Andy Heck Boyd and Ripped Spit // Runction Raydal CD

Andy Heck Boyd and Ripped Spit // Runction Raydal CD

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オーストラリア・メルボルンの実験レーベルIndex Clean諸作を入荷しました。

本作は、アメリカ・ケンタッキーのスカム実験音楽家Andy Heck BoydとRipped Spitが、2024年1月にリリースしたCDです。

形容し難い音楽16曲を収録。デジパック、シュリンク仕様です。

前作もオススメです。

レーベルその他作品はこちら /// Click here to see more Index Clean releases available at Tobira.

-------------------------------

CD in 4-panel digipack.

Tracklist:

Duraton Krink 00:45
Roil Marp 02:26
Couch Mouth 00:52
Girls Then Are Huffing, and The 00:45
Horabocio 01:41
Nothing Apart Like Hyenas 01:11
Haunted Volcano House Info 01:12
Ceiling Faces the Camera 00:43
He's Trying Air 00:32
Preacher Rabbit 00:50
Syrup Swappers 01:06
My Gross Person 02:08
Kawl 01:08
Effects Cement 00:48
Porcelain Onion Rings 01:27
Duunmo 03:36

Index Clean:

"Kasper and Heck, married at the deep fried Kentucky butterfly, she sizzled the couch lassoing crunchy tunes to the walls which ransacked the verbs right out of his toolbox of cartoons getting lost in the woods at night. After recording they had sex and both gave birth to concrete squirrels."

Artist : Andy Heck Boyd and Ripped Spit

Label : Index Clean

Quantity

+ -

オーストラリア・メルボルンの実験レーベルIndex Clean諸作を入荷しました。

本作は、アメリカ・ケンタッキーのスカム実験音楽家Andy Heck BoydとRipped Spitが、2024年1月にリリースしたCDです。

形容し難い音楽16曲を収録。デジパック、シュリンク仕様です。

前作もオススメです。

レーベルその他作品はこちら /// Click here to see more Index Clean releases available at Tobira.

-------------------------------

CD in 4-panel digipack.

Tracklist:

Duraton Krink 00:45
Roil Marp 02:26
Couch Mouth 00:52
Girls Then Are Huffing, and The 00:45
Horabocio 01:41
Nothing Apart Like Hyenas 01:11
Haunted Volcano House Info 01:12
Ceiling Faces the Camera 00:43
He's Trying Air 00:32
Preacher Rabbit 00:50
Syrup Swappers 01:06
My Gross Person 02:08
Kawl 01:08
Effects Cement 00:48
Porcelain Onion Rings 01:27
Duunmo 03:36

Index Clean:

Artist : Andy Heck Boyd and Ripped Spit

Label : Index Clean

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Edition of 300. \u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eEn Dag Av Allt\u003c\/li\u003e\n\u003cli\u003eSaltholmen\u003c\/li\u003e\n\u003cli\u003eAlice \u0026amp; Julia (Som Människor) 05:34\u003c\/li\u003e\n\u003cli\u003eBorgerlig Skymning\u003c\/li\u003e\n\u003cli\u003eTornseglare 02:45\u003c\/li\u003e\n\u003cli\u003eAsterisker\u003c\/li\u003e\n\u003cli\u003eFluffiga Små Moln 02:12\u003c\/li\u003e\n\u003cli\u003eNévrose Eccléastique\u003c\/li\u003e\n\u003cli\u003eSolnamotets Harar\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e++\u003c\/p\u003e\n\u003cp\u003eInfinite Expanse:\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eJohannes Björk is a musician and literary critic based in Gothenburg. His music combines drones, pop melodies and field recordings to produce refined sketches rather than fully formed songs – resembling slowly refurnished interiors, rather than scenes with a clearly discernible subject. Originally released in a mini-edition of 12 copies for a show in Stockholm earlier on in the year, it is now presented in an expanded LP form with two tracks added in, and another two re-recorded. Accompanied in parts by renowned and emerging Swedish writers – such as Siri Ahmed Backström, Johan Jönson and Johanna Sköldbäck Martell – the music offers an electro-acoustic shelter, which houses both luminous and gloomy textures. Whilst the album shares an atmosphere with the emerging years of the Gothenburg scene to some extent, the songwriting bears witness to a production that treats lo-fi elements as integrated parts of the soundscape, though not in a way that overpowers the recording. For his debut solo album, Johannes carves out a landscape where pulsating drones form the background for the perfect melody, where field recordings and noise co-exist with harmonical dyads, and the feeling of an assuasive epiphany flow out of an ever-looming tragedy.\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Johannes Björk\u003c\/p\u003e\n\u003cp\u003eLabel : Infinite Expanse\u003c\/p\u003e"}

スウェーデン・ヨーテボリのアンビエント作家Johannes Björkが、2023年11月にイギリスの実験レーベルInfinite Expanseからリリースしたレコードです。スケッチのようなアンビエント・フォーク〜アンビエントドローン〜サウンドポエトリー9曲を収録。 ※デジタル音源をご希望の場合はお気軽にご連絡をお願いいたします以下、レーベルによる解説です。 "Johannes Björkはヨーテボリを拠点に活動するミュージシャン、文芸評論家。彼の音楽は、ドローン、ポップメロディー、フィールドレコーディングを組み合わせ、完全に形成された曲というよりは、洗練されたスケッチを生み出す。もともとは、今年初めにストックホルムで行われたライヴのために12枚のミニエディションでリリースされたものだが、今回は2曲を追加し、さらに2曲を再録音した拡大版LPとしてリリースされる。Siri Ahmed Backström、Johan Jönson、Johanna Sköldbäck Martellなど、スウェーデンの著名な作家や新進気鋭の作家が部分的に参加している。このアルバムは、ヨーテボリ・シーンの勃興期の雰囲気をある程度共有しているが、ソングライティングは、ローファイな要素をサウンドスケープの一部として扱うプロダクションを物語っている。Johannes Björkはソロデビューアルバムで、脈打つドローンが完璧なメロディーの背景を形成し、フィールドレコーディングとノイズがハーモニーの二重奏と共存し、迫り来る悲劇から救われるような啓示が流れ出るような風景を切り開いた。"...

¥4,486

Quickview {"id":8411296760058,"title":"Herman Damen \/\/ Verbosonies and Phonographies LP+INSERTS","handle":"herman-damen-verbosonies-and-phonographies-lp-inserts","description":"\u003cp\u003eオランダの実験音楽家／美術家Herman Damenが、2024年3月にイタリアの実験レーベルArga Marghenから220部限定でリリースしたレコード＋インサートです。\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e彼が1966-1973年に制作したコラージュ〜サウンドポエトリー8曲を収録。\u003c\/p\u003e\n\u003cp\u003eポスターや写真、ポストカード、コラージュなど21点のインサートが付属。\u003c\/p\u003e\n\u003cp\u003eレコードのみでの発表となります。\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/w.soundcloud.com\/player\/?url=https%3A\/\/api.soundcloud.com\/tracks\/77380545\u0026amp;color=%23ff5500\u0026amp;auto_play=false\u0026amp;hide_related=false\u0026amp;show_comments=true\u0026amp;show_user=true\u0026amp;show_reposts=false\u0026amp;show_teaser=true\" height=\"166\" width=\"100%\" allow=\"autoplay\" frameborder=\"no\" scrolling=\"no\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/0VtM9zzi1DI?si=nRROuB8dVzefK-Dt\" height=\"315\" width=\"560\" allowfullscreen=\"\" referrerpolicy=\"strict-origin-when-cross-origin\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1932502576\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/track=4060120382\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/w.soundcloud.com\/player\/?url=https%3A\/\/api.soundcloud.com\/tracks\/76057519\u0026amp;color=%23ff5500\u0026amp;auto_play=false\u0026amp;hide_related=false\u0026amp;show_comments=true\u0026amp;show_user=true\u0026amp;show_reposts=false\u0026amp;show_teaser=true\" height=\"166\" width=\"100%\" allow=\"autoplay\" frameborder=\"no\" scrolling=\"no\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/alga-marghen\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/alga-marghen\"\u003eこちら\u003c\/a\u003e \/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/alga-marghen\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/alga-marghen\"\u003ehere\u003c\/a\u003e to see more Alga Marghen releases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e----------------------------\u003c\/p\u003e\n\u003cp\u003e12\" black vinyl + 21 inserts. Edition of 220. \u003c\/p\u003e\n\u003cp\u003eInserts included:\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e- “\u003c\/span\u003e\u003cem\u003eKinetic Pouim\u003c\/em\u003e\u003cspan\u003e” (1966), drawing with notes and photos\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e- “\u003c\/span\u003e\u003cem\u003eWhat to do with Poetry\u003c\/em\u003e\u003cspan\u003e” (1966-69), graphic\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e- “\u003c\/span\u003e\u003cem\u003eReveil du Chaos\u003c\/em\u003e\u003cspan\u003e” (1967), excerpt of the score with notes\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e- “\u003c\/span\u003e\u003cem\u003eBetekste Condoom\u003c\/em\u003e\u003cspan\u003e” (1967), photo of condom poetry\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e- “\u003c\/span\u003e\u003cem\u003eSix-Clus\u003c\/em\u003e\u003cspan\u003e” (1967), envelope with 5 graphic prints and score excerpt\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e- “\u003c\/span\u003e\u003cem\u003eVerbosonies \u0026amp; Phonographies\u003c\/em\u003e\u003cspan\u003e” (1968), essay\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e- “\u003c\/span\u003e\u003cem\u003e40+ Product of Holland\u003c\/em\u003e\u003cspan\u003e” (1968), poster\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e- “\u003c\/span\u003e\u003cem\u003eCapsule-Pouim\u003c\/em\u003e\u003cspan\u003e” (1968), micro-poem in plastic envelope\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e- “\u003c\/span\u003e\u003cem\u003eOzon\u003c\/em\u003e\u003cspan\u003e” (1969), poster\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e- “\u003c\/span\u003e\u003cem\u003ePsychocybernetic Performance\u003c\/em\u003e\u003cspan\u003e” (1973), score and photos\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e- “\u003c\/span\u003e\u003cem\u003eBeveiliging\u003c\/em\u003e\u003cspan\u003e” (1974), collage\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e- “\u003c\/span\u003e\u003cem\u003eGrands Prix\u003c\/em\u003e\u003cspan\u003e” (1974), collage\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e- “\u003c\/span\u003e\u003cem\u003eArt Director\u003c\/em\u003e\u003cspan\u003e” (1974), collage\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e- “\u003c\/span\u003e\u003cem\u003eDe taal vormt het proeven voor\u003c\/em\u003e\u003cspan\u003e” (1974), collage\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e- “\u003c\/span\u003e\u003cem\u003eDe Radioaktieve-Vuilnisman\u003c\/em\u003e\u003cspan\u003e” (1975), poster\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e++\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eText by Alga Marghen:\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eHemann Damen is a Dutch artist and language designer who, among \u003c\/em\u003e\u003cem\u003eother things, has created visual poems, performance works and \u003c\/em\u003e\u003cem\u003everbosonies – a genre that Damen developed where vocalised morphomic \u003c\/em\u003e\u003cem\u003eelements are assembled in different ways. In his works he has been \u003c\/em\u003e\u003cem\u003eexploring ‘kinetic language’ and the spatial aspects of language.\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eDamen’s manifesto “Semiotic Theatre” states that his work “places \u003c\/em\u003e\u003cem\u003eitself outside official literature and wants to fascinate, shock or \u003c\/em\u003e\u003cem\u003eactivate people by combining and replacing writing and articulation \u003c\/em\u003e\u003cem\u003ewith extra-linguistic signs and techniques like pictures, drawings, \u003c\/em\u003e\u003cem\u003egraphics, photos, montages, collages, de-collages, projects, objects, \u003c\/em\u003e\u003cem\u003elight, darkness, signals, symbols, gestures, happenings, noise, \u003c\/em\u003e\u003cem\u003esilence, smells, tastes, situations, states, properties, streets, \u003c\/em\u003e\u003cem\u003elandscapes, etc…”.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003e But most of all, Hermann Damen work is SONICO, or disintegrated \u003c\/em\u003e\u003cem\u003elanguage treated via electronic means and GRAPHICO, or Kinetic \/ \u003c\/em\u003e\u003cem\u003eEdible \/ Political \/ Sexual \/ Capsule \/ Visual Poetry.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eSONICO\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003e The first side of this LP presents five verbosonies recorded \u003c\/em\u003e\u003cem\u003ebetween 1966 and 1970. “Automaton-Pouim”; “Voices”, a radiophonical \u003c\/em\u003e\u003cem\u003earrangement in six overlapping parts of sounds made with jaws, nose, \u003c\/em\u003e\u003cem\u003echeeks, lips, teeth, tongue, uvula and palate; “Monologue-Machine”, \u003c\/em\u003e\u003cem\u003econsisting of speech sounds from different languages and an \u003c\/em\u003e\u003cem\u003eextra-vocal sound in superposed layers, located in the space by using \u003c\/em\u003e\u003cem\u003ea four-track magnetophone; “Magic”, a multi-track improvisation with \u003c\/em\u003e\u003cem\u003ethe intentional use of a defective microphone; “Plastic-Elastic”, for \u003c\/em\u003e\u003cem\u003esynthetic voice.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003e The second side presents three phonographies recorded between 1967 \u003c\/em\u003e\u003cem\u003eand 1973. “Reveil du chaos”, an audio collage with tape manipulations \u003c\/em\u003e\u003cem\u003efor the experimental movie with the same tile; “Hommage à Orff”, the \u003c\/em\u003e\u003cem\u003esixth part of a work presented in 1970 at Stedelijk Museum, Amsterdam, \u003c\/em\u003e\u003cem\u003ea sonic piece activated by people entering a 5-edge room where amorph \u003c\/em\u003e\u003cem\u003ematerial graphic works (a, âme, amo, amor, amorf) were placed and thus \u003c\/em\u003e\u003cem\u003ecompleting the installation; “Psychocybernetic Performance”, created \u003c\/em\u003e\u003cem\u003eat the Electronic Music Studio in Stockholm for the Sixth Text-Sound \u003c\/em\u003e\u003cem\u003eFestival at Fylkingen in 1973.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eGRAPHICO\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003e Hermann Damen was the founder and editor of the AH! Magazine, a \u003c\/em\u003e\u003cem\u003emagazine for ‘verbal plasticism’. Somehow parallel in contents with \u003c\/em\u003e\u003cem\u003ethe legendary Revue OU, Damen’s AH! occasionally also included vinyl \u003c\/em\u003e\u003cem\u003erecords and represented an ante-litteram multi-media.\"\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Herman Damen\u003c\/p\u003e\n\u003cp\u003eLabel : Alga Marghen\u003c\/p\u003e\n\u003cp\u003eCAT No: \u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eplana-D 33VocSon174\u003c\/span\u003e\u003c\/p\u003e","published_at":"2024-04-30T15:27:35+09:00","created_at":"2024-04-30T14:50:04+09:00","vendor":"Tobira Records","type":"","tags":["Alga Marghen","contemporary \/ sound poetry","lp","monooto","new","recommended"],"price":498800,"price_min":498800,"price_max":498800,"available":true,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":45833693823226,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Herman Damen \/\/ Verbosonies and Phonographies LP+INSERTS","public_title":null,"options":["Default Title"],"price":498800,"weight":530,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/files\/IMG_3193.jpg?v=1714456206","\/\/tobirarecords.com\/cdn\/shop\/files\/IMG_3194.jpg?v=1714456206"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/files\/IMG_3193.jpg?v=1714456206","options":["Title"],"media":[{"alt":null,"id":33910530507002,"position":1,"preview_image":{"aspect_ratio":1.0,"height":2915,"width":2915,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/IMG_3193.jpg?v=1714456206"},"aspect_ratio":1.0,"height":2915,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/IMG_3193.jpg?v=1714456206","width":2915},{"alt":null,"id":33910530539770,"position":2,"preview_image":{"aspect_ratio":1.0,"height":2657,"width":2657,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/IMG_3194.jpg?v=1714456206"},"aspect_ratio":1.0,"height":2657,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/IMG_3194.jpg?v=1714456206","width":2657}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003eオランダの実験音楽家／美術家Herman Damenが、2024年3月にイタリアの実験レーベルArga Marghenから220部限定でリリースしたレコード＋インサートです。\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e彼が1966-1973年に制作したコラージュ〜サウンドポエトリー8曲を収録。\u003c\/p\u003e\n\u003cp\u003eポスターや写真、ポストカード、コラージュなど21点のインサートが付属。\u003c\/p\u003e\n\u003cp\u003eレコードのみでの発表となります。\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/w.soundcloud.com\/player\/?url=https%3A\/\/api.soundcloud.com\/tracks\/77380545\u0026amp;color=%23ff5500\u0026amp;auto_play=false\u0026amp;hide_related=false\u0026amp;show_comments=true\u0026amp;show_user=true\u0026amp;show_reposts=false\u0026amp;show_teaser=true\" height=\"166\" width=\"100%\" allow=\"autoplay\" frameborder=\"no\" scrolling=\"no\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/0VtM9zzi1DI?si=nRROuB8dVzefK-Dt\" height=\"315\" width=\"560\" allowfullscreen=\"\" referrerpolicy=\"strict-origin-when-cross-origin\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1932502576\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/track=4060120382\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/w.soundcloud.com\/player\/?url=https%3A\/\/api.soundcloud.com\/tracks\/76057519\u0026amp;color=%23ff5500\u0026amp;auto_play=false\u0026amp;hide_related=false\u0026amp;show_comments=true\u0026amp;show_user=true\u0026amp;show_reposts=false\u0026amp;show_teaser=true\" height=\"166\" width=\"100%\" allow=\"autoplay\" frameborder=\"no\" scrolling=\"no\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/alga-marghen\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/alga-marghen\"\u003eこちら\u003c\/a\u003e \/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/alga-marghen\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/alga-marghen\"\u003ehere\u003c\/a\u003e to see more Alga Marghen releases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e----------------------------\u003c\/p\u003e\n\u003cp\u003e12\" black vinyl + 21 inserts. Edition of 220. \u003c\/p\u003e\n\u003cp\u003eInserts included:\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e- “\u003c\/span\u003e\u003cem\u003eKinetic Pouim\u003c\/em\u003e\u003cspan\u003e” (1966), drawing with notes and photos\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e- “\u003c\/span\u003e\u003cem\u003eWhat to do with Poetry\u003c\/em\u003e\u003cspan\u003e” (1966-69), graphic\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e- “\u003c\/span\u003e\u003cem\u003eReveil du Chaos\u003c\/em\u003e\u003cspan\u003e” (1967), excerpt of the score with notes\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e- “\u003c\/span\u003e\u003cem\u003eBetekste Condoom\u003c\/em\u003e\u003cspan\u003e” (1967), photo of condom poetry\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e- “\u003c\/span\u003e\u003cem\u003eSix-Clus\u003c\/em\u003e\u003cspan\u003e” (1967), envelope with 5 graphic prints and score excerpt\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e- “\u003c\/span\u003e\u003cem\u003eVerbosonies \u0026amp; Phonographies\u003c\/em\u003e\u003cspan\u003e” (1968), essay\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e- “\u003c\/span\u003e\u003cem\u003e40+ Product of Holland\u003c\/em\u003e\u003cspan\u003e” (1968), poster\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e- “\u003c\/span\u003e\u003cem\u003eCapsule-Pouim\u003c\/em\u003e\u003cspan\u003e” (1968), micro-poem in plastic envelope\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e- “\u003c\/span\u003e\u003cem\u003eOzon\u003c\/em\u003e\u003cspan\u003e” (1969), poster\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e- “\u003c\/span\u003e\u003cem\u003ePsychocybernetic Performance\u003c\/em\u003e\u003cspan\u003e” (1973), score and photos\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e- “\u003c\/span\u003e\u003cem\u003eBeveiliging\u003c\/em\u003e\u003cspan\u003e” (1974), collage\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e- “\u003c\/span\u003e\u003cem\u003eGrands Prix\u003c\/em\u003e\u003cspan\u003e” (1974), collage\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e- “\u003c\/span\u003e\u003cem\u003eArt Director\u003c\/em\u003e\u003cspan\u003e” (1974), collage\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e- “\u003c\/span\u003e\u003cem\u003eDe taal vormt het proeven voor\u003c\/em\u003e\u003cspan\u003e” (1974), collage\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e- “\u003c\/span\u003e\u003cem\u003eDe Radioaktieve-Vuilnisman\u003c\/em\u003e\u003cspan\u003e” (1975), poster\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e++\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eText by Alga Marghen:\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eHemann Damen is a Dutch artist and language designer who, among \u003c\/em\u003e\u003cem\u003eother things, has created visual poems, performance works and \u003c\/em\u003e\u003cem\u003everbosonies – a genre that Damen developed where vocalised morphomic \u003c\/em\u003e\u003cem\u003eelements are assembled in different ways. In his works he has been \u003c\/em\u003e\u003cem\u003eexploring ‘kinetic language’ and the spatial aspects of language.\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eDamen’s manifesto “Semiotic Theatre” states that his work “places \u003c\/em\u003e\u003cem\u003eitself outside official literature and wants to fascinate, shock or \u003c\/em\u003e\u003cem\u003eactivate people by combining and replacing writing and articulation \u003c\/em\u003e\u003cem\u003ewith extra-linguistic signs and techniques like pictures, drawings, \u003c\/em\u003e\u003cem\u003egraphics, photos, montages, collages, de-collages, projects, objects, \u003c\/em\u003e\u003cem\u003elight, darkness, signals, symbols, gestures, happenings, noise, \u003c\/em\u003e\u003cem\u003esilence, smells, tastes, situations, states, properties, streets, \u003c\/em\u003e\u003cem\u003elandscapes, etc…”.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003e But most of all, Hermann Damen work is SONICO, or disintegrated \u003c\/em\u003e\u003cem\u003elanguage treated via electronic means and GRAPHICO, or Kinetic \/ \u003c\/em\u003e\u003cem\u003eEdible \/ Political \/ Sexual \/ Capsule \/ Visual Poetry.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eSONICO\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003e The first side of this LP presents five verbosonies recorded \u003c\/em\u003e\u003cem\u003ebetween 1966 and 1970. “Automaton-Pouim”; “Voices”, a radiophonical \u003c\/em\u003e\u003cem\u003earrangement in six overlapping parts of sounds made with jaws, nose, \u003c\/em\u003e\u003cem\u003echeeks, lips, teeth, tongue, uvula and palate; “Monologue-Machine”, \u003c\/em\u003e\u003cem\u003econsisting of speech sounds from different languages and an \u003c\/em\u003e\u003cem\u003eextra-vocal sound in superposed layers, located in the space by using \u003c\/em\u003e\u003cem\u003ea four-track magnetophone; “Magic”, a multi-track improvisation with \u003c\/em\u003e\u003cem\u003ethe intentional use of a defective microphone; “Plastic-Elastic”, for \u003c\/em\u003e\u003cem\u003esynthetic voice.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003e The second side presents three phonographies recorded between 1967 \u003c\/em\u003e\u003cem\u003eand 1973. “Reveil du chaos”, an audio collage with tape manipulations \u003c\/em\u003e\u003cem\u003efor the experimental movie with the same tile; “Hommage à Orff”, the \u003c\/em\u003e\u003cem\u003esixth part of a work presented in 1970 at Stedelijk Museum, Amsterdam, \u003c\/em\u003e\u003cem\u003ea sonic piece activated by people entering a 5-edge room where amorph \u003c\/em\u003e\u003cem\u003ematerial graphic works (a, âme, amo, amor, amorf) were placed and thus \u003c\/em\u003e\u003cem\u003ecompleting the installation; “Psychocybernetic Performance”, created \u003c\/em\u003e\u003cem\u003eat the Electronic Music Studio in Stockholm for the Sixth Text-Sound \u003c\/em\u003e\u003cem\u003eFestival at Fylkingen in 1973.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eGRAPHICO\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003e Hermann Damen was the founder and editor of the AH! Magazine, a \u003c\/em\u003e\u003cem\u003emagazine for ‘verbal plasticism’. Somehow parallel in contents with \u003c\/em\u003e\u003cem\u003ethe legendary Revue OU, Damen’s AH! occasionally also included vinyl \u003c\/em\u003e\u003cem\u003erecords and represented an ante-litteram multi-media.\"\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Herman Damen\u003c\/p\u003e\n\u003cp\u003eLabel : Alga Marghen\u003c\/p\u003e\n\u003cp\u003eCAT No: \u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eplana-D 33VocSon174\u003c\/span\u003e\u003c\/p\u003e"}

Quickview {"id":8393683992826,"title":"Various Artists (Alga Marghen) \/\/ Avant Marghen Vol. 5 7xLP BOX","handle":"various-artists-avant-marghen-vol-5-7xlp-box","description":"\u003cp\u003eイタリアの実験レーベルAlga Marghenが、2024年3月に80部限定でリリースした7枚組レコードBOXです。\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e収録作品は以下の通りです。\u003c\/p\u003e\n\u003cp\u003eレコードのみでの発表となります。\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/PCY14N27jsY?si=lGNg5NOmPcvnI1Kl\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/-T_gp0--WpY?si=DyU-X2fL22bs43gd\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/2BlF0GL9DtM?si=gTy7NogumR8F5SSX\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/alga-marghen\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/alga-marghen\"\u003eこちら\u003c\/a\u003e \/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/alga-marghen\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/alga-marghen\"\u003ehere\u003c\/a\u003e to see more Alga Marghen releases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e----------------------------\u003c\/p\u003e\n\u003cp\u003e7 x 12\" black vinyl in hand-numbered box. Edition of 80. \u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eThis luxury black boxset edition actually includes the fifth group of 7 LPs previously issued for the VocSon series. Each individual LP record includes a numbered Avant Marghen inner-sleeves.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e++\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e7 x LP Tracklist\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eInstrumentations Verbales\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eA1\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eJean-Louis Brau–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eElégie Elémentaire\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e3:22\u003cbr\u003eA2\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eJean-Louis Brau–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eAtaloche Roche\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e2:44\u003cbr\u003eA3\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eJean-Louis Brau–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eInstrumentation Verbale\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e3:48\u003cbr\u003eA4\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eJean-Louis Brau–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eCantate Pour L'Interdiction De Mandrake\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e4:36\u003cbr\u003eA5\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eJean-Louis Brau–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eTurn Back Nightingale\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e3:30\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003ePoemes Et Musiques Lettristes Et Hyperphonie\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eC1\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eMaurice Lemaître–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eQuatre Lettries Sur Des Thèmes Rock (1962)\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e4:23\u003cbr\u003eC2\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eMaurice Lemaître–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eLettre Rock (1957)\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e2:02\u003cbr\u003eC3\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eMaurice Lemaître–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eEpître À Tristan Tzara (1959)\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e0:28\u003cbr\u003eC4\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eMaurice Lemaître–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eI Wanna Go Home Mister (1952)\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e3:03\u003cbr\u003eC5\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eMaurice Lemaître–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eMarche Des Grands Barbares Blancs (1958)\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e3:06\u003cbr\u003eC6\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eMaurice Lemaître–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eSalut À Vélémir Khlebnikov (1963)\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e1:54\u003cbr\u003eC7\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eMaurice Lemaître–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eValse Japonaise (1953)\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e1:59\u003cbr\u003eC8\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eMaurice Lemaître–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eL'Équipée Sauvage (1953)\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e2:48\u003cbr\u003eC9\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eMaurice Lemaître–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eImprovisation (1961)\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e0:53\u003cbr\u003eC10\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eMaurice Lemaître–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eRoxana (1953)\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e4:02\u003cbr\u003eD1\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eMaurice Lemaître–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eL'Arrivée Des Lettristes À Bruxelles (1968)\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e2:30\u003cbr\u003eD2\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eMaurice Lemaître–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eLe Départ Des Lettristes À Bruxelles (1968)\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e2:01\u003cbr\u003eD3\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eMaurice Lemaître–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eL'Alcôve (1963) Concerto Pour Une Voix De Femme Et Des Choeurs D'Hommes\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e13:59\u003cbr\u003eD4\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eMaurice Lemaître–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eL'Ascension Du Phénix MB (1967)\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e7:31\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eThe Poet’s Tongue\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eE1\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eUlises Carrión–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eHamlet, For Two Voices\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e15:36\u003cbr\u003eE2\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eUlises Carrión–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eAritmetica\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e5:19\u003cbr\u003eF1\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eUlises Carrión–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eThree Spanish Pieces\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e7:21\u003cbr\u003eF2\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eUlises Carrión–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003ePoema\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e1:57\u003cbr\u003eF3\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eUlises Carrión–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eFirst Spanish Lesson\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e7:13\u003cbr\u003eF4\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eUlises Carrión–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e45 Revoluciones Por Minuto\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e3:59\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e11 Heldengesänge Und 3 Gedichte\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003cbr\u003e\u003c\/span\u003eG1\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eAnton Bruhin–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eProlog\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e5:37\u003cbr\u003eG2\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eAnton Bruhin–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eTember Gordas\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e2:00\u003cbr\u003eG3\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eAnton Bruhin–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eFonka Gersu\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e2:27\u003cbr\u003eG4\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eAnton Bruhin–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eArgons Tod Am Léman\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e4:21\u003cbr\u003eG5\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eAnton Bruhin–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eSignal\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e3:03\u003cbr\u003eG6\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eAnton Bruhin–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eAlwarts Neigungen\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e4:44\u003cbr\u003eH1\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eAnton Bruhin–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eNaskan\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e2:43\u003cbr\u003eH2\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eAnton Bruhin–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eTagorli Froil\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e2:40\u003cbr\u003eH3\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eAnton Bruhin–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eBalgus Ambambalgus\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e4:35\u003cbr\u003eH4\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eAnton Bruhin–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eZichtels Wunsch\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e2:33\u003cbr\u003eH5\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eAnton Bruhin–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eGankwast\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e2:14\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eDe Mudge\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e(1:43)\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eH6.1\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eAnton Bruhin–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eDrei Gedichte \/ Eins\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e1:13\u003cbr\u003eH6.2\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eAnton Bruhin–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eDrei Gedichte \/ Zwei\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e1:05\u003cbr\u003eH6.3\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eAnton Bruhin–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eDrei Gedichte \/ Drei\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e1:02\u003cbr\u003eH6.4\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eAnton Bruhin–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eFinale\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e2:39\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eWolman Et Son Double\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eI\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eGil J Wolman–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003ePart I\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e15:34\u003cbr\u003eJ\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eGil J Woman–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003ePart II\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e15:26\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003ePornéia\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eK1\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eEduardo Kac–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003ePoema Flatografico Para Três Cus Submeros Em Memoria De Joseph Pujol\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e0:48\u003cbr\u003ek2\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eEduardo Kac–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003ePoema Flatografico Para Monologo Interior\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e0:51\u003cbr\u003eK3\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eEduardo Kac–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003ePoema Flatografico Para Improviso De Violino Em Ré Menor E Feijoada Completa\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e1:19\u003cbr\u003eK4\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eEduardo Kac–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eFilosofia\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e0:08\u003cbr\u003eK5\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eEduardo Kac–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eFabula\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e0:31\u003cbr\u003eK6\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eEduardo Kac–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eEncontro\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e0:15\u003cbr\u003eK7\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eEduardo Kac–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eJohnson \u0026amp; Johnson\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e0:15\u003cbr\u003eK8\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eEduardo Kac–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eBola De Cristal\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e0:42\u003cbr\u003eK9\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eEduardo Kac–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eSometo\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e0:09\u003cbr\u003eK10\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eEduardo Kac–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eMeta\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e0:22\u003cbr\u003eK11\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eEduardo Kac–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eNossa Senhora Da Sacanegem\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e0:16\u003cbr\u003eK12\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eEduardo Kac–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eO Urubu\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e0:42\u003cbr\u003eK13\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eEduardo Kac–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eOsma Pessa\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e0:49\u003cbr\u003eK14\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eEduardo Kac–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eBatom Marrom\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e0:13\u003cbr\u003eK15\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eEduardo Kac–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003ePikante\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e0:19\u003cbr\u003eK16\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eEduardo Kac–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eAntropornofagia\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e0:31\u003cbr\u003eK17\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eEduardo Kac–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eCabeça Feita\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e0:48\u003cbr\u003eK18\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eEduardo Kac–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eManifesto Pornô\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e1:01\u003cbr\u003eK19\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eEduardo Kac–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eSem Titulo (Cu Cura Cuca Cara)\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e1:38\u003cbr\u003eK20\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eEduardo Kac–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003ePoema Flatografico Para Acompanhar A Viuva Alegre\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e4:05\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eTLALAATALA\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eM\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eJosé Luis Castillejo–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eTLALAATALA\u003cbr\u003eN\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eJosé Luis Castillejo–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eTLALAATALA\u003c\/p\u003e\n\u003cp\u003e++++++\u003c\/p\u003e\n\u003cp\u003eText via Discogs:\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eLP 1) Jean-Louis Brau \"Instrumentations verbales\" LP. First 80 copies from the original pressing of 350 copies issued in 2010. Jean-Louis Brau (1930-1985) approached everything in an explosive way, sometimes achieving some major results, like his sound poetry, as demonstrated by “Turn back nightingale” (1972), in which he makes references to François Dufrêne, on a background of disarticulated drums and pre-punk saturations. Also included on this one-sided LP are “Elégie Elémentaire” and “Ataloche Roche”, both recorded in 1961 during Isidore Isou's conference at the Musée d’Art Moderne in Paris, as well as “Instrumentation Verbale” and “Cantate pour l’interdiction de Mandrake”, both recorded in 1963 and first published in “Poésie Physique”, book w\/ 3 singles (Brau, Dufrêne, Wolman), privately issued by Wolman for Achèle, in 1965.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eLP2) Maurice Lemaitre \"Poemes et musiques lettristes et hyperphonie\" LP. First 80 copies from the long sold-out original pressing of 350 copies issued in 2014. An exceptionally wild sonic art and poetry document, Maurice Lemaitre \"Poemes et musiques lettristes et hyperphonie\" was recorded between 1952 and 1968. Neither Isou, nor Pomerand, Dufrene, Wolman, or Spacagna achieved what Lemaitre did. Lemaitre dares the unthinkable: neo-yeye rhythmic muzak destroyed by \"lettries\" disseminated with the biggest care. One more treasure: the very \"pop music\" oriented Lemaitre with his \"I wanna go home mister\" blues, here in a version with a borderline insane companion: Isidore Isou. Also included on this LP is a previously unreleased torrid \"concerto\" titled \"L'alcove\" for a lettrist male chorus and female solo orgasms, followed by \"L'ascension du Phenix M.B.\", a sound collage from 1967… No need of Yoko Ono's loops for another \"Revolution 9\", one year before Lemaitre cuts the tape with a scalpel, leaving the cuts exposed: home revolution in between two manifestos and three hypergraphic paintings.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eLP3) Ulises Carrion \"The Poet’s Tongue\" LP. First 80 copies from the immediately sold-out original pressing of 270 copies issued in 2012. Ulises Carrión's audio works clearly reflect his passion for language, its structures, sounds and meanings. His many initiatives and projects bear witness to his boundless obsessions with communication and circulation of works and ideas as a cultural strategy. All pieces from this LP, recorded at the Instituut voor Sonologie in Utrecht between September and October 1977, have in common their refusal of discursiveness. They are not meant to be true or beautiful. Each piece is a series of vocal units that unfolds according to simple rules. Their beginning and end are arbitrary – they could go on infinitely. They should go on. They go on.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eLP4) Anton Bruhin “11 Heldengesänge und 3 Gedichte” LP with 4-page insert. First 80 copies from the original pressing of 350 copies issued in 2014. “11 Heldengesänge und 3 Gedichte” is a sound poem which takes us into a medieval world of minstrels and errant knights, a phantasmagoria in text and sound. It is also a modern document of the not-yet-existing electronic Sampling Art in the 1970s. Like an anthropologist Anton Bruhin presents this fictional culture inventing its language and music as well as drawing its objects: a hat, a cup, an arm, a flag, a wurst… everyday-life artifacts from an ancient time catalogued with scientific precision. In \"11 Heldengesänge und 3 Gedichte\", a masterpiece by Anton Bruhin, all is artificial and nothing is real, exactly like in our contemporary world.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eLP5) Gil J Wolman “Wolman et son double” LP. First 80 copies from the original pressing of 385 copies issued in 2015. Antonin Artaud had a major impact on the future sound poets of the \"poésie physique,\" François Dufrene, Jean-Louis Brau and Gil J Wolman. The \"mégapneumie\" (poems of breath and sound) of Gil J Wolman appeared as soon as 1950 and eventually developed into an improvisation for breath and organic sounds originating from the throat and the whole body. The work seems to be designed to disturb the human aspect of speech. “Wolman et son double”, a previously unreleased recording probably from the late '70s, is Wolman's most theatrical -- as well as musical and lyrical -- piece. This is due to its experimental recording techniques; Wolman records a series of improvisations on a 30-minute track, then mixes them with a new series of mégapneumes and using manipulations with echo and Larsen effects.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eLP6) Eduardo Kac \u0026amp; Porn Art Movement \"Pornéia\" LP, also including an LP-size 40-page full-color book. First 80 copies from the instantly sold-out original pressing of 270 copies issued in 2016. These previously unissued recordings from the Porn Art Movement (1980-1982) include five performances recorded live on Ipanema Beach in 1982, as well as a selection of previously unheard studio recordings of Eduardo Kac yell-poems. Kac fused existing coarse and curse words with parts of words, neologisms, salacious buffoonery, the antinormative scribblings of toilet-wall graffiti, commonplaces, blasphemy, expletives, agrammatisms, incorrect orthography, slangy expressions, lexical exorbitance, general obscenities, the gross and the grotesque, into a new whole. The LP also includes the Manifesto Pornô (1980) and four recordings of Flatographic Poems from 1982, in which Kac uses the flatus as a compositional unit and the mellifluous flatal flow as material. This anal poetry was the only series of works produced in the Movement to literally explore the internal side of the body.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eLP7) Jose Luis Castillejo “TLALAATALA” LP, limited to 80 copies featuring a dark-grey sleeve, only available with this boxset edition. A killer reading of Jose Luis Castillejo TLALAATALA book by Fernando Millan, recorded in Madrid in 2001. Writing, perhaps the art more subdued to avidity and ambition, an instrument of subjection since it was invented by priests and legislators, has been the last of the arts to seek for its liberation. Writing itself created the worst of our servitudes that still rules and dominates the world: literality. Because without literality any servitude to being of metaphorical and reflexive freedom would be impossible. As proved by TLALAATALA the liberation of writing must go through the elaboration of vacuous structures that should be perceived without being captured, without being fixed through numbers and signs. It goes through a writing where you can no longer state that “the written, written is”, since it establishes an imaginary and metaphorical reflection of the vacuity and of the mutual relation of processes and phenomena.\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Various\u003c\/p\u003e\n\u003cp\u003eLabel : Alga Marghen\u003c\/p\u003e\n\u003cp\u003eCAT No : \u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eplana-VA alga0.5\u003c\/span\u003e\u003c\/p\u003e","published_at":"2024-04-30T15:13:00+09:00","created_at":"2024-04-28T18:35:02+09:00","vendor":"Tobira Records","type":"","tags":["Alga Marghen","contemporary \/ sound poetry","drone","lp","monooto","new"],"price":2167600,"price_min":2167600,"price_max":2167600,"available":true,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":45807853437178,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Various Artists (Alga Marghen) \/\/ Avant Marghen Vol. 5 7xLP BOX","public_title":null,"options":["Default Title"],"price":2167600,"weight":2800,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/files\/av1.jpg?v=1714296904","\/\/tobirarecords.com\/cdn\/shop\/files\/av.jpg?v=1714296905"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/files\/av1.jpg?v=1714296904","options":["Title"],"media":[{"alt":null,"id":33881511690490,"position":1,"preview_image":{"aspect_ratio":1.012,"height":593,"width":600,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/av1.jpg?v=1714296904"},"aspect_ratio":1.012,"height":593,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/av1.jpg?v=1714296904","width":600},{"alt":null,"id":33881511723258,"position":2,"preview_image":{"aspect_ratio":1.0,"height":600,"width":600,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/av.jpg?v=1714296905"},"aspect_ratio":1.0,"height":600,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/av.jpg?v=1714296905","width":600}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003eイタリアの実験レーベルAlga Marghenが、2024年3月に80部限定でリリースした7枚組レコードBOXです。\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e収録作品は以下の通りです。\u003c\/p\u003e\n\u003cp\u003eレコードのみでの発表となります。\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/PCY14N27jsY?si=lGNg5NOmPcvnI1Kl\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/-T_gp0--WpY?si=DyU-X2fL22bs43gd\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/2BlF0GL9DtM?si=gTy7NogumR8F5SSX\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/alga-marghen\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/alga-marghen\"\u003eこちら\u003c\/a\u003e \/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/alga-marghen\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/alga-marghen\"\u003ehere\u003c\/a\u003e to see more Alga Marghen releases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e----------------------------\u003c\/p\u003e\n\u003cp\u003e7 x 12\" black vinyl in hand-numbered box. Edition of 80. \u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eThis luxury black boxset edition actually includes the fifth group of 7 LPs previously issued for the VocSon series. Each individual LP record includes a numbered Avant Marghen inner-sleeves.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e++\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e7 x LP Tracklist\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eInstrumentations Verbales\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eA1\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eJean-Louis Brau–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eElégie Elémentaire\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e3:22\u003cbr\u003eA2\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eJean-Louis Brau–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eAtaloche Roche\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e2:44\u003cbr\u003eA3\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eJean-Louis Brau–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eInstrumentation Verbale\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e3:48\u003cbr\u003eA4\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eJean-Louis Brau–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eCantate Pour L'Interdiction De Mandrake\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e4:36\u003cbr\u003eA5\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eJean-Louis Brau–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eTurn Back Nightingale\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e3:30\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003ePoemes Et Musiques Lettristes Et Hyperphonie\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eC1\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eMaurice Lemaître–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eQuatre Lettries Sur Des Thèmes Rock (1962)\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e4:23\u003cbr\u003eC2\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eMaurice Lemaître–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eLettre Rock (1957)\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e2:02\u003cbr\u003eC3\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eMaurice Lemaître–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eEpître À Tristan Tzara (1959)\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e0:28\u003cbr\u003eC4\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eMaurice Lemaître–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eI Wanna Go Home Mister (1952)\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e3:03\u003cbr\u003eC5\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eMaurice Lemaître–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eMarche Des Grands Barbares Blancs (1958)\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e3:06\u003cbr\u003eC6\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eMaurice Lemaître–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eSalut À Vélémir Khlebnikov (1963)\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e1:54\u003cbr\u003eC7\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eMaurice Lemaître–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eValse Japonaise (1953)\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e1:59\u003cbr\u003eC8\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eMaurice Lemaître–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eL'Équipée Sauvage (1953)\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e2:48\u003cbr\u003eC9\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eMaurice Lemaître–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eImprovisation (1961)\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e0:53\u003cbr\u003eC10\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eMaurice Lemaître–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eRoxana (1953)\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e4:02\u003cbr\u003eD1\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eMaurice Lemaître–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eL'Arrivée Des Lettristes À Bruxelles (1968)\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e2:30\u003cbr\u003eD2\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eMaurice Lemaître–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eLe Départ Des Lettristes À Bruxelles (1968)\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e2:01\u003cbr\u003eD3\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eMaurice Lemaître–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eL'Alcôve (1963) Concerto Pour Une Voix De Femme Et Des Choeurs D'Hommes\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e13:59\u003cbr\u003eD4\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eMaurice Lemaître–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eL'Ascension Du Phénix MB (1967)\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e7:31\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eThe Poet’s Tongue\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eE1\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eUlises Carrión–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eHamlet, For Two Voices\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e15:36\u003cbr\u003eE2\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eUlises Carrión–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eAritmetica\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e5:19\u003cbr\u003eF1\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eUlises Carrión–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eThree Spanish Pieces\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e7:21\u003cbr\u003eF2\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eUlises Carrión–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003ePoema\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e1:57\u003cbr\u003eF3\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eUlises Carrión–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eFirst Spanish Lesson\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e7:13\u003cbr\u003eF4\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eUlises Carrión–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e45 Revoluciones Por Minuto\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e3:59\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e11 Heldengesänge Und 3 Gedichte\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003cbr\u003e\u003c\/span\u003eG1\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eAnton Bruhin–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eProlog\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e5:37\u003cbr\u003eG2\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eAnton Bruhin–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eTember Gordas\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e2:00\u003cbr\u003eG3\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eAnton Bruhin–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eFonka Gersu\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e2:27\u003cbr\u003eG4\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eAnton Bruhin–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eArgons Tod Am Léman\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e4:21\u003cbr\u003eG5\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eAnton Bruhin–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eSignal\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e3:03\u003cbr\u003eG6\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eAnton Bruhin–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eAlwarts Neigungen\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e4:44\u003cbr\u003eH1\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eAnton Bruhin–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eNaskan\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e2:43\u003cbr\u003eH2\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eAnton Bruhin–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eTagorli Froil\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e2:40\u003cbr\u003eH3\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eAnton Bruhin–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eBalgus Ambambalgus\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e4:35\u003cbr\u003eH4\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eAnton Bruhin–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eZichtels Wunsch\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e2:33\u003cbr\u003eH5\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eAnton Bruhin–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eGankwast\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e2:14\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eDe Mudge\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e(1:43)\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eH6.1\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eAnton Bruhin–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eDrei Gedichte \/ Eins\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e1:13\u003cbr\u003eH6.2\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eAnton Bruhin–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eDrei Gedichte \/ Zwei\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e1:05\u003cbr\u003eH6.3\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eAnton Bruhin–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eDrei Gedichte \/ Drei\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e1:02\u003cbr\u003eH6.4\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eAnton Bruhin–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eFinale\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e2:39\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eWolman Et Son Double\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eI\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eGil J Wolman–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003ePart I\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e15:34\u003cbr\u003eJ\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eGil J Woman–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003ePart II\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e15:26\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003ePornéia\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eK1\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eEduardo Kac–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003ePoema Flatografico Para Três Cus Submeros Em Memoria De Joseph Pujol\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e0:48\u003cbr\u003ek2\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eEduardo Kac–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003ePoema Flatografico Para Monologo Interior\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e0:51\u003cbr\u003eK3\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eEduardo Kac–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003ePoema Flatografico Para Improviso De Violino Em Ré Menor E Feijoada Completa\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e1:19\u003cbr\u003eK4\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eEduardo Kac–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eFilosofia\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e0:08\u003cbr\u003eK5\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eEduardo Kac–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eFabula\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e0:31\u003cbr\u003eK6\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eEduardo Kac–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eEncontro\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e0:15\u003cbr\u003eK7\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eEduardo Kac–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eJohnson \u0026amp; Johnson\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e0:15\u003cbr\u003eK8\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eEduardo Kac–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eBola De Cristal\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e0:42\u003cbr\u003eK9\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eEduardo Kac–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eSometo\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e0:09\u003cbr\u003eK10\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eEduardo Kac–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eMeta\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e0:22\u003cbr\u003eK11\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eEduardo Kac–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eNossa Senhora Da Sacanegem\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e0:16\u003cbr\u003eK12\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eEduardo Kac–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eO Urubu\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e0:42\u003cbr\u003eK13\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eEduardo Kac–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eOsma Pessa\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e0:49\u003cbr\u003eK14\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eEduardo Kac–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eBatom Marrom\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e0:13\u003cbr\u003eK15\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eEduardo Kac–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003ePikante\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e0:19\u003cbr\u003eK16\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eEduardo Kac–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eAntropornofagia\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e0:31\u003cbr\u003eK17\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eEduardo Kac–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eCabeça Feita\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e0:48\u003cbr\u003eK18\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eEduardo Kac–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eManifesto Pornô\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e1:01\u003cbr\u003eK19\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eEduardo Kac–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eSem Titulo (Cu Cura Cuca Cara)\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e1:38\u003cbr\u003eK20\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eEduardo Kac–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003ePoema Flatografico Para Acompanhar A Viuva Alegre\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e4:05\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eTLALAATALA\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eM\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eJosé Luis Castillejo–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eTLALAATALA\u003cbr\u003eN\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eJosé Luis Castillejo–\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003eTLALAATALA\u003c\/p\u003e\n\u003cp\u003e++++++\u003c\/p\u003e\n\u003cp\u003eText via Discogs:\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eLP 1) Jean-Louis Brau \"Instrumentations verbales\" LP. First 80 copies from the original pressing of 350 copies issued in 2010. Jean-Louis Brau (1930-1985) approached everything in an explosive way, sometimes achieving some major results, like his sound poetry, as demonstrated by “Turn back nightingale” (1972), in which he makes references to François Dufrêne, on a background of disarticulated drums and pre-punk saturations. Also included on this one-sided LP are “Elégie Elémentaire” and “Ataloche Roche”, both recorded in 1961 during Isidore Isou's conference at the Musée d’Art Moderne in Paris, as well as “Instrumentation Verbale” and “Cantate pour l’interdiction de Mandrake”, both recorded in 1963 and first published in “Poésie Physique”, book w\/ 3 singles (Brau, Dufrêne, Wolman), privately issued by Wolman for Achèle, in 1965.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eLP2) Maurice Lemaitre \"Poemes et musiques lettristes et hyperphonie\" LP. First 80 copies from the long sold-out original pressing of 350 copies issued in 2014. An exceptionally wild sonic art and poetry document, Maurice Lemaitre \"Poemes et musiques lettristes et hyperphonie\" was recorded between 1952 and 1968. Neither Isou, nor Pomerand, Dufrene, Wolman, or Spacagna achieved what Lemaitre did. Lemaitre dares the unthinkable: neo-yeye rhythmic muzak destroyed by \"lettries\" disseminated with the biggest care. One more treasure: the very \"pop music\" oriented Lemaitre with his \"I wanna go home mister\" blues, here in a version with a borderline insane companion: Isidore Isou. Also included on this LP is a previously unreleased torrid \"concerto\" titled \"L'alcove\" for a lettrist male chorus and female solo orgasms, followed by \"L'ascension du Phenix M.B.\", a sound collage from 1967… No need of Yoko Ono's loops for another \"Revolution 9\", one year before Lemaitre cuts the tape with a scalpel, leaving the cuts exposed: home revolution in between two manifestos and three hypergraphic paintings.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eLP3) Ulises Carrion \"The Poet’s Tongue\" LP. First 80 copies from the immediately sold-out original pressing of 270 copies issued in 2012. Ulises Carrión's audio works clearly reflect his passion for language, its structures, sounds and meanings. His many initiatives and projects bear witness to his boundless obsessions with communication and circulation of works and ideas as a cultural strategy. All pieces from this LP, recorded at the Instituut voor Sonologie in Utrecht between September and October 1977, have in common their refusal of discursiveness. They are not meant to be true or beautiful. Each piece is a series of vocal units that unfolds according to simple rules. Their beginning and end are arbitrary – they could go on infinitely. They should go on. They go on.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eLP4) Anton Bruhin “11 Heldengesänge und 3 Gedichte” LP with 4-page insert. First 80 copies from the original pressing of 350 copies issued in 2014. “11 Heldengesänge und 3 Gedichte” is a sound poem which takes us into a medieval world of minstrels and errant knights, a phantasmagoria in text and sound. It is also a modern document of the not-yet-existing electronic Sampling Art in the 1970s. Like an anthropologist Anton Bruhin presents this fictional culture inventing its language and music as well as drawing its objects: a hat, a cup, an arm, a flag, a wurst… everyday-life artifacts from an ancient time catalogued with scientific precision. In \"11 Heldengesänge und 3 Gedichte\", a masterpiece by Anton Bruhin, all is artificial and nothing is real, exactly like in our contemporary world.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eLP5) Gil J Wolman “Wolman et son double” LP. First 80 copies from the original pressing of 385 copies issued in 2015. Antonin Artaud had a major impact on the future sound poets of the \"poésie physique,\" François Dufrene, Jean-Louis Brau and Gil J Wolman. The \"mégapneumie\" (poems of breath and sound) of Gil J Wolman appeared as soon as 1950 and eventually developed into an improvisation for breath and organic sounds originating from the throat and the whole body. The work seems to be designed to disturb the human aspect of speech. “Wolman et son double”, a previously unreleased recording probably from the late '70s, is Wolman's most theatrical -- as well as musical and lyrical -- piece. This is due to its experimental recording techniques; Wolman records a series of improvisations on a 30-minute track, then mixes them with a new series of mégapneumes and using manipulations with echo and Larsen effects.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eLP6) Eduardo Kac \u0026amp; Porn Art Movement \"Pornéia\" LP, also including an LP-size 40-page full-color book. First 80 copies from the instantly sold-out original pressing of 270 copies issued in 2016. These previously unissued recordings from the Porn Art Movement (1980-1982) include five performances recorded live on Ipanema Beach in 1982, as well as a selection of previously unheard studio recordings of Eduardo Kac yell-poems. Kac fused existing coarse and curse words with parts of words, neologisms, salacious buffoonery, the antinormative scribblings of toilet-wall graffiti, commonplaces, blasphemy, expletives, agrammatisms, incorrect orthography, slangy expressions, lexical exorbitance, general obscenities, the gross and the grotesque, into a new whole. The LP also includes the Manifesto Pornô (1980) and four recordings of Flatographic Poems from 1982, in which Kac uses the flatus as a compositional unit and the mellifluous flatal flow as material. This anal poetry was the only series of works produced in the Movement to literally explore the internal side of the body.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eLP7) Jose Luis Castillejo “TLALAATALA” LP, limited to 80 copies featuring a dark-grey sleeve, only available with this boxset edition. A killer reading of Jose Luis Castillejo TLALAATALA book by Fernando Millan, recorded in Madrid in 2001. Writing, perhaps the art more subdued to avidity and ambition, an instrument of subjection since it was invented by priests and legislators, has been the last of the arts to seek for its liberation. Writing itself created the worst of our servitudes that still rules and dominates the world: literality. Because without literality any servitude to being of metaphorical and reflexive freedom would be impossible. As proved by TLALAATALA the liberation of writing must go through the elaboration of vacuous structures that should be perceived without being captured, without being fixed through numbers and signs. It goes through a writing where you can no longer state that “the written, written is”, since it establishes an imaginary and metaphorical reflection of the vacuity and of the mutual relation of processes and phenomena.\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Various\u003c\/p\u003e\n\u003cp\u003eLabel : Alga Marghen\u003c\/p\u003e\n\u003cp\u003eCAT No : \u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eplana-VA alga0.5\u003c\/span\u003e\u003c\/p\u003e"}