
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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