| $27.31
new to stock as of
january 8th, 2009
threads:
modern-psych
electro-acoustic-improvisation
free-improvisation
modern-composition
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| | alga marghen (italy) #alga m esm lp
planam (italy) #planamesm lpdendoshi “dendoshi 2” long playing record - dendoshi 2 (1) (16:55)
- dendoshi 2 (2) (18:07)
| | click the play button to hear an excerpt of "dendoshi 2 (2)" |
| december 2008 release ; controversial first evidence of a one-off meeting between raymond dijkstra, timo “af ursin” van luijk, and the no-neck blues band’s dave nuss & keith connolly ...
first, in raymond (and timo)’s words ::
the record dendoshi 2 was released without the agreement or even without the knowledge of raymond dijkstra and timo van luijk.
i completely distance myself from this release, which goes against everything i stand for artistically.
in 2006 we, (van luijk and i) met dave nuss and keith connolly of the no neck blues band. they told us they were in a creational gap, and were eager to work with us, to find new creational pathways. end 2006 we played two times. end 2008 i got an email from them a 'dendoshi' record was released on planam. they had without agreement (of van luijk and i) given permission to publish the music, and have applied a theory to the music, a theory which was not involved on any given moment of the project. (in reality, the music was totally improvised on a fully equal basis.) the fact alone that they bring it now as if the music was based on this theory, i find it artistically fake, and without any artistic integrity.
i believe in artistic purity. it is either the truth, or a fraud. unfortunately, the record dendoshi 2 is a fraud, since the theory applied to this music is a lie. which makes the release and the whole project without any artistic value. this is the reality in which this release must be seen.
i have never given permission to release this music in this physical form. and i don't have any artistic connection to the theory as now applied to the music. moreover, it goes against everything i stand for artistically.
the fact that nuss and connolly have given permission to release this music without our permission, and applied a fake theory to it, proves that they are without any artistic integrity. i can only feel sorry for them, and distance myself completely from this music release.
raymond dijkstra, january 2009
co-signed by timo van luijk. |
then, alga marghen / planam organizer emanuele carcano’s statement ::
i send you this email to let you know that the planam responsible do not agree with the contents concerning the dendoshi2 edition as presented on the email you received from raymond dijkstra and timo van luijk.
planam would have appreciated the group to eventually inform the publisher about their decision to send out a pseudo-official communication. as a matter of fact planam did not receive this same communication from a part of the group and would like to underline that he consider this action a very unprofessional one.
as a publisher i will not enter the eventual problematic dynamics of the group.
sorry for this misunderstanding. i will keep you updated about this matter. at the same time i send you my positive feelings about continuing working on the distribution together.
very best regards. planam |
nuss and connolly have yet to issue missives ...
all of this aside, let’s assess this edition on the merits of the music played / contructed / presented here ... personally speaking, i think it’s excellent ; there’s a focus and attention to detail often lacking from the no-neck axis’ myriad shadow-outings ... dijkstra’s woozy pump-organ styling act as a leitmotif throughout ; a solid precipice scaled by the other members of the group, each leaving their respective spike-prints via haphazard guitar / percussion / electronic augmentation ...
lp comes in a gold-ink sleeve, with connolly’s “fake concept” logo on the cover, along with a pack of four photo-stills, some involving known iconography (vermeer’s “girl with the pearl earring,” for example, apparently from timo’s basement) , each emblazoned with, again, connolly’s cryptic symbol ... completely lovely ; the armchair enthusiast of any/all involved parties will immediately see the merits here, despite 1/2 of the creator’s misgivings ... highly recommended !!! |
| | alga marghen press release... |
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d e n d o s h i
"dendoshi 2"
(cat no. planamesm)
lp record
dendoshi is keith connolly (no neck blues band), raymond dijkstra (asra), dave nuss (no neck blues band) and timo van luyk (af ursin, in camera). dendoshi: "he who comes to propagate the ceremony" or "missionary" (japanese). there had actually been a previous incarnation of dendoshi (hence dendoshi 2), which was a large group performance in new york which concentrated on elucidating the memories of a dead tree which had been re-contextualized as a sculptural exhibit.
some thematic reference: the name "dendoshi" originates from the work of japanese filmmaker kyoshi kurosowa, whose films also inspired the content of the first performance. when the opportunity presented itself for connolly, dijkstra, nuss and van luyk to come together to make a session, it was the perfect opportunity to realize dendoshi not as a one-off performance on a theme, but as a recurring ritual in development. the resulting music widened the conceptual reflection of the band, bringing to mind the history and ideas of franz mesmer. mesmer, the eighteenth century austrian spiritualist healer, was among the first to put forth the theory of what he termed "animal magnetism", regarding a universal fluid which permeates all matter and can be influenced by the will, not dissimilar to some of eliphas levi's concepts. what seemed to set mesmer apart was an attention to mood and atmosphere, an aesthetic component to what were scientifically quite dubious theories, which lent to his work an aura of portent - thus the parallel with the music captured as dendoshi 2. reflecting the qualities that all four musical sensibilities had in common, the album is a statement upon the ephemeral nature of atmosphere and will, and the relation of reverie to oblivion as opposed to ecstacy.
the symbol, or mark on the front cover created by connolly came intuitively and without revision. it's applied function is that of distinction rather than that of protection or as a seal. it was first applied to the photograph by clarence h. white form 1904, where the first resonant depiction, or personification, of reverie and oblivion as applied to dendoshi was found. by applying the mark connolly is ceremonializing the image, thus rendering it distinct from its original form, not as an appropriation, but as a recognition. the other images followed, and each of them was recognized instantly without having to search. the last was vermeer's image from van luyk's basement, and upon recieving this the series of 4 inserts was complete. there is a trace of fear and a sensation of suspended time in these images which suits the music very well.
edition limited to 300 copies on gold cover. |
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