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0-2 kg

(NO Track & Trace)

0-2 kg

(with Track & Trace)

2-5 kg

EUR 1

GBP 9

GBP 12

GBP 17.50

EUR 2

GBP 11.50

GBP 17

GBP 23

World

GBP 17

GBP 22

GBP 31

Destinations

EUR 1

Belgium, Luxembourg, Denmark (excl. Faeröer Islands and Greenland), Duitsland, France (incl.

Corsica and Monaco), Italy (excl. San Marino and Vatican City), Austria, Spain (incl. Balearen, excl.

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EUR 2

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Madeira), Rumenia, Slovenia, Slovak, Czech Republic

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Greenland, Iceland, Canal Islands, Croatia, Liechtenstein, Macedonia, Malta, Moldavia, Montenegro, Norway, San Marino, Serbia, Turkey, Vatican City, Schweiss

World

Rest of the world incl. USA, Canada, South Korea, China, Japan, Taiwan, Russia

ANDRE ALMURO / ANTONIN ARTAUD

VAN GOGH LE SUICIDE DE LA SOCIETE LP

BAM 

Extremely rare album, musical realization by musique concrete master Andre Almuro of Antonin Artaud's Van Gogh Le Suicide de Societe.

Some info on the release:  See Broken Music book for Antonin Artaud's recordings, page 88. Very rare original french pressing release on BAM (which released also the electronic compilations musique concrete-musique experimentale records with works of Pierre Henry, Pierre Schaeffer Guy Reibel, Francois Bernard Mache and of course Luc ferrari, Ivo Malec, but also records from Structures Sonores Lasry-Baschet and others). A real historical monument from Antonin Artaud created by Andre Almuro.  You can listen on this album Roger Blin and Maria Casares. Long before Henri Chopin, Bernard Heidsieck, Lawrence Weiner, John Giorno, William Burroughs or even Otto Muehl. Antonin Artaud delivers a work, which has preceded its' time and space with the great musical contribution of Andre Almuro. Especially for those who like Broken Music style of recordings (John Cage, Bengt Emil Johnson, Arrigo Lora Totino, Anton Bruhin and Radiotaxi).

Antoine Marie Joseph Artaud, better known as Antonin Artaud was a French-Greek playwright, poet, actor and theatre director. Artaud's parents, Euphrasie Nalpas and Antoine-Roi Artaud, were of Greek origin (Smyrna), and he was much affected by this background. In 1925, Artaud effectively took over directing the surrealist movement, writing many of the articles for The Surrealist Revolution and running the Bureau of Surrealist Research, a loose affiliation of surrealists interested in exploring automatic writing, recording dreams and engaging in anything which rejected rationality. After about 18 months he grew increasingly frustrated by what he perceived as the surrealists' unwillingness to do any more than disrupt bourgeois art events and create scandal. They in turn, spearheaded by André Breton who possibly felt his leadership of the movement to be threatened by Artaud's dynamic energy and extreme radical commitment, set about ejecting him from the group after he publicly began to call their revolutionary bluff. In 1926-28, Artaud ran the Alfred Jarry Theater, along with Roger Vitrac. He produced and directed original works by Vitrac, as well as pieces by Claudel and Strindberg. The theatre advertised that they would produce Artaud's play Jet de sang in their 1926-1927 season, but it was never mounted and was not premiered until 40 years later. The Theater was extremely short-lived, but was attended by an enormous range of European artists, including André Gide, Arthur Adamov, and Paul Valéry.

In 1931 Artaud saw Balinese dance performed at the Paris Colonial Exposition. Although he did not fully understand the intentions and ideas behind traditional Balinese performance, it influenced many of his ideas for Theatre. Also during this year, the 'First Manifesto for a Theatre of Cruelty' was published in La Nouvelle Revue Française which would later appear as a chapter in 'The Theatre and Its Double'. In 1935, Artaud's production of his adaptation of Shelley's The Cenci premiered. The Cenci was a commercial failure, although it employed innovative sound effects—including the first theatrical use of the electronic instrument the Ondes Martenot--and had a set designed by Balthus. He recorded Pour en Finir avec le Jugement de dieu [To Have Done With the Judgment of god] between November 22 and November 29, 1947. This work was shelved by Wladimir Porché, the director of the French Radio, the day before its scheduled airing on February 2, 1948. The performance was prohibited partially as a result of its scatological, anti-American, and anti-religious references and pronouncements, but also because of its general randomness, with a cacophony of xylophonic sounds mixed with various percussive elements. While remaining true to his Theater of Cruelty and reducing powerful emotions and expressions into audible sounds, Artaud had utilized various, somewhat alarming cries, screams, grunts, onomatopoeia, and glossolalia. As a result, Fernand Pouey, the director of dramatic and literary broadcasts for French radio, assembled a panel to consider the broadcast of Pour en Finir avec le Jugement de Dieu. Among the approximately 50 artists, writers, musicians, and journalists present for a private listening on February 5, 1948 were Jean Cocteau, Paul Éluard, Raymond Queneau, Jean-Louis Barrault, René Clair, Jean Paulhan, Maurice Nadeau, Georges Auric, Claude Mauriac, and René Char.

Almuro started out with Pierre Schaeffer, producing radioplays for the club d’essai in the late 40s before joining the grm in 1958 ... he proceeded to produce dark, chilling musique concrète backings to recitations of work(s) by authors such as Jean Genet & Antonin Artaud, but by the late 60s he had already begun working on even more sparse & creepy music, paring down the traditional sound-on-sound approach to focus on combinations of single & paired instruments, edited to mask their natural timbres & bathed in a virtual sea of reverb & tape echo to blur the assembly stage(s), yielding a remarkably prescient approach to sound construction that set him apart considerably from his peers ... 

Vinyl VG to EX, sleeve VG one tear repaired with clear tape, very very rare

Avantgarde / experimental / electronic

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