HENRI CHOPIN SOUND POETRY LP DADA-REVUE OU-NWW-AVANT

$

117

HENRI CHOPIN

 LES MIRIFIQUES TUNDRAS & COMPAGNIE LP

Alga Marghen 4

Limited Edition: 20 copies 

Extremely rare special edition of Les Mirifiques Tundras album from Henri Chopin, only 20 copies in existence in yellow vinyl.

Some info on the release:  Limited edition released by Alga Marghen (John Cage, Charlemagne Palestine, Luc Ferrari, Iancu Dumitrescu, Jacques Berrocal, Philip Corner, Anton Bruhin, Henri Pousseur, Hermann Nitsch, etc.) as a special edition of 80 copies to be included in the Avant Marghen boxset release dedicated to Henri Chopin and another 20 copies to be sold separately. This one is one of those 20 copies, coming in a plain PVC sleeve. For the last forty years, with his sound poetry revue OU (1964-1974), then through his participation in various international sound poetry festivals, through his personal experience in the experimental studios of radio stations in Köln, Paris, Australia, Canada or Sweden and in his concert/performances throughout Europe, Henri Chopin has consistently and unceasingly opened the ways to unexplored spaces beyond all known languages. His publication and design of the classic audio-visual magazines Cinquième Saison and OU between 1958 and 1974, each issue containing recordings as well as texts, images, screenprints and multiples, brought together international contemporary writers and artists such as members of Lettrisme and Fluxus, Jiri Kolar, Ian Hamilton Finlay, Tom Phillips, Brion Gysin, William S. Burroughs and many others, as well as bringing the work of survivors from earlier generations such as Raoul Hausmann and Marcel Janco to a fresh audience. Thanks to the systematic use of microphones, amplifiers, tape recorders, editing and mixing consoles, he has given a voice to realms beyond modern or experimental music, beyond any note system and headed for spaces without norms, categories, definitions or limits: spaces of permanent metamorphosis. But despite misleading appearances, Henri Chopin is not merely doing a new kind of music; he is not just a consequence of Pierre Schaeffer’s concrete music principles and Pierre Henry’s experiments in the fifties. Henri Chopin is an individual (in Stirner’s sense: the ego and its own) who has always resisted absurd attempts to reduce him to part of a movement, a school, an academism; what one perceives are Henry Chopin’s bio-psychical vibrations, that he himself constructed by electronically recording, then modifying, amplifying and transforming the energies of his own body. This language is beyond institutionalised language or indeed beyond any language, it precedes all idioms (sound signs, playful energy signs like those of whales and dolphins), it is a breath language, a soul language (the language of anima), the unfettered respiration of the cosmic energies we are, who belong neither to factions nor clans. The energy of live beings, whose individuality is irreducible, and impossible to break down. Solitary and strange cosmic creatures, mysterious yet showing solidarity, resonating with all those who dared breach shackles and rules, escape vile obedience, submission and compromise, reject complacency and blind allegiance to traditional or experimental academism. With Henri Chopin let go and bid farewell to all that: here’s a plunge into the unknown, an exploration of the inside of voice, of the other side of voice, a sort of submarine navigation, of potholing into the unmapped tunnels and grottoes of the glottis, oesophagus, stomach and lungs, the places where pneuma (breath) is formed. Henri Chopin uses electronic devices to explore the pneumatic body relentlessly, but never gives way to the temptation of artificially fiddling with noises. He remains a-live, energetic vibration of the pulsating, cosmic soul. In the same "school" with Francois Dufrene, Bernard Heidsieck, Paul de Vree, Ernst Jandl, Brion Gysin, Franz Mon, John Giorno, Gerhard Ruhm, Hugh Davies, Sten Hanson, Leo Kupper, Hugo Ball, Julien Blaine, Allen Ginsberg, Gherasim Luca, etc.

"To make an example that I know well, since it is about my work, it is now thirty years that I do not write any scores before assembling an audio-poem. It is just by heart and using only my memory that I conceive the expressions of my body. basically through my mouth with its breathing etc., which become my only solid score. There, I discover a world without limits, from prattles to phonic lacerations. All this happens on, and with the help of, a Revox tape machine, with the addition of sound effects like echoes, changes of speed, larsen effects, until the final editing through sound collages.

In this way, what for someone was nothing but an absurd form of avant-garde with no way out is no more reduced to a mere research of vocal perspectives, but it becomes an experimentation with the voice considered as a new musical instrument with its boundless variations.... The composer Marc Battier understood this very well and, without betraying my first works, he is going to expand them, reaching territories that were unknown to me. Thus my researches with no aprioristic result enriched the voice and the body on one side, and on the other they discovered both voice and music.

With Marc my work reached a new meaning and I am happy about that, as I have abandoned the idea of a poet as messenger. I have used the pompous leaders of the avant-garde movements as Filippo Tommaso Marinetti, Tristan Tzara, Andre Breton, and a few others as models beyond their grandiloquent roles, in order to achieve a real form of poetry, a poetry of spaces: written, audio and visual works which I discovered and freely considered as starting points, nothing more and nothing less."

Condition: Vinyl lies in mint / unplayed condition, this is an unplayed archive copy. Comes inside a transparent PVC sleeve, which lies in very good condition.

Tracklist

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