Raymond Dijkstra is active as a sculptor, painter, drawer, graphic designer, and composer of acoustic music. He has been active in music since 1987 both as a composer and in several different formations and projects . Releases have taken place on labels as Korm Plastics, La Scie Dorée, etc.
Since 2003 most of his music has been released on the music label Le Souffleur.
The musical output anno 2010 can be devided in two main directions.
"There is my expressionistic music, consisting of just a few, entirely acoustic elements; Harmonium and scraped household objects. I insist on using objects, -which are usually not seen as musical instruments- as musical instruments. For instance the scraping of whineglasses on a glass antique table." "My playing of the objects reflects specific human behaviour. It gives associations with certain human emotions, at the same time it has an element of estrangement. The 'instruments' itself have a strong connection with surrealism." "My music is made in an abstract proces of self-detachment. While detaching myself from myself, I connect with my Self. There are not much traditional musical elements involved, except of course the Harmonium. But, I'm pointing here especially on the way of Making the music. 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 entirely acoustic music is made without any use of audio effects, and without any editing. "The publication is simply a registration of a physical event, and should be left untouched. Any changing of the initial energy is a weakening." Sometimes large moments of silence, between the 'musical' actions is included in the registration as a consequence. It gives an extra quality of humanity to the work. The music in 2010 is the result of a slow evolutionary proces (although made in many steps). It originally started with the release of 'Affen-theater', which was still more musical. Affen-theater had all the elements which are being used in the music in 2010, but it evolved during a 5 years span to the stripped down carcass it is now. In 'Affen-theater' there was still some minimal use of audio effects involved, making it more musical. Slowly this element was erased from the music, returning to it's initial raw state. (references: 'De schroef' (LP, Le souffleur, 2009), De cirkel (LP, Le souffleur, 2009), etc.)
The other musical direction is more musical, and made with an entirely different approach. "Whereas my expressionistic music is more an inescapable result of a physical act, my impressionistic music is a result of relaxation. I connect with the music instead of disconnecting myself from it." "It's result is a soft painting of an atmosphere." The music is made with acoustic instruments only, and an elaborate use of effects in some pieces. The musical direction is captured under the series title 'De voordelen van schizofrenie' ( The Advantages of Schizophrenia ). (references: 'L'opus ch' (LP, Le souffleur, 2009), L'opus L'H (LP, Dekorder, 2010), etc.)
Since 2003 most of his music has been released on the music label Le Souffleur.
The musical output anno 2010 can be devided in two main directions.
"There is my expressionistic music, consisting of just a few, entirely acoustic elements; Harmonium and scraped household objects. I insist on using objects, -which are usually not seen as musical instruments- as musical instruments. For instance the scraping of whineglasses on a glass antique table." "My playing of the objects reflects specific human behaviour. It gives associations with certain human emotions, at the same time it has an element of estrangement. The 'instruments' itself have a strong connection with surrealism." "My music is made in an abstract proces of self-detachment. While detaching myself from myself, I connect with my Self. There are not much traditional musical elements involved, except of course the Harmonium. But, I'm pointing here especially on the way of Making the music. 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 entirely acoustic music is made without any use of audio effects, and without any editing. "The publication is simply a registration of a physical event, and should be left untouched. Any changing of the initial energy is a weakening." Sometimes large moments of silence, between the 'musical' actions is included in the registration as a consequence. It gives an extra quality of humanity to the work. The music in 2010 is the result of a slow evolutionary proces (although made in many steps). It originally started with the release of 'Affen-theater', which was still more musical. Affen-theater had all the elements which are being used in the music in 2010, but it evolved during a 5 years span to the stripped down carcass it is now. In 'Affen-theater' there was still some minimal use of audio effects involved, making it more musical. Slowly this element was erased from the music, returning to it's initial raw state. (references: 'De schroef' (LP, Le souffleur, 2009), De cirkel (LP, Le souffleur, 2009), etc.)
The other musical direction is more musical, and made with an entirely different approach. "Whereas my expressionistic music is more an inescapable result of a physical act, my impressionistic music is a result of relaxation. I connect with the music instead of disconnecting myself from it." "It's result is a soft painting of an atmosphere." The music is made with acoustic instruments only, and an elaborate use of effects in some pieces. The musical direction is captured under the series title 'De voordelen van schizofrenie' ( The Advantages of Schizophrenia ). (references: 'L'opus ch' (LP, Le souffleur, 2009), L'opus L'H (LP, Dekorder, 2010), etc.)
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